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SUMMARY:The Struts
DESCRIPTION:Doors: 7:30 pm / Show: 8:30 pm \nThis event is all ages.\nTickets on sale Fri. 4/15 at noon! \n*** \n \n*** \nThe Struts \n \n[Website] [Facebook] [Twitter] \nBefore even releasing their first album\, U.K.-bred four-piece The Struts opened for The Rolling Stones in front of a crowd of 80\,000 in Paris\, got hand-picked by Mötley Crüe to serve as the supporting act for their four last-ever performances\, and toured the U.S. on a string of sold-out shows that demanded the band move up to bigger venues to accommodate their fast-growing fanbase. Now with their full-length debut Everybody Wants\, lead vocalist Luke Spiller\, guitarist Adam Slack\, bassist Jed Elliott\, and drummer Gethin Davies reveal the supreme mix of massive riffs and powerfully catchy melodies that’s already slain so many adoring audiences around the globe. \n“Every time we go into the studio we just want to channel exactly what we’re all about onstage—something big\, fun\, unapologetic\, rock & roll\,” says Spiller. “We love a song that makes everybody sing along\, and touring quite extensively over the past few years has given us a lot of inspiration to bring that kind of energy to our album.” \nThe follow-up to Have You Heard—a 2015 EP whose lead single “Could Have Been Me” hit #1 on Spotify’s viral chart\, earned more than 2.5 million Vevo/YouTube views\, and shot to the top 5 on Modern Rock radio charts—Everybody Wants unleashes anthem after arena-ready anthem. Pairing up with producers like Gregg Alexander (former frontman for New Radicals) and Marti Frederiksen (Aerosmith\, Mick Jagger) and recording in such far-flung locales as a refurbished London church and a studio in the Spanish region of Andalucía\, The Struts prove the iconic power that’s prompted Yahoo Music to name them “one of the most exciting and electric performers in rock today” and MTV to proclaim the band “well on their way to bringing rock & roll back to the forefront.” \nThroughout Everybody Wants\, The Struts offer their own undeniable twist on sweetly sleazy glam-rock\, delivering huge hooks and making brilliant use of Spiller’s otherworldly vocal range. Even the album’s breakup songs come on full throttle\, with “Mary Go Round” backing its dreamy acoustic balladry with heavy drums\, blistering guitar work\, and fantastically glam-minded lyrics (“I can’t even pour myself a glass of wine/Because every glass is stained with your lipstick shine”). Also evidence of The Struts’ romantic sensibilities\, the sweeping\, heart-on-sleeve intensity of “A Call Away” offers a stirring testament to love against the odds. “It’s about when I’d just moved to America and had a girlfriend back home\, and everyone was asking how I was going to make it work\,” explains Slack. “The song’s saying that we’ll make it work no matter what\, no matter how many miles apart we are.” \nAt the core of Everybody Wants are power-chord-driven tracks like the hard-charging album-opener “Roll Up” (a “larger-than-life caricature of the person I am onstage\, very glamorous and very cheeky\,” according to Spiller) and the gritty-yet-exhilarating “Kiss This” (a breakup song whose “message is really about standing up for yourself—sort of our version of a ‘Young Hearts Run Free’-type song\, but in a rock mentality\,” Spiller notes). With its hip-shaking rhythms and euphoric harmonies\, “Times Are Changin’” recaps the band’s recent glories (“I’ve been to New York City\, I met the Rolling Stones”)\, while “The Ol’ Switcharoo” blends bubblegum melodies and horn-backed grooves into the world’s most irresistibly fun tribute to girlfriend-swapping. \nThe Struts also show their skill in merging high-drama storytelling and pop-perfect melody on Everybody Wants\, with “Black Swan” spinning a darkly charged tale of warring families and star-crossed lovers. “I’d thought that ‘Black Swan’ would make a good title\, so Luke and I started writing it together one night in his room\,” recalls Slack. “We finished the melodies\, and the next morning he’d come up with this whole tragic love story to put into the lyrics.” And on “Where Did She Go\,” The Struts close out Everybody Wants with an infectiously stomping epic that first came to life when Spiller was just 15. “My parents had just moved to this horrible seaside town\, which wasn’t a great place to be if you’ve got long hair or you’re just an individual in any way\,” he says. “One night I was walking home quite drunk and started singing to myself\, as you do\, and this melody eventually came to me. I remember thinking\, ‘What kind of melody could you get a whole football stadium full of people to sing along to?’