BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Royale Boston - ECPv6.15.18//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Royale Boston X-ORIGINAL-URL:https://royaleboston.com X-WR-CALDESC:Events for Royale Boston REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20150308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20151101T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20160313T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20161106T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20170312T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20171105T060000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/New_York:20160421T183000 DTEND;TZID=America/New_York:20160421T183000 DTSTAMP:20260407T224956 CREATED:20160112T215112Z LAST-MODIFIED:20160112T215112Z UID:10002155-1461263400-1461263400@royaleboston.com 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/01/into-it-over-it-admat-localized-IIOI_TWBP_Admat_FLAT.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:20160424T190000 DTEND;TZID=America/New_York:20160424T190000 DTSTAMP:20260407T224956 CREATED:20160111T180038Z LAST-MODIFIED:20160111T180038Z UID:10001627-1461524400-1461524400@royaleboston.com 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/01/Behemoth-Admat-US2016-localized21.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:20160425T200000 DTEND;TZID=America/New_York:20160425T200000 DTSTAMP:20260407T224956 CREATED:20160127T175644Z LAST-MODIFIED:20160127T175644Z UID:10002178-1461614400-1461614400@royaleboston.com 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/01/ShadowlandStageHiRes.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:20160429T180000 DTEND;TZID=America/New_York:20160429T180000 DTSTAMP:20260407T224956 CREATED:20160306T170010Z LAST-MODIFIED:20160306T170010Z UID:10002248-1461952800-1461952800@royaleboston.com 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/03/Baroness_US_AdMat_Spring_2016_Flat_v1-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:20160501T180000 DTEND;TZID=America/New_York:20160501T180000 DTSTAMP:20260407T224956 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2015/12/basement-admat-UK-Tour-Flyer-2016-blank-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:20160507T180000 DTEND;TZID=America/New_York:20160507T180000 DTSTAMP:20260407T224956 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/01/M-Ward-Ad-Mat-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:20160510T190000 DTEND;TZID=America/New_York:20160510T190000 DTSTAMP:20260407T224956 CREATED:20160229T140010Z LAST-MODIFIED:20160229T140010Z UID:10002229-1462906800-1462906800@royaleboston.com 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/02/11x17-Tour-AdMat-v1.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:20160512T200000 DTEND;TZID=America/New_York:20160512T200000 DTSTAMP:20260407T224956 CREATED:20160202T174741Z LAST-MODIFIED:20160202T174741Z UID:10002194-1463083200-1463083200@royaleboston.com 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:20260407T224956 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:20260407T224956 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/02/zhu-admat-NeonCity-Individua-1l.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:20160524T200000 DTEND;TZID=America/New_York:20160524T200000 DTSTAMP:20260407T224956 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/01/APR-19-MAY-24-RuPaul-BOTS-Template-NORTH-AMERICA-AD-MAT-1-REVISED.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:20160608T190000 DTEND;TZID=America/New_York:20160608T190000 DTSTAMP:20260407T224956 CREATED:20160306T160057Z LAST-MODIFIED:20160306T160057Z UID:10002250-1465412400-1465412400@royaleboston.com 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/03/Hinder-Stripped-Admat-w-special-guests-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:20160609T180000 DTEND;TZID=America/New_York:20160609T180000 DTSTAMP:20260407T224956 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/04/PVRIS-admat-_NA16_Layered2.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:20160610T180000 DTEND;TZID=America/New_York:20160610T213000 DTSTAMP:20260407T224956 CREATED:20160327T170013Z LAST-MODIFIED:20160327T170013Z UID:10001645-1465581600-1465594200@royaleboston.com 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/04/PVRIS-admat-_NA16_Layered2.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:20160613T190000 DTEND;TZID=America/New_York:20160613T190000 DTSTAMP:20260407T224956 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/04/The-Jayhawks-Royale-6-13-16-poster-2.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:20160615T190000 DTEND;TZID=America/New_York:20160615T190000 DTSTAMP:20260407T224956 CREATED:20160222T170053Z LAST-MODIFIED:20160222T170053Z UID:10001636-1466017200-1466017200@royaleboston.com SUMMARY:Jack Garratt DESCRIPTION:WERS 88.9 Discovery Show \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 2/26 at noon! \n*** \n \n*** \nJack Garratt \n \n[Website] [Facebook] [Twitter] \nBritish artist-producer Jack Garratt could not have wished for a better introduction. The sharp young newcomer started 2015 as highly touted as he now looks to be concluding it\, and with the announcement of his self-written\, self-performed\, self-recorded\, and largely self-produced debut album now readied\, that heat looks set to reach fever pitch ahead of its February release. \nDrawing the dots between significant moments\, and landmark events of this fledgling career would already become a headache – the young Buckinghamshire artist has achieved more than he has any right to\, from bringing the house down at Radio 1’s Future Festival back in January\, selling out each and every UK and US show he’s played to ever expansive rooms\, through to being crowned BBC Introducing’s Artist of the Year at their annual televised awards ceremony this December. The scrapbook is bursting and that’s just volume one. Not bad for a guy who tends to do it all by himself. Maybe the humble ‘bedroom producer’ tag needs an update. \n“It’s a bloody minefield!” grins the larger-than-life Jack Garratt\, stroking that fine ginger beard of his in contemplation. \n“I loathe the idea that if I suggest that I produce my own songs then people presume I’m sat hunched over my laptop weeping into my own self-doubt. Life is too short for all that. I opened the door to a couple of excellent producers for Phase on a couple of songs\, and it was a really exciting experience. We got a lot done.” \nTruth be told\, Jack wasn’t even sure music was a legitimate pursuit\, and was already training to become a primary school music teacher when he dropped it all for those drums sticks\, pads and keys. It’s been a move none shrewder. \nHis first release\, the limited edition Remnants EP (self-released through Bubinga Records in early 2014 and featuring the first incarnation of Phase highlight\, ‘Worry’) was an invigorating\, almost spiritual listen. It married those distinct elements of electronica with classic guitar-fronted songwriting\, finding their skeletal shape from repeat listens to Channel Orange by Frank Ocean. \n“One Christmas\, everyone kept telling me to listen to Frank Ocean\, but that only made me not want to listen to him. Eventually I did\, and holy shit\, it virtually re-shaped what I wanted to do completely.” \nConversely\, another record that refused to budge from the stereo was Jack White’s Blunderbuss. \n“I would say that Blunderbuss and Channel Orange are the primary reasons that I do what I do now. I loved the raw\, bluesy riffs and crunch of Jack White\, but also that smoothness and ambience of Channel Orange. Why should they be incompatible? They shouldn’t\, so here we are.” \nBorn and raised in a Buckinghamshire village in the South of England\, Jack’s parents were musical and he learned to play instruments early\, something he’s never really stopped doing.  His initial acoustic shows were largely open-mic\, but the vision was to take the new sound and shows somewhere else completely. Everything you hear\, both on stage and off it\, is performed by Jack. The intimacy of the blues and Jack’s scintillatingly raw vocal can be juxtaposed with a bassline that rattles the foundations of the building. He keeps you on your toes\, and your hands in the air. \nThat Jack broadly produces all his own music is testament to the influence of leftfield production. He cites Flying Lotus\, Son Lux and Jai Paul as primary examples of taking something and twisting it into something obtuse\, fresh\, and interesting. \n“Those guys are just operating on a completely different plane. I love how disarming their productions can sound.” \nJack’s second EP\, Synesthesiac (released early Summer 2015 through Island Records)\, was indeed a quantum leap on from Remnants. The Love You’re Given\, which features here on Phase\, is a smouldering\, tranquil beauty that explodes in a haze of colour like a firework. Chemical\, another track that dazzles on the record\, is a gnarly beast that tangles multi-tracked handclaps with a beats-laden dancefloor-hookline. You couldn’t place it\, but you knew it was destined for far bigger venues\, which indeed Jack is already making light work of. \nA first single\, Weathered (one of the many ‘moments’ that pepper the live set)\, and the current second single Breathe Life\, show Jack confidently laying out his cards on the table. They are huge\, infectious pieces of work\, the sound of a young musician finding his feet and showing his strengths. They are songs that sit neatly on the radio playlists\, and songs with an innate sense to impress. Phase is a record that is\, indeed\, littered with them\, without any need to truly compromise what sparked all the initial interest. The propulsive Fire\, and the torchlight anthem in waiting\, Surprise Yourself\, are merely two of the handful of songs here that are yet to be documented in those impressive live shows. \nHaving sold-out a UK tour this Autumn\, which included a very special night at Shepherds Bush Empire\, and the recent announcement of a headline show at London’s Brixton Academy for April 2016\, this is an incredibly impressive feat for a young artist with only a handful of songs out there in the internet ether. You suspect it must\, therefore\, feel pretty good to be Jack Garratt right now. \n“At the moment every day brings something new\, something exciting. It’s blowing my mind. I really love it.” \n*** \nContact \n \n[Website] [Facebook] [Twitter] \nBoston\, Massachusetts. URL:https://royaleboston.com/event/jack-garratt/ 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/jack-garratt-admat-royale-8-2.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:20160617T183000 DTEND;TZID=America/New_York:20160617T183000 DTSTAMP:20260407T224956 CREATED:20160228T140034Z LAST-MODIFIED:20160228T140034Z UID:10002202-1466188200-1466188200@royaleboston.com SUMMARY:[SOLD OUT] Oh Wonder DESCRIPTION:Doors: 6:30 pm / Show: 7:00 pm \nThis event is all ages.\nSOLD OUT \nSecond show added on Sat. 6/18 due to overwhelming demand. Tickets for the 6/18 show available HERE.\n*** \n \n*** \nOh Wonder \n \n[Website] [Facebook] [Twitter] \nThere is a sign pinned to the wall of Oh Wonder’s recording studio in south-east London\, a pact of sorts\, signed by the band’s two members\, Josephine Vander Gucht and Anthony West\, in the winter of 2012. It isn’t a checklist or a plan so much as a setting down of shared dreams for their musical careers. “We wrote it to say that we’re dependent on one another\,” explains Josephine. “That there are things we want to achieve\, and we can help each other get there.” \nThat Oh Wonder have achieved all of these dreams in the first year since starting the project is testament to their talent and their perseverance\, but even they seem a little startled by how much more they have attained: the 100 million streams and now their debut album\, a collection of 15 impeccably-crafted songs that explore London and loneliness\, love and the need for human relationships. \nJosephine was a classically-trained solo performer and Anthony a singer and producer whose lives and careers overlapped for several years — a run of near-encounters and half-conversations at gigs and venues\, and vague introductions through musical acquaintances and mutual friends. It was only when they finally sat down in Anthony’s former studio in north London with a view to producing an EP of Josephine‘s solo material that they realised their great musical bond. “We found all our favourite bands were the same bands\, all our favourite songs were the same songs\,” says Anthony. “It was a day of saying ‘Oh you should listen to this’. And then the other one saying ‘I know that song. That’s one of my favourite songs.’” “It was\,” adds Josephine “really\, really odd. I’ve never had that. I’ve never felt that closely aligned with someone\, musically speaking\, and more widely in terms of how we view the world.” \nIt was Anthony’s suggestion that they begin writing together — purely for fun at first\, as an exercise in songwriting and collaboration while they pursued their other musical projects. The first song they wrote was called Body Gold and was\, Josephine says\, “the marker for what the sound of Oh Wonder was: electronic and somewhat R’n’B\, which was totally surprising\, and totally different to our solo work\, but we were really proud of it.” \nStill\, for 18 months they did nothing with it. Anthony moved to London and released an EP as part of a duo\, Josephine was busy writing and recording as Layla. “But we thought it was a waste to leave Body Gold unheard\,” says Anthony. And so they decided to post it on the internet\, anonymously. \nThat day they went to a café in east London\, posted the song on SoundCloud and emailed a few of their favourite music blogs about it. “We were in this café\,” Josephine remembers\, “and we were looking at the play-count\, and I think it said six plays\, and then all of a sudden these blogs started posting the song — really lovely write-ups saying ‘Who the hell are these people? They’re