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SUMMARY:SOLD OUT - The Menzingers
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nThis show is SOLD OUT. \n*** \n \n*** \nThe Menzingers \n \n[Website] [Facebook] [Twitter] \nThe Menzingers will release their eagerly awaited fifth full-length After the Party on February 3\, 2017. The album arrives as the follow-up to the Philadelphia-based band’s widely acclaimed Rented World. Pre-orders for After The Party are available here. \nProduced by Will Yip (Title Fight\, Balance & Composure\, Pianos Become the Teeth)\, After the Party taps into the Menzingers’ everyman romanticism to reflect on getting older but not quite growing up. Throughout the album\, singer/guitarists Greg Barnett and Tom May\, bassist Eric Keen\, and drummer Joe Godino offset that deeply nuanced songwriting with anthemic harmonies\, furious power chords\, and larger-than-life melodies. \n“We spent our 20s living in a rowdy kind of way\, and now we’re at a point where it seems like everyone in our lives is moving in different directions\,” says May of the inspiration behind After the Party. Adds Barnett: “We’re turning 30 now\, and there’s this idea that that’s when real life comes on. In a way this album is us saying\, ‘We don’t have to grow up or get boring—we can keep on having a good time doing what we love.’” “Bad Catholics” follows the release of After the Party’s lead single “Lookers\,” which premiered on Noisey in August. \nThe Menzingers formed as teenagers in their hometown of Scranton in 2006\, then later relocated to Philadelphia. The band made their Epitaph debut with 2012’s On The Impossible Past\, which was voted Album of the Year by Absolute Punk and Punk News. Released in 2014\, Rented World was praised as “packed with clever songwriting” by The New York Times and “a colossal fist-pumper” by Stereogum. \n*** \nJeff Rosenstock \n \n[Website] [Facebook] [Twitter] \nIt’s almost midnight on a Saturday in the summer\, and I live in New York City. I’m still in my 30s and I don’t have to get up early tomorrow. By anyone’s standards\, I should be heading out for the night; dancing\, drinking\, meeting up with old friends\, making new friends\, making mistakes\, and feeling young in a city that allows you to remain young despite your age growing higher. I should be out there living. \nInstead\, I just put a load of laundry in the machine in my building’s basement. I’m wearing a pair of green shorts and I feel like an asshole in them. I have knobby knees and shorts don’t look good on me. I am wearing a light green t­shirt and the whole outfit makes me vaguely feel like a middle­aged man dressed up for his first day of kindergarten. I am going nowhere tonight\, and I suspect this may apply in the long term as well. \nThis seems like the perfect time to write about Jeff Rosenstock. \nBecause no one I’ve ever met creates art that encapsulates this state of mind more than Jeff. It’s music that’s catchier than any other music\, music you can scream along to in a joyous frenzy. But simultaneously\, if you really listen to the lyrics you’re shouting\, they can speak to a loneliness and desperation so profound it’s soul crushing. I’ve lost myself in joy to Jeff’s songs and I’ve sat alone depressed to Jeff’s songs\, and I’ve felt both those things to the same song\, sometimes on back to back listens. \nNobody can take the exhilaration and possibilities of life and balance them with the depression of a laundry room on a Saturday night like Jeff Rosenstock. His music can be like a funeral taking place inside a bouncy house\, or like a kids’ birthday party taking place inside a morgue. I say that with the utmost sincerity and the intent to offer only the highest of praise. \nIf you’re reading this\, you probably know the legend of Jeff Rosenstock by now. The Arrogant Sons of Bitches had Long Island’s attention\, and then mutated into Bomb the Music Industry\, a collection of musicians that were among the first to just give their music away\, that spray painted t­shirts for fans\, that did everything in a way that was financially ill­advised and built a cult unlike any other in the process. Sometimes their shows had a dozen musicians on stage\, sometimes it was Jeff and an ipod. No matter what\, there was always one thing that remained the same – this band had as much integrity as Fugazi with none of the pretension but with all the emotion but with a lot more fun and also I have to reiterate none of the pretension. To me it seems like Bomb was like Fugazi if the members of Fugazi had been willing to let down their guards and laugh at fart jokes. Again\, this is meant as high praise. I really like Fugazi and am not trying to talk shit\, it’s just an apt metaphor. \nWhen Bomb ended\, Jeff was left standing in a lonely spotlight and we all wondered if he’d be ok. Instead of even giving us time to find out\, he put out We Cool? and showed us all what growing up looks like. Growing up fucking sucks\, but it’s not for melodramatic reasons. It sucks because your joints start hurting and you know you probably aren’t gonna get some of the things done that you’ve always promised yourself you’re gonna get done and you still have a lot of guilt about dumb shit you pulled when you were like 19. We Cool? showed us that Jeff Rosenstock’s version of growing up wasn’t going to betray Bomb or its fans or the things people loved about them\, it was going to put a magnifying glass on his own impulses and insecurities as an individual in a way that was both shockingly frank and impossibly catchy. \nJeff’s music\, if you ask me\, is for people who really and truly feel like they could change the world\, if only they could muster up the strength to leave the fucking house. It’s for people who get into group situations and have every instinct inside their heads scream that the world is a fucked up and terrifying place and they should crumble up into a corner and wait to die\, but who instead dance like idiots because what the fuck else is there to do? It’s music that makes me feel like maybe\, just maybe\, if I do things the right way I can help make the world a better place\, while co­existing with the knowledge that I don’t fucking matter and there’s no reason not to give up\, except maybe I shouldn’t because what if deep down people are actually beautiful\, giving\, and kind? \nIt’s music that makes me lose myself like I used to when I was 13 and first discovered the joy of punk rock\, but it’s also music that makes me think way too fucking hard about why the world is how it is and if I might be someone with enough heart to throw a few punches in the effort to make shit just a tiny bit better for others for one fucking second of one fucking day. \nIt’s simple punk rock. It’s also complicated and beautiful and working class and perfect. \nIs the above a little cheesy? Sure. But I think it’s true and I think it’s all worth saying. Because having become friends with Jeff over the past few years\, I can say the following with great certainty – he actually is what he says he is. And because of that\, all the above applies. His integrity is untouchable. We all need to take a second and appreciate how much time this guy has wasted finding all ages venues. How much money he has passed on to retain his credibility as an artist. If other artists – myself chief among them – conducted themselves with an ounce of the integrity Jeff approaches all areas of art and life with\, the world would be a better place. \nI know this might sound silly to people who don’t get it – they might say “It’s just punk rock\, calm down.” – but fuck those people\, we all know Jeff is a musical genius. If he wanted to go ghost write songs for Taylor Mars and Bruno Swift\, I bet he could make millions of dollars doing so. Music is easy for him. He could write empty songs and hand them off to hollow artists and we all know he’d kill it and he wouldn’t have to deal with shaking down shady promoters for a few hundred bucks or driving overnight to get to the next venue or stressing about paying bills or any of it. He continues to not do any of that easy shit and that’s because he’s not bullshitting about doing things not just the right way\, but in a way that’s more idealistic than reality actually allows for. He does that for us. \nThe guy is a genius poet while simultaneously being the definition of a fucking goon from Long Island. There is nothing not to love. The album you are about to listen to\, WORRY.