\, and then kept going from that.” \nForming The Struts in Derby\, England\, in 2012\, all four members began making music as teenagers\, initially finding inspiration in groups like Oasis and the Libertines and then tracking their idols’ influences to discover the glam bands that would one day shape their own sound. “When we first started\, we both just wanted to make fun\, happy rock songs with big choruses—the kind of thing that bands like Slade and T. Rex used to do\,” says Slack of his collaboration with Spiller. The trademark tongue-in-cheek swagger of classic glam also played a key part in the naming of the band\, Spiller points out. “We were in rehearsals and someone saw me strutting around as we were playing\, and made the suggestion that we call ourselves The Struts\,” he says. “We loved that from day one—it absolutely represents what we’re about.” \nLargely on the strength of their dynamic live performance\, the Struts fast built up a major following and started selling out shows all across Europe. Along with landing the Stade de France gig with the Rolling Stones\, the band took the stage at the 2014 Isle of Wight Festival\, with Spiller decked out in a shimmering-blue cape custom-made for him by Zandra Rhodes (the legendary designer who formerly created costumes for Queen’s Freddie Mercury and Brian May). Over the past few years Spiller’s role as a style idol has prevailed\, with the New York Times recently spotlighting the singer in a fashion-centric feature and Ray Brown (an Australian designer who’s also dreamed up outfits for AC/DC\, Ozzy Osbourne\, and Lady Gaga) coming up with costumes for The Struts’ run of dates with Mötley Crüe. \nIn their lavish stage presence and magnetic appeal\, The Struts have more than demonstrated a preternatural command of monumental crowds. But while all that glitz and flash never fail to thrill\, the band’s impassioned music and high-powered spirit also fulfill a far greater purpose. “The main mission of the band is to bring back that feeling of fun and rock & roll\, especially to all those people who are bored by what’s going on these days\,” says Spiller. “We really believe that music\, when it’s done right\, can help you escape the present moment\, and then just send you somewhere else entirely.” \n*** \nDorothoy \n \n[Website] [Facebook] [Twitter] \n“This guy was telling me all this stuff that no one else could possibly know\,” says Dorothy Martin\, the singer and namesake of Los Angeles rock quartet Dorothy. “The theme from The Twilight Zone was playing in my head. It was a ritual cleaning\, where this medicine man from Guadalajara spit all over me and blew smoke in my face. It was crazy. Then\, we went and climbed a pyramid. When we got to the top there were all these butterflies everywhere. It felt like a dream. But\, the weirdest part is that I had written the song before this happened.” \nAs Dorothy Martin talks about her favorite song (“Medicine Man”) from her band’s forthcoming debut on Jay-Z’s Roc Nation label\, you begin to realize the precise reason why her music is so bewitching. \nNo\, it’s not because she might be more of a shaman than that mystic she met in Mexico City. It’s because despite drawing from a familiar musical tradition—they are a rock band after all—Dorothy’s music is rendered anew by this front-woman’s singular vision. All of it is channeled through her. There is no one quite like her. So it follows\, there has been nothing quite like this band before now.
URL:https://royaleboston.com/event/the-struts/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160803T190000
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SUMMARY:Broods
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is All Ages.\nTickets on sale Fri. 4/22 at noon! \nPlease note: ticket price includes $1 for charity and $1.50 for album. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nBroods \n \n[Website] [Facebook] [Twitter] \nMutli-award winning brother-sister duo Broods (Caleb and Georgia Nott) are one of the most celebrated young bands to emerge out of New Zealand in recent times. Announcing their arrival with glossy synth-pop ballads ‘Bridges’\, ‘Never Gonna Change’ and their self-titled debut EP\, through a tireless work ethic\, commitment to excellence and unshakable senses of self\, they’ve established themselves as an in-demand proposition globally. “Touring has made us realise how important it is to not just be yourself\, but back yourself\,” Georgia says. “If you’re not being true\, you’ll never stand out.” \nOver an ever-growing itinerary of performances across the US\, UK\, Canada\, Australia\, Asia and New Zealand\, their sound and live show has become increasingly crucial. To evoke an underrated cliché\, Broods have learned how to dance like no one is watching\, and sing like no one is listening. “We’ve loosened up a lot\,” Caleb says. “We’re in the moment\, and we’re focused on making it special every time.” Along the way they’ve sold-out headline tours\, and played major festivals such as Lollapalooza\, Outside Lands\, Groovin the Moo and Clockenflap to name a few. They’ve shared stages with Ellie Goulding\, Haim\, CHVRCHES\, Tove Lo\, and supported breakout English pop star Sam Smith on his sold-out US tour. In August 2014\, things went white hot for them with the release of their Joel Little produced debut album Evergreen\, debuting at #1 on the New Zealand Albums Chart\, #5 on the Australian Albums Chart and top 50 in the US. Pristinely polished and perfectly poised\, across Evergreen Broods deploy vividly atmospheric textures and heady rhythms in counterpoint to measured pop hooks\, all delivered with a stadium-sized sense of melody and harmony. A record of euphoric