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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
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DTSTART;TZID=America/New_York:20160618T183000
DTEND;TZID=America/New_York:20160618T183000
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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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160620T190000
DTEND;TZID=America/New_York:20160620T190000
DTSTAMP:20260407T225733
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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
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DTSTART;TZID=America/New_York:20160622T190000
DTEND;TZID=America/New_York:20160622T190000
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CREATED:20160328T140019Z
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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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160623T190000
DTEND;TZID=America/New_York:20160623T190000
DTSTAMP:20260407T225733
CREATED:20160327T160027Z
LAST-MODIFIED:20160327T160027Z
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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
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DTSTART;TZID=America/New_York:20160625T183000
DTEND;TZID=America/New_York:20160625T183000
DTSTAMP:20260407T225733
CREATED:20160503T223706Z
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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
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DTSTART;TZID=America/New_York:20160707T190000
DTEND;TZID=America/New_York:20160707T190000
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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
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DTSTART;TZID=America/New_York:20160731T190000
DTEND;TZID=America/New_York:20160731T190000
DTSTAMP:20260407T225733
CREATED:20160510T181955Z
LAST-MODIFIED:20160510T181955Z
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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
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DTSTART;TZID=America/New_York:20160802T193000
DTEND;TZID=America/New_York:20160802T193000
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SUMMARY:The Struts
DESCRIPTION:Doors: 7:30 pm / Show: 8:30 pm \nThis event is all ages.\nTickets on sale Fri. 4/15 at noon! \n*** \n \n*** \nThe Struts \n \n[Website] [Facebook] [Twitter] \nBefore even releasing their first album\, U.K.-bred four-piece The Struts opened for The Rolling Stones in front of a crowd of 80\,000 in Paris\, got hand-picked by Mötley Crüe to serve as the supporting act for their four last-ever performances\, and toured the U.S. on a string of sold-out shows that demanded the band move up to bigger venues to accommodate their fast-growing fanbase. Now with their full-length debut Everybody Wants\, lead vocalist Luke Spiller\, guitarist Adam Slack\, bassist Jed Elliott\, and drummer Gethin Davies reveal the supreme mix of massive riffs and powerfully catchy melodies that’s already slain so many adoring audiences around the globe. \n“Every time we go into the studio we just want to channel exactly what we’re all about onstage—something big\, fun\, unapologetic\, rock & roll\,” says Spiller. “We love a song that makes everybody sing along\, and touring quite extensively over the past few years has given us a lot of inspiration to bring that kind of energy to our album.” \nThe follow-up to Have You Heard—a 2015 EP whose lead single “Could Have Been Me” hit #1 on Spotify’s viral chart\, earned more than 2.5 million Vevo/YouTube views\, and shot to the top 5 on Modern Rock radio charts—Everybody Wants unleashes anthem after arena-ready anthem. Pairing up with producers like Gregg Alexander (former frontman for New Radicals) and Marti Frederiksen (Aerosmith\, Mick Jagger) and recording in such far-flung locales as a refurbished London church and a studio in the Spanish region of Andalucía\, The Struts prove the iconic power that’s prompted Yahoo Music to name them “one of the most exciting and electric performers in rock today” and MTV to proclaim the band “well on their way to bringing rock & roll back to the forefront.” \nThroughout Everybody Wants\, The Struts offer their own undeniable twist on sweetly sleazy glam-rock\, delivering huge hooks and making brilliant use of Spiller’s otherworldly vocal range. Even the album’s breakup songs come on full throttle\, with “Mary Go Round” backing its dreamy acoustic balladry with heavy drums\, blistering guitar work\, and fantastically glam-minded lyrics (“I can’t even pour myself a glass of wine/Because every glass is stained with your lipstick shine”). Also evidence of The Struts’ romantic sensibilities\, the sweeping\, heart-on-sleeve intensity of “A Call Away” offers a stirring testament to love against the odds. “It’s about when I’d just moved to America and had a girlfriend back home\, and everyone was asking how I was going to make it work\,” explains Slack. “The song’s saying that we’ll make it work no matter what\, no matter how many miles apart we are.” \nAt the core of Everybody Wants are power-chord-driven