\, only furthers and exceeds the myth of Jeff Rosenstock\, he who is mythical for being the most normal dude from a boring place any of us have ever met; mythical for sticking to his guns when all logic points in the other direction; mythical for writing melodies that stick in our brains and lyrics that rip our guts out; mythical most of all for being not mythical at all. He’s just Jeff. It’s not that complicated. But in a world where everything is driven by branding and image and hidden agendas\, being not that complicated makes him perhaps the most complicated artist I know. \nEnjoy this album. Enjoy it as a whole. The second half is going to blow your mind with its ambitiousness – in my opinion the second half of this album will be viewed over time as a triumph and high water mark of a cool ass career. And the singles – “Wave Goodnight to Me” is untouchable. “Blast Damage Days” will make you feel ok about the fact that the world seems to be built on a foundation of quicksand. \nAnd when you’re done listening\, don’t forget – you probably can’t change the world\, but you’re kind of a dick if you don’t at least try. Jeff’s been falling on the sword for the rest of us for years and it’s on all of us to at least go down swinging. \nSincerely\, \nChris Gethard \nPS – John DeDomenici ain’t bad either. \n*** \nRozwell Kid \n \n[Website] [Facebook] [Twitter] \nRozwell Kid is the rock and roll brainchild of frontman Jordan Hudkins. Born and raised in West Virginia\, Hudkins’ landlocked upbringing imbues the band and their tunes with a restless energy. He manages to avoid the sun-tanned decadence of some of his noise pop counterparts while keeping the tunes charged with the insouciant attitude of his LA post-grunge inspirations. The band draws from a variety of musical influences ranging from 90s punk to Weezer to the Broadway musicals that Hudkins listened to as a kid. Good Graphics\, the Kid’s fourth release\, continues their stumble into adulthood. The album explores everything from the struggles of growing up (”Baby‘s First Sideburns”) to the simplicity of everyday pleasures (”Hummus Vacuum”)\, celebrating the absurdity of life rather than being weighed down by it. Welcome to the darker side of fun.
URL:https://royaleboston.com/event/the-menzingers/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:SOLD OUT - King Gizzard and the Lizard Wizard
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nSOLD OUT \n*** \n*** \nKing Gizzard and the Lizard Wizard \n \n[Website] [Facebook] [Twitter] \n“Nonagon infinity opens the door\,” sings Stu Mackenzie\, frontman of Australian psych-rockers King Gizzard & The Lizard Wizard. It turns out\, though\, that once the door’s open\, it never closes. That’s because the Melbourne septet has ingeniously crafted what may be the world’s first infinitely looping LP. Each of the nine\, complex\, blistering tracks on ‘Nonagon Infinity’ seamlessly flows into the next\, with the final song linking straight back into the top of the opener like a sonic mobius strip. It’s exactly the kind of ambitious vision that prompted Rolling Stone to dub the band “one of the most compelling collectives of art-rock experimentalists in recent years.” But far from a simple conceptual experiment\, the album is both an exhilarating shot of adrenaline and a remarkable feat of craftsmanship\, the result of painstaking planning and an eye for detail years in the making. \nThe roots of ‘Nonagon Infinity’ stretch back to 2014\, when King Gizzard recorded their critically acclaimed album “I’m In Your Mind Fuzz\,” which was hailed by Pitchfork as “dense\, intricately crafted\, and most importantly\, powerful.” \n“We actually wanted to do this with ‘Mind Fuzz\,’ but it just didn’t work\,” explains Mackenzie. “We ended up writing songs that needed to be on that record but didn’t connect to the others\, so we had to abandon the idea\, but the seeds were sown.” \nTo an outsider\, it may have seemed like the band had completely given up on the concept\, as the ever-prolific group quickly followed ‘Mind Fuzz’ with two more records in 2015\, ‘Quarters’—described by The Guardian as “the neon intersection of DIY psych and 1960s beach pop”—and the stripped-down ‘Paper Mache Dream Balloon\,’ which earned praise from NPR to Stereogum. The truth\, though\, was that King Gizzard was honing in on the ‘Nonagon Infinity’ material the whole time\, test-driving various tracks in their explosive live shows to prep for the monumental task of stitching them all together into one searing\, multi-movement epic. \n“We really wanted to focus on things that felt good live\,” says Mackenzie. “We’d grab a little riff here or a little groove there\, and we’d jam on them and form songs out of them\, which was the opposite of ‘Paper Mache\,’ where we were making songs in an acoustic\, classic-songwriting kind of way. I wanted to have an album where all these riffs and grooves just kept coming in and out the whole time\, so a song wasn’t just a song\, it was part of a loop\, part of this whole experience where it feels like it doesn’t end and doesn’t need to end.” \nRecorded at Daptone Studios in Brooklyn\, the final result is an intricate and immersive listening experience. Lyrical refrains and musical motifs establish themselves and then submerge beneath the chaos\, only to resurface unexpectedly later like familiar companions on a labyrinthine journey. Motorhead-grade riffs give way to King Crimson and Yes-levels of prog complexity\, as songs churn through unusual time signatures and shifting rhythms with blunt force\, laying waste to everything in their path. \n“I wanted it to feel like a horror or sci-fi movie\,” explains Mackenzie of the album’s dark overtones. “The lyrics came as a stream of consciousness\, all of these elements just falling out of my head as it was happening.” \n“Big Fig Wasp” references a particularly macabre insect that must kill itself in order to perpetuate the species\, while “Gamma Knife\,” with its 11/8-time drum solo\, is named for a surgical tool that burns cuts into the skin\, and “People-Vultures” plays like a sinister film soundtrack. Album opener “Robot Stop” pulls more directly from the band’s recent experiences\, inspired in part by their relentless work ethic and tour schedule\, which has included festival performances at Bonnaroo\, Glastonbury\, Montreux Jazz & Roskilde as well as countless sold out dates in rooms across the USA\, UK\, Europe and Australia. \n“That song’s about feeling overworked\, like a bit of a robot that’s just going to crash and die or something\,” he says with a laugh. “But you get yourself up and do it again and you robot on and you’re alright. It was one of the early ones we wrote for the record\, and I think when that song came together\, everybody started to feel like were going to actually be able to pull off this