peaks and intimate valleys\, it’s the sound of youth maturing into adulthood. Young people growing up lost in the world\, and figuring out what that means while finding themselves along the way. With equally impressive Soundcloud\, Hype Machine\, iTunes and YouTube figures behind them\, as well as key tastemaker support from Zane Lowe (of BBC Radio 1)\, and preeminent new music blog Pigeons and Planes\, Broods are turning their wide-eyed teenage dreams into sustainable realities. \nTopping off their busy two years so far has been the nomination of ‘Bridges’ for the APRA AMCOS 2014 Silver Scroll Award\, and winning Breakthrough Artist of the Year at the 2014 Vodafone New Zealand Music Awards. That particular win was to foretell their success at the 2015 awards\, where they took out four accolades; including Best Group\, Best Pop Album\, Highest Radio Airplay for ‘Mother & Father’ and the coveted Album of the Year award. “We’re not taking any of this for granted\,” Georgia says. “We keep active and work 24/7\,” Caleb adds. “This is what we do now. It’s our life.” \n*** \nJarryd James \n \n[Soundcloud] [Facebook] [Twitter] \nOver three days in the fall of 2014\, Australian singer-songwriter Jarryd James and songwriter-producer Joel Little (Lorde\, Broods) holed up in a Airbnb in Los Angeles with some portable recording equipment\, a computer\, and a $30 ukulele they found in the house and created the song “Do You Remember.” “I was trying to capture the feeling of nostalgia in a song\, both lyrically and melodically\, and just how powerful that emotion is\,” James says. “I was in an unfamiliar place all by myself and I guess I was feeling a bit fragile. But when you sit down and think back to a certain time\, there’s a lot of beauty in that reminiscing.” Wanting to share the song with people\, James put “Do You Remember” up on Soundcloud in January 2015\, not expecting anything of it.  \nBut with its “silky falsetto vocals\, pounding drums\, and plucked guitars” (as NME described it)\, “Do You Remember” quickly struck a chord with listeners and catapulted the then-unsigned artist into viral fame. By February\, James was touring with Aussie superstars Angus & Julia Stone and the following month had landed a deal with Interscope Records in the U.S. Upon its official release\, “Do You Remember” debuted at No. 2 on Singles chart in Australia\, as well as No. 1 on Hype Machine and the Australian iTunes charts\, and was the No. 1 most Shazamed song in Australia. James\, a humble\, soft-spoken native of Brisbane\, who had spent several years in a band\, followed by six years working with troubled kids before returning to making music\, found himself being supported by critics\, industry tastemakers like Beats 1 Radio’s Zane Lowe\, and artist peers like Ed Sheeran\, who told Rolling Stone that he had heard “Do You Remember” on Australian radio and “had to find out who the singer was. I just love his sound.“ When James released his follow-up single\, “Give Me Something” (also co-written with Little)\, Nylon magazine called him “a member of R&B’s new wave\, an artist who is helping to redefine the genre.” \nNow James is gearing up to release his debut album Thirty-One — 12 minimalist-sounding gems that showcase his ability to live in the sweet spot where unforgettable melodies\, soulful vocals\, and bittersweet lyrics intersect. Working with his collaborators Joel Little\, Pip Norman (Troye Sivan)\, and Malay Ho (Frank Ocean’s Channel Orange\, Tori Kelly)\, James delivers an immersively emotional experience fueled by the album’s sparse sonics and his aching falsetto\, not to mention his knack for writing lyrics that shoot straight for the gut.  \nHowever ask James what his songs are about and he’ll tell you that rather than focus on what inspires them\, his priority is the emotions they conjure up. “I never go into a session thinking\, ‘I’m going to write about this or that\,’” he says. “I need the music to tell me what to do. I let it soak into me\, then the words come. I just switch my brain off\, otherwise I end up overthinking things. I’ve never liked literal thoughts in songs. I always go for the metaphor or something ambiguous that will convey a feeling. The music I love the most\, I don’t even know what it’s about\, but I know how it makes me feel inside and that’s literally all I’m ever trying to do.” \nOne of James’ earliest and most powerful musical memories is hearing and connecting with Bob Dylan’s protest song “Hurricane.” “The story he tells is incredible and the fact that it was real … that stayed with me\,” he says. James grew up in a small town called Dalby\, three hours west of Brisbane where he lived with his mother\, sister\, and ailing grandmother. James’ parents split while his mother was pregnant with him and James’ father died when James was an infant. “My mom was very protective of me and my sister\,” he recalls. “My whole childhood was very sheltered.” Music drew James out. He played trumpet throughout his school years before teaching himself to play piano and guitar. Eventually\, he discovered artists like Harry Nilsson\, Paul McCartney\, and Stevie Wonder and spent hours in his room absorbing their stories\, melodies\, and