about to blow up the internet.’” They sat in the café and watched the play count climb to 100. A few weeks later it had reached 100\,000 plays. Just over a year later and they have tens of millions of plays and a string of sold out headline shows across the UK\, Europe\, Australia and the USA. “It was just really\, really bizarre. And odd. And completely accidental\,” she says. “We didn’t tell anyone it was us\, we didn’t ask people to listen\, we didn’t tell our friends\, it was so far removed from us. But I genuinely think that the reason so many people connected with it was because it was really sincere.” \nThe plan from the start was to release a song a month\, for the course of a year. “We approached it as a songwriting project rather than an artist project\,” continues Anthony. “And so the most important thing of all is the song and we would never release what we consider to be a bad song.” \nThey had already written two other tracks: Shark and All We Do — a track Josephine finds most affecting. “It’s about the human propensity to play it safe and not push yourself beyond the parameters of normal life\,” she says. “It’s about just existing and not wondering or being inquisitive. It’s about how a lot of people sink into the monotony of everyday life. And how it’s a shame\, because the world’s there for the taking\, and you’ve got to go grab it and have an adventure.” \nTheir own adventure soon gathered pace. They found they could write quickly\, finishing the body of a song in 20 minutes or so and spending more time\, they say\, on the production. “Writing together is a weird magical thing\,” says Josephine. “More than anybody else in the world I trust Ant. Which makes the writing process totally open\, totally vulnerable and non-judgmental\, and means you can say all of these things openly in a song.” \nThe things they chose to say all possess a striking tenderness and a tangible passion for life\, ranging from exquisite break-up songs Drive\, Landslide and The Rain to quiet rallies against materialism\, gambling\, gentrification and globalization\, and\, in Lose It\, a song that serves as a tribute to a night out they once had in Melbourne\, where as the sun came up\, Josephine found herself at a party dancing in her underwear to Destiny’s Child. “I’ve never before felt what I felt that night\,” she says. “I didn’t take any drugs\, and I wasn’t even drunk\, there was just something heady in the air. It was the first time I’d ever felt untethered from myself.” \nThough they vary from piano-led ballads to whip-sharp electronica\, what unites all of Oh Wonder’s songs is their extraordinary sense of humanity. “We didn’t realise it at first\, but a lot of our songs are about relationships and support\,” says Josephine. Anthony points to album opener Livewire\, “which is about needing someone to lift you up\, someone who can bring you up from your lowest point\, bring you back to life\, be the heartbeat you need…” and to White Blood\, about times in life\, in illness or difficulty\, when you “really need someone with you”\, and to Heart Hope\, inspired by watching the area around their home in east London rapidly gentrify\, and feeling that for all the shiny new buildings\, what people really need is other people\, “it’s saying actually all you need is a heart and a soul and to be connected to yourself and to each other.” \n“They’re songs about humans\, and about people being there in your life\,” says Josephine. “People need people. And that’s what this album looks at\, from all the different angles: it’s about being grateful for the people in your life\, for relationships of all sorts.” \nPerhaps most of all\, this album is Anthony and Josephine’s tribute to each other\, to the partnership they have formed\, the places it has taken them and the confidence they have given one another. \nJosephine tells a story that perhaps best sums up the depth of the belief they have in one another — the bond\, the trust\, and the faith they have in their own music: “I used to have lots of jobs\,” she says. “I worked in Waterstones\, and waiting tables\, and Ant was the person who told me to give them up. He told me to call up my boss and say “Sorry I can’t work at Waterstones anymore\, I’m being a musician.” He said “we’re going to do this. And that was the same day we wrote that sign.” \n*** \nLANY \n \n[Website] [Facebook] [Twitter] \nInitially harvested entirely behind a Windows computer during what industry veterans have comically–‐referenced as the most–‐productive handful of months by a new artist\, this genre–‐bending band is prepping a busy 1st quarter of touring in 2016 in what is destined to be the year LANY becomes a household name. Born in a Nashville bedroom\, LANY (pronounced LAY–‐NEE)\, comprised of Paul\, Les and Jake\, are a trio that started as a group of friends looking to combine their unique skills to “see what happens.” LANY had initial unprecedented success on Soundcloud’s platform which was enough to get Soundcloud’s internal cloud of executives to partner with the new artist\, and impactful social platforms like Snapchat have been avid supporters – LANY played their Holiday party this past December. \nMasochists in love with an underwritten theme of hopeless romance\, LANY front man Paul opens on debut cuts like “Walk Away\,” “youarefire” and “ILYSB\,” with vocals that are glacial while engaging\, and draw you into their heartbreak manifesto; and a vibe reminiscent of the 80s on tracks like “Made In Hollywood” and “4EVER!” LANY makes it clear that lethal good looks and vocal prowess are not mutually exclusive\, and even guys with all of the above get their hearts broken. \nSince their initial experiment to get feedback on what was just an idea little over a year ago\, LANY has released 2 EP’s to their dedicated and rapidly growing fan base. Often utilizing the success trends within the millennial landscape\, LANY has zeroed in on a gap in the music business that aches for a sound like theirs. \nIn 2015 LANY wrapped tours with Halsey\, Tove Styrke\, Zella Day\, Twin Shadow and X Ambassadors. They played Lollapalooza and Sloss Festival in the summer and ended the year with a headline run on the Westcoast. As for 2016\, in February they play Summit Series in Utah and perform 12 shows with Troye Sivan in North America; in March they play 11 Arena shows with Ellie Goulding in the UK; and then they go on to play Squamish and Shaky Knees Festivals. URL:https://royaleboston.com/event/oh-wonder/ 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/2017/02/Oh-Wonder_North-America-2016-Layered.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:20160618T183000 DTEND;TZID=America/New_York:20160618T183000 DTSTAMP:20260407T224956 CREATED:20160411T120030Z LAST-MODIFIED:20160411T120030Z UID:10002215-1466274600-1466274600@royaleboston.com SUMMARY:Oh Wonder DESCRIPTION:Second show added due to overwhelming demand! \nDoors: 6:30 pm / Show: 7:00 pm \nThis event is all ages.\nTickets on sale Fri. 4/15 at noon! \n*** \n \n*** \nOh Wonder \n \n[Website] [Facebook] [Twitter] \nThere is a sign pinned to the wall of Oh Wonder’s recording studio in south-east London\, a pact of sorts\, signed by the band’s two members\, Josephine Vander Gucht and Anthony West\, in the winter of 2012. It isn’t a checklist or a plan so much as a setting down of shared dreams for their musical careers. “We wrote it to say that we’re dependent on one another\,” explains Josephine. “That there are things we want to achieve\, and we can help each other get there.” \nThat Oh Wonder have achieved all of these dreams in the first year since starting the project is testament to their talent and their perseverance\, but even they seem a little startled by how much more they have attained: the 100 million streams and now their debut album\, a collection of 15 impeccably-crafted songs that explore London and loneliness\, love and the need for human relationships. \nJosephine was a classically-trained solo performer and Anthony a singer and producer whose lives and careers overlapped for several years — a run of near-encounters and half-conversations at gigs and venues\, and vague introductions through musical acquaintances and mutual friends. It was only when they finally sat down in Anthony’s former studio in north London with a view to producing an EP of Josephine‘s solo material that they realised their great musical bond. “We found all our favourite bands were the same bands\, all our favourite songs were the same songs\,” says Anthony. “It was a day of saying ‘Oh you should listen to this’. And then the other one saying ‘I know that song. That’s one of my favourite songs.’” “It was\,” adds Josephine “really\, really odd. I’ve never had that. I’ve never felt that closely aligned with someone\, musically speaking\, and more widely in terms of how we view the world.” \nIt was Anthony’s suggestion that they begin writing together — purely for fun at first\, as an exercise in songwriting and collaboration while they pursued their other musical projects. The first song they wrote was called Body Gold and was\, Josephine says\, “the marker for what the sound of Oh Wonder was: electronic and somewhat R’n’B\, which was totally surprising\, and totally different to our solo work\, but we were really proud of it.” \nStill\, for 18 months they did nothing with it. Anthony moved to London and released an EP as part of a duo\, Josephine was busy writing and recording as Layla. “But we thought it was a waste to leave Body Gold unheard\,” says Anthony. And so they decided to post it on the internet\, anonymously. \nThat day they went to a café in east London\, posted the song on SoundCloud and emailed a few of their favourite music blogs about it. “We were in this café\,” Josephine remembers\, “and we were looking at the play-count\, and I think it said six plays\, and then all of a sudden these blogs started posting the song — really lovely write-ups saying ‘Who the hell are these people? They’re about to blow up the internet.’” They sat in the café and watched the play count climb to 100. A few weeks later it had reached 100\,000 plays. Just over a year later and they have tens of millions of plays and a string of sold out headline shows across the UK\, Europe\, Australia and the USA. “It was just really\, really bizarre. And odd. And completely accidental\,” she says. “We didn’t tell anyone it was us\, we didn’t ask people to listen\, we didn’t tell our friends\, it was so far removed from us. But I genuinely think that the reason so many people connected with it was because it was really sincere.” \nThe plan from the start was to release a song a month\, for the course of a year. “We approached it as a songwriting project rather than an artist project\,” continues Anthony. “And so the most important thing of all is the song and we would never release what we consider to be a bad song.” \nThey had already written two other tracks: Shark and All We Do — a track Josephine finds most affecting. “It’s about the human propensity to play it safe and not push yourself beyond the parameters of normal life\,” she says. “It’s about just existing and not wondering or being inquisitive. It’s about how a lot of people sink into the monotony of everyday life. And how it’s a shame\, because the world’s there for the taking\, and you’ve got to go grab it and have an adventure.” \nTheir own adventure soon gathered pace. They found they could write quickly\, finishing the body of a song in 20 minutes or so and spending more time\, they say\, on the production. “Writing together is a weird magical thing\,” says Josephine. “More than anybody else in the world I trust Ant. Which makes the writing process totally open\, totally vulnerable and non-judgmental\, and means you can say all of these things openly in a song.” \nThe things they chose to say all possess a striking tenderness and a tangible passion for life\, ranging from exquisite break-up songs Drive\, Landslide and The Rain to quiet rallies against materialism\, gambling\, gentrification and globalization\, and\, in Lose It\, a song that serves as a tribute to a night out they once had in Melbourne\, where as the sun came up\, Josephine found herself at a party dancing in her underwear to Destiny’s Child. “I’ve never before felt what I felt that night\,” she says. “I didn’t take any drugs\, and I wasn’t even drunk\, there was just something heady in the air. It was the first time I’d ever felt untethered from myself.” \nThough they vary from piano-led ballads to whip-sharp electronica\, what unites all of Oh Wonder’s songs is their extraordinary sense of humanity. “We didn’t realise it at first\, but a lot of our songs are about relationships and support\,” says Josephine. Anthony points to album opener Livewire\, “which is about needing someone to lift you up\, someone who can bring you up from your lowest point\, bring you back to life\, be the heartbeat you need…” and to White Blood\, about times in life\, in illness or difficulty\, when you “really need someone with you”\, and to Heart Hope\, inspired by watching the area around their home in east London rapidly gentrify\, and feeling that for all the shiny new buildings\, what people really need is other people\, “it’s saying actually all you need is a heart and a soul and to be connected to yourself and to each other.” \n“They’re songs about humans\, and about people being there in your life\,” says Josephine. “People need people. And that’s what this album looks at\, from all the different angles: it’s about being grateful for the people in your life\, for relationships of all sorts.” \nPerhaps most of all\, this album is Anthony and Josephine’s tribute to each other\, to the partnership they have formed\, the places it has taken them and the confidence they have given one another. \nJosephine tells a story that perhaps best sums up the depth of the belief they have in one another — the bond\, the trust\, and the faith they have in their own music: “I used to have lots of jobs\,” she says. “I worked in Waterstones\, and