never-ending album idea.” \nTo say they pulled it off would be an understatement. The record is a force to be reckoned with on par with the road trains Mackenzie references in the album’s final track. \n“In the Australian desert\, in the outback\, there are what’s called road trains\, which are these massive trucks pulling heaps of carriages that can end up being 50 meters long\,” he explains. “They drive on the road really\, really fast\, and they’re deadly\, with these bars in the front to kill kangaroos and anything else in their path.” \n‘Nonagon Infinity’ has opened the door for King Gizzard & The Lizard Wizard\, and they’re barreling ahead with more momentum than ever before now. Much like those road trains\, with a band this good\, the safest place to be is onboard. \nKing Gizzard & The Lizard Wizard are: \nStu Mackenzie – Guitar\, lead vocals \nJoe Walker – Guitar\, vocals \nEric Moore – Drums \nAmbrose Kenny-Smith – Harmonica\, vocals \nLucas Skinner – Bass \nCook Craig – Guitar \nMichael Cavanagh – Drums \n*** \nORB \n \n[Website] [Facebook] \nBirth by ORB \nPlaying dark\, sonically massive guitar-based rock that’s heavy without sounding excessively metallic\, ORB (not to be confused with the influential electronic group the Orb) hail from Geelong\, Victoria\, Australia. The group was founded by guitarist and lead singer Zak Olsen\, guitarist and bassist Daff Gravolin\, and drummer Jamie Harmer. The three musicians lived not far from one another\, and with some extra time on their hands\, they began jamming regularly. Inspired by their youthful enthusiasm for hard rock and early metal bands ORB started as an exercise in fuzz and alternate tunings with a drive to challenge the style they were used to playing in other projects. \nTheir first full-length album\, Birth\, was released in July 2016 by Flightless & Anti-Fade in Australia and by Castle Face in the United States and Canada. \n*** \nStonefield \n \n[Website] [Facebook] [Twitter] \nIt all started in a shed. \nMore specifically\, it started in a shed on a family hobby farm in a tiny rural township in Victoria\, Australia. \nThe four Findlay sisters\, who’d go on to become the earthen psych-rock opal that is Stonefield\, had been granted their wish of a drum kit by their parents\, whose Zappa\, Hendrix and Zeppelin records had long been the shared soundtrack of the household. Amy – the oldest Findlay\, though at that time just 15 – took a particular shine to the kit and soon began lessons\, her practice sessions echoing out across the family’s acreage. It wasn’t long\, however\, before her sisters were drawn back into the shelter as\, one by one\, they found their own instruments to wrangle with. Hannah\, then 13\, started on guitar. Sarah\, 12\, took on the keyboard. Holly\, just seven years old\, listened in on her sisters practising and\, perhaps hearing that something was missing\, asked her father for a bass. \nNow the question is: listen to Stonefield and try to figure out what else the Findlays could possibly be doing. \nStonefield’s first song ‘Foreign Lover’ was recorded for a project Amy was working on as part of her tertiary studies. When they arrived home from the studio that day\, the siblings’ mother suggested they enter the track in triple j’s Australia-wide unsigned band competition\, Unearthed High. The deadline for entries was that night. They weren’t convinced they had a chance\, but decided to give it a shot. \nSoon enough\, ‘Foreign Lover’ was all over triple j\, followed shortly by infectious rock stomper ‘Through The Clover\,’ the song they were given the opportunity to record as part of the competition’s first prize. Stonefield was invited to showcase at the inaugural One Movement music and arts conference in Perth\, which resulted in [renowned band booker] Martin Elbourne\, inviting the band to play the 2011 Glastonbury Festival on the spot. \nOver the next two years\, the girls wrote and released their second EP Bad Reality. They released their debut self-titled album in October 2013. It entered the AIR charts at #6 and the ARIA charts at #21. The three singles released from the album\, including Put Your Curse On Me\, received immense support from triple j\, and the Southern Cross Network\, including MMM. \nThe album was well received by both the industry and general public. Such was the demand that Stonefield embarked on a national tour\, spanning 22 dates and 5 states. The second single Love You Deserve\, took up a life entirely of its own\, and the band set out on yet another tour. \nBy this time\, the international market had caught wind of the incendiary band from rock journo heaven\, and the girls headed to the UK during May to play showcases\, as well as Dot to Dot festivals across the UK. In November 2013\, Stonefield won the inaugural Age Music Victoria Award for Best Regional Act. \nAfter a huge amount of touring the country last year\, 2015 kicked off with the band being awarded ‘APRA Rock Work Of the Year’ for their song ‘Love you Deserve’. Stonefield have secured the support slot for one of their idol bands Fleetwood Mac’ later this year. Finally at home the girls have spent this year working on their second album; produced by Australian music legend ‘Kram’ from Spiderbait. The first taste ‘Golden Dream’ is an exciting glimpse of the new music to come.
URL:https://royaleboston.com/event/king-gizzard-and-the-lizard-wizard/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:[SOLD OUT] Tinariwen
DESCRIPTION:Bowery Boston and World Music/CRASHarts present \nDoors: 6:00 pm / Show: 6:45 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \nTHIS SHOW IS SOLD OUT! \n*** \n \n*** \n Tinariwen  \n \n[Website] [Facebook] [Twitter] \nThe new album by Tinariwen could well have been called Exile on Main Street. But other people have already thought of that. It also could have been called A la recherché du pays perdu (‘Remembrance of a lost country’). Except that would have been a tad Proustian for musicians who grew up pretty much between a rock and a sand dune\, in the midst of their goat herds and camel caravans. But the idea is apt. As is the painful paradox\, if you consider that while Tinariwen were busy criss-crossing the globe on their recent triumphant tours (160 concerts played in the past three years)\, expanding their audience on all five continents\, becoming one of the latest musical phenomena of truly universal calibre\, the frontiers that encircle their desert home were closing down and double-locking\, forcing them into exile to record this their 8th album. \nOver the past five years\, their beloved homeland in the Adrar des Ifoghas\, a Saharan mountain range that straddles the border between north-eastern Mali and southern Algeria has\, in effect\, been transformed into a conflict zone\, a place where nobody can venture without putting themselves in danger and where war lords devoted either to jihad or trafficking (sometimes both at the same time)\, have put any activity that contradicts their beliefs or escapes their control in jeopardy. Even though the 12 songs on this new record evoke those cherished deserts of home\, they were recorded a long way away from them. And\, as a result of this separation\, at a time when the political\, military and humanitarian situation in the region has never been so critical\, the feelings and the emotions that the band managed to capture on record have never been so vivid. \nIn October 2014\, making use of a few days off in the middle of a long American tour\, the band stopped off at Rancho de la Luna studios in California’s Joshua Tree National Park. The place has become the favoured refuge of the stoner rock tribe. Josh