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DTSTART;TZID=America/New_York:20160312T180000
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SUMMARY:Rachel Platten [SOLD OUT]
DESCRIPTION:Doors: 6:00pm / Show: 6:30pm \nThis show is SOLD OUT. \nThis event is open to all ages. \n*** \nGrowing up in Boston\, Rachel Platten recalls harmonizing with her family to finely crafted pop songs – from Sam Cooke to The Beatles – that dominated her parents’ vinyl collection. As a teenager\, Rachel gravitated towards\, and began to become affected by\, hip-hop and female singer-songwriters. “My CD collection was Tori Amos and Patti Griffin but then A Tribe Called Quest and Nas.” The commonality between the two seemingly different genres: confessional and vulnerable songwriting.  \nAs a kid\, Rachel dreamt about music as a career but never really thought it could happen in real life. “I grew up playing classical piano and I knew I could sing but I had no model to follow creatively. The idea of growing up to be an artist seemed impossible.” However\, the electricity she felt on stage while studying abroad in college\, performing in front of 80\,000 at the International Soca Monarch Finals in Trinidad\, inspired Rachel to start chasing what she once thought was an impossible dream.  \nAfter finishing college\, Rachel immediately set out for New York City where she took up residence in the very apartment building on MacDougal Street in Greenwich Village where Bob Dylan once lived. Naturally\, she found a band on Craigslist and started performing in clubs around the city. Those years consisted of paying dues through a mix of temping during the day and getting fired a lot\, gigging until 4am\, and lugging an 80-pound keyboard to her fifth floor walk-up night after night. Despite the struggle and the setbacks\, Rachel loved being on stage\, even if at times nobody was listening.  \n“I felt crazy sometimes that I still believed in myself when there were no signs that I should.” During this time\, a conversation with her soon to be manager\, Ben Singer\, helped reignite her passion. “Ben helped me realize that I had to start my own fire and my songs would be the sparks.”  \nRachel would find her first big spark with “Fight Song\,” which took two years for the singer/songwriter to complete. She turned inward by telling her own story through the song. Turns out it was just the message people needed. “The reactions were honest\, and intense. People have been sending me the most beautiful stories of how they refuse to give up\,” she recalls. “Fight Song” is without a doubt the life-changing inspirational song of 2015\, topping iTunes and radio charts\, and selling more than 2 million downloads in the U.S. alone.  \nThe fire that “Fight Song” ignited has connected not only with music fans but also Columbia Records. Now planning her major label debut in early 2016\, Rachel is touring the world\, performing on countless television shows and being played on radio stations coast to coast. Rachel just recently premiered the beautifully uplifting music video for her newest single “Stand By You\,” another emotionally empowering anthem from the songstress. But ask Rachel what she wants people to take away from her music and she says\, “I’m in love with the idea of connecting people. Bringing people together is to me\, the most important thing we can do in this life. I feel like that’s my mission with my music. I think that’s why I’m getting this chance right now.”
URL:https://royaleboston.com/event/rachel-platten/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160313T190000
DTEND;TZID=America/New_York:20160313T190000
DTSTAMP:20260410T182811
CREATED:20160112T140010Z
LAST-MODIFIED:20160112T140010Z
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SUMMARY:Kyle Kinane
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18+. \nThis is a partially seated show and seats are available on a first-come\, first-serve basis.  \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*** \nKyle’s new special “I Liked His Old Stuff Better” debuted on Comedy Central in January\, 2015. He’s appeared on @Midnight\, Conan\, Workaholics\, Those Who Can’t and Comedy Bang! Bang! He can be heard as the voice of Comedy Central and in various animated programs such as\, Regular Show\, Aqua Teen Hunger Force\, Bob’s Burgers\, TripTank\, Adventure Time\, and Lucas Bros. Moving Co.. His first one hour special\, Whiskey Icarus\, aired on Comedy Central in 2012.
URL:https://royaleboston.com/event/kyle-kinane/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160317T200000
DTEND;TZID=America/New_York:20160317T200000
DTSTAMP:20260410T182811
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SUMMARY:House of Pain Featuring Everlast
DESCRIPTION:Doors: 8:00 pm / Show: 9:00 pm \nThis event is 21+.\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***\nSt. Patrick’s Day 2016\nHouse of Pain Featuring Everlast \n \n[Facebook] [Twitter] \nOn the heels of their widely heralded reunion show at KROQ’s ‘Epicenter 2010’\, EVERLAST and DANNY BOY have decided to get the band back together in celebration of their 20th anniversary. That’s right\, HOUSE OF PAIN is back\, more focused than ever and extremely excited to kick-off a worldwide reunion tour in 2011. \nIt’s hard to believe that the rowdy Irish Americans got started way back in 1991\, but for the past 20 years the group has maintained a high profile – topping the Billboard charts as a group and with solo efforts. It was a turn of a new decade when HOUSE OF PAIN changed the face of hip-hop with their self-titled debut album\, going multi-platinum and launching one of the most memorable songs in hip-hop history with “Jump Around”. Now it’s the start of another new decade and HOUSE OF PAIN is ready to do it all over again; the group aims to bring their fiery live show to fans all over the world\, reclaim the throne as hip-hop’s best and celebrate what has allowed their successes over the past 20 years – the fans. \n“It’s been 20 years and we are very excited to go out there and do this again\,” comments Everlast. “The catalyst was definitely the KROQ Epicenter show this past summer. We had already been working together on the La Coka Nostra record and did an event with [UFC President] Dana White but it really came down to seeing the crazy response from the crowd in LA when we went into ‘Jump Around’. After that\, we went home thinking about it and now is the time to act on it. Every show is going to be like an anniversary party. It’s going to be crazy.” \nSince HOUSE OF PAIN disbanded back in 1996\, the members have kept their star power and went on to huge successes. EVERLAST has maintained an incredibly successful solo career that includes a triple platinum album\, multiple Top 10 hits (including the #1 smash hit “What It’s Like”) and a Grammy for the song “Put Your Lights On” which was recorded with Carlos Santana. Danny Boy changed focus from music to art and launched an extremely successful art company\, multiple clothing lines and ultimately brought the reunion about by forming the group LA COKA NOSTRA that featured the original lineup from HOUSE OF PAIN alongside rappers Slaine and Ill Bill. \nAfter experiencing all of the solo success\, it becomes obvious that HOUSE OF PAIN isn’t a group reforming to cash in on current musical trends. HOUSE OF PAIN is reforming because of the passion that they have for their music. They are back to celebrate with their fans across the 20 years that have spawned tremendous success and undying anthems of rebellious teenagers everywhere. They are back to show young fans everywhere just how raucous and dirty hip-hop can be – to prove that it doesn’t matter your age\, race\, religion or whether you’re into hip-hop\, rock or metal. HOUSE OF PAIN has crafted a 20-year legacy that speaks to fans from all walks of life. \nSo get out of your seat and “Jump Around.” \n*** \nRite Hook \n \n[Website] [Facebook] [Twitter] \nRite Hook gives the lost souls of the world a gritty\, honest\, and unique voice. The Boston based alternative artist blends his dense\, lyrical raps with bluesy\, sung rock choruses to capture the struggles of those on the fringe with gruff\, raw emotion.\n“When I first heard Rite Hook\, his choruses and voice stuck in my head weeks later\,” says Ned Wellbery of Leedz Edutainment\, a Boston promotional company. “That’s how I knew he was someone special.” \nRite Hook spent nearly a decade bouncing from band to band and genre to genre\, sharpening his writing\, singing\, and rapping. Whether rapping\, crooning\, or shouting in a hardcore band\, his voice was always a trademark feature: rough\, gritty vocals that reflect a rough\, gritty life.\nHe soon found consistent work crafting hooks for Boston rap legend Slaine\, who also brought him along on tour. A solid emcee himself\, Rite Hook went bar for bar with Slaine and Vinnie Paz on “It Ain’t Easy\,” a breakout track off 2013’s From the Wrong.  \nRite Hook grew up in the suburbs of Boston and Worcester\, roaming around the state like a nomad\, before settling in the Hub at 18. No matter what town he found himself in\, he was always part of a generation of blue collar kids who liked to party and cause trouble. That lifestyle followed the artist and his friends from their teen years to adulthood. Fights\, fires\, petty thefts\, and close-knit families that struggled with alcoholism and drugs behind closed doors. As the country grapples with an addiction epidemic\, Rite Hook gives voice to those lost in the struggles of drug abuse\, doubt\, and no place to call home. \nA lost son of Massachusetts himself\, years of hard music and hard living defined Rite Hook’s early career in Boston. In 2012\, he overdosed and died. His heart stopped completely\, and paramedics had to revive him. \nNow a survivor in the truest sense\, he returned to music with a newfound focus\, and churned out the polished album From the Wrong—titled after both the outcasts he grew up with and his fanbase of rock kids with an ear for hard rap styles. The local scene enforced a love of classic rock and the blues\, but as a teen he was also exposed to the raw lyricism of 90’s rap. Never an easy act to pin down\, his art is set to evolve\, driven by dense lyrics\, hard flows\, a rock attitude and a bluesman’s soul. \n“Some people can rap well and sing okay\, others can sing well and rap a bit\, but only a very few can do both extremely well\,” says Wellbery. “Plus\, he looks how he sounds\,” he adds\, commenting on how Rite Hook’s grave vocals match his inked forearms and neck\, blocky build\, and lengthy mane. \nWith more artistic changes to come\, Modify was an easy title choice for his fourth effort—an album that sees the artist inviting others to his story\, sharing his realizations\, struggles\, and triumphs.
URL:https://royaleboston.com/event/house-of-pain/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160320T200000
DTEND;TZID=America/New_York:20160320T200000
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SUMMARY:Pete Yorn
DESCRIPTION:92.5 The River presents \n“Arrangingtime Tour” \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18+.\nTickets on sale Fri. 1/22 at 10am! \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 \nIt’s hard to think of anything more starkly reliable than the ticking of a clock\, but time is an untrustworthy thing. It feels like ages since we’ve had a proper Pete Yorn LP to dissect\, though it’s been just five years. And it seems like only yesterday that we first heard musicforthemorningafter\, which came out back in 2001. Yorn’s brand new album and Capitol Records debut\, ArrangingTime\, plays with the elasticity of the years both in between and since — it’s not only a culmination of the Los Angeles by way of New Jersey artist’s adventurous latter-day projects\, but a return to his original leaner methods.  \nFor the first time since 2003’s Day I Forgot\, producer R. Walt Vincent returns to help Yorn execute his most poised and diverse set of songs yet. ArrangingTime runs the gamut from elegiac folk to wasteland blues to upbeat\, synth-kissed rock. Of course\, some things never change. Yorn still plays the observer\, stepping into characters — or his past selves from previous years — routing wistful poems and beatific visions through the weather-beaten voice of a man who’s seen a few things in his time.  \n“I’ll look at pictures of places I went\, or things I did\,” says Yorn\, “and I think\, ‘Look at how great that day was and you just missed it.’ I think about the past and how much of it is a blur. The title of the album is a reminder to be present and within each song is a minor lesson about that. Time only gets faster as you get older.” \nWe blinked and Yorn turned 40\, but he isn’t settling or slowing. If the extra-musical side of his last few years has been about anything\, it is hard work. He’s focused on personal growth\, broken bad habits\, learned to get out of his own way\, and become more lithe to life’s undulations. He got married. He gave the commencement address at alma mater Syracuse University (his speech was about running toward the stuff that makes you uncomfortable in life). And last year\, after completing an acoustic tour without a backing band or a set list\, he welcomed a child into this world.  \n“I was taking my life back\,” says Yorn. “It was back-to-back with the records\, and I toured a lot. There used to be just one way to approach the road in my mind: fucking burn it out. I had to realize\, ‘Maybe I’m addicted to some things\, and a little scared of adulthood.’ I said\, ‘I want to tackle this.’ Now\, discipline feels better than excess.”  \nAs he prepares to release another album\, it’s clear his music has been shored up too. By one measure\, another trick of time\, Yorn’s first three albums span a single day. The so-called “trilogy” — musicforthemorningafter\, Day I Forgot\, and Nightcrawler (2006) — captures the man’s progression from an unknown songwriter unspooling raw magic at the storied Café Largo\, to the sort of dude who can dial up Dave Grohl for a ripping drum solo and trade twanged verses with Natalie Maines. Those all found Yorn solo with a producer\, building songs in the studio (or garage).  \nBut for his last two\, 2009’s Back & Fourth and 2010’s Pete Yorn\, he did the session thing\, stepping into readymade bands under the guidance of Saddle Creek producer Mike Mogis and Pixies genius Frank Black\, respectively. And those were bookended by collaborative projects: 2009’s playful album-length duet with Scarlett Johansson\, Break Up\, and The Olms (2013)\, a sunny\, ’60s-styled retro-pop duo with J.D. King. \n“I went on a run abandoning my first approach\,” says Yorn. “I was molting an old skin in a lot of ways. After that\, it felt natural to come back to just letting it flow with Walt. I have no illusions: You can’t walk through the same river twice. I’m not trying to recreate an album I made in my 20s. I’m revisiting a method. I started off doing watercolors\, then I did sculpting. And now I’m back on watercolors.” \nBut he does bring his experience with him to the looser style of his first producer\, R. Walt Vincent (with work from a couple of others). ArrangingTime opener “Summer Was a Day” drops us into the desert at night — it’s lush with shimmering ambience\, swelling strings\, ringing guitar strum and skittering beats. And while “In Your Head” juxtaposes Springsteen’s heartland chug with Morrissey’s dramatic softness\, a song like “Shopping Mall” is just understated and pretty — spare on instrumentation and generous with emotion. Penultimate track “Tomorrow” is almost a dance cut\, and Yorn’s attempt to buck the singer-songwriter trend of the album-ending slow fade. \nArrangingTime flows like a mixtape with Yorn’s warm voice and perspective as the through-line. These 12 songs are populated by fragmented folks: people waiting for something to happen (the bus-stop sitter in the dreamy “Halifax”)\, or chasing a feeling they once had (the angsty burnout in the raucous “Screaming at the Setting Sun”). But it’s not all so bleak — light seeps through the cracks in “I’m Not the One\,” where our host morphs into a loner coming to terms with his self-imposed isolation.  \n“I’m an observer\,” says Yorn. “I’m into subtleties\, the moments between moments\, but I don’t pretend to know where all the ideas come from. I try to clear myself\, create a melody and let that emotion dictate what comes out. I like my own songs when I haven’t even figured them out yet. I’m into the mysterious part of the process.” \nBut we’re still allowed to guess at the hidden lessons of ArrangingTime. In the case of the characters above\, one’s stuck on the future\, one’s trapped in the past\, and the other’s learning to be present. The ambling “Walking Up” acknowledges outcomes both negative and positive as neutral — the titular act is what’s important: facing the challenge\, eyes open\, in the moment. Because as seemingly treacherous as that tick-tock\, tick-tock can be\, it’s not time that’s changeable. It’s the timekeeper.