vocal techniques. “I listened to Stevie Wonder and would try to nail his runs and trills because what he did was incredible.” \nAt 20\, James got up the nerve to sing for his friends and began writing his own songs a few years later. “At that point\, it was mostly about creating beautiful melodies\,” he says. “I didn’t think I had anything to write about.” He eventually formed a band with a few talented friends. Calling themselves Holland\, the band were signed to a major label and toured Australia before calling it quits after six years. Feeling a bit lost after the break-up\, James took a full-time government job looking after young people with extreme needs. “They were kids who didn’t fit into the foster care system so they were either homeless or in lockup in juvenile detention\,” James explains. He loved the work\, but also realized that something was missing from his life. “I got pretty depressed\,” he admits. “I was just sad all the time. I knew I had to start making music again.” \nHe called a friend with a recording studio in the Gold Coast and asked if he could pay him a visit. The first song to come pouring out was “High\,” an epic\, orchestral-sounding song that now closes out Thirty-One. In short order\, James found a publisher (Sony/ATV) and attended a songwriting workshop in Sydney where he connected with Pip Norman\, with whom he wrote Thirty-One’s “Sell It To Me\,” “Undone\,” and his third Australian single “Sure Love.” With Norman accompanying him\, James performed at the APRA Awards in Australia where he caught the attention of Joel Little and music manager\, Ashley Page\, who offered to represent him and immediately put James on tour with his clients Broods. He also wrote “Do You Remember” with Little and the rest was history. “Do You Remember” has racked up more than 27 million plays on Spotify and is the perfect introduction to Thirty-One\, a title inspired not only by James’ age\, but by his realization that his father died at 31. “It hit me last year when I became aware that I was making an album\,” he says. “I was like\, ‘Holy shit\, if I make it through this year\, I’ve outlived my father and on the same year that I put out this album\, which is so special to me.’ I feel like I’m kind of continuing on with what he couldn’t finish doing.”
URL:https://royaleboston.com/event/broods/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:The Fall of Troy
DESCRIPTION:Doors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and over.\nTickets on sale NOW! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nThe Fall of Troy \n \n[Website] [Facebook] [Twitter] \nWe’re The Fall of Troy from Mukilteo\, Wa. \n*** \n’68 \n \n[Website] [Facebook] [Twitter] \nIn Humor and Sadness\, the debut album from ’68\, demonstrates the loud beauty of alarming simplicity. A guy bashing his drums\, another dude wielding a guitar like a percussive\, blunt weapon while howling into a mic somehow manages to sound bigger and brasher than the computerized bombast of every six-piece metal band. A splash of roots\, a soulful yearning for mid century Americana and the fiery passion of post punk ferocity rampages over a record of earnestly forceful tracks like a runaway locomotive.  \nJosh Scogin wasn’t out of elementary school when the Flat Duo Jets laid their first album down on two tracks in a garage. But the scrappy band’s spirit of raw power\, punchy delivery\, tried-and-true rhythms and urgent sense of immediacy is alive and well in ’68.  \nHeralded by Alternative Press as one of 2014’s Most Anticipated Albums\, In Humor and Sadness is a snapshot of a fiery new beginning for one of modern Metalcore’s most celebrated frontmen. Produced by longtime Scogin collaborator Matt Goldman (Underoath\, Anberlin\, The Devil Wears Prada)\, the first full offering from ’68 is a broad reaching slab of ambitious showmanship delivered with few tools and fewer pretensions. The scratchy disharmonic pop of Nirvana’s Bleach is in there\, for sure. And while many associate the setup with The Black Keys\, ’68 is more like Black Keys on crack.  \n“I wanted it to be as loud and obnoxious as it can be\,” Scogin explains. “I want it to be in-your-face. I want people who hear us live to just be like\, ‘There’s no way this is just two dudes!’ That became sort of the subplot to our entire existence. ‘How much noise can two guys make?’ It’s obviously very minimalistic\, but in other ways\, it’s very big. I have as many amps onstage as a five piece band. Michael only has one cymbal and one tom on his kit\, but he plays it like it’s some kind of big ‘80s metal drum setup. It’s minimalistic\, but it’s also overkill. We get as much as we can from as little as we can.” \nLike many pioneers\, North Carolina’s the Flat Duo Jet’s blazed a trail for more commercially successful people. They played rootsy rockabilly but with a punk edge. Band leader Dexter Romweber’s solo work was a fist-pounding celebration of audacity and disruption\, which influenced the likes of The White Stripes\, among other bands.  \n“I got excited when I thought about the distress\, the chaos that this two-piece arrangement would create – one guy having to provide all of these sounds\, with a bunch of pedals\, with certain chords wigging out and missing notes here and there\,” he says with excitement. “That alone makes up for the chaos of having five people up there.”  \nThat idea of less is more\, of building something big from something small\, persists today at the top of the charts with The Black Keys\, just as it’s lived and breathed in the bass-player-less eclectic trio Jon Spencer Blues Explosion\, the rule-breaking early ‘90s destruction of Washington D.C.’s Nation of Ulysses\, and in the two man attack of ’68.  \n“Jon Spencer’s records always sound like he’s kind of winging it and I love that\,” declares Scogin\, letting out an affectionate laugh. “In my last band\, that’s how we tried to make our last record feel. The excitement and imperfection is something I love to draw from.” \nBefore paring (and pairing) things down with friend and drummer Michael McClellan\, Josh Scogin was the voice\, founder and agitprop-style provocateur in The Chariot\, who laid waste to convention across a brilliantly unhinged and defiantly unpolished catalog of Noisecore triumphs and dissonant art rock rage. Recorded live in the studio\, overdub free\, The Chariot’s first album set the tone for a decade to come\, owing more to a band like Unsane than whatever passes for “scene.” \nScogin was the original singer for Norma Jean and left an influential imprint on the burgeoning Metalcore of the late 90s that persists today\, despite having fronted the band for just one of six albums. Whether it’s the genre-defining heft of Norma Jean’s first album or the five records and stage destroying shows of The Chariot\, there’s a single constant at the heart of Josh Scogin’s career: a familiarity with the unfamiliar.  \nA new Metalcore band would be a safe third act for the subculture lifer\, but Scogin isn’t comfortable unless he’s making himself (and his audience) uncomfortable. “I definitely wanted to flip the script a bit\,” he freely confesses. “I’ve always wanted to play guitar and sing in a band\, ever since I left Norma Jean. I needed the freedom of not having a guitar onstage\, but now having done that for several years\, I wanted the challenge.”  \nCreative problem solving has long been the name of the game for Scogin\, whether he was hand stamping ALL 30\,000 CDs for The Chariot’s Wars and Rumors of Wars album or figuring out how to pull off his ’68 song title concept in the digital age of iTunes. Each song on In Humor and Sadness was to be titled with simply a single letter\, which when put together vertically on the back of a vinyl LP or compact disc\, would spell out a word. However\, it’s problematic to name more than one song with the same letter\, which would have been necessary to spell out what he intended.  \n’68 is the forward thinking progress of an artist who finds satisfaction in the expression of dissatisfaction. There’s progression in this regression. Tear apart all of the elements that have enveloped a singer’s performance\, strap a guitar on the guy and set him loose with nothing but a beat behind him? It’s a recipe for inventive\, fanciful mayhem.  \nAfter a raucous debut at South By Southwest\, a full US tour supporting Chiodos and many more road gigs on the horizon\, Scogin and McClellan are propelled by the excitement that comes along with the knowledge that ‘68 is truly just getting started.  \n“We’ve just broken the tip of the iceberg. We’re really just exploring all the different things we can do\,” Scogin promises. “I’ll get more pedals\, we’re try different auxiliary instruments\, whatever – the goal is to challenge ourselves and challenge an audience.” \n*** \n Illustrations  \n \n[Website] [Facebook] [Twitter] \nSan Antonio\, TX
URL:https://royaleboston.com/event/the-fall-of-troy-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:[SOLD OUT] PIEBALD
DESCRIPTION:You’re Part of It! 2016 Tour \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nSOLD OUT! \n*** \n \n*** \nPIEBALD \n \n[Website] [Facebook] \nEmocore outfit Piebald formed in 1994 when vocalist/guitarist Travis Shettel\, guitarist Aaron Stuart\, bassist Andrew Bonner and drummer Jon Sullivan were still high school students in suburban Andover\, MA. Sullivan left a few years later; Alex Garcia Rivera stepped in before the band ultimately settled down with Luke Garro behind the kit. \nQuickly becoming a staple of the Boston-area indie circuit\, Piebald released their first album\, When Life Hands You Lemons\, in 1997 via Hydra Head Records. They followed up two years later with If It Weren’t for Venetian Blinds It Would Be Curtains for Us All\, which further presented the band’s lighthearted spin on typical emo values\, offering such song titles as “Fat and Skinny Asses.” \nThe EP The Rock Revolution Will Not Be Televised appeared in 2000 before Piebald amicably split to focus on life outside the band. Boston-based imprint Big Wheel Recreation released the dual-disc retrospective Barely Legal/All Ages the following year\, which collected shaky recordings from their high school days all the way up through their 1997 debut; the set also included all of Piebald’s early 7″ EPs\, some demos\, live cuts (including a blistering cover of the Beatles’ “I Saw Her