Homme and his Queens of the Stone Age were the first to make it their hive\, and since then\, whether in use by P J Harvey or the Foo Fighters\, Iggy Pop or the Arctic Monkeys\, neither the mixing console nor the kitchen ovens have had a moment to cool down. For Tinariwen\, the geographical location of the studios – lost in the middle of that horizontal desert\, that mineral immensity\, where Man is reminded of his own insignificance in ways that can only\, in the end\, either kill him or sublimate him – proved to be particularly propitious in terms of creativity. \nAnd the human climate was just as favourable. As session followed session\, musicians who know the place well dropped by to add their own touch to that pre-industrial boogie which comes from a world where only the essential and metaphysical passions of space and time have any meaning. Such was the case of Matt Sweeny\, guitarist of fine pedigree (Johnny Cash\, Bonnie Prince Billy and Cat Power) and an avowed fan of the band. Kurt Vile\, ex-member of the duo War On Drugs\, now spearheading a noisy indi-folk combo\, also took part in the debate. As did Alan Johannes\, multi-instrumentalist\, sound engineer and producer of the first few albums by Queens of the Stone Age\, a band with whom Mark Lanegan\, the other guest on the album\, has also been a singer. From their angle\, one might have expected all these contributions to result in something pretty heavy\, with those American guitars coming into to reinforce the ishumar (name of the musical style of which Tinariwen precursors) guitars of Ibrahim\, Abdallah Hassan and Elaga. In effect\, lovers of those sensual yet abrasive riffs that are the band’s signature won’t be disappointed. But neither will those who love the funky\, danceable side of Tinariwen\, which comes through loud and clear courtesy of bassist Eyadou and percussionist Sarid\, a veritable rhythm machine in the mould of Sly and Robbie. All that potential has been wonderfully honed by the album’s mixing engineer Andrew Schepps\, who has previously worked with the Red Hot Chilli Peppers\, Johny Cash\, and Jay Z. \nThat happy encounter between Tamasheks and rockers was already in evidence back in 2011\, with the involvement of Wilco and TV On The Radio on the album Tassili\, which was recorded in the depths of the Sahara. It was as if those musicians\, coming from their world of high tech\, leisure and entertainment\, sought to reinvigorate the way they do things by working with artists who have been forced by necessity to reduce everything to its essence\, and who bear a different destiny. In that sense\, Ibrahim and his tribe restore meaning to an activity which has been partially drained all existential significance. In a cultural environment that has been overtaken by the petty and the superficial\, the members of Tinariwen fascinate because they incarnate a salutary break and come across as the ultimate heroes in the midst of an army of fleshless puppets. \nHaving said that\, in M’Hamid El Ghizlane they’re heroes for real\, so much so that the youth of the area know how to sing their songs in the same way that people in other parts of the world know how to sing the Stones or Led Zep . It was there\, in that oasis in southern Morocco\, close by the Algerian frontier\, that the band set up their tents for three weeks in March 2016 to record this 8th album\, accompanied now and then by the local musical youth in question\, or by a local Ganga outfit (a group of Berber ‘gnawa’ trance musicians). The album is called Elwan (‘The Elephants’)\, not Exile On Main Street\, though it fits nicely into that ‘road record’ category nonetheless. \nThere are road records just like there are road movies. In American cinema\, a road movie always unfolds the same way. Characters travel from one place to another in search of some truth\, of a future might offer them some kind of revelation. But they always end up reconnecting with their own past\, their origins. Of course\, it’s an impossible return\, because that past\, those founding origins have been irrevocably erased. It’s the same for this record\, so musically powerful and yet poignant in human terms: every song evokes a land that can no longer be found\, a lost world\, with all that this implies in terms of emotional range\, from nostalgia for a joyous past to the tragic recent loss of a territory\, and of the dream that it nourished. The emotional ‘bite’ of that loss imbues some of the songs by Ibrahim\, such as Imidiwan n-akal-in (Friends from my country)\, Hayati (My life) or Ténéré Takhal (What’s Happened to the Desert). It’s in that last song that the famous elephants of the album title make their appearance\, an animal metaphor to describe those ‘beasts’\, whether militias or multinational consortiums\, who have trampled everything in their path: kindness\, respect\, solidarity\, ancestral traditions and the values essential to life in the desert\, where both the human and ecological equilibriums are extremely fragile. \nBut the songs written by Abdallah\, such as Sastanaqqam (I Question You)\, or those penned by Hassan\, the deeply disturbing Ittus (Our Goal)\, also evoke a similar sense of helplessness and disempowerment. The same goes for Nannuflay (Fulfilled)\, written by Eyadou\, one of the ‘kids’ in the band; it’s a song echoes that sense of absolute crisis. Having said that\, between the weariness of the old fighters of the Touareg rebellion of the 1990s (Ibrahim\, Hassan\, Abdallah) and the dynamism of a youth that’s still emerging (Eyadou\, Elaga\, Sarid\, Sadam)\, you get a wonderfully symbiotic mix. The meeting of two such disparate generations in one band is relatively rare in today’s musical world. In Tinariwen\, it’s a meeting that celebrates\, even more powerfully might otherwise be the case\, the capacity of music to make experiences as intense and cruel as exile beautiful and\, in some ways\, even attractive\, experiences that would surely end up destroying those who lived them\, if this form of aesthetic relief didn’t exist. \nFrancis Dordor\nTranslated by Andy Morgan \n*** \nDengue Fever \n \n[Website] [Facebook] [Twitter] \n“Before it was partly Cambodian and partly indie rock\,” explains Williams of the band’s evolution. “Now it’s 100 percent both.” \nPlunging headlong into their second decade as a band\, DENGUE FEVER’s new album\, The Deepest Lake\, their fifth full-length of all-new material\, comes at a critical juncture in the band’s career. In 2013\, after forming their own label Tuk Tuk Records\, the band crossed over into a brave new world as both artist and record label owner’s. Today they find themselves able to wear two hats – as creative musicians with no boundaries as well as label owners who make their own decisions on where\, when and how to fabricate their career. \nThe net result is the aforementioned\, The Deepest Lake\, a record with more musical diversions than the Mekong River itself. Released in January 27\, 2015 – US/Canada & February 2\, 2015 in the rest of the world\, the ten tracks on The Deepest Lake will satiate longtime fans as well as newcomers looking for something altogether different. Widely recognized for their trademark blend of 60’s Cambodian pop and psychedelic rock\, Dengue Fever’s latest release expands their musical palette to include Khmer rap\, Latin grooves\, Afro percussion\, layered Stax-like horns and more. \nFrom the keyboard and percussion heavy opening track\, “Tokay”\, lead singer Chhom Nimol’s unmistakable bird-like Khmer vocals lead the band on a evolutionary musical journey on The Deepest Lake. Be it the John Doe & Exene boy/girl vocals on “Rom Say Sok” that gets your