tracks like the hard-charging album-opener “Roll Up” (a “larger-than-life caricature of the person I am onstage\, very glamorous and very cheeky\,” according to Spiller) and the gritty-yet-exhilarating “Kiss This” (a breakup song whose “message is really about standing up for yourself—sort of our version of a ‘Young Hearts Run Free’-type song\, but in a rock mentality\,” Spiller notes). With its hip-shaking rhythms and euphoric harmonies\, “Times Are Changin’” recaps the band’s recent glories (“I’ve been to New York City\, I met the Rolling Stones”)\, while “The Ol’ Switcharoo” blends bubblegum melodies and horn-backed grooves into the world’s most irresistibly fun tribute to girlfriend-swapping. \nThe Struts also show their skill in merging high-drama storytelling and pop-perfect melody on Everybody Wants\, with “Black Swan” spinning a darkly charged tale of warring families and star-crossed lovers. “I’d thought that ‘Black Swan’ would make a good title\, so Luke and I started writing it together one night in his room\,” recalls Slack. “We finished the melodies\, and the next morning he’d come up with this whole tragic love story to put into the lyrics.” And on “Where Did She Go\,” The Struts close out Everybody Wants with an infectiously stomping epic that first came to life when Spiller was just 15. “My parents had just moved to this horrible seaside town\, which wasn’t a great place to be if you’ve got long hair or you’re just an individual in any way\,” he says. “One night I was walking home quite drunk and started singing to myself\, as you do\, and this melody eventually came to me. I remember thinking\, ‘What kind of melody could you get a whole football stadium full of people to sing along to?’\, and then kept going from that.” \nForming The Struts in Derby\, England\, in 2012\, all four members began making music as teenagers\, initially finding inspiration in groups like Oasis and the Libertines and then tracking their idols’ influences to discover the glam bands that would one day shape their own sound. “When we first started\, we both just wanted to make fun\, happy rock songs with big choruses—the kind of thing that bands like Slade and T. Rex used to do\,” says Slack of his collaboration with Spiller. The trademark tongue-in-cheek swagger of classic glam also played a key part in the naming of the band\, Spiller points out. “We were in rehearsals and someone saw me strutting around as we were playing\, and made the suggestion that we call ourselves The Struts\,” he says. “We loved that from day one—it absolutely represents what we’re about.” \nLargely on the strength of their dynamic live performance\, the Struts fast built up a major following and started selling out shows all across Europe. Along with landing the Stade de France gig with the Rolling Stones\, the band took the stage at the 2014 Isle of Wight Festival\, with Spiller decked out in a shimmering-blue cape custom-made for him by Zandra Rhodes (the legendary designer who formerly created costumes for Queen’s Freddie Mercury and Brian May). Over the past few years Spiller’s role as a style idol has prevailed\, with the New York Times recently spotlighting the singer in a fashion-centric feature and Ray Brown (an Australian designer who’s also dreamed up outfits for AC/DC\, Ozzy Osbourne\, and Lady Gaga) coming up with costumes for The Struts’ run of dates with Mötley Crüe. \nIn their lavish stage presence and magnetic appeal\, The Struts have more than demonstrated a preternatural command of monumental crowds. But while all that glitz and flash never fail to thrill\, the band’s impassioned music and high-powered spirit also fulfill a far greater purpose. “The main mission of the band is to bring back that feeling of fun and rock & roll\, especially to all those people who are bored by what’s going on these days\,” says Spiller. “We really believe that music\, when it’s done right\, can help you escape the present moment\, and then just send you somewhere else entirely.” \n*** \nDorothoy \n \n[Website] [Facebook] [Twitter] \n“This guy was telling me all this stuff that no one else could possibly know\,” says Dorothy Martin\, the singer and namesake of Los Angeles rock quartet Dorothy. “The theme from The Twilight Zone was playing in my head. It was a ritual cleaning\, where this medicine man from Guadalajara spit all over me and blew smoke in my face. It was crazy. Then\, we went and climbed a pyramid. When we got to the top there were all these butterflies everywhere. It felt like a dream. But\, the weirdest part is that I had written the song before this happened.” \nAs Dorothy Martin talks about her favorite song (“Medicine Man”) from her band’s forthcoming debut on Jay-Z’s Roc Nation label\, you begin to realize the precise reason why her music is so bewitching. \nNo\, it’s not because she might be more of a shaman than that mystic she met in Mexico City. It’s because despite drawing from a familiar musical tradition—they are a rock band after all—Dorothy’s music is rendered anew by this front-woman’s singular vision. All of it is channeled through her. There is no one quite like her. So it follows\, there has been nothing quite like this band before now.