URL:https://royaleboston.com/event/pete-yorn/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160321T190000
DTEND;TZID=America/New_York:20160321T190000
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CREATED:20160119T170013Z
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SUMMARY:Yung Lean
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is all ages.\nTickets on sale Fri. 1/22 at 12pm! \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*** \nYung Lean \n \n[SoundCloud] [Facebook] [Twitter] \nSwedish rapper born in 1996. Yung Lean exists in a universe of instant references to the pop culture that surrounds him. Digimon\, Space Jam\, Nintendo64\, Mindcraft\, Transformers\, Super Smash Bros.\, Pokemon\, Windows screensavers… Musically Yung Lean and his Sad Boys crew\, all born in 1995\, 1996\, works in rap’s freeform tradition. A flowing\, asymmetrical and multicoloured creativity where wrong might as well be right. Emotional laser sword melancholia from Stockholm. \nSo far 2014 Yung Lean has been nominated for a place in the XXL Freshmen Class\, several videos has reached over a million views on Youtube and he’s done a sold out european tour. The next project is on it’s way and it’s finally time to meet the fans in the US and Canada. The Black Marble tour visits around 15 cities in 20 days. \n*** \nAdamn Killa \n \n[SoundCloud] [Twitter] \nChicago\, IL
URL:https://royaleboston.com/event/yung-lean/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160327T203000
DTEND;TZID=America/New_York:20160327T203000
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SUMMARY:Thanos Petrelis
DESCRIPTION:21+
URL:https://royaleboston.com/event/thanos-petrelis/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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DTSTART;TZID=America/New_York:20160329T190000
DTEND;TZID=America/New_York:20160329T190000
DTSTAMP:20260410T182811
CREATED:20160110T060142Z
LAST-MODIFIED:20160110T060142Z
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SUMMARY:Lucius [SOLD OUT]
DESCRIPTION:92.5 The River presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nThis show is SOLD OUT \n*** \n \n*** \nLucius \n \n[Website] [Facebook] [Twitter] \nLucius is a triple-threat of vocal harmonies\, infectious hooks\, and dance-inducing percussion. Pair those traits with the band’s irresistible live show and it’s easy to see why NPR Music calls Lucius “a fabulous band playing such infectious pop songs.” Charismatic co-founders and lead vocalists Jess Wolfe and Holly Laessig sing in unison uniquely delivering songs with stories told from the same perspective. Multi-instrumentalists Andrew Burri\, Peter Lalish\, and Dan Molad round out the quintet. \nMarch 2016 brings the release of Good Grief\, the band’s sophomore effort and the follow-up to 2013’s successful debut Wildewoman. The lead song “Born Again Teen\,” which Rolling Stone calls “ebullient” is available now. \nWolfe and Laessig met in 2005 while attending Berklee College of Music. Since forming\, Lucius has toured extensively\, playing headline shows and major festivals including Bonnaroo\, Austin City Limits\, Lollapalooza and Newport Folk Festival. Additionally they have collaborated with the likes of Jeff Tweedy\, David Byrne and Roger Waters and have toured with The Decemberists\, My Morning Jacket\, Jack White and more. \n*** \nPure Bathing Culture \n \n[Website] [Facebook] [Twitter] \nTo hear Sarah Versprille and Daniel Hindman tell it\, their Portland\, OR-based band Pure Bathing Culture has always evolved naturally and at a steady pace. “That’s really the path we’ve been on as a band\, always putting one foot in front of the other as opportunities presented themselves\,” Versprille said. “The music just revealed itself to us as we kept going.”\nBut for Pure Bathing Culture’s second album\, Pray for Rain\, the band has taken a big leap forward. You can hear it from the opening notes of their anthemic title track: in Hindman’s clean yet serpentine guitar lines interacting with the live rhythm section and Versprille’s lucid vocals cutting through it all as she asks: “Is it pleasure? Is it pain? Did you pray for rain?” Pray for Rain is the sound of the group confidently taking a step up to the next level and finding their footing as a true band.\n“We needed to make a big step and our version of that was to cut the cord from our previous albums\,” Hindman said of the process\, then confesses: “I was nervous all the way through. It was nerve-wracking and almost antagonizing at times.”\nThe roots of Pure Bathing Culture stretch back to 1999\, when Versprille and Hindman befriended one another on the first day of freshman orientation at William Patterson University in Wayne\, New Jersey. A decade later\, they became bandmates when they both joined Vetiver for their Sub-Pop albums Tight Knit and The Errant Charm. It was while playing in Vetiver that Pure Bathing Culture emerged as its own entity.\n“Dan was working on some instrumentals that he would make on a looping pedal\,” Sarah said. “One night he was out and I just listened to this loop and wrote some lyrics to it. He came home and I showed it to him. We laughed at first\, as we didn’t have some grand plan to start a band. It just happened naturally.” That song “Lucky One\,” wound up in the hands of Richard Swift\, who encouraged the duo to keep writing. “Richard pushed us along and became an inspiration\,” Dan said. Swift wound up producing the band’s first EP and dreamy full-length\, 2013’s Moon Tides at his National Freedom studio.\nFrom there\, PBC evolved from simply being the product of Versprille and Hindman writing songs in their own home to hitting the road as a full touring band. “Sarah and I conceptualize music and then write so it’s a pretty fragile state\,” Hindman said. “Playing live was a huge change for us.”\nWhen it came time to write and record their follow-up to Moon Tides\, the duo knew what they didn’t want. “We didn’t gravitate towards someone making indie dream-pop records\,” Dan said. That was when producer John Congleton (St. Vincent\, Swans\, Angel Olsen\, The Walkmen) reached out to the band and invited them to come record with him in his Dallas\, TX studio.\n“John pushed us to not make clichés\, to not play into the style of other bands\,” Dan said. The challenges came right away as Congleton pressed the group into unfamiliar and at times uncomfortable territory in the studio. “He tricked me with the guitars on the album\,” Dan said. “We got the basic tracks down and he asked me to do scratch guitar and then John wouldn’t let me go back and do the guitars again. He refused to do any layering.” \nAs a result\, everything on Pray for Rain is pretty much as Pure Bathing Culture actually sounds\, all analog gear\, with virtually no plug-ins or effects added afterwards\, no hiding behind multiple layers. “There aren’t a lot of tricks; What you hear is naturally what’s there\,” Dan said. \nIt was a taxing yet ultimately rewarding experience when the album was completed. “It was shocking to hear what the finished product was\,” Sarah said. “It was like being in a vortex and then we came out with this record.” She adds with a laugh something John Congleton told her when all was said and done: “You were very brave.” \nSarah summarizes the Pray for Rain experience as one of “stepping into the realm of discovering who we are as a band and as songwriters\,” echoing a theme of the album itself\, the process of change and transition. “You can find the best version of yourself in those hardest moments\,” she said. To which Dan adds: “You have to be backed up against the wall in order to really feel those feelings and respond to them.” Pray for Rain is the sound of Pure Bathing Culture transforming from who they were to who they will be\, of finding their way\, ready to take steps both small and momentous on their musical path.
URL:https://royaleboston.com/event/lucius/
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:20160401T180000
DTEND;TZID=America/New_York:20160401T180000
DTSTAMP:20260410T182811
CREATED:20160110T060133Z
LAST-MODIFIED:20160110T060133Z
UID:10002124-1459533600-1459533600@royaleboston.com
SUMMARY:Parachute
DESCRIPTION:Doors: 6:00 pm / Show: 6:30 pm \nThis event is all ages.\nTickets on sale Fri. 1/15 at noon! \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  \nBack when they were in high school\, Parachute’s Will Anderson (vocals\, guitar)\, Johnny Stubblefield (drums)\, and Christopher “Kit” French (saxophone\, keyboards) spent nearly every afternoon in Anderson’s basement\, dreaming up songs showing a deep affinity for classic pop\, heart-felt rock\, and tuneful blue-eyed soul. Now\, after a decade of touring internationally and turning out smash singles like “She is Love” (#1 at iTunes) and “Can’t Help” (the first single from the band’s 2013 album Overnight\, which debuted at #15 on the Billboard Top 200 chart)\, Parachute are set to deliver a new album that reclaims the spirit that first sparked their love of music. “Making this record felt just like that one hour after school when we were kids\,” says Anderson of Wide Awake\, the band’s fourth full-length album. “It was like we were all 15 again and just starting to discover that excitement of creating songs together.” \nWith a sound that’s impassioned but sunny\, fresh but timelessly organic\, Wide Awake centers on songs both gracefully arranged and brimming with the boundless energy of Parachute’s live show. Newly pared down from a five-piece to a trio\, the Charlottesville\, Virginia-bred band forged that sound in part by shaking off all creative inhibitions. “We felt like we had no limitations to chase this sound that the three of us have wanted to build for so long\,” says Anderson. “It was as if we were woken up from some sort of slumber\, revitalized and rejuvenated with this new awareness of who we are as a band.” Reuniting with John Fields (the producer behind 2011’s The Way It Was and their 2009 debut Losing Sleep)\, Parachute were also guided by the purest of instincts in the studio. “We knew a song was working when we were all dancing and having a blast with it\,” says Anderson. “And if something didn’t feel good\, we just let it go.” \nThough that commitment to intuition is beyond palpable on Wide Awake\, the album was also born from two and a half years of dedicated writing and exploration. “I don’t know if I’ve ever written more for an album\, or worked so much on any specific song.” says Anderson\, who came up with nearly 100 songs during that time. “It was just very important to me that we got each song exactly to where it needed to be.” \nWith every track on Wide Awake\, Parachute matches their sublime melodies with a refined sense of songcraft. Showing a complex sensitivity shaped in part by lifelong love of artists like Paul Simon and Billy Joel\, Anderson also infuses the album with both carefree warmth and emotional depth. The album’s epic opener “Without You\,” for instance\, captures what Anderson calls “the feeling of meeting someone and knowing that it’s going to happen\,” and harnesses that lovestruck feeling with the help of gorgeous gospel harmonies and soulful horns. The gently devastating “Jennie” wraps its cascading rhythms and wistful vocals around a story of broken opportunity and love lost. “Sometimes you catch a glimpse of they way things could be but end up taking a detour\,” Anderson says\, “only to realize you’ve lost your chance and can’t ever get it back.” \nShifting from joy to heartache and back again Wide Awake\, offers everything from the stomping\, fired-up swagger of “Crave” to the sorrowful piano ballad “What Breaks My Heart” to the hushed acoustic reverie of “When You Move.” And in certain moments Parachute brilliantly embodies both bright and dark\, such as on the swinging and summery anthem “Lonely with Me” (as in: “Baby if you’re gonna be lonely/Be lonely with me”) and on the moody but pop-infused “Love Me Anyway\,” an ode to “knowing you’re inevitably going to mess up\, but having somebody who’s willing to forgive you and move on\,” according to Anderson. \nIn bringing Wide Awake to life\, Parachute made a point of “dialing back our thought process and just doing whatever we could to best serve the songs\,” as Anderson explains. To fulfill that ambition\, the trio returned to the same sense of wonder they felt upon launching their first musical project back in 2002. Starting out while they were still in high school\, the band quickly began landing gigs locally and soon gained a following at the nearby University of Virginia. As their inaugural release under the name Parachute\, Losing Sleep debuted at #2 on the Billboard Digital Albums Chart and climbed to #40 on the Billboard Top 200 chart. Over the next few years\, along with releasing The Way It Was and Overnight (which shot to the #3 spot on iTunes)\, Parachute toured with such artists as Kelly Clarkson and Gavin DeGraw\, in addition to three sold out\nheadlining tours. “One of the biggest highlights over the years is definitely playing all these venues that we dreamed about growing up\,” says Anderson. “Anytime we play a show like that\, it’s just mind-blowing for us.” \nWhile Parachute’s indelibly melodic sound packs more than enough power to electrify an arena- filled crowd\, each song on Wide Awake comes from much more intimate origins. “Most of my writing process for this album was very solitary.” says Anderson. “I’ve written with other people in the past\, but it was fun to go back to the way I used to write when I was a teenager.” And when combined with Parachute’s renewed passion as a band\, that approach ultimately allowed for an honesty and heartfeltness that makes Wide Awake their most thrilling authentic album yet.