Standing There”)\, and out-of-print tracks. During the break\, Shettel also put out a solo record under the appropriate project name of Totally Travis. \nThe band’s separation didn’t last long\, however; Piebald announced their return in 2002 with We Are the Only Friends We Have\, a fun-yet-mature album that was quickly embraced by fans and critics alike. A single from that album\, “American Hearts\,” saw minor success on MTV and was even sampled a few years later by MC Lars on his emo-laptop-rap “iGeneration.” \nIt was a year of unprecedented good fortune for the band\, but things took a turn for the worse when Shettel had to undergo throat surgery. Shettel’s health problems resulted in the cancellation of a string of live shows (opening up for Dashboard Confessional\, no less)\, but the band wasn’t down for long. Shettel healed up in a few months’ time\, and Piebald headed back out on the road to headline with bands like My Chemical Romance\, Minus the Bear\, and Fairweather in tow. \nBy early 2004\, Piebald had inked a deal with Cali-based indie label SideOneDummy\, and their next album\, All Ears\, All Eyes\, All the Time\, came out that May. Late in the next year\, while the band toured with Hot Rod Circuit in their new environmentally friendly\, vegetable oil powered van\, the CD/DVD B-sides collection Killa Bros and Killa Bees was issued. Piebald’s next proper full-length\, Accidental Gentlemen\, hit stores in January 2007. \nPiebald’s last show was on April 19\, 2008 at Cambridge\, MA’s Middle East Downstairs\, though the band reunited for sets at The Bamboozle festival in California and New Jersey in early 2010. \n~Erik Hage \n*** \nNomad Stones \n \n[Facebook] \nBoston\, MA
URL:https://royaleboston.com/event/piebald-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160808T190000
DTEND;TZID=America/New_York:20160808T190000
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SUMMARY:[SOLD OUT] PIEBALD
DESCRIPTION:You’re Part of It! 2016 Tour \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nSOLD OUT \n*** \n \n*** \nPIEBALD \n \n[Website] [Facebook] \nEmocore outfit Piebald formed in 1994 when vocalist/guitarist Travis Shettel\, guitarist Aaron Stuart\, bassist Andrew Bonner and drummer Jon Sullivan were still high school students in suburban Andover\, MA. Sullivan left a few years later; Alex Garcia Rivera stepped in before the band ultimately settled down with Luke Garro behind the kit. \nQuickly becoming a staple of the Boston-area indie circuit\, Piebald released their first album\, When Life Hands You Lemons\, in 1997 via Hydra Head Records. They followed up two years later with If It Weren’t for Venetian Blinds It Would Be Curtains for Us All\, which further presented the band’s lighthearted spin on typical emo values\, offering such song titles as “Fat and Skinny Asses.” \nThe EP The Rock Revolution Will Not Be Televised appeared in 2000 before Piebald amicably split to focus on life outside the band. Boston-based imprint Big Wheel Recreation released the dual-disc retrospective Barely Legal/All Ages the following year\, which collected shaky recordings from their high school days all the way up through their 1997 debut; the set also included all of Piebald’s early 7″ EPs\, some demos\, live cuts (including a blistering cover of the Beatles’ “I Saw Her Standing There”)\, and out-of-print tracks. During the break\, Shettel also put out a solo record under the appropriate project name of Totally Travis. \nThe band’s separation didn’t last long\, however; Piebald announced their return in 2002 with We Are the Only Friends We Have\, a fun-yet-mature album that was quickly embraced by fans and critics alike. A single from that album\, “American Hearts\,” saw minor success on MTV and was even sampled a few years later by MC Lars on his emo-laptop-rap “iGeneration.” \nIt was a year of unprecedented good fortune for the band\, but things took a turn for the worse when Shettel had to undergo throat surgery. Shettel’s health problems resulted in the cancellation of a string of live shows (opening up for Dashboard Confessional\, no less)\, but the band wasn’t down for long. Shettel healed up in a few months’ time\, and Piebald headed back out on the road to headline with bands like My Chemical Romance\, Minus the Bear\, and Fairweather in tow. \nBy early 2004\, Piebald had inked a deal with Cali-based indie label SideOneDummy\, and their next album\, All Ears\, All Eyes\, All the Time\, came out that May. Late in the next year\, while the band toured with Hot Rod Circuit in their new environmentally friendly\, vegetable oil powered van\, the CD/DVD B-sides collection Killa Bros and Killa Bees was issued. Piebald’s next proper full-length\, Accidental Gentlemen\, hit stores in January 2007. \nPiebald’s last show was on April 19\, 2008 at Cambridge\, MA’s Middle East Downstairs\, though the band reunited for sets at The Bamboozle festival in California and New Jersey in early 2010. \n~Erik Hage \n*** \nChrome Over Brass \n \n[Website] [Facebook] \nChrome Over Brass is an instrumental band created by Alex Garcia-Rivera. Songs are composed of drum-riffs\, layered with guitars