URL:https://royaleboston.com/event/the-struts/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160803T190000
DTEND;TZID=America/New_York:20160803T190000
DTSTAMP:20260407T225733
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SUMMARY:Broods
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is All Ages.\nTickets on sale Fri. 4/22 at noon! \nPlease note: ticket price includes $1 for charity and $1.50 for album. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nBroods \n \n[Website] [Facebook] [Twitter] \nMutli-award winning brother-sister duo Broods (Caleb and Georgia Nott) are one of the most celebrated young bands to emerge out of New Zealand in recent times. Announcing their arrival with glossy synth-pop ballads ‘Bridges’\, ‘Never Gonna Change’ and their self-titled debut EP\, through a tireless work ethic\, commitment to excellence and unshakable senses of self\, they’ve established themselves as an in-demand proposition globally. “Touring has made us realise how important it is to not just be yourself\, but back yourself\,” Georgia says. “If you’re not being true\, you’ll never stand out.” \nOver an ever-growing itinerary of performances across the US\, UK\, Canada\, Australia\, Asia and New Zealand\, their sound and live show has become increasingly crucial. To evoke an underrated cliché\, Broods have learned how to dance like no one is watching\, and sing like no one is listening. “We’ve loosened up a lot\,” Caleb says. “We’re in the moment\, and we’re focused on making it special every time.” Along the way they’ve sold-out headline tours\, and played major festivals such as Lollapalooza\, Outside Lands\, Groovin the Moo and Clockenflap to name a few. They’ve shared stages with Ellie Goulding\, Haim\, CHVRCHES\, Tove Lo\, and supported breakout English pop star Sam Smith on his sold-out US tour. In August 2014\, things went white hot for them with the release of their Joel Little produced debut album Evergreen\, debuting at #1 on the New Zealand Albums Chart\, #5 on the Australian Albums Chart and top 50 in the US. Pristinely polished and perfectly poised\, across Evergreen Broods deploy vividly atmospheric textures and heady rhythms in counterpoint to measured pop hooks\, all delivered with a stadium-sized sense of melody and harmony. A record of euphoric peaks and intimate valleys\, it’s the sound of youth maturing into adulthood. Young people growing up lost in the world\, and figuring out what that means while finding themselves along the way. With equally impressive Soundcloud\, Hype Machine\, iTunes and YouTube figures behind them\, as well as key tastemaker support from Zane Lowe (of BBC Radio 1)\, and preeminent new music blog Pigeons and Planes\, Broods are turning their wide-eyed teenage dreams into sustainable realities. \nTopping off their busy two years so far has been the nomination of ‘Bridges’ for the APRA AMCOS 2014 Silver Scroll Award\, and winning Breakthrough Artist of the Year at the 2014 Vodafone New Zealand Music Awards. That particular win was to foretell their success at the 2015 awards\, where they took out four accolades; including Best Group\, Best Pop Album\, Highest Radio Airplay for ‘Mother & Father’ and the coveted Album of the Year award. “We’re not taking any of this for granted\,” Georgia says. “We keep active and work 24/7\,” Caleb adds. “This is what we do now. It’s our life.” \n*** \nJarryd James \n \n[Soundcloud] [Facebook] [Twitter] \nOver three days in the fall of 2014\, Australian singer-songwriter Jarryd James and songwriter-producer Joel Little (Lorde\, Broods) holed up in a Airbnb in Los Angeles with some portable recording equipment\, a computer\, and a $30 ukulele they found in the house and created the song “Do You Remember.” “I was trying to capture the feeling of nostalgia in a song\, both lyrically and melodically\, and just how powerful that emotion is\,” James says. “I was in an unfamiliar place all by myself and I guess I was feeling a bit fragile. But when you sit down and think back to a certain time\, there’s a lot of beauty in that reminiscing.” Wanting to share the song with people\, James put “Do You Remember” up on Soundcloud in January 2015\, not expecting anything of it.  \nBut with its “silky falsetto vocals\, pounding drums\, and plucked guitars” (as NME described it)\, “Do You Remember” quickly struck a chord with listeners and catapulted the then-unsigned artist into viral fame. By February\, James was touring with Aussie superstars Angus & Julia Stone and the following month had landed a deal with Interscope Records in the U.S. Upon its official release\, “Do You Remember” debuted at No. 2 on Singles chart in Australia\, as well as No. 1 on Hype Machine and the Australian iTunes charts\, and was the No. 1 most Shazamed song in Australia. James\, a humble\, soft-spoken native of Brisbane\, who had spent several years in a band\, followed by six years working with troubled kids before returning to making music\, found himself being supported by critics\, industry tastemakers like Beats 1 Radio’s Zane Lowe\, and artist peers like Ed Sheeran\, who told Rolling Stone that he had heard “Do You Remember” on Australian radio and “had to find out who the singer was. I just love his sound.