URL:https://royaleboston.com/event/parachute/
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:20160402T180000
DTEND;TZID=America/New_York:20160402T180000
DTSTAMP:20260410T182811
CREATED:20160124T100946Z
LAST-MODIFIED:20160124T100946Z
UID:10002174-1459620000-1459620000@royaleboston.com
SUMMARY:Pokey LaFarge
DESCRIPTION:6:00 pm / Show: 7:00 pm \nThis event is 18+.\nTickets on sale Fri. 1/29 at 12pm! \n \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*** \nPokey LaFarge\n \n[Website] – [Facebook] – [Twitter] \n“It really feels like I’m taking a big step forward on this one\,” Pokey LaFarge says of Something in the Water\, his seventh album and his Rounder debut. “While we were recording it\, I kept thinking\, ‘Hey\, we’re really onto something here.’” \nIndeed\, the dozen-song set marks a new landmark in a career that’s already filled with musical highlights. The St. Louis-based singer\, songwriter\, and multi-instrumentalist draws from a deep well of American musical traditions to create distinctively personal music that’s timeless rather than retro\, transcending the confines of genre in a manner that reflects the artist’s openhearted attitude. \nIncorporating elements of early jazz\, ragtime\, country blues\, Western swing\, and beyond\, LaFarge has created a vibrant\, deeply expressive body of work that embodies an expansive musical vision and vivid storytelling sensibility that are wholly his own. He’s also earned a reputation as a tireless\, uniquely charismatic live performer\, winning a loyal international fan base that regularly packs his rousing\, celebratory live shows. \nSince he began recording in 2006\, Pokey has maintained an indefatigable work ethic that’s yielded a wealth of compelling music. After making a grass-roots splash with his self-released debut album Marmalade and moonlighting as mandolinist with the Hackensaw Boys\, he continued to gain notoriety with his widely acclaimed longplayers Beat\, Move\, and Shake\, Riverboat Soul and Middle of Everywhere—the latter two were both named Best Americana Album by the Independent Music Awards—and the concert set Live In Holland. \nLongstanding admirer Jack White added LaFarge to the roster of White’s Third Man label for the 2011 EP Chittlin’ Cookin’ Time in Cheatham County (which White produced) and the 2013 album Pokey LaFarge\, as well as enlisting Pokey as opening act on the North American tour in support of White’s Blunderbuss album. Also in 2013\, Pokey was featured on the soundtrack of HBO’s Boardwalk Empire\, performing the jazz standard “Lovesick Blues” with Vince Giordano’s Nighthawks. 2014 was LaFarge’s busiest year yet\, with the hard-working artist performing on five continents\, including tours in India\, Australia and New Zealand as well as extensive roadwork in the United States\, Canada\, UK\, Ireland\, and The Netherlands. \nSomething in the Water finds the artist doubling down on his established creative strengths\, expanding and deepening his musical reach on such new originals as the wry\, rollicking title track\, the swaggering ragtime workout “Wanna Be Your Man\,” the infectiously jazzy “Underground\,” the evocative instrumental “Cairo\, Illinois\,” the exotic ballad “Barcelona” and the swinging album-closer “Knocking the Dust off the Rust Belt Tonight\,” whose witty lyrics underline the album’s proudly Midwestern sensibility. Also featured are fresh\, buoyant takes on popular blues standards “When Did You Leave Heaven” and “All Night Long.” \n“The Midwest is at the heart of this record\,” LaFarge asserts. “The people playing on these songs are from Wisconsin and Illinois and Chicago and St. Louis\, and there’s a certain attitude that comes across in the songs and the way that they’re performed. I’m born and raised in the Midwest\, and my family’s been here for generations. This is where I’m from and how I think\, and that’s reflected in the music I make. \n“Americans love to reinvent themselves\, but you can never really get away from the place that you come from\,” he continues. “And in a globalized world\, I think that there are some parts of our regional identity that we should hang onto and cherish. I do buy into that old idea of the Midwestern work ethic\, and it’s definitely something that’s been passed down through my family and something that I feel connected to\, and it influences the way I approach making music.” \nLaFarge teamed with kindred-spirit producer Jimmy Sutton to record Something in the Water at Chicago’s Hi-Style Studio. For the occasion\, he recruited a diverse cast of talented players\, including his own longstanding touring combo as well as members of such notable outfits as NRBQ\, the Fat Babies\, the Modern Sounds\, and the Western Elstons. He designed the sessions’ communal recording approach to push himself creatively\, while bringing several new musical elements—including the more prominent use of drums and vocal harmonies—to the table. \n“I knew that I really had to challenge myself on this one\, and to create a slightly different take on my music\,” LaFarge notes. “The Third Man album put me on the map for a lot of people\, so I was conscious that I wanted to take things to the next level. One thing that I really wanted to do this time was to emphasize the groove\, and I was also thinking a lot about space and about juxtaposition. The ability to work with some different people took me out of my comfort zone\, and Jimmy really challenged me and pushed me into some new places. And as I felt the spirit and the camaraderie that we all had in the studio\, the whole thing took on a life of its own.” \nThe resulting album is the most powerful showcase to date for Pokey LaFarge’s peerless gifts as a songwriter\, performer and entertainer. \n“You try to make something that’s cool\, something that’s sexy\,” he observes. “But when you come down to it\, you can really only make music for yourself\, and I feel like this album is the first time that I was really able to do that. I’m 31 and I’ve been doing this for awhile\, but I feel like I’m only starting to make the music that I’ve always wanted to make. I used to put a lot of pressure on myself when I was younger\, because guys like Hank Williams and Bob Dylan and Otis Redding made so much great music when they were in their 20s. But now I feel like I no longer have that pressure\, so I can just be myself.” \n*** \nThe Cactus Blossoms \n \n[Website] – [Facebook] – [Twitter] \nBrothers Jack Torrey and Page Burkum grew up in northeast Minneapolis and have been blending their voices as The Cactus Blossoms since 2010. Their hypnotic harmonies and unforgettable songs have made them favorites in the Minneapolis–Saint Paul music scene. Their latest album\, Live at the Turf Club\, blurs the line between old and new as they sneak a few originals into their repertoire of early country and Western swing. \n“The brother duet that America is waiting for”\nGarrison Keillor \n“An absolute gem – a completely stunning debut album”\nBob Harris\, BBC Radio 2 \n“The Cactus Blossoms have quickly turned into the Twin Cities’ most beloved new traditional-country act”\nChris Riemenschneider\, Minneapolis Star Tribune \n“It’s true and traditional country\, folks”\nCraig Shelburne\, Country Music Television
URL:https://royaleboston.com/event/pokey-lafarge/
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:20160408T183000
DTEND;TZID=America/New_York:20160408T183000
DTSTAMP:20260410T182811
CREATED:20160108T201929Z
LAST-MODIFIED:20160108T201929Z
UID:10001625-1460140200-1460140200@royaleboston.com
SUMMARY:DDT
DESCRIPTION:DDT returns to Boston with it’s new show “Prozrachnii” and Greatest Hits.\nDDT is one of the most prolific Russian rock band founded by its lead singer Yuri Shevchuk. \n21+\nManagement reserves the right to refuse admission. \nDoors: 6:30\nShow starts: 7:00
URL:https://royaleboston.com/event/ddt/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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ORGANIZER;CN="PartytimeBoston":MAILTO:info@partytimeboston.com
GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160412T183000
DTEND;TZID=America/New_York:20160412T183000
DTSTAMP:20260410T182811
CREATED:20160115T170047Z
LAST-MODIFIED:20160115T170047Z
UID:10002158-1460485800-1460485800@royaleboston.com
SUMMARY:Magic Man / The Griswolds
DESCRIPTION:Radio 92.9 presents \nDoors: 6:30 pm / Show: 7:30 pm \nThis event is all ages.\nTickets on sale Fri. 1/22 at 12pm! \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*** \nMagic Man \ncjmoyphoto.com \n[Website] [Facebook] [Twitter] \n*** \nThe Griswolds\n\n[Website] [Facebook] [Twitter] \n*** \nPanama Wedding\n\n[Website] [Facebook] [Twitter]
URL:https://royaleboston.com/event/magic-man-the-griswolds/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160414T183000
DTEND;TZID=America/New_York:20160414T183000
DTSTAMP:20260410T182811
CREATED:20151116T181050Z
LAST-MODIFIED:20151116T181050Z
UID:10002016-1460658600-1460658600@royaleboston.com
SUMMARY:The Decibel Magazine Tour 2016
DESCRIPTION:Doors: 6:30 pm / Show: 7:25 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \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*** \nAbbath\, High on Fire\, Skeletonwitch and Tribulation spearhead metal mag’s ferocious new tour this March. \nOver the last four years\, Decibel Magazine has redefined what a metal tour can accomplish. Creative and ambitious curation has unified artists from far reaches of the extreme universe who would never have the opportunity to tour North America together. The 2016 Decibel Magazine Tour continues that proud tradition\, as Norwegian black metal legend Abbath takes his new band of the same name to war with Bay Area metallic institution High on Fire\, Ohio thrash powerhouse Skeletonwitch and Swedish progressive black/death prodigies Tribulation (with regional openers in select markets to be announced soon). \nThe Decibel Magazine Tour has an impressive history of bringing extreme metal’s most notorious global icons to the stage\, boasting headliners such as Behemoth\, Cannibal Corpse\, Carcass and At the Gates. This year\, Abbath (former frontman of Norwegian black metal legends Immortal) will join that storied legacy to perform songs from not only Immortal’s fabled back catalogue\, but brand new music from January’s self-titled debut as the band Abbath\, on Season of Mist. It will be Abbath the band’s first tour on North American soil. Presented by Randall Amplifiers\, ESP Guitars\, IndieMerchstore.com\, Season of Mist\, eOne\, Century Media and Prosthetic\, the 2016 Decibel Magazine Tour will treat North American audiences to 23 grim and frostbitten dates\, boasting a rich array of metal’s most riotous voices. \nOf 2016’s four mainstage artists\, the two that released new albums in 2015 placed high in Decibel’s notorious Top 40 Albums of the Year list: High on Fire\, with seventh full-length Luminiferous\, and Tribulation\, with third effort The Children of the Night. High on Fire have already been honored with a dB cover and an authoritative Hall of Fame feature on 2002 album Surrounded by Thieves. Skeletonwitch have likewise graced dB’s cover\, and their most recent album\, 2013’s Serpents Unleashed\, also cracked our Top 40. Their original track “Tragedy of Days” was one of the first installments in Decibel’s renowned Flexi Series\, also celebrating its fifth birthday. And Tribulation will soon join them\, recording a track that will appear in the Flexi Series next year. \nWhile there’s plenty of time to stir up your corpsepaint for the 2016 Decibel Magazine Tour\, here’s your chance to score a great deal and avoid standing in line. There will be a number of VIP premium packages available in each market\, providing you with a limited edition T-shirt\, 18 x 24 tour poster\, “Skip the Line” pass\, exclusive digital tour issue of Decibel Magazine and a coupon for 15% off a purchase on Indie Merch’s webstore. The price of this package is less than you would spend on a ticket and a tour shirt at the show! More details\, including ticket info\, are available at www.decibelmagazinetour.com
URL:https://royaleboston.com/event/the-decibel-magazine-tour-2016/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160415T183000
DTEND;TZID=America/New_York:20160415T183000
DTSTAMP:20260410T182811
CREATED:20151220T042923Z
LAST-MODIFIED:20151220T042923Z
UID:10002126-1460745000-1460745000@royaleboston.com
SUMMARY:SPLEAN
DESCRIPTION:There is hardly a Russian in the world that hasn’t heard of the legendary rock band SPLEAN and its leader Alexandr Vasilyev.  \nFor the first time in over 10 years\, the band will be hitting the road for a North American tour in spring of 2016. The SPLEAN will be playing only one show per city\, performing all time favorites. The tour will kick off on April 15th in Boston\, MA and wrap on April 24th in Seattle\, WA. For a complete list of dates\, more details and ticketing information\, visit the US Tour 2016 official website: SPLEAN2016.COM
URL:https://royaleboston.com/event/splean/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160416T180000
DTEND;TZID=America/New_York:20160416T180000
DTSTAMP:20260410T182811
CREATED:20160118T170019Z
LAST-MODIFIED:20160118T170019Z
UID:10002157-1460829600-1460829600@royaleboston.com
SUMMARY:Lissie
DESCRIPTION:Doors: 6:00 pm / Show: 7:00 pm \nThis event is 18+.\nTickets on sale Fri. 1/22 at 12pm! \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‘My Wild West begins’ with an overture\, by definition an “introduction to something more substantial.” In this case it is Lissie’s third studio album and her most personal one to date\, a fitting tribute to Lissie’s life in California\, from her arrival as a fresh-faced singer-songwriter till now\, leaving for the Midwest wiser and more self-assured. Bookended by the songs “Hollywood” and “Ojai\,” it brings out the two extremes of the past decade — the dashed hopes and heartbreak of the former and the “stability\, joy and peace” of the latter. ‘My Wild West’ represents both a new beginning and a return to Lissie’s Midwestern roots. \n‘My Wild West’ was recorded with producer Curt Schneider in his Studio City home — he oversaw the project as a whole\, produced 8 tracks on the record and pulled together the additional material from Lissie’s time recording with her band in Ojai and with Bill Reynolds in Nashville. As the album unfolds\, we see a more confident Lissie\, self-assured and coming into her own power. “I want my 40 acres in the sun\,” sings Lissie on “Hero\,” written before she had made the decision to leave California. It details Lissie’s life on the West Coast and the empowerment she felt that she could leave and demand a new adventure from life: “I could have been a hero\, I could have been a zero\, I could have been all of these things.”  \nAfter being signed by Sony U.K.\, Lissie’s two previous albums\, 2010’s ‘Catching a Tiger’ and 2013’s ‘Back to Forever\,’ came out on Columbia in England and prestigious indie Fat Possum in the U.S.\, both scoring in the Top 20 of the U.K. charts and Top 5 in Norway\, the former going gold in both countries. Stateside\, the two releases hit the Top 5 in Billboard’s Heatseekers chart\, peaked at #5 and #11\, respectively\, on the U.S. Folk tally and went Top 40 on the Indie chart.  \n“There was always a bit of commercial compromise\, like pressure to make the charts and sell units\,” she recalls of her experience on a major label. “I just wanted to be able to move people with this gift I’ve been given… my voice.”  \nWhat emerged was a cohesive\, conceptual\, musical whole\, which belied the rather unorthodox manner in which it was created. “The songs turned out to be more personal because I wasn’t adhering to a strict set schedule\,” she realized. “In writing ‘Hero’ and ‘Wild West\,’ I had no idea at the time I was going to leave California and move back to the Midwest. I feel like their very creation was predictive of the changes that were coming. The moment I decided not to make an album was when I really started to make the album. That took all the pressure off!”  \nLissie’s tales of triumph and self-propelled adventure were inspired by strong females close and far from home: “Sun Keeps Risin'” was inspired by an aunt of Lissie’s who passed away from ALS\, while “Daughters” is a pro-feminist call-to-arms that took its cue from Liberian peace activist and Nobel Prize winner Leymah Gbowee\, subject of the documentary “Pray the Devil Back to Hell.” The funereal\, dirge-like “Shroud” and the upbeat “Go for a Walk” shed light on the yin-and-yang nature of Lissie’s personality\, the first a meditation on depression and isolation\, the latter a heartfelt affirmation of nature’s power of renewal. “Stay” and “Together or Apart” detail the pain and pleasure of relationships\, while “Don’t You Give Up On Me” is a spiritualized self-pep talk\, urging those around her to hang in there while she figures life out: “Don’t you give up on me/As I dive into the dark/And slip into the endless sea.” There’s also the line “I left you on the coast for something only I can see” and that’s just it\, Lissie has a personal vision and it may be hard for others to understand at times but she has to follow it.  \nHaving recently purchased a farm on 10.7 acres in a small Iowa town\, Lissie now boasts her own personal “Field of Dreams\,” just across the Mississippi River from Rock Island\, Illinois\, where Elisabeth Maurus grew up in possession of a strong rebellious streak surrounded by the memory of steamboats and railroads of past. Concentrating on converting the barn into a recording studio\, getting used to her new pick-up truck and setting up beehives\, Lissie is visibly content in her new life\, eager to take on each new adventure and challenge that presents itself.  \nWith a career that has seen her open for renowned artist Lenny Kravitz (an early supporter)\, Tom Petty and even been asked to perform at Ashton Kutcher and Demi Moore’s wedding\, Lissie has had a wealth of incredible experiences that have made her the confident and determined artist she is today. “I have a loyal\, passionate fan base that every day is growing through its own power\, not just an aggressive marketing campaign\,” she says. “I want to be an artist with longevity\, which is an exciting prospect for me. I feel I’m in a really good place. In fact\, I’m already planning a follow-up album\, ‘My Mild Midwest\,'” she says with a laugh.  \n‘My Wild West’ will be released on February 12th\, 2016\, via Thirty Tigers in North America and Cooking Vinyl elsewhere.