indie grooves on or the six plus minute psychedelic jam on “Cardboard Castles”\, it’s pretty evident that this is a band looking to take chances and not play it safe. By following their instincts on this record and letting many of the final tracks come out of extended jams when demo’ing the album\, the band played to their musical strengths. No longer was there a need to ‘find’ a song\, the songs on The Deepest Lake came to them. \nThe band’s newly established independence as both label owner and artist marks yet another chapter in the continual evolution of a group unlike many other bands in the Los Angeles music scene. It all began in 2002 when Dengue Fever formed and released their eponymous debut (2003). Packed chock full of ‘lost’ Khmer covers\, the band paid homage to Khmer rock\, a hybrid of Vietnam War era surf\, psych and classic rock performed by Cambodian giants like Ros Sereysothea\, Pan Ron and Sinn Sisamouth. \nThe band’s critically acclaimed sophomore follow-up\, Escape from Dragon House (2005) found them writing and performing original material in earnest. Amazon.com named Dragon House the #1 international release for 2005\, and Mojo magazine named it in their Top 10 World Music releases of 2006. \nIn 2008\, their third release Venus on Earth became the band’s best selling album. It garnered praise from both critics and fans the world over. In fact\, Venus on Earth found support from iconic musicians such as Peter Gabriel\, Metallica’s Kirk Hammett and Ray Davies who each made mention of the band in the press. \nDENGUE FEVER’s fourth release\, Cannibal Courtship (Fantasy Records/Concord Music Group)\, was released in April 2011 and found the band expanding beyond their usual comfort zone and experimenting with new vocal harmonies and sounds. \nThe roots of the band began in the late 1990’s with a 6-month trek through Southeast Asia by Keyboardist Ethan Holtzman. Returning to Los Angeles with a suitcase crammed full of Cambodian cassette tapes\, Holtzman and his brother Zac – who had discovered the same music through a friend working at a record store in San Francisco – reunited. The brothers soon bonded over their love of vintage Cambodian rock and in 2002 founded the band with saxophonist\, David Ralicke (Beck/Brazzaville); drummer\, Paul Dreux Smith; and bassist\, Senon Williams (Radar Brothers). Shortly thereafter the members were on hot pursuit for the ideal Cambodian chanteuse to complete their outfit. After a short period of musical courtship that began at a Cambodian nightclub in Long Beach\, CA.\, Nimol joined the band when she realized the band shared a genuine passion for the music and culture of her homeland. \nIt’s that cross pollination of Khmer rock\, garage rock\, psychedelic rock and the British Invasion sound that has pushed the band to heights they could only dream of in 2002. DENGUE FEVER has performed in front of thousands of fans at such noted music festivals as WOMAD (UK\, AUS\, NZ)\, WOMEX (Spain)\, Melbourne Festival (AUS)\, Glastonbury (UK)\, Bumerbshoot\, (USA)\, Transmusicales (France)\, Roskilde (Denmark)\, Electric Picnic (Ireland)\, Peace and Love (Sweden)\, Treasure Island (USA) among many others. Their songs have appeared in films such as City of Ghosts\, Jim Jarmusch’s Broken Flowers\, The Hangover 2\, the Showtime series Weeds\, the HBO’s hit series True Blood (who named an entire episode after one of their songs) and featured the band’s music\, CBS’ series CSI: Las Vegas and numerous independent documentaries. \nWith band profiles in the New York Times\, Los Angeles Times\, Mojo\, Uncut\, Magnet\, Wired\, NPR’s “Fresh Air”\, Radio Australia\, KCRW’s “Morning Becomes Eclectic” and “World Café Live”\, the time is truly ripe for at least another decade of breaking down more musical barriers. The Deepest Lake is the first\, glorious musical step in that new direction.
URL:https://royaleboston.com/event/tinariwen/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170415T180000
DTEND;TZID=America/New_York:20170415T213000
DTSTAMP:20260407T180545
CREATED:20170130T123431Z
LAST-MODIFIED:20170130T123431Z
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SUMMARY:Betty Who
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is ALL AGES.\nTickets on sale Fri. 2/3 at 10AM! \nRoyale is general admission standing room only. Tickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office (Cambridge\, MA) Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n***
URL:https://royaleboston.com/event/betty-who-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170419T190000
DTEND;TZID=America/New_York:20170419T190000
DTSTAMP:20260407T180546
CREATED:20170205T224804Z
LAST-MODIFIED:20170205T224804Z
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SUMMARY:Me First and the Gimme Gimmes
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. X/XX at noon! \nTickets available at AXS.COM\, or by phone at 888-929-7849. 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*** \nMe First and the Gimme Gimmes \n \n[Website] [Facebook] [Twitter] \nAre We Not Men? We Are Diva! by Me First and the Gimme Gimmes \nIn that mythical era known as the 90’s\, five brave young men emerged from the legendary halls of some of the mightiest bands on Fat Wreck Chords with a single mission: make all the rest of these dildo punk bands covering popular songs obsolete. They crowned themselves Me First and the Gimme Gimmes and the world rejoiced. Now\, seven records\, scores of singles and nearly a thousand years later\, having tackled every genre under the sun\, the bold young knaves known colloquially as the Gimmes have ridden their success hard\, and decayed into desiccated\, old divas. Yet\, the diva\, she is immortal. And thus\, imbued with the old-world\, Mystic Pizza-esque swagger of Cher\, the modern pop-art sensibility of Lady Gaga and the enthusiasm-for-drug-consumption of Whitney Houston\, Me First and the Gimme Gimmes have returned from their beauty rest\, busting out of their sequined gowns\, and throwing vases at their assistants in order to present you with their latest opus\, entitled Are We Not Men? We Are Diva!\, slated to be released on May 13\, 2014 on none other than Fat Wreck Chords. And you’d best believe\, whether because of their tantrums or their virtuosity\, once you hear these fat ladies sing\, there’s not gonna be a dry eye in the house.\nFor the uninitiated\, Me First and the Gimme Gimmes consist of Lagwagon frontman Joey Cape on the guitar\, Shiflett brother (and Foo Fighter) Chris Shiflett on the other guitar\, Lagwagon drummer and Fat Wreck utility superhero Dave Raun on the skins\, and are rounded out by Fat Wreck-head-honcho/NOFX main-dude Fat Mike\, and incomparable crooner Spike Slawson. Together\, Me First and the Gimme Gimmes—an outfit that has always operated more like a beer-hall Pussycat Dolls than a regular mortal band—contain so much hot air\, so much pomp\, so much attitude\, that it’s a wonder that these guys can still manage to pull their five individual tour buses into the same parking lot\, put their differences aside and belt out the ballads without clawing each other’s eyes out. But they do\, for the love of the fans\, the music\, and of course\, the applause.\nIn the past\, The Gimmes have tackled such disparate genres as Motown\, country\, show tunes and even Japanese pop (sung in real live Japanese!) but none of that enabled them to truly soar as high above the eagles as they desired\, feeling the wind of other\, lesser bands beneath their wings. So this time\, the Fat (Wreck) Five decided to take on the un-take-on-able and hit us with cuts from the likes of Celine (gasp!) Christina (Sigh!) and Paula Abdul (oh no you di’int!) among others. And as Spike’s baritone somehow manages to make Whitney Houston’s (Dolly Parton-penned) Theme Song To The Bodyguard EVEN MORE EPIC\, you will be moved to tears. You will find joy. You will shake in your very skin as the music of these divas gently takes you by the hand and shows you how to love again. AND! You’ll buy tickets to see ‘em on tour.