waiting tables\, and Ant was the person who told me to give them up. He told me to call up my boss and say “Sorry I can’t work at Waterstones anymore\, I’m being a musician.” He said “we’re going to do this. And that was the same day we wrote that sign.” \n*** \nLANY \n \n[Website] [Facebook] [Twitter] \nInitially harvested entirely behind a Windows computer during what industry veterans have comically–‐referenced as the most–‐productive handful of months by a new artist\, this genre–‐bending band is prepping a busy 1st quarter of touring in 2016 in what is destined to be the year LANY becomes a household name. Born in a Nashville bedroom\, LANY (pronounced LAY–‐NEE)\, comprised of Paul\, Les and Jake\, are a trio that started as a group of friends looking to combine their unique skills to “see what happens.” LANY had initial unprecedented success on Soundcloud’s platform which was enough to get Soundcloud’s internal cloud of executives to partner with the new artist\, and impactful social platforms like Snapchat have been avid supporters – LANY played their Holiday party this past December. \nMasochists in love with an underwritten theme of hopeless romance\, LANY front man Paul opens on debut cuts like “Walk Away\,” “youarefire” and “ILYSB\,” with vocals that are glacial while engaging\, and draw you into their heartbreak manifesto; and a vibe reminiscent of the 80s on tracks like “Made In Hollywood” and “4EVER!” LANY makes it clear that lethal good looks and vocal prowess are not mutually exclusive\, and even guys with all of the above get their hearts broken. \nSince their initial experiment to get feedback on what was just an idea little over a year ago\, LANY has released 2 EP’s to their dedicated and rapidly growing fan base. Often utilizing the success trends within the millennial landscape\, LANY has zeroed in on a gap in the music business that aches for a sound like theirs. \nIn 2015 LANY wrapped tours with Halsey\, Tove Styrke\, Zella Day\, Twin Shadow and X Ambassadors. They played Lollapalooza and Sloss Festival in the summer and ended the year with a headline run on the Westcoast. As for 2016\, in February they play Summit Series in Utah and perform 12 shows with Troye Sivan in North America; in March they play 11 Arena shows with Ellie Goulding in the UK; and then they go on to play Squamish and Shaky Knees Festivals. URL:https://royaleboston.com/event/oh-wonder-2/ 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/2017/02/Oh-Wonder_North-America-2016-Layered.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:20160620T190000 DTEND;TZID=America/New_York:20160620T190000 DTSTAMP:20260407T224956 CREATED:20160427T145151Z LAST-MODIFIED:20160427T145151Z UID:10002336-1466449200-1466449200@royaleboston.com SUMMARY:[SOLD OUT] Jon Bellion DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is All Ages. \nThis show is SOLD OUT! \n*** \n \n  \n  \n*** \nJon Bellion \n \n[Website] [Facebook] [Twitter] \nJon Bellion is a singer\, songwriter and producer from New York. After beginning his career as a songwriter\, Bellion signed to Visionary Music Group\, an independent label based out of New York in August of 2012. Jon’s sound is an eclectic mix of pop\, hip hop\, rap and soul\, citing musical influences like Andre 3000 and Kanye West. \nJon recently released “The Definition\,” an 11 track album that really captures his genre blending sound. Jon wrote and produced 10 of the 11 tracks on the album. An amazing feat that continues to separate him from any other singer is his ability to produce his entire catalog that’s helped make his first projects musically diverse. The rollout to “The Definition” included singles\, “Munny Right\,”Luxury\,””Simple and Sweet\,”and “Carry Your Throne.” \nBellion’s 2014 was highlighted by his national headline tour\, “The Beautiful Mind Tour\,” selling out cities such as Los Angeles\, New York\, Chicago\, Minneapolis\, San Francisco\, Boston and Chappell Hill. In December 2014\, Bellion was named the winner of Spotify’s Emerging Artist program. Jon is working on his next album throughout 2015 and expects to return on the road. \n*** \nSonReal \n \n[Website] [Facebook] [Twitter] \nFlanked by a squad of quirky characters unafraid to rock bowl cuts and mustaches\, spitting bars like nobody’s business\, and melting hearts left and right\, SonReal would be just as at home in a Wes Anderson or Farrelly Brothers movie as he is behind a mic.\nHip-hop has never seen a maestro quite like the British Columbia-born rapper\, singer\, and songwriter. That’s why he’s already earned multiple Canadian Juno Award nominations including “Rap Recording of the Year” for “Everywhere We Go” in 2014\, racked up millions of Spotify streams and YouTube views\, and packed shows all over the continent. However\, his story begins in the tiny town of Vernon. \nGrowing up\, he’d watch his father sing and play country songs on an acoustic guitar with rapt attention. By high school\, he started frequenting the local skate park\, and became infatuated with the lifestyle of music and skateboarding. At the time\, his musical tastes spanned everything from Guns N’ Roses to Green Day\, but listening to Nas’s Illmatic and Mobb Deep’s The Infamous resonate through the park would change his life. \n“As a kid from a small town\, I loved hearing stories of these artists from Queensbridge and Brooklyn\,” he says. “It was like listening to an exciting movie play out. That made me want to rap.” \nFollowing high school\, SonReal spent his days working as a carpenter and his nights writing and recording countless songs at home. Quietly and diligently honing his skills\, he released a series of buzzing mixtapes beginning with Where’s Waldo in 2011 and followed by Words I Said and Good News just a year later. Hailing from Canada meant he had to grind twice as hard to be heard globally. \n“There weren’t any studios in my town\,” he explains. “I couldn’t have a mentor\, because no one was rapping. I taught myself making music on an old desktop. Touring is tough because you have to drive longer distances in much worse weather than America. I got made fun of a lot. During the week\, I was always getting fired from carpentry jobs\, because I’d be up late recording or I’d quit to go on tour. I never gave up though. I decided I had to go big.” \nHe did just that with the music video for “Everywhere We Go.” Boasting the best talent show sequence since Napoleon Dynamite\, it introduced a bevy of memorable mischief makers and spotlighted the many sides of SonReal. The clip would rack up over one million views in less than a month as he received acclaim from MTV Canada\, Noisey/Vice\, Earmilk\, HipHopDX\, and many more\, setting the stage for a recording deal with independent label Black Box Recordings. \n“There’s so much static out there\,” he sighs. “It’s so easy to make a music video with an SLR. I had to do something deeper. I’m not good at standing in front of a car rapping or dancing on a roof with a bunch of girls in a club. It’s not me. I strive to be myself and do things I want no matter how much they scare the fuck out of me. All of the characters are big extensions of who I am.”\nHe continued this visual tradition with “Preach\,” which would receive Much Music Video Awards nominations for “Hip Hop Video of the Year” in 2015. Along the way\, he toured Canada many times\, and embarked on his first U.S. run during 2015. Signing to Capitol Music Group\, he ventured down to Los Angeles to record with the likes of super producer RedOne [Lady Gaga\, Nicki Minaj] and Rahki [Kendrick Lamar\, Eminem]. \nHis 2016 single\, “Can I Get A Witness\,” puts him on the stand (literally) to speak to his biggest audience yet. Produced by RedOne and Rush\, the track shimmies between a funky bass line and delicate beat as SonReal deftly presents his lyrical case before an unshakable refrain. Meanwhile\, the unforgettable crew from “Everywhere We Go” makes their return on-screen. \n“Even though I was working with a pop producer which I was very much not used to\, I didn’t sacrifice anything\,” he assures. “The song is undeniably me. From the moment we got into the studio\, I told Red that. Some people will ride with you all day\, and some people won’t. We aren’t following anyone. I’m giving you exactly who I am.” \nOn his forthcoming major label full-length debut\, SonReal officially invites everybody into his world. \n“When I started making music\, all I ever wanted to do was make people laugh\, make people cry\, and make people feel something\,” he leaves. “That’s what music did for me. That’s why I try to do different things under the same umbrella. If the listener feels emotion when listening to it\, I have done my job.” \n***\nBlaque Keyz \n \n[Website] [Facebook] URL:https://royaleboston.com/event/jon-bellion/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/04/Jon-Bellion-admat.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:20160622T190000 DTEND;TZID=America/New_York:20160622T190000 DTSTAMP:20260407T224956 CREATED:20160328T140019Z LAST-MODIFIED:20160328T140019Z UID:10001647-1466622000-1466622000@royaleboston.com SUMMARY:[SOLD OUT] Gregory Alan Isakov and The Ghost Orchestra DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nThis show is SOLD OUT \n*** \n \n*** \nGregory Alan Isakov and The Ghost Orchestra \n \n[Website] [Facebook] [Twitter] \nBorn in Johannesburg\, South Africa\, and calling Colorado home\, Gregory Alan Isakov has been traveling all his life. Songs that hone a masterful quality tell a story of miles and landscapes\, and the search for a sense of place. His song-craft lends to deep lyrical masterpieces\, with hints of his influences\, Leonard Cohen and Bruce Springsteen. He has been described as “strong\, subtle\, a lyrical genius.” Isakov has just completed an album of his songs played in collaboration with The Colorado Symphony\, scheduled to be released June 10\, 2016. As part of this symphony record release tour\, he will be playing with The Ghost Orchestra\, a symphonic ensemble made up of Colorado’s own\, including members of The Colorado Symphony. \n“[Isakov] churns up his own musical atmosphere\, ruled by the moon and the sea\, at least aesthetically if not always lyrically. That he can do the same thing alone onstage…is remarkable.”\nNO DEPRESSION \n“…Isakov’s presence [is] delicately hypnotic\, proving folk music can be electric and impassioned without that virulent Mumford strum.”\nROLLING STONE \n“…an eloquent lyricist who delivers soul searching ruminations filled with cosmic pondering\, nomadic wisdom and plenty of earthy metaphors. His understated voice has a hushed force akin to that of Jose Gonzalez’s and\, at its best\, the alluring comfort of Paul Simon’s.”\nTHE WASHINGTON POST \n*** \nMandolin Orange \n \n[Website] [Facebook] [Twitter] \nAfter the breakout critical success of Mandolin Orange’s Yep Roc debut\, This Side of Jordan\, you’d expect the relentless onslaught of touring that accompanied it to seep into the writing of the North Carolina duo’s follow-up. You’d expect the sound to reflect long days on the road\, long nights onstage\, unfamiliar cities\, countless miles. You’d expect the classic “road record.”\nBut you’d be wrong. \n“All of these songs are definitely a product of being on the road\,” says multi- instrumentalist/singer Emily Frantz of Mandolin Orange’s gorgeous new album\, Such Jubilee\, “but they’re not about the road.” \n“They’re about home\,” explains songwriter/multi-instrumentalist/singer Andrew Marlin. “Not because we were missing it\, but because when you’re gone so much\, you start realizing what you have and what’s waiting for you. You realize there’s this place to come back to at the end of the journey.” \nThe road has been good to Mandolin Orange since the 2013 release of This Side of Jordan. NPR called the album “effortless and beautiful\,” naming it one of the year’s best folk/Americana releases\, while Magnet dubbed it “magnificent\,” and American Songwriter said it was “honest music\, shot through with coed harmonies\, sweeping fiddle\, mandolin\, acoustic guitar and the sort of unfakeable intimacy that bonds simpatico musicians like Gillian Welch and David Rawlings.” The record earned them performances everywhere from the iconic Newport Folk Festival to Pickathon\, as well as tours with Willie Watson\, Gregory Alan Isakov\, The Wood Brothers\, and more. \nFor the Such Jubilee sessions\, Marlin and Frantz set up facing each other with just a vocal and instrumental mic each in Asheville’s Echo Mountain studio. It proved to be the perfect setup to capture the undeniable chemistry of their live performances. \nOn “Settled Down\,” Marlin looks at what it takes to find that nearly-telepathic level of comfort in a relationship\, singing\, “Moments\, just fleeting times with little wings of gold / remind us of how real we find true love in every sign of getting older.” “Daylight” looks for peace in long- term companionship and trust\, “That Wrecking Ball” meditates on the sometimes ravaging passage of time\, and album closer “Of Which There Is No Like” is a delicate\, wistful duet about coming home. \nNot all of the songs are purely introspective\, though. “Jump Mountain Blues” brings to life a haunting Native American legend from the rural Virginia town where Marlin spent weekends growing up\, “Rounder” is written in the cowboy tradition and can be heard as a statement against capital punishment\, and the ambitious “Blue Ruin” was penned in response to the horrific violence at Sandy Hook. \nIt’s a weighty moment on an album that doesn’t shy away from grappling with difficult topics: intimacy\, death\, distance\, regret. Such Jubilee is a record about home\, both the place and the idea. Some days it’s a safe\, warm\, loving refuge from the world outside. Other days it’s cold and empty and too quiet. Either way\, it’s always waiting for you at the end of the road. URL:https://royaleboston.com/event/gregory-alan-isakov-and-the-ghost-orchestra/ 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/2016/03/gregory-alan-isakov-Admat_Ghost2.