URL:https://royaleboston.com/event/lissie/
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:20160419T190000
DTEND;TZID=America/New_York:20160419T190000
DTSTAMP:20260410T182811
CREATED:20160215T060332Z
LAST-MODIFIED:20160215T060332Z
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SUMMARY:Peter Murphy "Stripped"
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale now! \nA rare opportunity to see Peter Murphy in an intimate setting performing acoustic versions of his music from throughout his illustrious career. \n*** \nPeter Murphy \n \n[Website] [Facebook] [Twitter] \nIn his four decades of service in the post-punk culture wars\, PETER MURPHY has confounded fans\, critics\, even himself. As the mainman of the acclaimed outfit Bauhaus\, he helped usher in ground breaking opaque moods and atmospheres into the post-punk landscape. When the band broke up for the first time in 1983\, the singer set off on a solo career that found him challenging his audiences in numerous ways. When the music press tried to tag him as “the new David Bowie\,” he’d close his shows with a vamping of the Thin White Duke’s disco classic “Stay\,” only to switch into a cover of Bauhaus’ funky punch-up “Kick In The Eye\,” followed by a cover of Pere Ubu’s “Final Solution\,” which ended with a burly roadie physically picking up the singer and putting him in an airplane spin. When fans and critics tried to paint him exclusively as “the King of the Goths\,” his response was to encore with Prince’s venerable “Purple Rain.” When the singer began to explore more melodic concerns to distance himself from the gothic-rock culture he helped create\, he accessed both new audiences and successful records. \n“People remember those things\,” the singer says\, laughing at memories of his onstage audacity. “They don’t remember some digital file they downloaded from the Internet that gets lost among the other 3\,000 ones they already have.” \nIt’s doubtful Peter Murphy will be assigned a similar fate. He’s aligned himself with Nettwerk Records to release NINTH\, his first solo album in seven years and the first since the permanent dissolution of Bauhaus in 2009. Produced by David Baron\, Ninth is a culmination of where the singer has been and where he is now\, all imbued with a confidence that has been Murphy’s stock in trade. While countless\n\nperformers and industry types bemoan the demeaning of music in current download culture\, Murphy’s only concern is continuing to connect with his audience with unparalleled honesty. \n“I think younger audiences are just as aware that they don’t have any identity in the music they follow\,” he says\, commenting from a place of aesthetic analysis than any kind of bitterness. “Once they start listening to older music or music that isn’t generically issued\, they start to hold onto things more. That’s why it’s more important for people like myself to connect with an audience. I’m not talking about Facebook—I’m talking about a live show. People can really start to form a congealed idea in their relationship with an artist. That kind of connection is missing in the digital world: You experience things more in a tangible realm than in a virtual existence. I don’t deny or get anxious about being labeled; I can’t really describe what I do\, but it does have an outside effect on an audience. But I mustn’t get stuck holding onto that\, because you mustn’t rest on your laurels.” \nMurphy is hardly the poster child for artistic inertia. His 2004 solo album\, Unshattered\, was doomed not by any artistic shortcomings\, but by the Artful label closing its doorsjust as the record was coming out. The following year\, he once again teamed up with his colleagues in Bauhaus for a co-headlining tour with Nine Inch Nails\, when it was decided that they would reconvene in a recording studio to create new music. After a tumultuous 18 days in an Ojai\, California studio in 2006\, the band came out with Go Away White\, a record displaying both the personal chemistry\, as well as the incendiary aspects of the group dynamic. \n“It was typically Bauhaus\,” says Murphy\, who actively embraced the high tensions within the band. “The tension [on that album] is palpable\, isn’t it? I loved it. People hearabout that record retrospectively. Danny [Ash\, Bauhaus guitarist] would say\, ‘We couldn’t stand to be in the same room together.’ But that’s not my experience. I was always the biggest advocate for that band. We were warming up when it ended. I was still raring to go to complete that album. I was putting my solo career on hold to advocate for Bauhaus. We split up\, I reworked my life—I’m Peter Murphy in or out of Bauhaus\, so it’s not too difficult. I’ve got a band of my own\, but I didn’t have an idea where it’s going to go.” \nUnbeknownst to him\, Murphy’s career arc would take a different turn. In 2005\, he met singer/songwriter Sarah Fimm\, the support act for his tour that year. He did some recording with the electronics-based artist in upstate New York\, with the sessions being helmed by producer David Baron. In Baron\, Murphy found not only a kindred spirit\, but also a person with great jurisprudence with regards to modern technology and how it should be considered within an artist’s work. “I call David an errant genius\,” Murphy says about his collaborator. “He’s like my brother: very perceptive\, very musical. So musical you can’t quantify it. He allowed the music and the ideas to speak for themselves.” Considering the breadth of his career\, conventional wisdom would question why Murphy would need a producer to see his vision through in the first place. But the singer is in service to his songs—not his ego. “I don’t want to be hands- on\,” he says. “It’s distracting for me. I’m hands-on in terms of exchanges\, discussions and various takes. David is superior in that he is super-musical and totally respects the artist. He doesn’t fall for overproduction. He is only concerned with the songs’ needs.” \nProbably the most apparent characteristic of Ninth is the level of intimacy Baron and engineer John Siket captured. The proceedings carry the feeling of a tight\, seasoned band—in this case\, guitarists Mark Gemini Thwaite and John Andrews\, bassist Jeff Schartoff and drummer Nick Lucero—facing each other in a small studio\, playing together. There’s a sophisticated energy and psychic urgency to tracks like “Seesaw Sway\,” “Slowdown” and “Memory Go.” Equally exciting are moments like “Velocity Bird\,” where Murphy gets his swagger on in the same wild kingdom where Iggy Pop’s “streetwalking cheetah” prowled; the rocking “Peace To Each\,” where the singer ramps up his sinister quotient a few notches; the slow grooving head-nodder “Uneven & Brittle\,” and the brooding\, atmospheric noir of “Secret Silk Society.” On the convex\, Ninth also features moments of warm poignancy\, like the lover-comforting “Never Fall Out” and the melancholy closing track\, “Crème de la Crème.” \nBut it’s the album’s first single\, “I Spit Roses\,” that reconciles Murphy’s melodic sophistication with his resignation toward the fate of Bauhaus. Teeming with nautical metaphors of a ship’s crew (i.e.\, the other three members of Bauhaus) and a dip into Lewis Carroll territory (“Shick-shack\, left you in shock/shed poison with a lover’s lock”)\, the song was inspired after Murphy spent a long day in the studio during the making of Go Away White. As the other members were working on an arrangement\, Murphy went home\, having put in a full session. He suspected that his decision would cause more schism when he returned to the studio the next day. “When I went in the next day\, I knew there was going to be some kind of confrontation about my leaving the previous night\,” Murphy recalls. “I was sitting near a rose garden\, talking on the phone to a friend of mine about the situation. She told me not to worry\, to take a rose there as a friendly gesture. Instead\, I took three or four and put them in my mouth. \n“As I walked in\, David [J]\, Kevin [Haskins] and Danny were in conference about the band\,” he continues. “I thought\, ‘Oh dear\, here we go…’ The moment anyone speaks to me\, my response is to spit roses in their face—and that’s what happened. Daniel said\, ‘Peter we need to talk about…’ Pwah! ‘That’s my answer.’ It caused them to think\, ‘Look at him\, he’s crazy!’ And I responded\, ‘Look\, it’s roses\, don’t you get it? C’mon\, let’s just work.'” \nDealing with short-fused tempers (and botanical snacks) are part of his artist mythology\, but it cannot be denied that much of Murphy’s artistic visions have been original and seminal. Fortunately\, he’s not interested in trading on his significant accomplishments. While Ninth marks another chapter in his artistic (and thereby personal) evolution\, the album exists on a plane of its own. Ninth isn’t a “reinvention\,” “return to form\,” or any of the buzzword nomenclature used to herald an album’s release date. For three decades\, Peter Murphy introduced new ways of thinking in the rubric of rock music. He’ll be the first to tell you the work is its own reward and that it’s acceptable if the world at large still hasn’t caught up with him. Well\, maybe… \n“Although people tell me I’m famous\, I don’t feel like it\,” he resigns. “Right now\, it’s quite nice: I feel like I’m 24 with this record and I think a lot of people are going to get to know my music. I have a very hardcore audience who’ve been with me for a long time\, but I do have a great urge to broaden it.” \nHe stops to laugh. “I’d like to play theaters; I’m more able to be lowered from the rafters on a chain than in a club!”
URL:https://royaleboston.com/event/peter-murphy-stripped/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160421T183000
DTEND;TZID=America/New_York:20160421T183000
DTSTAMP:20260410T182811
CREATED:20160112T215112Z
LAST-MODIFIED:20160112T215112Z
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SUMMARY:Into It. Over It. / The World Is A Beautiful Place And I Am No Longer Afraid To Die
DESCRIPTION:Doors: 6:30 pm / Show: 7:00 pm \nThis event is all ages.\nTickets on sale Fri. 1/15 at 10AM! \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.