\nBecause that’s right folks! Nothing says ‘diva’ like coming to your town to bask in the torrential\, gushing blasts of your love\, and the Gimmes will be hitting the entire world in support of Are We Not Men? We Are Diva!\, except maybe Mike\, who’s such a diva that he’s got substitutes on hand! So grab those flowers off of your grandma’s grave and head out now\, to check out Me First and the Gimme Gimmes on wax and in your town\, before these five outrageous harpies either kill each other or wind up as a Vegas destination act\, bloated\, high on pills and… uh\, nevermind that last part. Just go see em\, eh? It’s a helluva time. \n*** \nMasked Intruder \n \n[Website] [Facebook] [Twitter] \nThe best pop-punk band you hope never gets out of prison. \nPears \n \n[Website] [Facebook] [Twitter] \nGreen Star by PEARS \nThe story of PEARS is not exactly an incredibly long one: The hardcore punk band came together just over a year ago\, in early 2014\, after its members had kicked around the New Orleans punk scene for long enough before finally wising up and realizing they were meant for each other. However\, it is a story that is remarkably fast-paced: The band’s first demo\, …In Diapers\, was released days after their first practice. The band’s 10-song debut album\, the absolutely electrifying Go To Prison\, was written over the course of 14 hours and recorded a mere five weeks after the band formed. Really\, there’s no way PEARS should be as good as they are—something frontman Zach Quinn fully realizes. “The big secret is that me and a couple of the guys were in a band called the Lollies for a few years\,” Quinn says. “That band broke up\, we took some time away from each other and then just tried to do it right this time. I guess we really kind of lucked out. We didn’t make the same mistakes—the same mistakes being really too fuckin’ drunk to do anything.”\nOf course\, coming out of the NOLA scene\, it’s tough to be anything but debaucherous. “The city is so decadent\, it’s a great place to be a piece of shit\,” Quinn says. “There’s plenty of punk rock. Not a lot of it is very good\, but everybody’s having fun.” It’s that anything-goes attitude that informs Go To Prison\, an album that straddles the line between in-your-face hardcore and sugar-sweet traditional pop-punk that’s surprisingly lighthearted. It’s evident in their logo (some might call it an homage to Fear; “I haven’t heard from Lee Ving’s lawyers yet\,” chuckles Quinn)\, all the musical easter eggs scattered throughout the record (including references to Descendents and Suicidal Tendencies)\, plus an absolutely ripping cover of the Ramones’ “Judy Is A Punk” that is one whole second shorter than the original (a feat we didn’t even think possible). But just because the album comes off as humorous at times doesn’t mean PEARS don’t take themselves seriously. “I definitely take what we do very seriously\, but it doesn’t mean it ain’t funny\,” Quinn explains. “Humor is an aspect of everything. People without a sense of humor are either dead or lying. There’s humor in everything if you know where to look.” Take\, for example\, the band name. “The name ‘PEARS’ came from this really terrible mushroom trip I had\,” he admits. “I ate way too many mushrooms and things just got really bizarre. Pears and bananas became archetypes for everything that is good and pure and everything that is terrible and shitty—pears are the terrible and shitty things. After that bad trip\, pears became slang between me and my friends for bullshit: ‘That shit’s pears.’ I suggested the band name\, and everybody thought that was dumb\, but I talked ‘em into it.” The band were lucky enough to befriend Off With Their Heads frontman Ryan Young\, who loved the band so much he put out Go To Prison on vinyl on his own label\, Anxious And Angry\, last year. Since then\, PEARS have been on the road nonstop\, supporting the likes of the Dwarves\, the Queers\, Teenage Bottlerocket and Strung Out\, all leading to the re-release of Go To Prison on Fat Wreck Chords on July 24th. That’s no excuse to stop working\, though: While their first album might finally be hitting a record store near you this July\, the band will be back in the studio recording its follow-up with none other than Fat Mike in the producer’s chair. (“I never thought anything like that would ever happen\,” Quinn says of Mike’s interest in his band. “I remember buying The Decline when I was 12—it’s really weird that I have anydegree of separation from that.”) While 2015 might be the busiest year of PEARS’ short existence thus far\, it’s clear 2016 has potential to be even bigger.\n“Honestly\, what we have done up to now\, I hadn’t even dreamed of\,” Quinn admits. “I’m not gonna stop climbing. I wanna see how insane this can get. We’ve always said the last thing we’ll do as a band is play North Korea. Then we’ll be done. That’s the ultimate goal—even if we sneak in and play to nobody. I don’t care. I can’t wait to see what I get to do.”
URL:https://royaleboston.com/event/first-gimme-gimmes/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170420T200000
DTEND;TZID=America/New_York:20170420T200000
DTSTAMP:20260407T180546
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LAST-MODIFIED:20170123T203931Z
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SUMMARY:Cashmere Cat
DESCRIPTION:Bowery Boston presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 2/3 at 10AM! \nTickets available at AXS.COM\, or by phone at 888-929-7849. 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*** \nCashmere Cat \n \n[Website] [Facebook] [Twitter] \nThe cat isn’t entirely out of the bag yet…but he’s getting there. Cashmere Cat has been happy to remain mostly behind the scenes\, up to this point\, focusing his efforts more on his collaborative work with some of the top names in pop\, R&B and hip-hop rather than toot his own meow. But even that board work has threatened to make him a household name\, at least among the kinds of households that obsessively scan Yeezy album credits. As Fader wrote\, “The introverted producer—who’s lent beats to Kanye West\, Ariana Grande\, and Tinashe—is pop’s new not-so-secret weapon.” \nHe’s about to get even less clandestine\, with his first full-length album under his own nom deplume. It’s too soon for Cashmere Cat to reveal just which vocalists he’s enlisted for his feature debut\, although you could make a good guessing game would naturally include some of the marquee names who’ve previously enlisted his producing efforts. But there’s already a significant cachet of fans who would sign up for pre-orders with or without featured artists. Cashmere Cat is a destination producer-DJ-writer-maestro. \nThe artist formerly known as Magnus August Høiberg previously released a pair of allinstrumental EPs on cult labels Lucky Me (Hudson Mohawke\, Lunice\, TNGHT) and Pelican Fly (Sinjin Hawke\, Lido)\, which were acclaimed for vast dynamic soundscapes that transcended any tropes associated with his dance music roots. Bringing in some big-name collaborators for his debut album was a welcome relief from his previous X-treme auteurism. “I was used to making music on my own\, having to deal with my own thoughts and my own computer\, and that was it\,” he says. “Now there’s a spectrum of artists