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:20160623T190000 DTEND;TZID=America/New_York:20160623T190000 DTSTAMP:20260407T224956 CREATED:20160327T160027Z LAST-MODIFIED:20160327T160027Z UID:10001646-1466708400-1466708400@royaleboston.com SUMMARY:Allen Stone DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 4/1 at noon! \n*** \n \n*** \nAllen Stone \n[Website] [Facebook] [Twitter] On his third full-length album\, soul artist Allen Stone proves himself deeply devoted to making uncompromisingly soulful music that transcends all pop convention. Made in collaboration with Swedish soul singer/songwriter/phenom Magnus Tingsek\, Radius captures the warm energy of that creative connection and transports the listener to a higher and more exalted plane. Now embarking even higher ATO Records will be releasing Radius Deluxe on March 25th\, which will include a second disc of 7 bonus tracks that didn’t make the original record release. \n“I couldn’t be happier to return to ATO\,” Stone exclaimed. “They are a label that works tirelessly for their artists. Their team is made up of genuine music lovers whose concern is creating timeless art not bolstering their 401k’s.” \nRadius marks the follow-up to the Chewelah\, Washington-bred 28-year-old’s self-released and self-titled 2011 sophomore effort that climbed to the top 10 on Billboard’s Heatseekers chart. As the New York Times recently said Stone’s lyrics “promise honest sentiments\, grooves built with physical instruments and a gospel-rooted determination to uplift … glimmers of Al Green\, Bill Withers\, Curtis Mayfield\, George Clinton\, Prince and a bit of Sting.” \nAlong with immersing himself in a songwriting approach that involved unflinching examination of “some very dark and negative moments in my life\,” Stone shaped the sound and feel of Radius by pushing himself to “get past the boundaries of what I felt comfortable with\, so that I could progress into a whole new level of creativity.” Despite that sometimes-daunting process\, Radius wholly reveals Stone’s easy grace in blending everything from edgy soul-pop and earthy folk-rock to throwback R&B and Parliament-inspired funk. \nCulled from several dozen songs penned through a year and a half of constant writing and refining\, Radius Deluxe bears a title that reflects both its scope and intimacy. \n“The radius is that line extending from the center of the circle to its exterior\,” says Stone. “And in a lot of ways this album is about getting out things deep inside—whether it’s love or insecurity or joy or frustration about things going on today.” \nWhen it comes to the new bonus tracks Stone added\, “I am very excited for “Bed I Made” to finally be released to the public. It’s a song that has long been a favorite of my audience and I’m glad that they will finally have a studio version.” \nRadius first began to come to life back in the fall of 2013\, when Stone headed to Sweden to join in a writing session with Tingsek. “His musicality is so outside-the-box\, and it really stretched me as an artist\,” says Stone\, who’d tapped Tingsek as one of his opening acts for an 85-date headlining tour in 2012. “We just kept on throwing a wrench into the works and tried to create something that’s the complete antithesis of what you’d expect from pop music.” \nAfter recording the bulk of the album in Sweden\, Stone rounded out Radius’s production at his own studio in the woods of northeast Washington and in L.A.-based sessions with producers like Benny Cassette (Kanye West) and Malay (a co-producer on Frank Ocean’s channel ORANGE). \nLike many of his own musical heroes—Stevie Wonder chief among them—Stone pulls off the near-magical feat of channeling a weight-of-the-world sensitivity into his songs while still radiating hope and promise. And though that depth of consciousness feels transmitted from a more golden era\, Radius continually hones in on issues both timeless and of-the-moment\, with Stone’s breezily poetic lyrics touching on topics ranging from rampant materialism (on the tenderly string-accented\, harmony-soaked “American Privilege”) and the toxic takeover of technology in art (on the gutsy and groove-heavy “Fake Future”). \n“That song’s mainly about how technology’s infiltrating music in a way that’s making it less and less human and taking all the heart out of it\,” Stone says of the latter track\, a soul-pop powerhouse peppered with playfully cutting lines like “Rock stars pushing buttons/Few actually play/City wasn’t ever built on lights and Special K.” And as evidenced by Radius’s lush yet raw sonic landscape—wherein the only hint of synth comes from a Moog analog synthesizer—Stone stayed true to his pledge to “keep fakeness completely out of this record” and rely entirely on live instrumentation. \nEqually introspective and outwardly searching\, Radius also finds Stone exploring intensely personal matters\, such as depression on the stark and lovely\, acoustic-guitar-woven ballad “Circle” (“That one was written at a pretty dark time for me\,” Stone points out. “It’s about how depression can put you into a kind of circle\, where you’re just trying to find a way out but it keeps on leading you back inside”). Showing his skill at crafting a killer love song as well\, Stone looks at heartbreak and regret on the aching\, electric-piano-infused “I Know That I Wasn’t Right\,” slips into hopeless romanticism on the dreamy R&B pastiche “Barbwire\,” and unleashes some starry-eyed affection on the dance floor-ready “Symmetrical”. And in tracks like the ultra-catchy album-opener “Perfect World” and the fiery\, horn-laced “Freedom\,” Radius unfolds into epically joyful anthems that show the full range and power of Stone’s vocals. \nStone started working those vocals as a kid\, thanks largely to his parents’ influence. “My father was a minister so I spent about half my childhood in church\, watching my mom and dad sing together and lead the congregation in song\,” he recalls. By the time he was 11 he’d picked up a guitar and written his first song\, and soon began self-recording demo tapes to pass along to classmates. Although Stone enrolled in Bible College after high school\, he quickly dropped out to move to Seattle and kick start his music career. “I had an ’87 Buick and I’d drive up and down the west coast\, playing any gig I could get just to try to put my music out there\,” he says. \nAt age 22\, Stone self-released his debut album\, 2010’s Last To Speak. But it was his self-titled follow-up (on which he joined forces with former Miles Davis keyboardist Deron Johnson) that ended up earning him serious recognition. Along with entering the top five on iTunes’ R&B/Soul chart after its digital release\, Allen Stone prompted him to score appearances on such late-night talk shows like Conan. And upon partnering with ATO Records for a physical release of his self-titled album in 2012\, Stone soon turned up on the likes of the Late Show with David Letterman and landed a gig as the opening act for soul legend Al Green. In the midst of the buzz\, he also took up a grueling touring schedule\, tearing through nearly 600 shows in just two years. \nFor Stone\, all that time onstage went a long way in preparing him for the many creative breakthroughs he’s made on Radius. \n“I think you really grow as a musician when you’re playing right in front of people\, and for me constantly growing and progressing and getting better is really the most important thing\,” he says. Ruminating on the emotional undertones of his new album’s title and noting that\, “the center of me is my heart\,” Stone says he also hopes that Radius will ultimately help listeners shed new light on their own struggles. “There’ve been times in my life when records were my saving grace and really helped me to figure out who I am\, and I’d love for my music to have that kind of impact on a kid who’s looking for his or her own place in this life\,” he says. “Because I absolutely believe that if you’re going to stand at a microphone and say something\, you need to recognize that as a privilege. You’ve got to be incredibly careful about it\, and really put all your heart into the message that you’re sending out into the world.” \n*** \nGreat Caesar \n \n[Website] [Facebook] [Twitter] \nIn the dead of winter\, the grand summer homes of the Hamptons sit vacant and silent\, their yards piling high with snow behind the perfectly manicured hedges that line the quiet streets… or so you might expect. But\, if you paid a visit to Southampton\, NY last winter\, you may have noticed that one house in particular was neither vacant nor silent\, but rather spilling over with raucous music and joyful listeners. A knock on the door would have welcomed you into the winter retreat of Great Caesar\, the six-piece\, Brooklyn-based band bringing together chamber rock and indie soul in a singularly anthemic and captivating blend. Don’t fret if you missed those wild winter nights\, though. They were just the warm-up. Now\, with a new EP (titled ‘Jackson’s Big Sky’ after that Southampton house) and extensive US tour dates on the way\, Great Caesar is ready to bring their one-of-a-kind sound directly to you. \nThe band’s roots stretch back to Connecticut\, where frontman/guitarist/singer John-Michael Parker teamed with bassist Adam Glaser\, trumpeter Tom Sikes\, and guitarist Mike Farrell while they were all still in high school. They built a local following exploring a variety of sounds\, and added drummer Thomas Stephens and vocalist Niki Morrissette after relocating to New York City. \n“I went to Yale\, and we had a guy at NYU\, a guy at UConn\, and another at Williams\, so we started going all over playing shows at each other’s schools\,” explains Parker. “We recorded a few songs at a little studio and printed a bunch of copies of that first CD. We weren’t thinking about the music industry or anything at the time — we were just doing it for fun\, and to make something for ourselves.” \nThat all changed when a filmmaker approached the band with an ambitious concept for a video for their song “Don’t Ask Me Why” centered around themes of social justice and drawing parallels between the civil rights movement of the 1960’s and the modern fight for gender and sexual equality. \n“When we lost our initial source of funding\, we decided to do it ourselves and raised $50\,000 on Kickstarter\,” says Parker\, who tapped Beirut/Modest Mouse producer Griffin Rodriguez to helm the recording of the song along with three additional tracks that would make up their self-titled EP. “It was a three-week shoot and it took four or five months to actually release it\, but we somehow managed to get connected to Upworthy\, and when the video went out\, it got more than 100\,000 views in its first week.” \nMTV raved that it “proves love conquers all\,” while Relix said it “challenges viewers to take a stand for equality” and named Great Caesar a band “on the verge.” The video garnered attention from influencers and tastemakers as varied as Russell Simmons and Deepak Chopra to Arsenio Hall and Superbowl champion/LGBT advocate Brendon Ayanbadejo\, and it earned the band an invitation to perform and speak at TEDxHollywood\, Summit Series\, and The Feast. \nWith excitement around the group growing\, Great Caesar left Brooklyn behind for two months in early 2015 to hunker down in Southampton and focus on new music and their first tour to SXSW. On two different weekends\, they invited a few dozen friends and fans from the city to come live in the house with them and listen to the new tunes. The morning after one of those winter showcases\, they filmed a live performance using empty cans and kitchenware for percussion that landed them on a featured post from NPR as a standout performance in the Tiny Desk Concert contest. Living together in such close quarters proved to be an invaluable experience for the band\, both for personal bonding and for their creative output\, which was partly inspired by a life-changing visit to the Marion Correctional Institution in Ohio. \n“None of us knew what to expect\, but we ended up having this incredibly powerful experience\,” says Parker of the performance\, which they routed into a national tour last fall. “First\, we got to be a part of a spoken word session that a few of the guys were doing\, where we’d play a little bit and they’d share their poetry. It was honest\, vulnerable\, and really skillful. When the time came for our show\, over 100 inmates filed into the chapel\, and we just dove right in. As soon as we finished the first song\, ‘Still Love\,’ everyone jumped to their feet and gave us a standing ovation\, which sort of shocked us. But then they jumped up and cheered for every song after that\, too\, and by the end of the set\, we had this very emotional\, visceral experience of the power of music and performance. It was an important moment for our band to see the impact we can have on folks\, and to feel the impact an audience can have on us\, even when we’re least expecting it.” \nTwo songs Parker penned while reflecting on the band’s experience at Marion—the warm and soulful lead single “Hey Mama” and the harmony-rich\, chamber-folk track “Jolene”—are early indications of the band’s remarkable growth and maturity in the short time since their last release. Recorded at the iconic Bear Creek studio outside Seattle with producer Ryan Hadlock (The Lumineers\, Vance Joy)\, the tracks showcase sophisticated arrangements full of dreamy guitars\, lush horns\, and infectious melodies. \nThese tracks\, though\, are only a part of this new beginning for Great Caesar. ‘Jackson’s Big Sky’ is out now\, soon to be followed by a US tour\, and more videos are already in the works. And who knows\, maybe they’ll play another snowy house show or two while they’re at it. The band may have found their sound in the dead of winter\, but everything Great Caesar touches is heating up. URL:https://royaleboston.com/event/allen-stone-2/ 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/2016/03/ALLENSTONE_BERNHOFT_ADMAT_COLOR-localized-20162.