URL:https://royaleboston.com/event/into-it-over-it-the-world-is-a-beautiful-place-and-i-am-no-longer-afraid-to-die/
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:20160424T190000
DTEND;TZID=America/New_York:20160424T190000
DTSTAMP:20260410T182811
CREATED:20160111T180038Z
LAST-MODIFIED:20160111T180038Z
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SUMMARY:Behemoth
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nBLASFEMIA AMERIKA 2016 \nThis event is 18 and over.\nTickets on sale Fri. 1/15 at noon! \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“The Satanist is magic. It’s dangerous. It’s adventurous\, and it’s organic\,” states Nergal\, the driving force behind Behemoth since their inception in 1991\, and brief exposure to the band’s tenth album more than supports this statement. While instantly recognizable as the work of the Polish blackened death quartet it takes their sound in previously unimagined and riveting directions. A writhing\, densely layered\, brutally violent and sinister record\, it is quite unlike anything ever unleashed within the canon of heavy music. As such it demands attention\, offering ever greater sonic and emotional depths with every listen. “You may hear the title and think it’s very primitive and one-dimensional\, and yes it is\, but when you look beyond that it’s as primitive as it is complex and multidimensional\, and that applies to everything about the record.” \nIt has been a rocky road leading to the realization of the album. Having dropped 2009’s Evangelion to almost universal critical acclaim they saw it top the chart in their native country and dramatically expand their following around the world\, and playing some of the best shows of their lives the band seemed truly unstoppable. But\, in August 2010 Nergal was diagnosed with leukemia\, stopping them in their tracks. Forced to abandon their ongoing tour in support of Evangelion Nergal was hospitalized\, and both he and Behemoth faced an uncertain future. With the search for a bone marrow donor ultimately successful Nergal underwent a transplant\, leaving the hospital after six months and beginning down the long road to rehabilitation. “I knew I was pretty much fucked and there was a battle to be won\, and I had no fucking idea if it was going to take six months or twelve months or maybe four years\, because with cancer you never know. I learned from being in the hospital that there are things in life that you can control and things that you can’t control. The sooner you realize which is which it’s going to make your life so much easier\, and since then I started to focus on the right things. I could be determined\, I could have discipline\, I could have faith\, but everything else is not under my control\, and it really was a case of just crossing fingers for the best possible outcome. I was fortunate enough that that recovery period was relatively fast\, and that I was really strong and very determined to get back into shape made a real difference.” \nRather than immediately getting down to working on a new album\, the band – also comprised of drummer Inferno\, bassist Orion\, and guitarist Seth – set out to complete the abandoned touring cycle for Evangelion\, hitting the road for the aptly titled Phoenix Rising Tour. Wanting to prove they were stronger than ever the first show was the only time doubts crept into Nergal’s mind. “I was a fucking wreck\, and I almost didn’t make it to the end of the set. The venue was really smoky\, and that was stuffing my nose and my lungs\, and physically I felt that I couldn’t pull it off. I did\, but I was close to passing out on stage. I was literally shocked by this\, I remember thinking while we were playing shit\, what if I can’t do this anymore? I’m just a human being after all. Going into the next show I had no sleep because of all the nerves and anxiety\, but it was fucking amazing. With every following show I would get stronger and stronger and grow more confident\, and aware of the fact that yes\, we will do this.” \nHaving returned to full force the band were ready to once more move forward\, and they began work on what would become The Satanist. While many bands might be concerned with how to follow up a record as devastatingly powerful – and successful – as Evangelion Nergal faced no such doubts. “I don’t race myself\, and I don’t need to prove anything to anyone. Evangelion was a very important record to us\, and yes\, it was very successful too\, but in making The Satanist it wasn’t a point of beating that. The point was to do what was organic\, and make a natural and honest and sincere album\, and that’s it. Now the record is finished I like to think of it as an album that is just so different that you can’t really compare it to our previous works\, which is the best outcome I could hope for.” One thing is inarguable\, and that is the record is the most sonically rich and complex released under the Behemoth name. With layer upon layer of sound it has great sonic density\, but there is intricacy to this\, and nothing is forced or contrived. “I don’t have a kid but I think the process of raising one is comparable: you invest a lot of your energy and effort and wisdom and money and you educate them\, but there’s never a one hundred percent guarantee he’s going to become a lawyer and not a serial killer. It’s the same story with the records – we supply the elements but we just don’t know how these elements mixed together are going to come out\, and I think it’s fortunate that we don’t have one hundred percent control over it! It makes for something special.” \nThe title of the record itself is undeniable in its power\, and Nergal sees it as capturing the primal wisdom that the band have always tried to maintain. “To me it’s not pretentious at all. It’s very straight up\, very sincere\, and a devastating\, conquering statement. There’s no compromise or bullshit or gimmicks. What I love about it is that it just speaks for itself. On one hand it’s a very black and white title: The Satanist is like a fucking nail through the hand of Jesus Christ\, period. No more\, no less. But then again\, as with everything else you put a hundred people together and ask them what the name The Satanist means to them and you’re going to hear a hundred different opinions\, which they can then discuss and fight over.” Likewise\, Nergal views the lyrical content of the record as similarly open to interpretation\, encouraging this. “There’s a lot of symbolism and reflections and impressions in there\, and it’s using millions of metaphors to express a certain very sinister and very captivating atmosphere\, but there are no answers. People always like to have a deeper insight into what we do\, but that’s not what we want to give with this record. The way I see it is that between us we can make a huge fucking pyre and set the world on fire\, but what we’re doing is just giving you the matches\, giving you the spark\, what you want to do with it is up to you. Personally\, if I sat down with the lyrics in front of me I too would probably come up with a lot of different interpretations and concepts\, it’s a never ending process\, and that’s exciting to me.” \nTwenty-three years and ten albums into their career\, that Behemoth is still in the ascendant is a statement to their commitment\, determination and capacity for writing such powerful music. If ever a band was to go out on a high The Satanist would make for one hell of a swan song\, but don’t expect them to disappear any time soon. “I remember before we we had a record deal I was having a conversation with Baal\, the band’s original drummer\, and we said okay\, if one day we manage to record an album and put it out how cool would it be to split up right after that? It would be one record and no more\, and there was something about that that had an appeal\, but y’know what\, it doesn’t work like that for individuals like myself. Hunger has always driven me through life\, and I can never sit in one place and relax for too long because I have the need to explore this whole universe in every possible way. Now\, over two decades later it’s the same story. I can tell you I have no problems with finishing my career after this record. Just say the title itself: The Satanist. How the fuck am I gonna beat that title? It sounds like the ultimate definition of our art – but then again\, I remember that conversation with Baal\, and I know it doesn’t work like that\, so I know there will probably be other incarnations of our artistic identity\, one way or another. All I know is I love being here and now\, and I just want to underline that I couldn’t be more proud and happy with my own music. It really drives me through the day\, and now I just want to sit back and hear any and all opinions of it.” \nBehemoth is:\nNergal – vocals & guitars\nInferno – drums\nOrion – bass\nSeth – guitars
URL:https://royaleboston.com/event/behemoth/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160425T200000
DTEND;TZID=America/New_York:20160425T200000
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CREATED:20160127T175644Z
LAST-MODIFIED:20160127T175644Z
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SUMMARY:The Residents present Shadowland
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18+.\nTickets on sale Fri. 1/29 at 12pm! \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[Website] – [Facebook]
URL:https://royaleboston.com/event/the-residents-presents-shadowland/
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:20160429T180000
DTEND;TZID=America/New_York:20160429T180000
DTSTAMP:20260410T182811
CREATED:20160306T170010Z
LAST-MODIFIED:20160306T170010Z
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SUMMARY:Baroness
DESCRIPTION:Doors: 6:00 pm / Show: 6:45 pm \nThis event is 18 and over.\nTickets on sale Fri. 3/11 at 10AM! \n*** \n \n*** \nBaroness \n \n[Website] [Facebook] [Twitter] \nPete Adams – Guitar\, Vocals\nJohn Baizley – Vocals\, Guitar\nNick Jost – Bass\, Keyboards\nSebastian Thomson – Drums \nBaroness’ triumphant new album contains some of the biggest\, brightest and most glorious riffs and choruses the adventurous rock group has ever recorded. But its title\, Purple\, also reflects a dark moment in the group’s recent history: the terrifying bus crash they survived while on tour in 2012. “The band suffered a gigantic bruise\,” singer-guitarist John Baizley says of the accident. “It was an injury that prevented us from operating in a normal way for quite some time. Hopefully\, this record is the springboard that helps us get away from all that.” \nThe album\, which is due out December 18 and which producer Dave Fridmann (the Flaming Lips\, Sleater-Kinney) helmed\, covers the gamut of emotions Baroness have experienced in recent years and serves as their victory cry. Purple finds a revamped lineup of the band – Baizley and Pete Adams (guitar\, vocals) and new additions Nick Jost (bass\, keyboards) and Sebastian Thomson (drums) – playing 10 intricately textured tunes and singing about the worry they felt immediately after the crash (“If I Have to Wake Up (Would You Stop the Rain)”)\, the struggle to recover as smoothly as possible (“Chlorine & Wine”) and their ongoing quest for survival (“The Iron Bell”). From its bulldozing opener “Morningstar” to the avant-garde 17-second closer “Crossroads of Infinity\,” the record is at once both their most emotionally threadbare and musically complex offering to date\, with passages that allude to their classic-rock roots as much as their crushing metal past. \n“We didn’t want to make a mellow\, sad\, dark thing\,” Adams says. “We needed to be up-tempo. We needed to be melodic\, and it also needed to be aggressive. In all of that\, I think we were able to get out everything we felt\, all of the emotion involved\, everything from being angry to wanting to continue to push forward.” \nBaroness formed in 2003\, slugging it out in their local Savannah\, Georgia scene while adhering to a DIY punk ethic\, booking their own tours and silk-screening their own shirts. In 2007\, they put out their critically acclaimed debut\, the sludgy\, guitar-banging Red Album\, which heavy-metal magazine Revolver named Album of the Year. They followed it up two years later with the heavier Blue Record\, extreme-metal magazine Decibel’s Album of the Year. But it was on their last release\, the 2012 double-album Yellow & Green\, where they really opened up\, exploring a slightly lighter touch with more accessible vocals and alt-rock arrangements\, leading to a Top 30 chart debut in the U.S. and Spin declaring it the “Metal Album of the Year.” Unfortunately\, the group would not be fully able to enjoy Yellow & Green’s success and accolades. \nIn August 2012\, less than a month after Yellow & Green came out\, Baroness were on tour driving in England when their bus broke through a guardrail on a viaduct near Bath and plummeted nearly 30 feet to the ground below. Through some miracle\, none of the nine passengers died\, though Baizley broke his left arm and left leg and the group’s rhythm section at the time\, bassist Matt Maggioni and Allen Blickle\, both suffered fractured vertebrae. \n“I was lying in my bunk when the brakes went out\, and I knew immediately once we picked up speed that we were going to crash\, period\,” recalls Adams\, an Army vet who went through the equivalent of a bus crash a day while fighting in Iraq and who earned a Purple Heart in combat. “I didn’t tense up. I didn’t brace myself. I just rolled over in my bunk and said a few peaceful words to myself and hung in there\, because I was like\, ‘Here we go. If it this is it\, then make it quick.’ I felt like a shoe in a dryer. Next thing you know\, it’s over and I’m standing there\, and I was not broken. I was burned\, I was cut\, I was bleeding\, I was dazed\, but I was OK. And I collected myself and started helping people out. But I absolutely thought the band would be over.” \nBaizley spent two-and-a-half weeks immobile in a hospital and then months to recover from his injuries\, but when he did\, he and Adams decided to keep the group going. “I spoke to James Hetfield\, who has also dealt with the fallout from a bus-related accident\, and he said\, “Life is going to be difficult for a while; but you’ll be fine. You’ve got this\,'” he says. “And once I had done some physical therapy and played guitar again\, I thought\, ‘Yes\, I’ve got this. It’s not over.'” \nLooking back on it now\, Hetfield was right\, and now Baroness’ members feel like they’ve gotten through the worst of it. “While we realize the accident is obviously of interest\, we have gone over that particular story’s details at length over the past few years\,” Baizley says. “We feel that this album not only addresses but puts a punctuation mark on that story. Baroness existed before the accident and will continue to exist\, and we’d rather talk about what we’ve created with Purple than let one side-story overtake or define who we are as a band.” \nOnce Baizley was ready to get moving again\, the first matter at hand was to find a rhythm section\, since Maggioni and Blickle had both split amicably with the group. To find the right people\, Baizley leaned on some famous friends for advice. Eventually\, Baizley spoke to Mastodon’s Brann Dailor\, who pointed him in the right direction to finding the group’s new drummer\, Trans Am member Sebastian Thomson\, to help build up the band again. “We didn’t try out anyone else\,” Baizley says. Another friend suggested that they check out someone whom she described as being the best player she’d ever heard. That turned out to be Nick Jost\, who not only played both the upright bass and bass guitar\, but was also a skilled piano player with a degree in jazz composition. \nWith a new lineup in place\, the group eventually embarked on lengthy trek that Baizley describes as a “thank you tour\,” to the fans who stood by the band in its darkest hour\, in the spring of 2013. Other than a handful of Australian gigs in 2014\, Baroness spent the time since then getting ready for their next chapter\, setting up their own indie label\, Abraxan Hymns\, and writing songs for Purple. \n“I wanted to celebrate my misery through my creativity and face it head on\,” Baizley says of the LP. “The lyrics on Purple are about the different paths that formed in the fallout of the crash\, from very direct stories about difficult moments of suffering to the love I feel for people who were there for me.” \nWhen the group finally got to work out the tunes in the studio\, they did so with a producer whom Baizley has always been eager to work with: Dave Fridmann. “He’s been on the top of my list since Day One\,” the singer says. “I never thought he’d work with us. I absolutely worship his recordings.” With 25 years of experience mapping out Wayne Coyne’s intricate flights of audial fancy on Flaming Lips records and making the most of bands generally known for understatement like Low and Spoon\, the producer helped the group construct a sonic habitat for all of Purple’s unique sounds\, including acoustic guitar\, otherworldly keyboard and echoes galore. He also helped them make the most of themselves. \n“We’re a very analytical band\,” Adams says. “We’ll write something and overanalyze it to the point where we feel we’ve edited the songs as much as they could be\, and Fridmann threw ideas at us that we’d never thought about before. We needed that outside ear.” \nBut Purple is perhaps most notable for serving as a vehicle for Baizley and Adams to move on\, and welcome Jost and Thomson to the fold. “They are both very talented musicians\,” Adams says. “They’re open to new ideas and you can rely on them.” \n“They said\, ‘We just want to make sure it kicks ass\,'” Baizley recalls. “That’s what I needed. I was in a pretty bleak spot when we weren’t playing. And when I realized that Pete\, Nick and Sebastian were excited – and I hadn’t felt that unified amount of excitement before – it pushed us into saying\, ‘We’ve got this.'” \n“The whole process was very smooth\,” Thomson says. “The only thing that required a little bit of work was learning how to write together. That took us a month or two to figure out\, but once we did we got on a roll.” \n“I made a mistake and hit the wrong chord at the end of a run through of ‘If I Have to Wake Up’ and out of that mistake we wrote ‘Fugue\,'” Jost says. “That shows how we grew. And then ‘If I Have to Wake Up’ shows just how far we came.” \n“We had a situation where a band had to rebuild itself with half-new members and an almost entirely new crew\,” Thomson says. “On paper that sounds like a possible recipe for disaster\, but we all clicked almost immediately. We still have that attitude to this day.” \nAdams says only recently\, since the group has gotten back on the road\, he thinks that Baroness has felt like a band again. And now with Purple under their belts\, Baroness are ready to take on the world. “There’s a lot more playfulness now\,” Adams says. “Everyone now is positive\, there’s no heavy bullshit. People are laughing and smiling more now in Baroness than I’ve ever seen. That’s real\, and I’m thankful for that.” The bruise is beginning to heal.
URL:https://royaleboston.com/event/baroness/
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:20160501T180000
DTEND;TZID=America/New_York:20160501T180000
DTSTAMP:20260410T182811
CREATED:20151201T120007Z
LAST-MODIFIED:20151201T120007Z
UID:10002066-1462125600-1462125600@royaleboston.com
SUMMARY:[SOLD OUT] Basement
DESCRIPTION:Doors: 6:00pm / Show: 7:00pm \nThis show is open to all ages. \nThis show is SOLD OUT. \n*** \nSince abruptly announcing an indefinite hiatus only weeks after the release of 2012’s breakthrough LP Colourmeinkindness\, Basement’s intensely devoted following has only grown. Promise Everything is the band’s full-length return to writing and recording since the break. Challenged by the spacing out of members not only across the country – but across the globe – Promise Everything was written by piecing together songs without the luxury of a space or even a time zone to share. Perhaps this is why upon listening\, Promise Everything feels like a conversation between different people\, revealing different moods and feelings throughout. This conversation shifts and evolves\, filtering subtle\, tasteful alternative rock touchstones through the band’s unmatched melodic lens. More clearly aggressive songs like “Brother’s Keeper” and title track “Promise Everything” situate Basement at the forefront of the rock world\, pairing that aggression with an inherent sense of melody. On the standout track “Aquasun\,” lyrical flow and melody overtake the listener while overt meaning gives way to musicality and its nuance. Despite years spent apart\, it would seem Basement’s musical conversation has been one that has lingered even when after it was interrupted too soon by their premature & luckily temporary break\, and as their first true cohesive document\, Promise Everything is only the beginning of what Basement has to say.