“ When James released his follow-up single\, “Give Me Something” (also co-written with Little)\, Nylon magazine called him “a member of R&B’s new wave\, an artist who is helping to redefine the genre.” \nNow James is gearing up to release his debut album Thirty-One — 12 minimalist-sounding gems that showcase his ability to live in the sweet spot where unforgettable melodies\, soulful vocals\, and bittersweet lyrics intersect. Working with his collaborators Joel Little\, Pip Norman (Troye Sivan)\, and Malay Ho (Frank Ocean’s Channel Orange\, Tori Kelly)\, James delivers an immersively emotional experience fueled by the album’s sparse sonics and his aching falsetto\, not to mention his knack for writing lyrics that shoot straight for the gut.  \nHowever ask James what his songs are about and he’ll tell you that rather than focus on what inspires them\, his priority is the emotions they conjure up. “I never go into a session thinking\, ‘I’m going to write about this or that\,’” he says. “I need the music to tell me what to do. I let it soak into me\, then the words come. I just switch my brain off\, otherwise I end up overthinking things. I’ve never liked literal thoughts in songs. I always go for the metaphor or something ambiguous that will convey a feeling. The music I love the most\, I don’t even know what it’s about\, but I know how it makes me feel inside and that’s literally all I’m ever trying to do.” \nOne of James’ earliest and most powerful musical memories is hearing and connecting with Bob Dylan’s protest song “Hurricane.” “The story he tells is incredible and the fact that it was real … that stayed with me\,” he says. James grew up in a small town called Dalby\, three hours west of Brisbane where he lived with his mother\, sister\, and ailing grandmother. James’ parents split while his mother was pregnant with him and James’ father died when James was an infant. “My mom was very protective of me and my sister\,” he recalls. “My whole childhood was very sheltered.” Music drew James out. He played trumpet throughout his school years before teaching himself to play piano and guitar. Eventually\, he discovered artists like Harry Nilsson\, Paul McCartney\, and Stevie Wonder and spent hours in his room absorbing their stories\, melodies\, and vocal techniques. “I listened to Stevie Wonder and would try to nail his runs and trills because what he did was incredible.” \nAt 20\, James got up the nerve to sing for his friends and began writing his own songs a few years later. “At that point\, it was mostly about creating beautiful melodies\,” he says. “I didn’t think I had anything to write about.” He eventually formed a band with a few talented friends. Calling themselves Holland\, the band were signed to a major label and toured Australia before calling it quits after six years. Feeling a bit lost after the break-up\, James took a full-time government job looking after young people with extreme needs. “They were kids who didn’t fit into the foster care system so they were either homeless or in lockup in juvenile detention\,” James explains. He loved the work\, but also realized that something was missing from his life. “I got pretty depressed\,” he admits. “I was just sad all the time. I knew I had to start making music again.” \nHe called a friend with a recording studio in the Gold Coast and asked if he could pay him a visit. The first song to come pouring out was “High\,” an epic\, orchestral-sounding song that now closes out Thirty-One. In short order\, James found a publisher (Sony/ATV) and attended a songwriting workshop in Sydney where he connected with Pip Norman\, with whom he wrote Thirty-One’s “Sell It To Me\,” “Undone\,” and his third Australian single “Sure Love.” With Norman accompanying him\, James performed at the APRA Awards in Australia where he caught the attention of Joel Little and music manager\, Ashley Page\, who offered to represent him and immediately put James on tour with his clients Broods. He also wrote “Do You Remember” with Little and the rest was history. “Do You Remember” has racked up more than 27 million plays on Spotify and is the perfect introduction to Thirty-One\, a title inspired not only by James’ age\, but by his realization that his father died at 31. “It hit me last year when I became aware that I was making an album\,” he says. “I was like\, ‘Holy shit\, if I make it through this year\, I’ve outlived my father and on the same year that I put out this album\, which is so special to me.’ I feel like I’m kind of continuing on with what he couldn’t finish doing.”