and emotions and places and times involved\, and it’s a lot bigger than what I’m used to. But I don’t mind. It feels better. I prefer to have other people involved in my songs. It got boring and lonely to do music by myself. It’s kind of like playing a videogame alone. It can be awesome\, but you can also feel like a loser\, if you’re playing a game and it’s ‘Yeah! I fucking killed this game! And\, I’m sitting alone\, and I’ve also not had sex for three months.’” Collaborative game on! \nHe took inspiration for his own full-length album debut from the work he did on Kanye West’s most recent album. “I feel like the music I did for him set the standard for what I want to do with my own music\,” he says. “I’m the biggest Kanye fan in the world\, and when they premiered ‘Wolves\,’ it was one of the most exciting days of my life.” So exciting that Cashmere Cat instagrammed a photo of himself in his lawyer’s office\, prostrate on the floor in grateful awe. “‘Wolves’ is really one of my favorite Kanye songs\, and I can’t tell if it’s because I produced it or it’s because it’s actually good. But the way that record came out set the standard for what I want my own music to sound like. It was a new sound for me\, and it made me feel like I can do really beautiful\, weird music that sonically still fits within everything I’ve done\, without it being just banging rap songs or even big-feeling pop music.” \nAny of this would have seemed like a pipe dream not that many years ago\, when Høiberg was a fledgling DJ in his native Norway and began doing remixes for famous artists like Miguel and Lana Del Rey…many of them not officially authorized. His skills attracted an American audience that eventually grew to include multiplatinum super-producer Benny Blanco\, a mentor who encouraged him to come to New York and took him under his wing. Their sensibilities meshed\, with Blanco “bringing me in because he believed that the weirder shit I was doing could work in a more poppy sense.” At the beginning of 2014\, the man now known as Cashmere Cat had his first solo production credit on Ludacris’ “Party Girls\,” which also featured Wiz Khalifa and Jeremih. With Blanco\, Cashmere Cat moved further away still from slamming hip-hop into quirky pop with their co-production of Ryn Weaver’s “Octahate.” With Stargate\, he worked on Charli XCX’s “Break the Rules” and Tinashe’s “All Hands on Deck.” Ariana Grande not only used him on record but took him out on her tour as the opening act. Even when he was working on hiphop records\, a critic at Resident Advisor found the production style he was developing to be “elegant and pristine\,” His own two solo EPs (2012’s Mirror Maru and 2014’s Wedding Bells) also won the hearts of reviewers at outlets like Pitchfork\, which enthused:. “Blending technical sensibility with pop playfulness\, his debut EP communicates a fully realized artistic persona.” \nThey haven’t heard anything yet. When the new album comes out in late 2016\, — on Blanco’s Friends Keep Secrets label\, in conjunction with Interscope — “a lot of my old sound will still be in there\,” he promises\, “but I think I’m influenced by a lot of different music that I wasn’t before— like\, I’ve been listening to a lot of Arca” (the Venezuelan producer/DJ who’s worked with Bjork). “I hope and believe that I’m doing something that’s worthy of an album and not just something that will bang in the club.” \nIs he ready for a greater limelight? Cashmere Cat’s shyness was such that\, even after his name became known\, his gender was less so. “When I would play a show\, there would be a picture of me DJ-ing with my head down and my hair in front of my face\, and I would kind of look like a really weird-looking girl. And the music sounded really soft\, too\, so people would just automatically assume it was by a girl. But I don’t mind if people think there’s something feminine about it.” He eventually added to the mystique by covering up his face with his hand in photos. “When people would come up with cameras\, because I’m awkward and shy\, I would just start automatically covering my face. It wasn’t really an aesthetic choice and it’s not necessarily trying to be mysterious. And then it became a thing.” Such a thing\, in fact\, that now\, when he’s approached by fans for selfies\, “people put their hands in front of their faces to do the picture\, too! But I’m not as scared anymore. There are pictures of me now where you can see the contours of my weird Norwegian face. I think that’s also part of me finding out what I actually want to do. I’m revealing more of myself.” \nThat includes doing interviews\, something he literally shied away from for a while. “I feel like I have stuff to talk about now\, whereas before it was ‘Yes\, I’m in my bedroom in Norway\, and I’m trying to send beats over email to the guy who knows the guy who works at Roc Nation.’” No shortage of stories now: With a full dance card extending to having some of the world’s hottest artists eager to appear on his record\, the cat no longer has his tongue. Even when it’s the biggest names in pop doing the literal singing\, Cashmere Cat has found his voice. \n*** \nNina Las Vegas \n \n[Website] [Facebook] [Twitter]
URL:https://royaleboston.com/event/cashmere-cat/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170428T180000
DTEND;TZID=America/New_York:20170428T213000
DTSTAMP:20260407T180546
CREATED:20170120T182331Z
LAST-MODIFIED:20170120T182331Z
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SUMMARY:The Maine
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is All Ages \nSOLD OUT \n*** \n \n*** \nThe Maine \n \n[Website] [Facebook] [Twitter] \nThe Maine is an American rock band from Tempe\, Arizona. In their eight years together\, The Maine has released four full-length albums\, including their major label debut “Black & White” in 2010. The band expanded their musical realm into production which resulted in their fourth EP\, the self-recorded and produced “Imaginary Numbers” (2013). Over the years\, they have toured across the globe as well as extensively on home soil in the US; both as headliners and in support roles. The Maine has shared the stage with the likes of Taking Back Sunday\, Anberlin\, A Rocket To The Moon\, Augustana\, and many more. The band has made numerous festival appearances including the Vans Warped Tour\, Bamboozle\, and South by Southwest. The Maine is recognized within the industry for the close relationships they build and maintain with their fans — many of whom are now college age and have grown up alongside the band. The Maine is John O’Callaghan\, Pat Kirch\, Kennedy Brock\, Garrett Nickelsen\, and Jared Monaco. \n*** \nThe Mowgli’s \n \n[Website] [Facebook] [Twitter] \nFrequently called “the quintessential California band\,” THE MOWGLI’S– known for their laid-back mix of sunny West Coast pop\, garage rock and 60’s Laurel Canyon folk sound– are currently in the studio with producer Mike Green (All Time Low\, Paramore). They’re putting the finishing touches on their as-yet- untitled third album that’s due out Fall 2016 on Photo Finish Records. The six-piece group just released the album’s first single “Freakin’ Me Out\,” available at iTunes now. Look for the band to launch a spring trek starting this Wednesday\, May 25 in Santa Barbara\, CA (dates below). \nTHE MOWGLIS’ uplifting\, indie-rock and universal message of positivity and love resonate with audiences all over the world. Their debut album Waiting for the Dawn (Photo Finish Records) premiered at #4 on the Billboard Heatseekers Chart and yielded the group their first hit song “San Francisco.” Their sophomore album Kids In Love included the feel-right summer song “I’m Good\,” originally written for an anti-bullying campaign. Following Kids In Love\, they released two fan favorite songs: “Summertime”– one the group’s highest playing songs on Spotify– and “Room For All Of Us\,” a song released in support of the refugee-relief organization\, International Rescue Committee. \nKatie Jayne Earl – Vocals\nColin Louis Dieden – Vocals/Guitar\nJosh Hogan – Vocals/Guitar\nMatthew Di Panni – Bass/Vocals\nDave Appelbaum – Keys/Vocals\nAndy Warren – Drums/Percussion/Vocals \n*** \nBeach Weather \n \n[Website] [Facebook] [Twitter]