URL:https://royaleboston.com/event/basement/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160507T180000
DTEND;TZID=America/New_York:20160507T180000
DTSTAMP:20260410T182811
CREATED:20160112T160042Z
LAST-MODIFIED:20160112T160042Z
UID:10001626-1462644000-1462644000@royaleboston.com
SUMMARY:M. Ward
DESCRIPTION:Doors: 6:00 pm / Show: 6:45 pm \nThis event is 18+.\nTickets on sale Fri. 1/15 at 10AM! \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*** \nM. Ward returns with a stunning new album\, More Rain\, for release on Merge Records on March 4\, 2016. Ward has released a string of acclaimed solo albums over the past several years\, along with five LPs with Zooey Deschanel as She & Him and a 2009 collaborative album with My Morning Jacket’s Jim James and Bright Eyes’ Conor Oberst and Mike Mogis under the moniker Monsters of Folk. In addition to his celebrated work as a musician\, Ward is an accomplished producer\, handling those duties for such luminaries as Mavis Staples\, Jenny Lewis\, and Carlos Forster as well as his own musical projects. \nM. Ward knows how to live with rain. Having spent the last decade-and-a-half based in the perennially damp Portland\, Oregon\, the singer-songwriter and producer has learned how to shine through the soggy gloom by simply embracing its inevitability. For Ward\, there is inspiration in a dark sky and harmony in foreboding winds. And with his new album More Rain\, he has made a true gotta-stay-indoors\, rainy-season record that looks upwards through the weather while reflecting on his past. \n“I think one of the biggest mysteries of America right now is this: How are we able to process unending bad news on Page One and then go about our lives the way the style section portrays us?” says Ward. “There must be a place in our brains that allows us to take a bird’s-eye view of humanity\, and I think music is good at helping people—myself included—go to that place.” \nThis album\, Ward’s eighth solo affair\, finds the artist picking up the tempo and volume a bit from his previous release\, 2012’s A Wasteland Companion. Where that record introspectively looked in from the outside\, More Rain finds Ward on the inside\, gazing out. Begun four years ago and imagined initially as a DIY doo-wop album that would feature Ward experimenting with layering his own voice\, it soon branched out in different directions\, a move that he credits largely to his collaborators here who include R.E.M.’s Peter Buck\, Neko Case\, k.d. lang\, The Secret Sisters\, and Joey Spampinato of NRBQ. The result is a collection of upbeat\, sonically ambitious yet canonically familiar songs that both propel Ward’s reach and satisfy longtime fans. \nMore Rain begins with an actual rainstorm\, then throughout the album\, guitars chime\, chug\, and riff with Ward’s unmistakable earthy tone\, while layers of atmospheric reverb and skittering drums climb and clip in equal measures. As the cloud of noise rolls in\, the layers part ever so slightly to make way for Ward’s voice\, which can play wispy and whimsical in one moment (“Pirate Dial”) or crackling and smoky in the next (“Time Won’t Wait”) just as well as it can climb to clear-sky clarity (“Confession”) then drop down to smooth\, soulful crooning (“I’m Listening”)\, each one after the other. “Girl From Conejo Valley” is a nostalgic trot through people he used to know and a place he used to be\, and “Slow Driving Man” is sweeping and lush in its orchestral climb towards confident heights. \nAs the album ends with the self-assured swing of “I’m Going Higher\,” voices join together in a chorus of rising “ah”s and\, for just a second\, it seems the storm outside has slowed\, making room for a ray of hopeful sunlight. As Ward knows\, the rainy season is sure to return\, but for now\, More Rain is here to help us with our perspective. \n*** \nPre-order More Rain on CD or LP in the Merge store. The first 750 pre-orders will received a limited edition translucent red vinyl. Pre-order the album digitally via iTunes. \nwww.mwardmusic.com\nwww.facebook.com/mwardmusic\nwww.twitter.com/mwardtweeting
URL:https://royaleboston.com/event/m-ward/
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:20160510T190000
DTEND;TZID=America/New_York:20160510T190000
DTSTAMP:20260410T182811
CREATED:20160229T140010Z
LAST-MODIFIED:20160229T140010Z
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SUMMARY:Chelsea Wolfe
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Wed. 3/2 at noon! \n*** \n \n*** \nChelsea Wolfe \n \n[Website] [Facebook] [Twitter] \nSleep paralysis plagues singer/songwriter Chelsea Wolfe\, and that strange intersection of the conscious and the unconscious has inadvertently manifested itself within her work. Across the span of her first four albums\, there is an underlying tension\, a distorted and nebulous territory where dark shadows hover along the edges of the sublime and the graceful. But until now\, Wolfe’s trials and tribulations with the boundaries between dreams and reality have only been a subconscious influence on her work. With her fifth album\, Abyss\, she deliberately confronts those boundaries and crafts a score to that realm she describes as the “hazy afterlife… an inverted thunderstorm… the dark backward… the abyss of time.” \nChelsea Wolfe’s material has always felt intensely private\, from the almost voyeuristic bedroom-production aesthetic of her debut album The Grime and the Glow to the stark themes and atmospheres of 2013’s Pain Is Beauty. “Abyss is meant to have the feeling of when you’re dreaming\, and you briefly wake up\, but then fall back asleep into the same dream\, diving quickly into your own subconscious\,” says Wolfe. To conjure this in-between world\, Wolfe continued her ongoing collaboration with multi-instrumentalist and co-writer Ben Chisholm and drummer Dylan Fujioka\, with Ezra Buchla brought on board to play viola and Mike Sullivan (Russian Circles) enlisted to contribute guitar. The ensemble traveled to Dallas\, TX to record with producer John Congleton (Swans\, St. Vincent). In the back of her mind burned the words of designer Yohji Yamamoto: “Perfection is ugly. Somewhere in the things humans make\, I want to see scars\, failure\, disorder\, distortion.” The resulting eleven songs reflect that philosophy as they smolder with human frailty\, intimacy\, quiet passion\, anxiety\, and deep longing. \nAbyss opens with the disorienting lurch of “Carrion Flowers”\, where Wolfe weaves a hypnotic vocal melody over monotonic industrial thuds\, much as an Indian raga is constructed around a lone note or swara. On “Iron Moon”\, the band pushes for extremes in its loud-quiet-loud strategy\, alternating between hushed balladry and gargantuan doom. On “Dragged Out”\, glacial-paced fuzz riffs underscore Wolfe’s sultry verses\, until a howling wail of distortion dominates the chorus. But there are certainly moments when the brutish elements are reigned in—“Maw” could serve as a lullaby and “Crazy Love” harkens back to the humble acoustic compositions of her Unknown Rooms album. But between them we have “After the Fall”\, the centerpiece of the album\, where the abrupt tonal shifts\, descending chord progressions\, and climactic vocals illustrate Wolfe’s fascination with Memories\, Dreams\, Reflections by Carl Jung. “I let myself drop\,” begins one of Jung’s recollections of his dreams. “I was so struck by that visual: the drop into the abyss of one’s own mind\, allowing yourself to feel things you’ve hidden away\, bringing them front and center. That became the goal of this album\,” says Wolfe. That surrender can be heard in the slowly escalating cacophony of “Survive”\, the penultimate square-wave hum and yearning of “Color of Blood”\, and the clamorous piano loop and disorienting arrangement of the closing title track. \n“Sleep and dream issues have followed me my whole life\,” remarks Wolfe as she revisits notes from the writing and recording sessions. In a way\, these issues have become a part of Chelsea Wolfe’s identity\, for whom the notion of sleep as an escape has been subverted. Abyss captures this dichotomy\, this battle between the soothing and the upsetting\, and demonstrates why Chelsea Wolfe has become one of the most intriguing songwriters of the decade. \n– Brian Cook\, 2015 \n*** \nA Dead Forest Index \n \n[Website] [Facebook] [Twitter] \nLandscapes both seen and felt\, real and imagined\, lie at the heart of In All That Drifts From Summit Down\, the vast debut full-length release from nomadic duo A Dead Forest Index. Comprised of brothers Adam Sherry (vocals/guitar) and Sam Sherry (drums/piano)\, the group crafts ethereal and intensely intimate compositions that defy trends and labeling\, instead shaping an aural experience as organic as it is unpredictable. Forsaking instrumental complexity in favor of richly dense vocals and an otherwise minimal palette\, the band evokes heaviness with the atmosphere they create rather than through blunt force. Teaming-up with Sargent House on the heels of a recent European tour supporting labelmate Chelsea Wolfe\, A Dead Forest Index are poised to introduce their sound to a global audience in 2016. \nA Dead Forest Index was initially the solo project of Adam Sherry\, begun in 2008. By 2010\, it had evolved into a collaboration\, with Sam Sherry supplying percussive depth to his brother’s distinctively hymnal approach to vocals\, itself characterized by cyclical harmonies and experiments with drone. Untethered by place (or\, for that matter\, era)\, they’ve spent the past few years developing their sound\, touring extensively between 2012-2014\, and issuing the EPs “Antique” and “Cast of Lines” in the process. The latter was released by Jehnny Beth of Savages’ Pop Noire label\, a precursor to the collaborative Savages/A Dead Forest Index composition and performance titled “In What I’m Seeing; the Sun” for the Barbican’s Station to Station Festival in 2015. \nThough basing themselves periodically in locales as far-flung as Melbourne and London\, the oceanic grandeur of A Dead Forest Index’s songs suggests a spiritual mooring in their homeland of New Zealand. Their influences are rich and untapped: the poetic\, archaic ‘deep song’ of Indian and Andalusian origin\, Romanian lăutari troupe Taraf de Haidouks\, and the allegorical symbolism found in William Blake have all been cited as antecedents. The group have themselves been compared to The Velvet Underground with Nico\, Scott Walker\, Swans with Jarboe\, and Antony and the Johnsons\, to name a few. \nIn All That Drifts From Summit Down\, their debut album\, is a testimony to the sublime divinity of nature and the cold reality of time’s passage. Unfolding over 13 tracks\, the album imagines natural phenomena as poetic metaphor for the human condition\, the lyrics evoking stone\, cold air\, unyielding emptiness and erosion\, while the enveloping warmth of Adam Sherry’s layered\, choral vocals makes for an intriguing contrast. “Cast of Lines” is a prime example of this\, its rapturous “In all our currents / a fog upon the sea at night” mantra accompanied by little more than a strumming guitar. Sam Sherry’s steady rhythms propel some tracks\, like “Tide Walks” and “No Paths”. “Ringing Sidereal”\, on the other hand\, unwinds more slowly\, a dark cavern of a song with flickering sparks of percussion emerging only where necessary. Occasionally swells of noise take shape. On “In Greyness the Water”\, a slow-building churn buffers the repeating “In… fall… colour” chorus that penetrates through the cacophony like spires through fog. Savages guitarist Gemma Thompson guests on two tracks\, providing a wiry undercurrent to the brilliant postpunk stomp of “Myth Retraced”\, before fortifying the processional stride of “Sand Verse”. In All That Drifts From Summit Down is a potent\, compelling statement\, an exercise in restraint and severity whose icy hue only accentuates the warmth at its core. \nA Dead Forest Index epitomize the possibilities of the modern age. Weaving threads of disparate influence from around the world into a captivating tapestry\, the duo exemplify their own transience\, producing mature\, wholly inspired work unbound by time or place.
URL:https://royaleboston.com/event/chelsea-wolfe/
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:20160512T200000
DTEND;TZID=America/New_York:20160512T200000
DTSTAMP:20260410T182811
CREATED:20160202T174741Z
LAST-MODIFIED:20160202T174741Z
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SUMMARY:NIGHT SNIPERS
DESCRIPTION:Diana Arbenina is a Russian Rock legend – leader of “Night Snipers”. They will be presenting group’s new album “Выживут Только Влюбленные” as well as band’s Greatest Hits. \nDon’t miss an opportunity to see one of Russia’s great independent voices live in concert in Boston!
URL:https://royaleboston.com/event/night-snipers/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/02/5.12-partytime.jpg
ORGANIZER;CN="PartytimeBoston":MAILTO:info@partytimeboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160513T180000
DTEND;TZID=America/New_York:20160513T180000
DTSTAMP:20260410T182811
CREATED:20160201T161015Z
LAST-MODIFIED:20160201T161015Z
UID:10002182-1463162400-1463162400@royaleboston.com
SUMMARY:Old 97's / Heartless Bastards
DESCRIPTION:Doors: 6:00 pm / Show: 6:30 pm \nThis event is 18+.\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*** \nOld 97’s \n \n[Website] [Facebook] [Twitter] \n*** \nHeartless Bastards \n \n[Website] [Facebook] [Twitter] \n*** \nBJ Barham (of American Aquarium) \n \n[Website] [Facebook] [Twitter]
URL:https://royaleboston.com/event/old-97s-heartless-bastards/
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/2016/02/Heartless-Bastards-Old-97s-Tour-Admat-plus-Special-guest-localized.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160518T200000
DTEND;TZID=America/New_York:20160518T200000
DTSTAMP:20260410T182811
CREATED:20160223T170046Z
LAST-MODIFIED:20160223T170046Z
UID:10002200-1463601600-1463601600@royaleboston.com
SUMMARY:[SOLD OUT] ZHU
DESCRIPTION:Doors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over.\nSOLD OUT \n*** \nZHU \n \n*** \nZHU \n[Website] [Facebook] [Twitter] \nNeon City.