URL:https://royaleboston.com/event/broods/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160806T180000
DTEND;TZID=America/New_York:20160806T180000
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SUMMARY:The Fall of Troy
DESCRIPTION:Doors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and over.\nTickets on sale NOW! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nThe Fall of Troy \n \n[Website] [Facebook] [Twitter] \nWe’re The Fall of Troy from Mukilteo\, Wa. \n*** \n’68 \n \n[Website] [Facebook] [Twitter] \nIn Humor and Sadness\, the debut album from ’68\, demonstrates the loud beauty of alarming simplicity. A guy bashing his drums\, another dude wielding a guitar like a percussive\, blunt weapon while howling into a mic somehow manages to sound bigger and brasher than the computerized bombast of every six-piece metal band. A splash of roots\, a soulful yearning for mid century Americana and the fiery passion of post punk ferocity rampages over a record of earnestly forceful tracks like a runaway locomotive.  \nJosh Scogin wasn’t out of elementary school when the Flat Duo Jets laid their first album down on two tracks in a garage. But the scrappy band’s spirit of raw power\, punchy delivery\, tried-and-true rhythms and urgent sense of immediacy is alive and well in ’68.  \nHeralded by Alternative Press as one of 2014’s Most Anticipated Albums\, In Humor and Sadness is a snapshot of a fiery new beginning for one of modern Metalcore’s most celebrated frontmen. Produced by longtime Scogin collaborator Matt Goldman (Underoath\, Anberlin\, The Devil Wears Prada)\, the first full offering from ’68 is a broad reaching slab of ambitious showmanship delivered with few tools and fewer pretensions. The scratchy disharmonic pop of Nirvana’s Bleach is in there\, for sure. And while many associate the setup with The Black Keys\, ’68 is more like Black Keys on crack.  \n“I wanted it to be as loud and obnoxious as it can be\,” Scogin explains. “I want it to be in-your-face. I want people who hear us live to just be like\, ‘There’s no way this is just two dudes!’ That became sort of the subplot to our entire existence. ‘How much noise can two guys make?’ It’s obviously very minimalistic\, but in other ways\, it’s very big. I have as many amps onstage as a five piece band. Michael only has one cymbal and one tom on his kit\, but he plays it like it’s some kind of big ‘80s metal drum setup. It’s minimalistic\, but it’s also overkill. We get as much as we can from as little as we can.” \nLike many pioneers\, North Carolina’s the Flat Duo Jet’s blazed a trail for more commercially successful people. They played rootsy rockabilly but with a punk edge. Band leader Dexter Romweber’s solo work was a fist-pounding celebration of audacity and disruption\, which influenced the likes of The White Stripes\, among other bands.  \n“I got excited when I thought about the distress\, the chaos that this two-piece arrangement would create – one guy having to provide all of these sounds\, with a bunch of pedals\, with certain chords wigging out and missing notes here and there\,” he says with excitement. “That alone makes up for the chaos of having five people up there.”  \nThat idea of less is more\, of building something big from something small\, persists today at the top of the charts with The Black Keys\, just as it’s lived and breathed in the bass-player-less eclectic trio Jon Spencer Blues Explosion\, the rule-breaking early ‘90s destruction of Washington D.C.’s Nation of Ulysses\, and in the two man attack of ’68.  \n“Jon Spencer’s records always sound like he’s kind of winging it and I love that\,” declares Scogin\, letting out an affectionate laugh. “In my last band\, that’s how we tried to make our last record feel. The excitement and imperfection is something I love to draw from.” \nBefore paring (and pairing) things down with friend and drummer Michael McClellan\, Josh Scogin was the voice\, founder and agitprop-style provocateur in The Chariot\, who laid waste to convention across a brilliantly unhinged and defiantly unpolished catalog of Noisecore triumphs and dissonant art rock rage. Recorded live in the studio\, overdub free\, The Chariot’s first album set the tone for a decade to come\, owing more to a band like Unsane than whatever passes for “scene.” \nScogin was the original singer for Norma Jean and left an influential imprint on the burgeoning Metalcore of the late 90s that persists today\, despite having fronted the band for just one of six albums. Whether it’s the genre-defining heft of Norma Jean’s first album or the five records and stage destroying shows of The Chariot\, there’s a single constant at the heart of Josh Scogin’s career: a familiarity with the unfamiliar.  \nA new Metalcore band would be a safe third act for the subculture lifer\, but Scogin isn’t comfortable unless he’s making himself (and his audience) uncomfortable. “I definitely wanted to flip the script a bit\,” he freely confesses. “I’ve always wanted to play guitar and sing in a band\, ever since I left Norma Jean. I needed the freedom of not having a guitar onstage\, but now having done that for several years\, I wanted the challenge.”  \nCreative problem solving has long been the name of the game for Scogin\, whether he was hand stamping ALL 30\,000 CDs for The Chariot’s Wars and Rumors of Wars album or figuring out how to pull off his ’68 song title concept in the digital age of iTunes. Each song on In Humor and Sadness was to be titled with simply a single letter\, which when put together vertically on the back of a vinyl LP or compact disc\, would spell out a word. However\, it’s problematic to name more than one song with the same letter\, which would have been necessary to spell out what he intended.  \n’68 is the forward thinking progress of an artist who finds satisfaction in the expression of dissatisfaction. There’s progression in this regression. Tear apart all of the elements that have enveloped a singer’s performance\, strap a guitar on the guy and set him loose with nothing but a beat behind him? It’s a recipe for inventive\, fanciful mayhem.  \nAfter a raucous debut at South By Southwest\, a full US tour supporting Chiodos and many more road gigs on the horizon\, Scogin and McClellan are propelled by the excitement that comes along with the knowledge that ‘68 is truly just getting started.  \n“We’ve just broken the tip of the iceberg. We’re really just exploring all the different things we can do\,” Scogin promises. “I’ll get more pedals\, we’re try different auxiliary instruments\, whatever – the goal is to challenge ourselves and challenge an audience.” \n*** \n Illustrations  \n \n[Website] [Facebook] [Twitter] \nSan Antonio\, TX
URL:https://royaleboston.com/event/the-fall-of-troy-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160807T190000
DTEND;TZID=America/New_York:20160807T190000
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SUMMARY:[SOLD OUT] PIEBALD
DESCRIPTION:You’re Part of It! 2016 Tour \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nSOLD OUT! \n*** \n \n*** \nPIEBALD \n \n[Website] [Facebook] \nEmocore outfit Piebald formed in 1994 when vocalist/guitarist Travis Shettel\, guitarist Aaron Stuart\, bassist Andrew Bonner and drummer Jon Sullivan were still high school students in suburban Andover\, MA. Sullivan left a few years later; Alex Garcia Rivera stepped in before the band ultimately settled down with Luke Garro behind the kit. \nQuickly becoming a staple of the Boston-area indie circuit\, Piebald released their first album\, When Life Hands You Lemons\, in 1997 via Hydra Head Records. They followed up two years later with If It Weren’t for Venetian Blinds It Would Be Curtains for Us All\, which further presented the band’s lighthearted spin on typical emo values\, offering such song titles as “Fat and Skinny Asses.” \nThe EP The Rock Revolution Will Not Be Televised appeared in 2000 before Piebald amicably split to focus on life outside the band. Boston-based imprint Big Wheel Recreation released the dual-disc retrospective Barely Legal/All Ages the following year\, which collected shaky recordings from their high school days all the way up through their 1997 debut; the set also included all of Piebald’s early 7″ EPs\, some demos\, live cuts (including a blistering cover of the Beatles’ “I Saw Her Standing There”)\, and out-of-print tracks. During the break\, Shettel also put out a solo record under the appropriate project name of Totally Travis. \nThe band’s separation didn’t last long\, however; Piebald announced their return in 2002 with We Are the Only Friends We Have\, a fun-yet-mature album that was quickly embraced by fans and critics alike. A single from that album\, “American Hearts\,” saw minor success on MTV and was even sampled a few years later by MC Lars on his emo-laptop-rap “iGeneration.” \nIt was a year of unprecedented good fortune for the band\, but things took a turn for the worse when Shettel had to undergo throat surgery. Shettel’s health problems resulted in the cancellation of a string of live shows (opening up for