URL:https://royaleboston.com/event/piebald/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/04/PIEBALD-Youre-Part-Of-It-AD-MAT-localized3.jpg
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DTSTART;TZID=America/New_York:20160809T190000
DTEND;TZID=America/New_York:20160809T190000
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SUMMARY:Belly
DESCRIPTION:SECOND SHOW ADDED DUE TO OVERWHELMING DEMAND! \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 3/11 at noon! \n*** \nBelly \n \n[Website] [Facebook] [Twitter] \nBelly formed in 1991 after Tanya Donelly left the critically acclaimed Throwing Muses\, which she’d founded with her stepsister Kristin Hersh while they were both still in high school. Just prior to leaving the Muses\, Tanya co-founded The Breeders as a side project with Kim Deal of The Pixies\, but soon realized she needed more space to pursue her own fractured-fairytale alternative-pop-rock song-writing vision. \nTanya recruited Fred Abong to play bass (he had played on her final Muses album)\, and brothers Chris and Tom Gorman- friends from her native Rhode Island- to play drums and guitar\, respectively. The band immediately got to work rehearsing and demoing the material that would eventually become Belly’s debut album\, Star. Star was recorded in two sessions\, the first in Nashville\, with engineer Tracy Chisholm\, the second in Liverpool\, England\, with producer Gil Norton. \nJust before the release of the album on 4AD/Sire/Reprise in January 1993\, Abong left the band and was replaced by music scene veteran and hard-rocker Gail Greenwood. \nBy turns dreamy\, creepy\, jaggedly delicate and melodically expansive\, Star was propelled by the single “Feed the Tree” to gold-record status in the US\, earning two Grammy nominations and eventually selling two million copies worldwide. \nBelly spent more than a year of nearly nonstop touring for Star\, performing throughout the US\, UK\, Europe\, Australia and Japan\, with opening bands that included The Cranberries and Radiohead. The band also opened for U2 and the Velvet Underground at the Hippodrome in Paris. \nIn the summer of 1994\, Belly began writing and rehearsing for their sophomore release. Produced by the legendary Glyn Johns and released in February 1995\, King was a more ‘rock-oriented’ and live-sounding album\, reflecting the band’s experience of hard touring that preceded it\, as well as Johns’ minimalist production style. Stripped down and direct\, Kingdispensed with much of the layering and idiosyncratic charm that had characterized Star. \nAnother extensive tour followed the release of King\, with dates opening for R.E.M. in Europe\, and U.S. dates supported by the Catherine Wheel and Superchunk. \nAlas\, King didn’t meet record-label sales expectations. Falling prey to the all-too-common rock-and-roll cliché of industry pressure\, financial issues\, personal conflict and divergent creative ambitions\, Belly disbanded without ceremony on Nov. 11\, 1995\, after playing the final show of the King tour at The Dragonfly in Los Angeles. \nTanya went on to pursue a solo career\, continuing to perform internationally and\, to date\, releasing four albums under her own name: Lovesongs for Underdogs (1997)\, Beautysleep (2002)\, Whiskey Tango Ghosts (2004) and This Hungry Life (2006). In recent years\, she has self-released a stream of digital EPs known as The Swan Song Series\, an expansive collection of collaborations with some of her favorite musicians and authors. The entire series is to be released on CD and vinyl in 2016 by American Laundromat Records. Tanya lives in Boston with her husband\, musician Dean Fisher (the Juliana Hatfield Three)\, and their two daughters\, and works as a postpartum doula. \nAfter Belly\, Gail spent three years playing in L7\, followed by two years as touring bassist for pop-punk artist Bif Naked. Since 2002 she has performed with her partner Chil Mott in the metal-inflected power-punk band Benny Sizzler. She lives in Rhode Island\, where she and Chil run a graphic design business and are active in anti-sprawl efforts and lobbying for land conservation. They share their home with Bear and Maurice\, trained therapy dogs who perform in libraries and nursing homes\, star in Benny Sizzler videos and have been featured on the PBS Kids’ show “Martha Speaks.” \nNot long after Belly called it quits\, Chris moved to New York City and opened a studio to pursue commercial and fine-art photography. He’s also designed and built several restaurant spaces\, a yoga studio and his own surf shop. In 2015\, he published his first children’s book\, Indi Surfs. Chris lives near the beach on Long Island with his wife\, two kids\, two cats\, a dog and a fish named Godzilla. \nTom briefly played guitar and keyboards with Buffalo Tom after the breakup of Belly\, toured with Kristin Hersh in 1999 and eventually moved to New York City\, where he joined Chris in the commercial photography business. He now splits his time between New York City and rural upstate NY\, where he and his wife are implementing permaculture design on their small farm. They are also active in the fight against fracking and the expansion of fracked-gas pipelines and infrastructure- in their small town and everywhere.