URL:https://royaleboston.com/event/zhu/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160524T200000
DTEND;TZID=America/New_York:20160524T200000
DTSTAMP:20260410T182811
CREATED:20160124T150037Z
LAST-MODIFIED:20160124T150037Z
UID:10002176-1464120000-1464120000@royaleboston.com
SUMMARY:[SOLD OUT] RuPaul's Drag Race
DESCRIPTION:Bowery Boston & AEG Live present:\nRuPaul’s Drag Race \n8:00 pm / Show: 9:00 pm \nThis event is 18+. \nThis show is SOLD OUT! \nPlease note: Lineup is subject to change. \n*** \nProducer Entertainment Group and Sidecar Management\, in conjunction with World of Wonder and Logo TV\, are announcing the return of the world’s biggest touring drag revue\, based on international mega­hit TV franchise “RuPaul’s Drag Race” (RPDR). Ticket information for the 58­-date “RuPaul’s Drag Race Battle of the Seasons: 2016 Extravaganza Tour” is available now at www.RuPaulBOTS.com.​ \nThe “Battle of the Seasons” tour\, now in its third consecutive year of growth\, will again be hosted by series judge M​ichelle Visage and includes an all-­star cast of past winners\, runners up and fan favorites from each season of RPDR\, including: A​dore Delano\, ​Alaska Thunderfuck\, ​Courtney Act\, Ginger Minj\,​ ​Miss Fame\,​  Phi Phi O’hara\, ​and Violet Chachki\, with an opening DJ set by Pearl.​ \n“Last year the world got merely a taste of RuPaul’s queens with the first global Battle of the Seasons Tour\,” said Michelle Visage\, host of the “Battle of the Seasons” tour and permanent judge on RuPaul’s Drag Race. “This year we are back\, and these bitches are bigger and badder than before! Get ready for the ULTIMATE RuPaul’s Drag Race experience from the minute you walk through the doors. It is a once-­in-a-lifetime extravaganza that you will NOT want to miss!” \nThe “Extravaganza” tour will begin with a 14­ city Europe cycle launching from Antwerp\, Belgium on March 17\, 2016. The second leg of the tour will kick off in Seattle\, Washington on April 19\, 2016 and will cross the United States and Canada with 43 stops. Witness the eleganza! and gag on the shade of it all in a night of unforgettable music and madness with the world’s most talented drag performers. \n \n  \n*** \nVIP packages available: \nRUPAUL’S DRAG RACE SUPERSTAR PACKAGE ($299)\nOne Incredible Top Price VIP General Admission Ticket \n\n Packages Based on General Admission Tickets Include Early Entry (6:30PM) & First Access to the Floor!\n\nOne Exclusive Invite to the Fabulous Post-Show Drag Race ** \n\nMemories to Last a Lifetime – Join Us for a Special Post Show Meet & Greet with Cast Members\nCapture the Moment – Individual On-Stage Group Photo Opportunity with Cast Members\n Signing-Off – Each VIP Guest Will Receive an Ultra-Exclusive\, Limited Edition Autographed Tour Poster\n\nOne Entry into the Official Preshow VIP Mingle ** \n\nMix and Mingle with Your Favorite RuPaul’s Drag Race Stars Before the Show in an Exclusive Pre-Show VIP Meet & Greet Reception\nBring the Fun\, We’ll Bring the Bar – Preshow Mingle Includes a Fully-Stocked Cash Bar for Your Enjoyment\nForget the Lines! Access to the RuPaul’s Drag Race Merchandise Booth for All Your Shopping Needs Before General Public\nBonus – Lucky VIP Guests Will Be Randomly Selected Each Night (via Raffle) to Participate in the Actual Show!\n\nEssential Drag Race VIP Merchandise \n\nOne Exclusive Drag Race Tour-Tee\nOne Official Drag Race Tour Tote Bag\nOne Commemorative Drag Race VIP Laminate & Matching Lanyard\n\n** Please note member participation in preshow/post-show activities is subject to change and can vary by market. You must be of legal age to consume alcohol. Proper identification required for consumption of alcohol; additional local restrictions may apply. \nSHANTAY YOU STAY VIP PACKAGE ($199)\nOne Incredible Top Price VIP General Admission Ticket \n\nPackages Based on General Admission Tickets Include Early Entry (6:30pm) & First Access to the Floor!\n\nOne Entry into the Official Preshow VIP Mingle ** \n\nMix and Mingle with Your Favorite RuPaul’s Drag Race Stars Before the Show in an Exclusive Pre-Show VIP Meet & Greet Reception\nBring the Fun\, We’ll Bring the Bar – Preshow Mingle Includes a Fully-Stocked Cash Bar for Your Enjoyment\nForget the Lines! Access to the RuPaul’s Drag Race Merchandise Booth for All Your Shopping Needs Before General Public\n\nEssential Drag Race VIP Merchandise \n\nOne Official Drag Race Tour Tote Bag\nOne Commemorative Drag Race VIP Laminate & Matching Lanyard\n\n** Please note member participation in preshow/post-show activities is subject to change and can vary by market. You must be of legal age to consume alcohol. Proper identification required for consumption of alcohol; additional local restrictions may apply. \nVIP PACKAGE DISCLAIMER INFORMATION\nAll package purchasers will be contacted via e-mail a few days prior to the event date. Information will sent to the e-mail address provided at the time of purchase. If you do not receive an e-mail a few days prior to the event please contact RuPaulVIP@aeglive.com \nAll sales are final. There are no refunds or exchanges under any circumstances. All packages and package contents are non-transferable. VIP merchandise will be shipped directly to each package purchaser\, some exceptions may apply. VIP merchandise is not required for venue entry. Information provided at the time of purchase (name\, address\, e-mail\, etc.) is the same information that will be utilized for shipping and individual contact requirements where applicable. Package purchases are restricted to U.S. & Canadian addresses only. The artist\, tour\, promoter\, ticketing company\, venue or any other affiliated parties are not responsible for outdated or inaccurate information provided by the consumer at the time of purchase. Commemorative VIP laminates are for commemorative purposes only. The VIP laminate does not gain or authorize access into the venue\, VIP or any backstage areas. \n 
URL:https://royaleboston.com/event/rupauls-drag-race/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160608T190000
DTEND;TZID=America/New_York:20160608T190000
DTSTAMP:20260410T182811
CREATED:20160306T160057Z
LAST-MODIFIED:20160306T160057Z
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SUMMARY:[CANCELED] Hinder: Stripped - An Acoustic Tour
DESCRIPTION:Due to unforeseen scheduling conflicts\, this show has been canceled. Refunds available at point of purchase. \n*** \n \n*** \nHinder \n \n[Website] [Facebook] [Twitter] \nHinder’s certainly had quite the ride to arrive at this point in their careers. Their 2005 debut\, Extreme Behavior\, sold over three-million copies in the U.S.\, while its breakthrough single “Lips of an Angel” hit #1 on the Billboard Pop Chart. The record’s follow-up in 2008\, Take it to the Limit\, surpassed Gold status after debuting at #4 on the Billboard Top 200 with over 80\,000 copies sold first week. Meanwhile\, their third effort\, All American Nightmare\, dropped in 2010\, followed by Welcome To The Freakshow in 2012 . Along the way\, the band has shared the stage on national tours with everyone from Mötley Crüe and Nickelback to Aerosmith and Papa Roach. 
The multi-platinum Oklahoma City hard rockers Joe “Blower” Garvey\, Mark King\, Mike Rodden\, and Cody Hanson — entered the studio in the spring to begin recording a brand new effort which will be co-produced by Hanson and Marshal Dutton. There are no boundaries\, and every idea is going to be fair game throughout the process.
Hanson says\, “We like to think we can do anything. We don’t want to be stuck in a rut with one type of sound or formula. One song might have a country influence\, while another might have a pop influence. Then\, there are some heavy metal moments. We have every element covered on this record. You’ve got to do what’s best for the song.”
After nearly a decade\, Hinder are stronger than ever. Hanson concludes\, “This band was built around a strong core of hard work and friendship. Like it or not\, we’re going to be around for a long time.” \n*** \nLike A Storm \n \n[Website] [Facebook] [Twitter] \nFormed by brothers Chris\, Matt & Kent Brooks\, New Zealand band Like A Storm has made huge waves in both the U.S & Europe – labeled “one of the hottest buzz bands out there right now\,” by National Rock Review. \nWith a brand new album out through Century Media/Another Century\, this year the Storm spreads to Europe and the rest of the world. \nThe band of brothers moved from Auckland\, NZ to North America knowing no one. Renowned for their explosive live show\, LAS quickly climbed the ranks\, having now toured arenas and large clubs all across the US with such heavy-weights as: Alter Bridge\, Black Stone Cherry\, Steel Panther\, Shinedown\, HellYeah & more. \nTheir connection with the crowds every night was instant – Their first album\, “The End of The Beginning\,” debuted in the Billboard Top 200 from nightly tour sales alone. \nLike A Storm’s brand new single\, “Love The Way You Hate Me” has been #1 on the biggest rock station in North America for 5 weeks. Its stateside success makes LAS the highest-charting New Zealand rock act in US radio history. \nThe track connected with listeners everywhere. When a new single typically lasts a few weeks at US radio\, “Love The Way You Hate Me” blasted for over 9 months! Outlasting singles from much more established acts. \nThe official video for “Love The Way You Hate Me”\, which features a zombie mob of actual LAS fans\, has over 2 million views on Youtube. \nThe track was inspired when someone at a truck-stop in small-town USA called one of the brothers a “freak.” Produced by the band themselves\, it’s one of the first\, if not the only\, charting single to feature the ancient Aboriginal wood instrument\, the Didgeridoo. When combined with crushing guitars and prog drumming\, “Didgeridoo Metal” was born. \nTheir brand new album\, “Awaken The Fire” is one of the first releases from Century Media imprint ANOTHER CENTURY\, and will be released all across Europe on March 16th\, 2015 \nLike A Storm will be touring all across Europe in 2015 supporting the release. \n*** \nBrad Ray \n \n[Website] [Facebook] \nGrowing up in Rome\, Georgia\, Brad began playing guitar at the age of twelve.  His influences included such artists as Third Eye Band\, Prince\, White Snake and Maxwell.  Having a keen sense of creativity led to his writing with a particular focus on lyrics.  His writing styles range from ballad love songs to reggae and include topics as diverse as political and social commentaries as well as more personal and sensitive subjects with a mass appeal. \nWith his first album\, “So What\,” recorded at Kent Wells Studios in Nashville\, Brad showcases a collection of songs reminiscent of John Mayer\, Dave Matthews and Sublime.  The album includes songs such as the title cut\, “So What\,” “Homeward Bound\,” “Crimes\,” and “Twisted.”  His talents stretch to more than just the guitar\, playing banjo\, bass\, drums and keyboards.  A-list studio musicians from Nashville included session leader Mike Brignardello\, Mike Rojas\, Rob McNelley and Matt Combs. \nWhile attending Temple University in Philadelphia\, Pennsylvania\, Brad began writing hundreds of songs and performed around the city before returning home to the Southeast and beginning to play locally.  He currently is still writing\, performing and touring with his band\, Guest House.