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:20160625T183000 DTEND;TZID=America/New_York:20160625T183000 DTSTAMP:20260407T224956 CREATED:20160503T223706Z LAST-MODIFIED:20160503T223706Z UID:10002354-1466879400-1466879400@royaleboston.com SUMMARY:The English Beat / Soul Asylum DESCRIPTION:Doors: 6:30 pm / Show: 7:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 5/6 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*** \nThe English Beat \n[Website] [Facebook] [Twitter] \nThe English Beat is a band with an energetic mix of musical styles and a sound like no other. The band’s unique sound has allowed it to endure for nearly three decades and appeal to fans\, young and\nold\, all over the world. \nWhen The English Beat (known simply as The Beat in their native England) rushed on to the music scene in 1979\, it was a time of massive social and political unrest and economic and musical upheaval. This set the stage for a period of unbridled musical creativity\, and thanks in large part to the Punk movement and it’s DIY approach to making music\, artists like The Beat were able to speak out and speak their mind on the news of the day\, as in “Stand Down Margaret”\, things that mattered to them and the youth culture\, as in “Get A Job”\, and universal matters of the heart and soul\, as in their classic hits “I Confess” and “Save It For Later”. \nThe original band consisted of singer-songwriter Dave Wakeling on vocals and guitar\, Andy Cox on guitar\, David Steele on bass\, and Everett Morton on drums – later additions Ranking Roger (toasting)\nand foundational First Wave Ska legend Saxa (saxophone) completed the outfit. The band crossed over fluidly between soul\, reggae\, pop and punk\, and from these disparate pieces they created an infectious dance rhythm. \nThe Beat first came to prominence as founding members of the British Two Tone Ska movement\, with their classic first album “Just Can’t Stop It” fitting squarely in that genre. Along with their\ncontemporaries The Specials\, The Selecter\, and Madness\, the band became an overnight sensation and one of the most popular and influential bands of that movement. \nHowever\, band leader Dave Wakeling never felt constrained by the movement. Dave has always viewed ska as a springboard\, not a straight jacket. Indeed\, the band’s sound continued to evolve over\ntheir first three studio albums\, through the General Public era (a band formed by Dave with Ranking Roger\, the toaster from The Beat)\, and has continued it’s evolution with the forthcoming English Beat album “Here We Go Love”\, a PledgeMusic crowd-funded album set for release in 2016\, the band’s first new album since 1982’s “Special Beat Service”. \nConsummate showman that he is\, Dave Wakeling has continued to keep The Beat alive and strong. Dave continues to tour the world as The English Beat with an amazing all-star ska backing band playing all the hits of The Beat\, General Public\, and songs from his new album “Here We Go Love”. \nYou just can’t stop The English Beat! \n*** \nSoul Asylum \n \n[Website] [Facebook] [Twitter] \n“A friend asked me what kind of records I want to make\, and my answer was that I always want to make a record that I want to hear that’s not already in my record collection\,” says Dave Pirner. “I think we got that on this one.” \nPirner is referring to Change of Fortune\, Soul Asylum’s eleventh studio album\, and its first for Entertainment One Music (eOne Music). The dozen-song set embodies the band’s trademark balance of rocking abandon\, infectious melodic craft and raw-nerved emotional depth\, boasting a compelling set of new Pirner compositions while showcasing the strength and versatility of Soul Asylum’s current lineup\, which teams founding singer/guitarist Pirner with guitarist Justin Sharbono\, bassist Winston Roye and drummer Michael Bland. \nThree and half decades down the road from the band’s indie-punk origins\, Change of Fortune — co-produced by the band and longtime studio collaborator John Fields — is classic Soul Asylum\, with such musically and lyrically pointed new tunes as first single “Supersonic\,” “Can’t Help It\,” “Doomsday\,” “Make It Real\,” and the title track packing a familiar sonic and emotional punch\, while carrying a hard-won sense of survival and perseverance that honors Soul Asylum’s storied history while pointing towards the future. \n“It’s more honest than any record I’ve made in a very long time\, just because there was no one looking over my shoulder and editing me\, which was very liberating for me\,” says Pirner. “It sounds like the vision that I had in mind a really long time ago. When I listen to it\, I think\, ‘That sounds like Soul Asylum\,’ and that’s as good as it gets for me.” \nChange of Fortune — which features an appropriately arresting cover image by world-renowned wildlife photographer TK — marks the recording debut of the current Soul Asylum lineup\, which has racked up a considerable amount of roadwork and honed its combustible musical chemistry since Sharbono and Roye joined in 2012. Drummer and multi-talented right-hand man Bland joined Soul Asylum in 2005 with an extensive resume that includes work with fellow Minneapolitans Prince and Paul Westerberg. \n“I would say\, without reservation\, that my band is probably the best band on the planet\,” Pirner asserts\, adding\, “That always gets me in trouble\, but it’s not because of me; it’s because of Michael and Winston and Justin. It’s incomprehensible to me that the elements have fallen into place the way they have\, but it’s driving me nuts how much I love this band.” \nSoul Asylum has been inspiring that level of passion since 1981\, when the band\, initially known as Loud Fast Rules\, formed in Minneapolis. The band’s raucous live sets and early releases on the hometown indie label Twin/Tone — including the albums Say What You Will\, Made to Be Broken and While You Were Out — earned it a loyal fan base and widespread critical acclaim. \nSoul Asylum’s indie success led to the band entering the major-label mainstream with 1988’s Hang Time and its 1990 follow-up And the Horse They Rode In On\, and achieving a platinum-level commercial breakthrough with 1992’s Grave Dancers Union and 1995’s Let Your Dim Light Shine. Grave Dancers Union featured the international hits “Runaway Train\,” which won a 1994 Grammy as Best Rock Song\, and “Black Gold\,” while Let Your Dim Light Shine spawned the hit “Misery.” The band went on hiatus after 1998’s Candy from a Stranger\, during which time Pirner released his first solo effort\, Faces & Names. Soul Asylum returned to action in 2006 with The Silver Lining and released Delayed Reaction six years later. \n“When I was a kid\, I wanted to be in a band\, and I decided that’s what I was gonna do\, and that hasn’t changed\,” Pirner notes. “This whole thing is an act of faith\, and the worse the music business gets\, the more of an act of faith it becomes. But I don’t give a f—\, I’m gonna keep doing this until the day I die. We’re always struggling to figure out how we’re gonna make this work\, but I’m not going to waver. \n“People who feel disenfranchised tend to identify with Soul Asylum\,” Pirner observes. “I’ll look out at the crowd and see people singing along with my songs of frustration and insecurity\, and the irony is not lost on me. There’s a part of me that’s never gonna fit in\, but I love being around people who love music\, and I’m very loyal to the idea of whatever Soul Asylum is. The future is bright\, everything is good\, and if there’s something in this record that can make people feel like things are gonna be OK\, then it’s mission accomplished.” URL:https://royaleboston.com/event/the-english-beat-soul-asylum/ 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/2016/05/soul-asylum-english-beat-admat.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:20160707T190000 DTEND;TZID=America/New_York:20160707T190000 DTSTAMP:20260407T224956 CREATED:20160406T154015Z LAST-MODIFIED:20160406T154015Z UID:10002295-1467918000-1467918000@royaleboston.com SUMMARY:Swans DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 4/8 at noon! \n*** \n \n*** \nSwans \n \n[Website] [Facebook] \nI started Swans in 1982 in NYC. At the time\, I had no musical skills whatsoever\, just instinct and a need to make something happen. The music changed constantly over the years\, and I’m gratified it reached\, and continues to reach\, a fair number of people. After 15 years\, I decided to end Swans\, as the name had become a burden and the associations no longer fit with what I wanted to do into the future. I started Angels of Light in 1999\, and that’s my main musical focus now. I also run Young God Records and release (and sometimes produce) music by people whose music I enjoy. \nDozens of people came and went through the 15 years of Swans existence. These are the people that spring immediately to mind: Michael Gira\, Norman Westberg\, Roli Mossiman\, Harry Crosby\, Sue Hanel\, Jonathan Kane\, Algis Kizys\, Jarboe\, Ted Parsons\, Steve Mcallister\, Larry Mullins\, Virgil Moorefield\, Vudi\, Joe Goldring\, Ronaldo Gonzales\, Vinnie Signorelli\, Christoph Hahn\, Ivan Nahem\, Bill Rieflin\, Bill Bronson\, Phil Puleo\, Anton Fier\, Jenny Wade\, Clinton Steele…and more… \nPS – Jarboe was the longest-lasting Swans contributor of those listed above and contributed more than can be mentioned here. To learn more about her\, go to thelivingjarboe.com \nHere’s some of the music that I enjoyed during the time of Swans: Throbbing Gristle\, Psychic TV\, The Stooges\, Brian Eno\, Teenage Jesus And The Jerks\, DNA\, The Contortions\, Glenn Branca\, Black Flag\, early Pink Floyd\, This Heat\, Kraftwerk\, Herman Nitsch\, Cabaret Voltaire\, Can\, Public Image LTD.\, SPK\, Ennio Morricone\, Leonard Cohen\, Nick Drake\, and always\, always Bob Dylan and The Beatles…ha ha! I’m sure there’s 100s more\, but who cares and I can’t remember anyway… – Michael Gira / Young God Records 2008 \n*** \nOkkyung Lee \n \n[Website] [Facebook] [Twitter] \nA native of Korea\, Okkyung Lee has been developing her own voice in a contemporary cello performance\, improvisation and composition for more than a decade by blending her wide interests and influences.\nSince moving to New York in 2000\, She has released more than 20 albums including her latest solo record Ghil on EditionsMego/Ideologic Organ.\nOkkyung’s versatility has led her to collaborate with numerous artists such as Laurie Anderson\, David Behrman\, Douglas Gordon\, Vijay Iyer\, Christian Marclay\, Thurston Moore\, Jim o’Rourke\, Evan Parker and John Zorn to name just a few. \nAs a composer\, she has received Foundation For Contemporary Arts Grant in 2010 in Music/Sound and Doris Duke Performing Artist Award in 2015. URL:https://royaleboston.com/event/swans/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/04/swans-admat.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:20160731T190000 DTEND;TZID=America/New_York:20160731T190000 DTSTAMP:20260407T224956 CREATED:20160510T181955Z LAST-MODIFIED:20160510T181955Z UID:10002357-1469991600-1469991600@royaleboston.com SUMMARY:Zakk Wylde DESCRIPTION:Book of Shadows II \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 5/13 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 \n  \n  \n*** \nZakk Wylde \n \n[Website] [Facebook] [Twitter] \nDon’t ask what Zakk Wylde has been up to in the two decades that passed between the release of the singer and guitar legend’s debut solo album\, Book of Shadows\, and its newly-minted\, equally moving and introspective sequel\, Book of Shadows II. In all truthfulness\, a better question would be\, “What hasn’t Zakk Wylde gotten into?” \nHe kicked booze before it killed him and now squeezes endless joy from life with both fists. He’s possessed of boundless energy\, relentless enthusiasm\, and insurmountable charm. His limitless strength of will allows him to lord over a mini-empire that includes Wylde Audio\, The Black Vatican recording studio\, hot sauces\, and Wylde’s very appropriately named Valhalla Java Odinforce Blend coffee. Sure\, artists like St. Vincent and Arcade Fire have gotten into the caffeinated beverage game\, but none draw the same inhuman power from the magic beans as Wylde. \nThe fearlessly introspective melancholy and melody of Book of Shadows helped to make its follow-up one of Rolling Stone’s Most Anticipated Albums of 2016. As fierce and diverse as his work in BLS and as large as his accomplishments as lead guitarist for Ozzy Osbourne have been\, Book of Shadows II offers an even richer look into the spirit and psyche of one of the most beloved pillars of the hard rock community. Brand new tracks like “Sleeping Dogs\,” “Tears of December\,” “Darkest Hour\,” “Harbors of Pity\,” and “The King” are bold proclamations of intense feeling and powerful catharsis. \nAs frontman for Black Label Society\, the New Jersey born West Coast transplant has led the band across nine studio albums\, two live records\, an EP\, and countless international tours. Black Label Society songs like “Stillborn\,” “My Dying Time\,” “Bleed for Me\,” and “In This River” (his tribute to his fallen friend\, the late Dimebag Darrell of Pantera) are all certifiable hard rock anthems\, inexorably linked to Wylde’s larger-than-life persona. He’s the ultimate embodiment of rowdy rock n’ roll warrior. He’s also father to four children\, fiercely devoted to his wife\, Barbaranne\, and a deeply trusted loyal brother in the heavy metal community. \nZakk Wylde has been immortalized by the Hollywood Rock Walk of Fame\, countless rock music publications\, and Guitar World’s 2012 Rock N’ Roll Roast\, where William Shatner\, Stone Cold Steve Austin\, Slipknot’s Corey Taylor\, Scott Ian from Anthrax\, and Guns N’ Roses legend Duff McKagan were among the friends and peers who assembled to good naturedly mock Father Zakk’s beard\, muscles\, and rowdy demeanor. Sharon Osbourne served as roast master\, which made perfect sense – after all\, it was her husband who plucked Wylde from obscurity on the strength of a demo tape\, helping ensure