URL:https://royaleboston.com/event/belly-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160812T180000
DTEND;TZID=America/New_York:20160812T180000
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SUMMARY:[SOLD OUT] Belly
DESCRIPTION:Doors: 6:00 pm / Show: 7:00 pm \nThis event is 18 and over. \nSOLD OUT!\nPlease note: this is an evening with Belly. No support acts. \n*** \nBelly \n \n[Website] [Facebook] [Twitter] \nBelly formed in 1991 after Tanya Donelly left the critically acclaimed Throwing Muses\, which she’d founded with her stepsister Kristin Hersh while they were both still in high school. Just prior to leaving the Muses\, Tanya co-founded The Breeders as a side project with Kim Deal of The Pixies\, but soon realized she needed more space to pursue her own fractured-fairytale alternative-pop-rock song-writing vision. \nTanya recruited Fred Abong to play bass (he had played on her final Muses album)\, and brothers Chris and Tom Gorman- friends from her native Rhode Island- to play drums and guitar\, respectively. The band immediately got to work rehearsing and demoing the material that would eventually become Belly’s debut album\, Star. Star was recorded in two sessions\, the first in Nashville\, with engineer Tracy Chisholm\, the second in Liverpool\, England\, with producer Gil Norton. \nJust before the release of the album on 4AD/Sire/Reprise in January 1993\, Abong left the band and was replaced by music scene veteran and hard-rocker Gail Greenwood. \nBy turns dreamy\, creepy\, jaggedly delicate and melodically expansive\, Star was propelled by the single “Feed the Tree” to gold-record status in the US\, earning two Grammy nominations and eventually selling two million copies worldwide. \nBelly spent more than a year of nearly nonstop touring for Star\, performing throughout the US\, UK\, Europe\, Australia and Japan\, with opening bands that included The Cranberries and Radiohead. The band also opened for U2 and the Velvet Underground at the Hippodrome in Paris. \nIn the summer of 1994\, Belly began writing and rehearsing for their sophomore release. Produced by the legendary Glyn Johns and released in February 1995\, King was a more ‘rock-oriented’ and live-sounding album\, reflecting the band’s experience of hard touring that preceded it\, as well as Johns’ minimalist production style. Stripped down and direct\, Kingdispensed with much of the layering and idiosyncratic charm that had characterized Star. \nAnother extensive tour followed the release of King\, with dates opening for R.E.M. in Europe\, and U.S. dates supported by the Catherine Wheel and Superchunk. \nAlas\, King didn’t meet record-label sales expectations. Falling prey to the all-too-common rock-and-roll cliché of industry pressure\, financial issues\, personal conflict and divergent creative ambitions\, Belly disbanded without ceremony on Nov. 11\, 1995\, after playing the final show of the King tour at The Dragonfly in Los Angeles. \nTanya went on to pursue a solo career\, continuing to perform internationally and\, to date\, releasing four albums under her own name: Lovesongs for Underdogs (1997)\, Beautysleep (2002)\, Whiskey Tango Ghosts (2004) and This Hungry Life (2006). In recent years\, she has self-released a stream of digital EPs known as The Swan Song Series\, an expansive collection of collaborations with some of her favorite musicians and authors. The entire series is to be released on CD and vinyl in 2016 by American Laundromat Records. Tanya lives in Boston with her husband\, musician Dean Fisher (the Juliana Hatfield Three)\, and their two daughters\, and works as a postpartum doula. \nAfter Belly\, Gail spent three years playing in L7\, followed by two years as touring bassist for pop-punk artist Bif Naked. Since 2002 she has performed with her partner Chil Mott in the metal-inflected power-punk band Benny Sizzler. She lives in Rhode Island\, where she and Chil run a graphic design business and are active in anti-sprawl efforts and lobbying for land conservation. They share their home with Bear and Maurice\, trained therapy dogs who perform in libraries and nursing homes\, star in Benny Sizzler videos and have been featured on the PBS Kids’ show “Martha Speaks.” \nNot long after Belly called it quits\, Chris moved to New York City and opened a studio to pursue commercial and fine-art photography. He’s also designed and built several restaurant spaces\, a yoga studio and his own surf shop. In 2015\, he published his first children’s book\, Indi Surfs. Chris lives near the beach on Long Island with his wife\, two kids\, two cats\, a dog and a fish named Godzilla. \nTom briefly played guitar and keyboards with Buffalo Tom after the breakup of Belly\, toured with Kristin Hersh in 1999 and eventually moved to New York City\, where he joined Chris in the commercial photography business. He now splits his time between New York City and rural upstate NY\, where he and his wife are implementing permaculture design on their small farm. They are also active in the fight against fracking and the expansion of fracked-gas pipelines and infrastructure- in their small town and everywhere.
URL:https://royaleboston.com/event/belly/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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