URL:https://royaleboston.com/event/hinder-stripped-an-acoustic-tour/
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:20160609T180000
DTEND;TZID=America/New_York:20160609T180000
DTSTAMP:20260410T182811
CREATED:20160401T142540Z
LAST-MODIFIED:20160401T142540Z
UID:10002274-1465495200-1465495200@royaleboston.com
SUMMARY:PVRIS
DESCRIPTION:Doors: 6:00 pm / Show: 7:00 pm \nThis event is all ages. \nPlease note: Beach Weather will no longer be performing due to vocal strain. Read a message from Beach Weather HERE. \n*** \n \n*** \nPVRIS \n \n[Website] [Facebook] [Twitter] \nLynn Gunn – guitar/vocals/keys\nAlex Babinski – guitar/keys\nBrian MacDonald – bass/keys \nThere is a moment where every artist decides that it is best to create music based on instinct rather than expectation. For PVRIS\, a three-piece rock band from Boston\, that moment came during their conception. The trio formed in the studio while making songs for a previous project and realized that they needed to collectively eschew any preconceived idea of what music should be. “It occurred to us that we should just make whatever we want and not worry about fitting into the local scene\,” Lynn says. “Our vision was whatever we felt like doing. It was about making what we felt like making in the moment.” \nThat vision has manifested itself into PVRIS’s debut album White Noise\, which follows an acoustic EP that came out in April of 2014. The album is its own entity\, a collection of dynamic\, surging rock songs that combine the musicians’ collective influences and inspirations. The band has continually fostered an interest in electronic music and hoped to organically bring those sounds into their pop-tinged rock numbers. “We knew we wanted to go in a more electronic direction on the album\,” Lynn says. “We had that vision but we had no clue how it would actually sound. We let the music find itself.” \nWhite Noise was recorded last winter with musician Blake Harnage\, a longtime friend of the band\, in his home studio. It was Blake’s first time producing a full-length album\, but his influence became essential to the music. “Blake texted me after we signed to Rise saying he thought we could make an awesome record together and we worked it out and it was amazing\,” Lynn says. “He doesn’t have a filter. He just makes the music. He doesn’t care what people think of him or his music – he just lets his ideas flow and embraces them. He changed our perspective on writing and making music.” \nThe songs on the album are connected through the lyrics and the title\, which evokes both the supernatural and the harsh sound created by TV static and electricity. Ghosts\, often metaphorical\, populate the songs\, a haunting theme resonating throughout. Lines reappear in various tracks\, hinting back at one another and tying the album together. Each song exists as its own entity\, embracing different musical vibes\, but there is a sense of cohesiveness through White Noise. “St. Patrick\,” a propulsive rocker\, is driven by Lynn’s evocative vocals\, which soar over an electronic flourish that surges beneath the guitars. “White Noise” has a moodier quality\, its driving beats leading the way for a chorus that aches with longing\, while “My House” balances insistent\, pummeling rock sounds with melancholy reflection. Together\, the songs create a darkly tinged album that resonates with confidence. \n“There was some anxiety in the studio because we would think something sounded amazing but that no one would get it or take to it the right way\,” Lynn says. “But we got over that fear. Blake helped us find confidence in what we were making. We had to be happy with what we were making no matter what and that was the mindset we had for the rest of the process. We’re super proud of the record and how it represents us as a band.” \nPVRIS\, who has toured the U.S. several times in the past few years and played Warped Tour in the summer of 2014\, have reimagined their live set-up to reflect the album. Ultimately\, PVRIS wants to make music that is their own. Without expectation\, the musicians have songs that give something important to their audience – whatever that may be. \n“I hope people can take anything they desire away from this record\,” Lynn says. “It can be anything. We made the music because we loved it and now it can belong to everyone else.” \n*** \nLydia \n \n[Facebook] [Twitter] \nLydia is an indie rock band from Gilbert\, Arizona. Formed in 2003\, frontman Leighton Antelman along with a different array of band mates released three albums and took to the road for their first headlining tour in 2008 in support of their record Illuminate. \nAfter a brief hiatus in 2010\, the band returned in September 2011 with a new song\, and their album\, Paint it Golden\, was released shortly after in October of that same year. Lydia’s success has led them to tours such as the Zumiez Couch Tour\, Vans Warped Tour\, and The Bamboozle Festival as well as extensive headlining and supporting tours across the US\, Canada\, and the UK. \nIn March of 2013\, Lydia released Devil\, produced by Colby Wedgeworth (The Maine\, This Century)\, as a follow up to 2012’s Acoustics EP. The band toured in support of the record\, then Lydia re-released Devil in a deluxe version shortly thereafter. \nIn September of 2015\, Lydia released their latest full length Run Wild – coproduced by Aaron Marsh (of Copeland) and Colby Wedgeworth. The band embarked on a headlining run with support from Turnover\, Seahaven\, and The Technicolors. The band has earned press coverage by many reputable press sources over the years including Alternative Press\, Absolute Punk\, idobi radio\, Guitar World\, and more. Lydia’s most recent music video\, for “When It Gets Dark Out” off of Run Wild\, has been picked up by major media outlets MTV\, AXS TV\, and Yahoo Music to name a few. The band plans to continue to tour on the success of Run Wild. \nLydia is Leighton Antelman\, Matt Keller\, and Justin Camacho. \n*** \nCRUISR \n \n[Website] [Facebook] [Twitter] \nCRUISR began in 2012 as the solo project of Andy States and quickly morphed into what it is today; an indie-pop band whose summery\, feel-good hooks are infectious and stadium ready. \nStates wrote and recorded the band’s first EP in his Philadelphia bedroom\, fixated on the idea of what it means to craft a pop song. “I have an obsession with writing pop music and the idea that songs can transcend people.\,” States says. “I saw that producer Jeremy Park started writing blog articles about how he recorded Youth Lagoon\, so I wrote to him and sent him my songs asking for advice and knowledge. He wrote back and loved my stuff and helped me produce the first EP.” \nThe six-song self-titled EP was released in the summer of 2012 and quickly garnered attention online and in the press. With all the newfound awareness Andy promptly realized he needed a band to bring his songs to the stage. “Jon was always my sounding board. I’d show him songs in the making and get his advice. It only made sense that he’d become part of CRUISR\,” Andy notes. With the addition of Kyle and Bruno the quartet set out performing whenever possible. And of course\, they continued to write. \n“The writing process definitely changed once we became a full band. I’ll work on my computer and bring the idea to Jon. By that time it’s structured and has a backbone\, guitars are figured out etc. Jon elaborates on the idea with drums and it goes from there.” In late 2013 CRUISR released a new track online\, “Kidnap Me\,” which attracted even more positive attention than the EP. Representative of CRUISR as a cohesive unit\, “Kidnap Me” was the first track written as a band and showcases what CRUISR does best; sunny\, warm\, indie-pop. “It’s funny because we’re from Philadelphia and we write songs that sound like summer\, which is a fleeting season here. I guess it’s just because Philly is where we feel happiest\, and when we’re happy we write happy music.” \nFast-forward to present day when CRUISR is gearing up to release their second EP\, All Over\, which features definitive recordings of “Kidnap Me” and “Don’t Go Alone” as well as the brand new title track “All Over”; all of which were produced and mixed by Andrew Maury (RAC\, Panama Wedding\, Ra Ra Riot). All Over demonstrates how fantastically Andy’s mind is able to translate pop hooks. “How does pop music make everyone like it so much?” States laughs\, “Little kids hear it on the radio and just go crazy\, singing stupid songs. There’s something that’s so smart about it\, and a lot of things that people don’t notice are the key ingredients to writing a pop song. I’m just really into trying to decipher what those things are and trying to make pop music in our own way.” \nAll Over will be released on September 23 via Vagrant Records. \nCRUISR is Andy States (vocals / guitar)\, Jonathan Van Dine (drums)\, Kyle Cook (bass)\, Bruno Catrambone (guitar)
URL:https://royaleboston.com/event/pvris-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:20160610T180000
DTEND;TZID=America/New_York:20160610T213000
DTSTAMP:20260410T182811
CREATED:20160327T170013Z
LAST-MODIFIED:20160327T170013Z
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SUMMARY:PVRIS
DESCRIPTION:Radio 92.9 presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is all ages. \n*** \n \n*** \nPVRIS \n \n[Website] [Facebook] [Twitter] \nLynn Gunn – guitar/vocals/keys\nAlex Babinski – guitar/keys\nBrian MacDonald – bass/keys \nThere is a moment where every artist decides that it is best to create music based on instinct rather than expectation. For PVRIS\, a three-piece rock band from Boston\, that moment came during their conception. The trio formed in the studio while making songs for a previous project and realized that they needed to collectively eschew any preconceived idea of what music should be. “It occurred to us that we should just make whatever we want and not worry about fitting into the local scene\,” Lynn says. “Our vision was whatever we felt like doing. It was about making what we felt like making in the moment.” \nThat vision has manifested itself into PVRIS’s debut album White Noise\, which follows an acoustic EP that came out in April of 2014. The album is its own entity\, a collection of dynamic\, surging rock songs that combine the musicians’ collective influences and inspirations. The band has continually fostered an interest in electronic music and hoped to organically bring those sounds into their pop-tinged rock numbers. “We knew we wanted to go in a more electronic direction on the album\,” Lynn says. “We had that vision but we had no clue how it would actually sound. We let the music find itself.” \nWhite Noise was recorded last winter with musician Blake Harnage\, a longtime friend of the band\, in his home studio. It was Blake’s first time producing a full-length album\, but his influence became essential to the music. “Blake texted me after we signed to Rise saying he thought we could make an awesome record together and we worked it out and it was amazing\,” Lynn says. “He doesn’t have a filter. He just makes the music. He doesn’t care what people think of him or his music – he just lets his ideas flow and embraces them. He changed our perspective on writing and making music.” \nThe songs on the album are connected through the lyrics and the title\, which evokes both the supernatural and the harsh sound created by TV static and electricity. Ghosts\, often metaphorical\, populate the songs\, a haunting theme resonating throughout. Lines reappear in various tracks\, hinting back at one another and tying the album together. Each song exists as its own entity\, embracing different musical vibes\, but there is a sense of cohesiveness through White Noise. “St. Patrick\,” a propulsive rocker\, is driven by Lynn’s evocative vocals\, which soar over an electronic flourish that surges beneath the guitars. “White Noise” has a moodier quality\, its driving beats leading the way for a chorus that aches with longing\, while “My House” balances insistent\, pummeling rock sounds with melancholy reflection. Together\, the songs create a darkly tinged album that resonates with confidence. \n“There was some anxiety in the studio because we would think something sounded amazing but that no one would get it or take to it the right way\,” Lynn says. “But we got over that fear. Blake helped us find confidence in what we were making. We had to be happy with what we were making no matter what and that was the mindset we had for the rest of the process. We’re super proud of the record and how it represents us as a band.” \nPVRIS\, who has toured the U.S. several times in the past few years and played Warped Tour in the summer of 2014\, have reimagined their live set-up to reflect the album. Ultimately\, PVRIS wants to make music that is their own. Without expectation\, the musicians have songs that give something important to their audience – whatever that may be. \n“I hope people can take anything they desire away from this record\,” Lynn says. “It can be anything. We made the music because we loved it and now it can belong to everyone else.” \n*** \nLydia \n \n[Facebook] [Twitter] \nLydia is an indie rock band from Gilbert\, Arizona. Formed in 2003\, frontman Leighton Antelman along with a different array of band mates released three albums and took to the road for their first headlining tour in 2008 in support of their record Illuminate. \nAfter a brief hiatus in 2010\, the band returned in September 2011 with a new song\, and their album\, Paint it Golden\, was released shortly after in October of that same year. Lydia’s success has led them to tours such as the Zumiez Couch Tour\, Vans Warped Tour\, and The Bamboozle Festival as well as extensive headlining and supporting tours across the US\, Canada\, and the UK. \nIn March of 2013\, Lydia released Devil\, produced by Colby Wedgeworth (The Maine\, This Century)\, as a follow up to 2012’s Acoustics EP. The band toured in support of the record\, then Lydia re-released Devil in a deluxe version shortly thereafter. \nIn September of 2015\, Lydia released their latest full length Run Wild – coproduced by Aaron Marsh (of Copeland) and Colby Wedgeworth. The band embarked on a headlining run with support from Turnover\, Seahaven\, and The Technicolors. The band has earned press coverage by many reputable press sources over the years including Alternative Press\, Absolute Punk\, idobi radio\, Guitar World\, and more. Lydia’s most recent music video\, for “When It Gets Dark Out” off of Run Wild\, has been picked up by major media outlets MTV\, AXS TV\, and Yahoo Music to name a few. The band plans to continue to tour on the success of Run Wild. \nLydia is Leighton Antelman\, Matt Keller\, and Justin Camacho. \n*** \nCRUISR \n \n[Website] [Facebook] [Twitter] \nCRUISR began in 2012 as the solo project of Andy States and quickly morphed into what it is today; an indie-pop band whose summery\, feel-good hooks are infectious and stadium ready. \nStates wrote and recorded the band’s first EP in his Philadelphia bedroom\, fixated on the idea of what it means to craft a pop song. “I have an obsession with writing pop music and the idea that songs can transcend people.\,” States says. “I saw that producer Jeremy Park started writing blog articles about how he recorded Youth Lagoon\, so I wrote to him and sent him my songs asking for advice and knowledge. He wrote back and loved my stuff and helped me produce the first EP.” \nThe six-song self-titled EP was released in the summer of 2012 and quickly garnered attention online and in the press. With all the newfound awareness Andy promptly realized he needed a band to bring his songs to the stage. “Jon was always my sounding board. I’d show him songs in the making and get his advice. It only made sense that he’d become part of CRUISR\,” Andy notes. With the addition of Kyle and Bruno the quartet set out performing whenever possible. And of course\, they continued to write. \n“The writing process definitely changed once we became a full band. I’ll work on my computer and bring the idea to Jon. By that time it’s structured and has a backbone\, guitars are figured out etc. Jon elaborates on the idea with drums and it goes from there.” In late 2013 CRUISR released a new track online\, “Kidnap Me\,” which attracted even more positive attention than the EP. Representative of CRUISR as a cohesive unit\, “Kidnap Me” was the first track written as a band and showcases what CRUISR does best; sunny\, warm\, indie-pop. “It’s funny because we’re from Philadelphia and we write songs that sound like summer\, which is a fleeting season here. I guess it’s just because Philly is where we feel happiest\, and when we’re happy we write happy music.” \nFast-forward to present day when CRUISR is gearing up to release their second EP\, All Over\, which features definitive recordings of “Kidnap Me” and “Don’t Go Alone” as well as the brand new title track “All Over”; all of which were produced and mixed by Andrew Maury (RAC\, Panama Wedding\, Ra Ra Riot). All Over demonstrates how fantastically Andy’s mind is able to translate pop hooks. “How does pop music make everyone like it so much?” States laughs\, “Little kids hear it on the radio and just go crazy\, singing stupid songs. There’s something that’s so smart about it\, and a lot of things that people don’t notice are the key ingredients to writing a pop song. I’m just really into trying to decipher what those things are and trying to make pop music in our own way.” \nAll Over will be released on September 23 via Vagrant Records. \nCRUISR is Andy States (vocals / guitar)\, Jonathan Van Dine (drums)\, Kyle Cook (bass)\, Bruno Catrambone (guitar)
URL:https://royaleboston.com/event/pvris/
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:20160613T190000
DTEND;TZID=America/New_York:20160613T190000
DTSTAMP:20260410T182811
CREATED:20160412T153829Z
LAST-MODIFIED:20160412T153829Z
UID:10002332-1465844400-1465844400@royaleboston.com
SUMMARY:The Jayhawks
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 4/15 at noon! \n*** \nThe Jayhawks \n\n[Website] [Facebook] [Twitter] \nThe incredible harmonies and distinctive arrangements of The Jayhawks set them apart from the rest of the Minneapolis music scene that emerged in the 1980s. By the early 90’s they became a driving force and inspiration behind the growing Americana movement. Combining the talents of singer-songwriters Gary Louris and Mark Olson\, The Jayhawks released their major label debut\, the acclaimed Hollywood Town Hall (1992) on the Def American label. This was followed by Tomorrow the Green Grass (1995)\, which produced the alternative radio hit single “Blue”. \nWhen Olson left to pursue a solo career\, Louris singularly took over the songwriting role in The Jayhawks creating the band’s enduring sound on some of their best selling and well-received albums including Smile (2000) and Rainy Day Music (2003). Louris continues to write and tour with the longtime core group of Marc Perlman\, Karen Grotberg\, and Tim O’Reagan. While the touring line-up has changed over the years and Olson briefly reappeared in 2010 to record and tour\, this classic lineup maintains a commitment to adventure and forward motion in their shows and in their recordings. Their latest album\, Paging Mr. Proust (2016)\, was produced in Portland with Peter Buck and Tucker Martine. \n*** \nFolk Uke \n \n[Website] [Facebook] [Twitter] \nCathy Guthrie and Amy Nelson\, also known as Folk Uke\, have been writing and performing together for over a decade. This duo is a unique amalgam of angelic harmonies often wrapped around edgy\, surprising lyrics. Folk Uke plays folk music in its truest form with a delightfully wicked twist.
URL:https://royaleboston.com/event/the-jayhawks/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
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