the “bullseye” guitar design would reach iconic status. \nOne of the modern generation’s few true guitar giants\, Wylde served as spiritual successor to the late Randy Rhoads as axeman for Ozzy Osbourne\, collaborating and co-writing on Ozzy classics like “Mama I’m Coming Home” and “No More Tears.” His tenure with The Ozzman includes co-writing and recording several studio albums\, three live albums\, a Grammy for “I Don’t Want to Change the World” and countless world tours and television appearances. Wylde co-wrote Ozzy’s biggest selling album\, No More Tears\, as well as the bulk of the double platinum Ozzmosis. \nZakk Wylde’s powerful pipes\, mayhem-inducing charisma\, mischievous humor\, and instantly recognizable pinch-harmonic driven blues based histrionic guitar shredding have made him the world’s most beloved American Guitar Hero. \n*** \nTyler Bryant & The Shakedown \n \n[Website] [Facebook] [Twitter] \nTyler Bryant & the Shakedown is a rock and roll band born of Nashville\, TN. Their sound is a soulful patchwork of roots-infused melodies and muscular riffs\, all woven tightly with the thread of their alternative psychedelic mystique. It’s as rambunctious\, raw and real as rock & roll gets these days. \nA native of Honey Grove\, TX\, Tyler cut his teeth on greats such as Lightnin’ Hopkins & Freddie King. Bryant studied the blues under Roosevelt Twitty Sr. and believes that the soul in roots music is what puts the “roll” in rock & roll. \nAt seventeen\, Tyler moved to Nashville to write songs and start a band. There he met drummer Caleb Crosby and they became fast friends. “The instant we started playing\,” Caleb says\, “I knew we were going to start a band. We played our first show a week later and haven’t stopped since.” Together they formed what would become the Shakedown. \nGraham Whitford\, a rocker kid from Boston\, was introduced to Tyler as the guy who could put him out of a job. As soon as Tyler heard Graham play\, he asked him to join the band and move to Nashville right away. \nNoah Denney was the final addition to the Shakedown. “His bass sound scared me and he added an edge and attitude to the band that we didn’t even know we needed\,” says Bryant. \nTyler toured as a solo artist for a spell\, playing Eric Clapton’s Crossroads Festival in Chicago\, receiving the Robert Johnson Foundation’s New Generation Award\, and sharing the stage with acts such as B.B. King & Johnny Winter. \n“Playing on my own was cool\, but I really wanted a group of friends I could hang and make music with\,” says Bryant. “The more time I spent with the guys in the Shakedown\, the more they started to feel like my brothers. Now I can’t imagine making music with anyone else.” \nIn 2013 the band released “Wild Child\,” their first full-length album\, which was featured in Rolling Stone\, NYLON Magazine\, Paste Magazine\, Interview\, and many more. The band made its television debut on Jimmy Kimmel LIVE in support of the record that helped gain them a cult like following. \nTyler Bryant & the Shakedown recently inked a deal with John Varvatos/Republic Records and got right into the studio with celebrated producer/engineer\, Vance Powell (Jack White\, Seasick Steve). \nThe bands new EP\, The Wayside\, will be released on November 13th. The first single\, “Loaded Dice & Buried Money” is a raw\, unhinged reminder that some things aren’t always what we perceive them to be. \n“When you give everything you’ve got to something\, you hope it won’t let you fall by the wayside\,” explains Bryant. “This album was inspired by times where the feeling of having nothing felt overwhelming. In those moments\, music offered us an escape. It gave us something that had nothing to do with money or dissolving relationships\, and everything to do with freedom and expression.” \nThe Shakedown has earned their stripes by touring the country and winning fans one at a time. Whether playing a dingy rock & roll club\, touring the country with Jeff Beck & ZZ Top\, or opening for Aerosmith\, this is a band that is proud to be loud and dedicated to leaving it all on whatever stage they set foot on. \n*** \nJared James Nichols \n \n[Facebook] [Twitter]\nJared James Nichols’ is a great mix of 1970’s rock and blues getting attention and press with a debut album just released. URL:https://royaleboston.com/event/zakk-wylde/ 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/2016/05/ZAKK-WYLDE-ADMAT-NORTH-AMERICA-CLEAN.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:20160802T193000 DTEND;TZID=America/New_York:20160802T193000 DTSTAMP:20260407T224956 CREATED:20160411T151721Z LAST-MODIFIED:20160411T151721Z UID:10002330-1470166200-1470166200@royaleboston.com SUMMARY:The Struts DESCRIPTION:Doors: 7:30 pm / Show: 8:30 pm \nThis event is all ages.\nTickets on sale Fri. 4/15 at noon! \n*** \n \n*** \nThe Struts \n \n[Website] [Facebook] [Twitter] \nBefore even releasing their first album\, U.K.-bred four-piece The Struts opened for The Rolling Stones in front of a crowd of 80\,000 in Paris\, got hand-picked by Mötley Crüe to serve as the supporting act for their four last-ever performances\, and toured the U.S. on a string of sold-out shows that demanded the band move up to bigger venues to accommodate their fast-growing fanbase. Now with their full-length debut Everybody Wants\, lead vocalist Luke Spiller\, guitarist Adam Slack\, bassist Jed Elliott\, and drummer Gethin Davies reveal the supreme mix of massive riffs and powerfully catchy melodies that’s already slain so many adoring audiences around the globe. \n“Every time we go into the studio we just want to channel exactly what we’re all about onstage—something big\, fun\, unapologetic\, rock & roll\,” says Spiller. “We love a song that makes everybody sing along\, and touring quite extensively over the past few years has given us a lot of inspiration to bring that kind of energy to our album.” \nThe follow-up to Have You Heard—a 2015 EP whose lead single “Could Have Been Me” hit #1 on Spotify’s viral chart\, earned more than 2.5 million Vevo/YouTube views\, and shot to the top 5 on Modern Rock radio charts—Everybody Wants unleashes anthem after arena-ready anthem. Pairing up with producers like Gregg Alexander (former frontman for New Radicals) and Marti Frederiksen (Aerosmith\, Mick Jagger) and recording in such far-flung locales as a refurbished London church and a studio in the Spanish region of Andalucía\, The Struts prove the iconic power that’s prompted Yahoo Music to name them “one of the most exciting and electric performers in rock today” and MTV to proclaim the band “well on their way to bringing rock & roll back to the forefront.” \nThroughout Everybody Wants\, The Struts offer their own undeniable twist on sweetly sleazy glam-rock\, delivering huge hooks and making brilliant use of Spiller’s otherworldly vocal range. Even the album’s breakup songs come on full throttle\, with “Mary Go Round” backing its dreamy acoustic balladry with heavy drums\, blistering guitar work\, and fantastically glam-minded lyrics (“I can’t even pour myself a glass of wine/Because every glass is stained with your lipstick shine”). Also evidence of The Struts’ romantic sensibilities\, the sweeping\, heart-on-sleeve intensity of “A Call Away” offers a stirring testament to love against the odds. “It’s about when I’d just moved to America and had a girlfriend back home\, and everyone was asking how I was going to make it work\,” explains Slack. “The song’s saying that we’ll make it work no matter what\, no matter how many miles apart we are.” \nAt the core of Everybody Wants are power-chord-driven tracks like the hard-charging album-opener “Roll Up” (a “larger-than-life caricature of the person I am onstage\, very glamorous and very cheeky\,” according to Spiller) and the gritty-yet-exhilarating “Kiss This” (a breakup song whose “message is really about standing up for yourself—sort of our version of a ‘Young Hearts Run Free’-type song\, but in a rock mentality\,” Spiller notes). With its hip-shaking rhythms and euphoric harmonies\, “Times Are Changin’” recaps the band’s recent glories (“I’ve been to New York City\, I met the Rolling Stones”)\, while “The Ol’ Switcharoo” blends bubblegum melodies and horn-backed grooves into the world’s most irresistibly fun tribute to girlfriend-swapping. \nThe Struts also show their skill in merging high-drama storytelling and pop-perfect melody on Everybody Wants\, with “Black Swan” spinning a darkly charged tale of warring families and star-crossed lovers. “I’d thought that ‘Black Swan’ would make a good title\, so Luke and I started writing it together one night in his room\,” recalls Slack. “We finished the melodies\, and the next morning he’d come up with this whole tragic love story to put into the lyrics.” And on “Where Did She Go\,” The Struts close out Everybody Wants with an infectiously stomping epic that first came to life when Spiller was just 15. “My parents had just moved to this horrible seaside town\, which wasn’t a great place to be if you’ve got long hair or you’re just an individual in any way\,” he says. “One night I was walking home quite drunk and started singing to myself\, as you do\, and this melody eventually came to me. I remember thinking\, ‘What kind of melody could you get a whole football stadium full of people to sing along to?’\, and then kept going from that.” \nForming The Struts in Derby\, England\, in 2012\, all four members began making music as teenagers\, initially finding inspiration in groups like Oasis and the Libertines and then tracking their idols’ influences to discover the glam bands that would one day shape their own sound. “When we first started\, we both just wanted to make fun\, happy rock songs with big choruses—the kind of thing that bands like Slade and T. Rex used to do\,” says Slack of his collaboration with Spiller. The trademark tongue-in-cheek swagger of classic glam also played a key part in the naming of the band\, Spiller points out. “We were in rehearsals and someone saw me strutting around as we were playing\, and made the suggestion that we call ourselves The Struts\,” he says. “We loved that from day one—it absolutely represents what we’re about.” \nLargely on the strength of their dynamic live performance\, the Struts fast built up a major following and started selling out shows all across Europe. Along with landing the Stade de France gig with the Rolling Stones\, the band took the stage at the 2014 Isle of Wight Festival\, with Spiller decked out in a shimmering-blue cape custom-made for him by Zandra Rhodes (the legendary designer who formerly created costumes for Queen’s Freddie Mercury and Brian May). Over the past few years Spiller’s role as a style idol has prevailed\, with the New York Times recently spotlighting the singer in a fashion-centric feature and Ray Brown (an Australian designer who’s also dreamed up outfits for AC/DC\, Ozzy Osbourne\, and Lady Gaga) coming up with costumes for The Struts’ run of dates with Mötley Crüe. \nIn their lavish stage presence and magnetic appeal\, The Struts have more than demonstrated a preternatural command of monumental crowds. But while all that glitz and flash never fail to thrill\, the band’s impassioned music and high-powered spirit also fulfill a far greater purpose. “The main mission of the band is to bring back that feeling of fun and rock & roll\, especially to all those people who are bored by what’s going on these days\,” says Spiller. “We really believe that music\, when it’s done right\, can help you escape the present moment\, and then just send you somewhere else entirely.” \n*** \nDorothoy \n \n[Website] [Facebook] [Twitter] \n“This guy was telling me all this stuff that no one else could possibly know\,” says Dorothy Martin\, the singer and namesake of Los Angeles rock quartet Dorothy. “The theme from The Twilight Zone was playing in my head. It was a ritual cleaning\, where this medicine man from Guadalajara spit all over me and blew smoke in my face. It was crazy. Then\, we went and climbed a pyramid. When we got to the top there were all these butterflies everywhere. It felt like a dream. But\, the weirdest part is that I had written the song before this happened.” \nAs Dorothy Martin talks about her favorite song (“Medicine Man”) from her band’s forthcoming debut on Jay-Z’s Roc Nation label\, you begin to realize the precise reason why her music is so bewitching. \nNo\, it’s not because she might be more of a shaman than that mystic she met in Mexico City. It’s because despite drawing from a familiar musical tradition—they are a rock band after all—Dorothy’s music is rendered anew by this front-woman’s singular vision. All of it is channeled through her. There is no one quite like her. So it follows\, there has been nothing quite like this band before now. URL:https://royaleboston.com/event/the-struts/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/04/THESTRUTS16V2_ADMAT_COLOR-localized1.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:20160803T190000 DTEND;TZID=America/New_York:20160803T190000 DTSTAMP:20260407T224956 CREATED:20160418T141018Z LAST-MODIFIED:20160418T141018Z UID:10001651-1470250800-1470250800@royaleboston.com SUMMARY:Broods DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is All Ages.\nTickets on sale Fri. 4/22 at noon! \nPlease note: ticket price includes $1 for charity and $1.50 for album. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nBroods \n \n[Website] [Facebook] [Twitter] \nMutli-award winning brother-sister duo Broods (Caleb and Georgia Nott) are one of the most celebrated young bands to emerge out of New Zealand in recent times. Announcing their arrival with glossy synth-pop ballads ‘Bridges’\, ‘Never Gonna Change’ and their self-titled debut EP\, through a tireless work ethic\, commitment to excellence and unshakable senses of self\, they’ve established themselves as an in-demand proposition globally. “Touring has made us realise how important it is to not just be yourself\, but back yourself\,” Georgia says. “If you’re not being true\, you’ll never stand out.” \nOver an ever-growing itinerary of performances across the US\, UK\, Canada\, Australia\, Asia and New Zealand\, their sound and live show has become increasingly crucial. To evoke an underrated cliché\, Broods have learned how to dance like no one is watching\, and sing like no one is listening. “We’ve loosened up a lot\,” Caleb says. “We’re in the moment\, and we’re focused on making it special every time.” Along the way they’ve sold-out headline tours\, and played major festivals such as Lollapalooza\, Outside Lands\, Groovin the Moo and Clockenflap to name a few. They’ve shared stages with Ellie Goulding\, Haim\, CHVRCHES\, Tove Lo\, and supported breakout English pop star Sam Smith on his sold-out US tour. In August 2014\, things went white hot for them with the release of their Joel Little produced debut album Evergreen\, debuting at #1 on the New Zealand Albums Chart\, #5 on the Australian Albums Chart and top 50 in the US. Pristinely polished and perfectly poised\, across Evergreen Broods deploy vividly atmospheric textures and heady rhythms in counterpoint to measured pop hooks\, all delivered with a stadium-sized sense of melody and harmony. A record of euphoric peaks and intimate valleys\, it’s the sound of youth maturing into adulthood. Young people growing up lost in the world\, and figuring out what that means while finding themselves along the way. With equally impressive Soundcloud\, Hype Machine\, iTunes and YouTube figures behind them\, as well as key tastemaker support from Zane Lowe (of BBC Radio 1)\, and preeminent new music blog Pigeons and Planes\, Broods are turning their wide-eyed teenage dreams into sustainable realities. \nTopping off their busy two years so far has been the nomination of ‘Bridges’ for the APRA AMCOS 2014 Silver Scroll Award\, and winning Breakthrough Artist of the Year at the 2014 Vodafone New Zealand Music Awards. That particular win was to foretell their success at the 2015 awards\, where they took out four accolades; including Best Group\, Best Pop Album\, Highest Radio Airplay for ‘Mother & Father’ and the coveted Album of the Year award. “We’re not taking any of this for granted\,” Georgia says. “We keep active and work 24/7\,” Caleb adds. “This is what we do now. It’s our life.” \n*** \nJarryd James \n \n[Soundcloud] [Facebook] [Twitter] \nOver three days in the fall of 2014\, Australian singer-songwriter Jarryd James and songwriter-producer Joel Little (Lorde\, Broods) holed up in a Airbnb in Los Angeles with some portable recording equipment\, a computer\, and a $30 ukulele they found in the house and created the song “Do You Remember.” “I was trying to capture the feeling of nostalgia in a song\, both lyrically and melodically\, and just how powerful that emotion is\,” James says. “I was in an unfamiliar place all by myself and I guess I was feeling a bit fragile. But when you sit down and think back to a certain time\, there’s a lot of beauty in that reminiscing.” Wanting to share the song with people\, James put “Do You Remember” up on Soundcloud in January 2015\, not expecting anything of it. \nBut with its “silky falsetto vocals\, pounding drums\, and plucked guitars” (as NME described it)\, “Do You Remember” quickly struck a chord with listeners and catapulted the then-unsigned artist into viral fame. By February\, James was touring with Aussie superstars Angus & Julia Stone and the following month had landed a deal with Interscope Records in the U.S. Upon its official release\, “Do You Remember” debuted at No. 2 on Singles chart in Australia\, as well as No. 1 on Hype Machine and the Australian iTunes charts\, and was the No. 1 most Shazamed song in Australia. James\, a humble\, soft-spoken native of Brisbane\, who had spent several years in a band\, followed by six years working with troubled kids before returning to making music\, found himself being supported by critics\, industry tastemakers like Beats 1 Radio’s Zane Lowe\, and artist peers like Ed Sheeran\, who told Rolling Stone that he had heard “Do You Remember” on Australian radio and “had to find out who the singer was. I just love his sound.“ When James released his follow-up single\, “Give Me Something” (also co-written with Little)\, Nylon magazine called him “a member of R&B’s new wave\, an artist who is helping to redefine the genre.” \nNow James is gearing up to release his debut album Thirty-One — 12 minimalist-sounding gems that showcase his ability to live in the sweet spot where unforgettable melodies\, soulful vocals\, and bittersweet lyrics intersect. Working with his collaborators Joel Little\, Pip Norman (Troye Sivan)\, and Malay Ho (Frank Ocean’s Channel Orange\, Tori Kelly)\, James delivers an immersively emotional experience fueled by the album’s sparse sonics and his aching falsetto\, not to mention his knack for writing lyrics that shoot straight for the gut. \nHowever ask James what his songs are about and he’ll tell you that rather than focus on what inspires them\, his priority is the emotions they conjure up. “I never go into a session thinking\, ‘I’m going to write about this or that\,’” he says. “I need the music to tell me what to do. I let it soak into me\, then the words come. I just switch my brain off\, otherwise I end up overthinking things. I’ve never liked literal thoughts in songs. I always go for the metaphor or something ambiguous that will convey a feeling. The music I love the most\, I don’t even know what it’s about\, but I know how it makes me feel inside and that’s literally all I’m ever trying to do.” \nOne of James’ earliest and most powerful musical memories is hearing and connecting with Bob Dylan’s protest song “Hurricane.” “The story he tells is incredible and the fact that it was real … that stayed with me\,” he says. James grew up in a small town called Dalby\, three hours west of Brisbane where he lived with his mother\, sister\, and ailing grandmother. James’ parents split while his mother was pregnant with him and James’ father died when James was an infant. “My mom was very protective of me and my sister\,” he recalls. “My whole childhood was very sheltered.” Music drew James out. He played trumpet throughout his school years before teaching himself to play piano and guitar. Eventually\, he discovered artists like Harry Nilsson\, Paul McCartney\, and Stevie Wonder and spent hours in his room absorbing their stories\, melodies\, and vocal techniques. “I listened to Stevie Wonder and would try to nail his runs and trills because what he did was incredible.” \nAt 20\, James got up the nerve to sing for his friends and began writing his own songs a few years later. “At that point\, it was mostly about creating beautiful melodies\,” he says. “I didn’t think I had anything to write about.” He eventually formed a band with a few talented friends. Calling themselves Holland\, the band were signed to a major label and toured Australia before calling it quits after six years. Feeling a bit lost after the break-up\, James took a full-time government job looking after young people with extreme needs. “They were kids who didn’t fit into the foster care system so they were either homeless or in lockup in juvenile detention\,” James explains. He loved the work\, but also realized that something was missing from his life. “I got pretty depressed\,” he admits. “I was just sad all the time. I knew I had to start making music again.” \nHe called a friend with a recording studio in the Gold Coast and asked if he could pay him a visit. The first song to come pouring out was “High\,” an epic\, orchestral-sounding song that now closes out Thirty-One. In short order\, James found a publisher (Sony/ATV) and attended a songwriting workshop in Sydney where he connected with Pip Norman\, with whom he wrote Thirty-One’s “Sell It To Me\,” “Undone\,” and his third Australian single “Sure Love.” With Norman accompanying him\, James performed at the APRA Awards in Australia where he caught the attention of Joel Little and music manager\, Ashley Page\, who offered to represent him and immediately put James on tour with his clients Broods. He also wrote “Do You Remember” with Little and the rest was history. “Do You Remember” has racked up more than 27 million plays on Spotify and is the perfect introduction to Thirty-One\, a title inspired not only by James’ age\, but by his realization that his father died at 31. “It hit me last year when I became aware that I was making an album\,” he says. “I was like\, ‘Holy shit\, if I make it through this year\, I’ve outlived my father and on the same year that I put out this album\, which is so special to me.’ I feel like I’m kind of continuing on with what he couldn’t finish doing.” URL:https://royaleboston.com/event/broods/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/04/BROODS-TOUR-ADMAT.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:20160806T180000 DTEND;TZID=America/New_York:20160806T180000 DTSTAMP:20260407T224956 CREATED:20160420T143125Z LAST-MODIFIED:20160420T143125Z UID:10001653-1470506400-1470506400@royaleboston.com SUMMARY:The Fall of Troy DESCRIPTION:Doors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and over.\nTickets on sale NOW! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nThe Fall of Troy \n \n[Website] [Facebook] [Twitter] \nWe’re The Fall of Troy from Mukilteo\, Wa. \n*** \n’68 \n \n[Website] [Facebook] [Twitter] \nIn Humor and Sadness\, the debut album from ’68\, demonstrates the loud beauty of alarming simplicity. A guy bashing his drums\, another dude wielding a guitar like a percussive\, blunt weapon while howling into a mic somehow manages to sound bigger and brasher than the computerized bombast of every six-piece metal band. A splash of roots\, a soulful yearning for mid century Americana and the fiery passion of post punk ferocity rampages over a record of earnestly forceful tracks like a runaway locomotive. \nJosh Scogin wasn’t out of elementary school when the Flat Duo Jets laid their first album down on two tracks in a garage. But the scrappy band’s spirit of raw power\, punchy delivery\, tried-and-true rhythms and urgent sense of immediacy is alive and well in ’68. \nHeralded by Alternative Press as one of 2014’s Most Anticipated Albums\, In Humor and Sadness is a snapshot of a fiery new beginning for one of modern Metalcore’s most celebrated frontmen. Produced by longtime Scogin collaborator Matt Goldman (Underoath\, Anberlin\, The Devil Wears Prada)\, the first full offering from ’68 is a broad reaching slab of ambitious showmanship delivered with few tools and fewer pretensions. The scratchy disharmonic pop of Nirvana’s Bleach is in there\, for sure. And while many associate the setup with The Black Keys\, ’68 is more like Black Keys on crack. \n“I wanted it to be as loud and obnoxious as it can be\,” Scogin explains. “I want it to be in-your-face. I want people who hear us live to just be like\, ‘There’s no way this is just two dudes!’ That became sort of the subplot to our entire existence. ‘How much noise can two guys make?’ It’s obviously very minimalistic\, but in other ways\, it’s very big. I have as many amps onstage as a five piece band. Michael only has one cymbal and one tom on his kit\, but he plays it like it’s some kind of big ‘80s metal drum setup. It’s minimalistic\, but it’s also overkill. We get as much as we can from as little as we can.” \nLike many pioneers\, North Carolina’s the Flat Duo Jet’s blazed a trail for more commercially successful people. They played rootsy rockabilly but with a punk edge. Band leader Dexter Romweber’s solo work was a fist-pounding celebration of audacity and disruption\, which influenced the likes of The White Stripes\, among other bands. \n“I got excited when I thought about the distress\, the chaos that this two-piece arrangement would create – one guy having to provide all of these sounds\, with a bunch of pedals\, with certain chords wigging out and missing notes here and there\,” he says with excitement. “That alone makes up for the chaos of having five people up there.” \nThat idea of less is more\, of building something big from something small\, persists today at the top of the charts with The Black Keys\, just as it’s lived and breathed in the bass-player-less eclectic trio Jon Spencer Blues Explosion\, the rule-breaking early ‘90s destruction of Washington D.C.’s Nation of Ulysses\, and in the two man attack of ’68. \n“Jon Spencer’s records always sound like he’s kind of winging it and I love that\,” declares Scogin\, letting out an affectionate laugh. “In my last band\, that’s how we tried to make our last record feel. The excitement and imperfection is something I love to draw from.” \nBefore paring (and pairing) things down with friend and drummer Michael McClellan\, Josh Scogin was the voice\, founder and agitprop-style provocateur in The Chariot\, who laid waste to convention across a brilliantly unhinged and defiantly unpolished catalog of Noisecore triumphs and dissonant art rock rage. Recorded live in the studio\, overdub free\, The Chariot’s first album set the tone for a decade to come\, owing more to a band like Unsane than whatever passes for “scene.” \nScogin was the original singer for Norma Jean and left an influential imprint on the burgeoning Metalcore of the late 90s that persists today\, despite having fronted the band for just one of six albums. Whether it’s the genre-defining heft of Norma Jean’s first album or the five records and stage destroying shows of The Chariot\, there’s a single constant at the heart of Josh Scogin’s career: a familiarity with the unfamiliar. \nA new Metalcore band would be a safe third act for the subculture lifer\, but Scogin isn’t comfortable unless he’s making himself (and his audience) uncomfortable. “I definitely wanted to flip the script a bit\,” he freely confesses. “I’ve always wanted to play guitar and sing in a band\, ever since I left Norma Jean. I needed the freedom of not having a guitar onstage\, but now having done that for several years\, I wanted the challenge.” \nCreative problem solving has long been the name of the game for Scogin\, whether he was hand stamping ALL 30\,000 CDs for The Chariot’s Wars and Rumors of Wars album or figuring out how to pull off his ’68 song title concept in the digital age of iTunes. Each song on In Humor and Sadness was to be titled with simply a single letter\, which when put together vertically on the back of a vinyl LP or compact disc\, would spell out a word. However\, it’s problematic to name more than one song with the same letter\, which would have been necessary to spell out what he intended. \n’68 is the forward thinking progress of an artist who finds satisfaction in the expression of dissatisfaction. There’s progression in this regression. Tear apart all of the elements that have enveloped a singer’s performance\, strap a guitar on the guy and set him loose with nothing but a beat behind him? It’s a recipe for inventive\, fanciful mayhem. \nAfter a raucous debut at South By Southwest\, a full US tour supporting Chiodos and many more road gigs on the horizon\, Scogin and McClellan are propelled by the excitement that comes along with the knowledge that ‘68 is truly just getting started. \n“We’ve just broken the tip of the iceberg. We’re really just exploring all the different things we can do\,” Scogin promises. “I’ll get more pedals\, we’re try different auxiliary instruments\, whatever – the goal is to challenge ourselves and challenge an audience.” \n*** \n Illustrations \n \n[Website] [Facebook] [Twitter] \nSan Antonio\, TX URL:https://royaleboston.com/event/the-fall-of-troy-2/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/04/the-fall-of-troy-admat.