URL:https://royaleboston.com/event/the-maine/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170430T190000
DTEND;TZID=America/New_York:20170430T190000
DTSTAMP:20260407T180546
CREATED:20161129T182025Z
LAST-MODIFIED:20161129T182025Z
UID:10002447-1493578800-1493578800@royaleboston.com
SUMMARY:SOLD OUT - JoJo
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nThis show is SOLD OUT \n*** \n \n*** \nJoJo \n \n[Website] [Facebook] [Twitter] \nJoJo is resilient. That’s the message that comes through loud and clear when you listen to Mad Love.\, her debut album with Atlantic Records and her first LP in ten years. She’s empowered. She’s in control. And she’s grown as hell. \nYou can hear it in her Wiz Khalifa-assisted lead single\, “Fuck Apologies.” It’s a powerful statement of intent that announces to the world that the singer-songwriter isn’t going to let anyone make her feel small. \n“As a woman\, I find myself apologizing for things that I really don’t need to apologize for\,” JoJo says. “Even as simple as when someone bumps into you.” She laughs. “Guess what? I’m not sorry you bumped into me. Overall\, though\, the song to me is an anthem of empowerment. It’s about being confident and comfortable enough with who you are to live unapologetically.” \nThemes of hard-won independence and strength are vividly realized on Mad Love.\, which swerves from slinky alt-R&B to exultant pop bangers and back again. It’s no surprise\, given that JoJo\, now 25\, had a heavy hand in writing the entire album after\nfirst attempting to cut tracks penned by outsiders. \n“I was starting to lose myself in the process of being sent songs\,” she says. “But I stood up and remembered that I’m a songwriter\,\nand I want to be heard.” \nTruly finding her voice was a journey that’s taken a lifetime. Born Joanna Levesque and raised in Massachusetts\, she notched a #1 hit on the Billboard Pop Songs chart with her debut single\, “Leave (Get Out)\,” when she was only 13; she was the youngest solo artist to have a #1 single in the U.S. She followed it up with a string of additional singles\, most notably “Too Little Too Late\,” another Top 3 smash\, and the hit album The High Road in 2006. \n“Being a child star is a weird thing because your identity is put onto you\,” she says. “As much of an individual as I was\, I still had a lot of cooks in the kitchen telling me where to go and how to dress and what songs to record.” \nIt didn’t help that she was trapped in a deal with a label that was defunct\, which kept her from releasing music commercially. As the years passed\, she earned a devoted following online releasing free mixtapes featuring tracks from top hitmakers like Boi-1da\, Chad Hugo of the Neptunes and Da Internz. She collaborated\, too\, with the producer Noah “40” Shebib on her critically acclaimed single\, “Demonstrate”\, and had guest features on Timbaland’s Shock Value 2 and Pharrell Williams’ Grammy-nominated album G I R L. She was finally liberated from her contract in 2013 after 2 lawsuits and seven years of limbo and signed anew with Atlantic. \nIn 2015\, she released a critically acclaimed trio of singles\n—she called it a “tringle”—to give fans a first taste of the sound she’d been developing with tunesmiths such as Harmony Samuels\, Benny Blanco\, Wayne Hector and Jason Evigan. Ever prolific\, she recorded dozens of songs. But a series of major life events—including the passing of her beloved father and a break-up—inspired her to start fresh at the top of 2016 when con ceptualizing the vibe of her first studio album in a decade. Life was too short and she wanted to be in the driver’s seat. “After losing my father and breaking up with my boyfriend\,” she says\, “I realized: I cannot keep listening to the opinions of others.” So she started writing again. “I needed it to come from my pen\, in a way I would say it\,” she says. “I felt like my spirit would die if I didn’t come across with my own point of view. It just poured out of me.” \nIt comes as no surprise\, then\, that there’s so much authenticity and vitality in Mad Love.; it’s a document of a young woman finding her way in the world. She’s vulnerable on the opening track “Music\,” a spare piano ballad that allows the singer to show off her spine-chilling vocal chops as she recalls her blue-collar roots and pays homage to her late father. “Usually I’m crazily obsessive about chasing my best performance when I’m cutting vocals\,” she says. “But for ‘Music\,’ I put my perfectionist ego aside and did a couple takes all the way through\, singing through my tears. The emotion was more important to me than anything else.” She’s emotional\, too\, on the haunting “I Am\,” the only song from her earlier sessions to make the album. “This song is my mantra\,” she says.”But she turns up the volume on the self-empowering Alessia Cara-assisted “I Can Only”\, asks a male suitor to politely stop killing her vibe on the head-nodding uptempo “Vibe”\, and demolishes the hater-industrial complex on “FAB”\, ( which stands for Fake Ass Bitches) featuring Remy Ma. For devotees of the woozy R&B slow jams from her JoJo’s mixtapes\, there’s something here too—namely “Edibles\,” a sultry ode to cannabis consumption that’s bound to be a fan favorite. And on the swooning\, doo-wop-inspired title track\, the singer commits so fully to retro soul she sounds transported from another era. \nIf it sounds like there’s a lot of ground covered here\, there is—which is exactly what JoJo wanted. She called the album Mad Love. because it’s the first thing that feels like it’s 100% her voice. “This album is passionate\, crazy\, vulnerable and all about the thing that keeps us going—love\,” she says. “It’s inspired by the music I grew up listening to—and like my generation\, refuses to be put in a box. I tried so many things along the way\, but I realized I needed to be true to myself and do this on my own terms.” \nNow\, she’s ready to turn it over to the fans who have stuck with her after a full decade of challenges. “I don’t want them to experience me\,” she says. “I want them to experience themselves. This music is for you. Listen to this in your car\, do your workout with it\, get ready to it\, cry to it. It comes from my life\, but it’s not for me anymore.” She smiles. “It’s for everyone.” \nSTANAJ \n \n[Website] [Facebook] [Twitter] \nFreshly inked Republic artist\, Stanaj\, just released his debut EP\, The Preview. Complex Magazine featured the highly anticipated record on their site and made The Preview available for exclusive streaming on Monday\, the day before the official release of the EP\, August 9th. \nThe Preview features Stanaj’s undeniably powerful vocals backed by the full sound from the talented producers and songwriters\, Justin Tranter\, Mattman & Robin\, and HazeBanga. With hits like “Ain’t Love Strange” and “Romantic”\, Stanaj gives us an enticing glance at what we can expect from the talented artist in the near future.
URL:https://royaleboston.com/event/jojo/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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