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:20160807T190000 DTEND;TZID=America/New_York:20160807T190000 DTSTAMP:20260407T224956 CREATED:20160408T161039Z LAST-MODIFIED:20160408T161039Z UID:10002297-1470596400-1470596400@royaleboston.com SUMMARY:[SOLD OUT] PIEBALD DESCRIPTION:You’re Part of It! 2016 Tour \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nSOLD OUT! \n*** \n \n*** \nPIEBALD \n \n[Website] [Facebook] \nEmocore outfit Piebald formed in 1994 when vocalist/guitarist Travis Shettel\, guitarist Aaron Stuart\, bassist Andrew Bonner and drummer Jon Sullivan were still high school students in suburban Andover\, MA. Sullivan left a few years later; Alex Garcia Rivera stepped in before the band ultimately settled down with Luke Garro behind the kit. \nQuickly becoming a staple of the Boston-area indie circuit\, Piebald released their first album\, When Life Hands You Lemons\, in 1997 via Hydra Head Records. They followed up two years later with If It Weren’t for Venetian Blinds It Would Be Curtains for Us All\, which further presented the band’s lighthearted spin on typical emo values\, offering such song titles as “Fat and Skinny Asses.” \nThe EP The Rock Revolution Will Not Be Televised appeared in 2000 before Piebald amicably split to focus on life outside the band. Boston-based imprint Big Wheel Recreation released the dual-disc retrospective Barely Legal/All Ages the following year\, which collected shaky recordings from their high school days all the way up through their 1997 debut; the set also included all of Piebald’s early 7″ EPs\, some demos\, live cuts (including a blistering cover of the Beatles’ “I Saw Her Standing There”)\, and out-of-print tracks. During the break\, Shettel also put out a solo record under the appropriate project name of Totally Travis. \nThe band’s separation didn’t last long\, however; Piebald announced their return in 2002 with We Are the Only Friends We Have\, a fun-yet-mature album that was quickly embraced by fans and critics alike. A single from that album\, “American Hearts\,” saw minor success on MTV and was even sampled a few years later by MC Lars on his emo-laptop-rap “iGeneration.” \nIt was a year of unprecedented good fortune for the band\, but things took a turn for the worse when Shettel had to undergo throat surgery. Shettel’s health problems resulted in the cancellation of a string of live shows (opening up for Dashboard Confessional\, no less)\, but the band wasn’t down for long. Shettel healed up in a few months’ time\, and Piebald headed back out on the road to headline with bands like My Chemical Romance\, Minus the Bear\, and Fairweather in tow. \nBy early 2004\, Piebald had inked a deal with Cali-based indie label SideOneDummy\, and their next album\, All Ears\, All Eyes\, All the Time\, came out that May. Late in the next year\, while the band toured with Hot Rod Circuit in their new environmentally friendly\, vegetable oil powered van\, the CD/DVD B-sides collection Killa Bros and Killa Bees was issued. Piebald’s next proper full-length\, Accidental Gentlemen\, hit stores in January 2007. \nPiebald’s last show was on April 19\, 2008 at Cambridge\, MA’s Middle East Downstairs\, though the band reunited for sets at The Bamboozle festival in California and New Jersey in early 2010. \n~Erik Hage \n*** \nNomad Stones \n \n[Facebook] \nBoston\, MA URL:https://royaleboston.com/event/piebald-2/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/04/PIEBALD-Youre-Part-Of-It-AD-MAT-localized3.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:20160808T190000 DTEND;TZID=America/New_York:20160808T190000 DTSTAMP:20260407T224956 CREATED:20160406T153019Z LAST-MODIFIED:20160406T153019Z UID:10002294-1470682800-1470682800@royaleboston.com SUMMARY:[SOLD OUT] PIEBALD DESCRIPTION:You’re Part of It! 2016 Tour \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nSOLD OUT \n*** \n \n*** \nPIEBALD \n \n[Website] [Facebook] \nEmocore outfit Piebald formed in 1994 when vocalist/guitarist Travis Shettel\, guitarist Aaron Stuart\, bassist Andrew Bonner and drummer Jon Sullivan were still high school students in suburban Andover\, MA. Sullivan left a few years later; Alex Garcia Rivera stepped in before the band ultimately settled down with Luke Garro behind the kit. \nQuickly becoming a staple of the Boston-area indie circuit\, Piebald released their first album\, When Life Hands You Lemons\, in 1997 via Hydra Head Records. They followed up two years later with If It Weren’t for Venetian Blinds It Would Be Curtains for Us All\, which further presented the band’s lighthearted spin on typical emo values\, offering such song titles as “Fat and Skinny Asses.” \nThe EP The Rock Revolution Will Not Be Televised appeared in 2000 before Piebald amicably split to focus on life outside the band. Boston-based imprint Big Wheel Recreation released the dual-disc retrospective Barely Legal/All Ages the following year\, which collected shaky recordings from their high school days all the way up through their 1997 debut; the set also included all of Piebald’s early 7″ EPs\, some demos\, live cuts (including a blistering cover of the Beatles’ “I Saw Her Standing There”)\, and out-of-print tracks. During the break\, Shettel also put out a solo record under the appropriate project name of Totally Travis. \nThe band’s separation didn’t last long\, however; Piebald announced their return in 2002 with We Are the Only Friends We Have\, a fun-yet-mature album that was quickly embraced by fans and critics alike. A single from that album\, “American Hearts\,” saw minor success on MTV and was even sampled a few years later by MC Lars on his emo-laptop-rap “iGeneration.” \nIt was a year of unprecedented good fortune for the band\, but things took a turn for the worse when Shettel had to undergo throat surgery. Shettel’s health problems resulted in the cancellation of a string of live shows (opening up for Dashboard Confessional\, no less)\, but the band wasn’t down for long. Shettel healed up in a few months’ time\, and Piebald headed back out on the road to headline with bands like My Chemical Romance\, Minus the Bear\, and Fairweather in tow. \nBy early 2004\, Piebald had inked a deal with Cali-based indie label SideOneDummy\, and their next album\, All Ears\, All Eyes\, All the Time\, came out that May. Late in the next year\, while the band toured with Hot Rod Circuit in their new environmentally friendly\, vegetable oil powered van\, the CD/DVD B-sides collection Killa Bros and Killa Bees was issued. Piebald’s next proper full-length\, Accidental Gentlemen\, hit stores in January 2007. \nPiebald’s last show was on April 19\, 2008 at Cambridge\, MA’s Middle East Downstairs\, though the band reunited for sets at The Bamboozle festival in California and New Jersey in early 2010. \n~Erik Hage \n*** \nChrome Over Brass \n \n[Website] [Facebook] \nChrome Over Brass is an instrumental band created by Alex Garcia-Rivera. Songs are composed of drum-riffs\, layered with guitars URL:https://royaleboston.com/event/piebald/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/04/PIEBALD-Youre-Part-Of-It-AD-MAT-localized3.jpg 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:20160809T190000 DTEND;TZID=America/New_York:20160809T190000 DTSTAMP:20260407T224956 CREATED:20160306T160011Z LAST-MODIFIED:20160306T160011Z UID:10002246-1470769200-1470769200@royaleboston.com SUMMARY:Belly DESCRIPTION:SECOND SHOW ADDED DUE TO OVERWHELMING DEMAND! \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 3/11 at noon! \n*** \nBelly \n \n[Website] [Facebook] [Twitter] \nBelly formed in 1991 after Tanya Donelly left the critically acclaimed Throwing Muses\, which she’d founded with her stepsister Kristin Hersh while they were both still in high school. Just prior to leaving the Muses\, Tanya co-founded The Breeders as a side project with Kim Deal of The Pixies\, but soon realized she needed more space to pursue her own fractured-fairytale alternative-pop-rock song-writing vision. \nTanya recruited Fred Abong to play bass (he had played on her final Muses album)\, and brothers Chris and Tom Gorman- friends from her native Rhode Island- to play drums and guitar\, respectively. The band immediately got to work rehearsing and demoing the material that would eventually become Belly’s debut album\, Star. Star was recorded in two sessions\, the first in Nashville\, with engineer Tracy Chisholm\, the second in Liverpool\, England\, with producer Gil Norton. \nJust before the release of the album on 4AD/Sire/Reprise in January 1993\, Abong left the band and was replaced by music scene veteran and hard-rocker Gail Greenwood. \nBy turns dreamy\, creepy\, jaggedly delicate and melodically expansive\, Star was propelled by the single “Feed the Tree” to gold-record status in the US\, earning two Grammy nominations and eventually selling two million copies worldwide. \nBelly spent more than a year of nearly nonstop touring for Star\, performing throughout the US\, UK\, Europe\, Australia and Japan\, with opening bands that included The Cranberries and Radiohead. The band also opened for U2 and the Velvet Underground at the Hippodrome in Paris. \nIn the summer of 1994\, Belly began writing and rehearsing for their sophomore release. Produced by the legendary Glyn Johns and released in February 1995\, King was a more ‘rock-oriented’ and live-sounding album\, reflecting the band’s experience of hard touring that preceded it\, as well as Johns’ minimalist production style. Stripped down and direct\, Kingdispensed with much of the layering and idiosyncratic charm that had characterized Star. \nAnother extensive tour followed the release of King\, with dates opening for R.E.M. in Europe\, and U.S. dates supported by the Catherine Wheel and Superchunk. \nAlas\, King didn’t meet record-label sales expectations. Falling prey to the all-too-common rock-and-roll cliché of industry pressure\, financial issues\, personal conflict and divergent creative ambitions\, Belly disbanded without ceremony on Nov. 11\, 1995\, after playing the final show of the King tour at The Dragonfly in Los Angeles. \nTanya went on to pursue a solo career\, continuing to perform internationally and\, to date\, releasing four albums under her own name: Lovesongs for Underdogs (1997)\, Beautysleep (2002)\, Whiskey Tango Ghosts (2004) and This Hungry Life (2006). In recent years\, she has self-released a stream of digital EPs known as The Swan Song Series\, an expansive collection of collaborations with some of her favorite musicians and authors. The entire series is to be released on CD and vinyl in 2016 by American Laundromat Records. Tanya lives in Boston with her husband\, musician Dean Fisher (the Juliana Hatfield Three)\, and their two daughters\, and works as a postpartum doula. \nAfter Belly\, Gail spent three years playing in L7\, followed by two years as touring bassist for pop-punk artist Bif Naked. Since 2002 she has performed with her partner Chil Mott in the metal-inflected power-punk band Benny Sizzler. She lives in Rhode Island\, where she and Chil run a graphic design business and are active in anti-sprawl efforts and lobbying for land conservation. They share their home with Bear and Maurice\, trained therapy dogs who perform in libraries and nursing homes\, star in Benny Sizzler videos and have been featured on the PBS Kids’ show “Martha Speaks.” \nNot long after Belly called it quits\, Chris moved to New York City and opened a studio to pursue commercial and fine-art photography. He’s also designed and built several restaurant spaces\, a yoga studio and his own surf shop. In 2015\, he published his first children’s book\, Indi Surfs. Chris lives near the beach on Long Island with his wife\, two kids\, two cats\, a dog and a fish named Godzilla. \nTom briefly played guitar and keyboards with Buffalo Tom after the breakup of Belly\, toured with Kristin Hersh in 1999 and eventually moved to New York City\, where he joined Chris in the commercial photography business. He now splits his time between New York City and rural upstate NY\, where he and his wife are implementing permaculture design on their small farm. They are also active in the fight against fracking and the expansion of fracked-gas pipelines and infrastructure- in their small town and everywhere. URL:https://royaleboston.com/event/belly-2/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/02/BELLY.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 END:VCALENDAR