Dashboard Confessional\, no less)\, but the band wasn’t down for long. Shettel healed up in a few months’ time\, and Piebald headed back out on the road to headline with bands like My Chemical Romance\, Minus the Bear\, and Fairweather in tow. \nBy early 2004\, Piebald had inked a deal with Cali-based indie label SideOneDummy\, and their next album\, All Ears\, All Eyes\, All the Time\, came out that May. Late in the next year\, while the band toured with Hot Rod Circuit in their new environmentally friendly\, vegetable oil powered van\, the CD/DVD B-sides collection Killa Bros and Killa Bees was issued. Piebald’s next proper full-length\, Accidental Gentlemen\, hit stores in January 2007. \nPiebald’s last show was on April 19\, 2008 at Cambridge\, MA’s Middle East Downstairs\, though the band reunited for sets at The Bamboozle festival in California and New Jersey in early 2010. \n~Erik Hage \n*** \nNomad Stones \n \n[Facebook] \nBoston\, MA
URL:https://royaleboston.com/event/piebald-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTEND;TZID=America/New_York:20160808T190000
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SUMMARY:[SOLD OUT] PIEBALD
DESCRIPTION:You’re Part of It! 2016 Tour \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nSOLD OUT \n*** \n \n*** \nPIEBALD \n \n[Website] [Facebook] \nEmocore outfit Piebald formed in 1994 when vocalist/guitarist Travis Shettel\, guitarist Aaron Stuart\, bassist Andrew Bonner and drummer Jon Sullivan were still high school students in suburban Andover\, MA. Sullivan left a few years later; Alex Garcia Rivera stepped in before the band ultimately settled down with Luke Garro behind the kit. \nQuickly becoming a staple of the Boston-area indie circuit\, Piebald released their first album\, When Life Hands You Lemons\, in 1997 via Hydra Head Records. They followed up two years later with If It Weren’t for Venetian Blinds It Would Be Curtains for Us All\, which further presented the band’s lighthearted spin on typical emo values\, offering such song titles as “Fat and Skinny Asses.” \nThe EP The Rock Revolution Will Not Be Televised appeared in 2000 before Piebald amicably split to focus on life outside the band. Boston-based imprint Big Wheel Recreation released the dual-disc retrospective Barely Legal/All Ages the following year\, which collected shaky recordings from their high school days all the way up through their 1997 debut; the set also included all of Piebald’s early 7″ EPs\, some demos\, live cuts (including a blistering cover of the Beatles’ “I Saw Her Standing There”)\, and out-of-print tracks. During the break\, Shettel also put out a solo record under the appropriate project name of Totally Travis. \nThe band’s separation didn’t last long\, however; Piebald announced their return in 2002 with We Are the Only Friends We Have\, a fun-yet-mature album that was quickly embraced by fans and critics alike. A single from that album\, “American Hearts\,” saw minor success on MTV and was even sampled a few years later by MC Lars on his emo-laptop-rap “iGeneration.” \nIt was a year of unprecedented good fortune for the band\, but things took a turn for the worse when Shettel had to undergo throat surgery. Shettel’s health problems resulted in the cancellation of a string of live shows (opening up for Dashboard Confessional\, no less)\, but the band wasn’t down for long. Shettel healed up in a few months’ time\, and Piebald headed back out on the road to headline with bands like My Chemical Romance\, Minus the Bear\, and Fairweather in tow. \nBy early 2004\, Piebald had inked a deal with Cali-based indie label SideOneDummy\, and their next album\, All Ears\, All Eyes\, All the Time\, came out that May. Late in the next year\, while the band toured with Hot Rod Circuit in their new environmentally friendly\, vegetable oil powered van\, the CD/DVD B-sides collection Killa Bros and Killa Bees was issued. Piebald’s next proper full-length\, Accidental Gentlemen\, hit stores in January 2007. \nPiebald’s last show was on April 19\, 2008 at Cambridge\, MA’s Middle East Downstairs\, though the band reunited for sets at The Bamboozle festival in California and New Jersey in early 2010. \n~Erik Hage \n*** \nChrome Over Brass \n \n[Website] [Facebook] \nChrome Over Brass is an instrumental band created by Alex Garcia-Rivera. Songs are composed of drum-riffs\, layered with guitars
URL:https://royaleboston.com/event/piebald/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:Belly
DESCRIPTION:SECOND SHOW ADDED DUE TO OVERWHELMING DEMAND! \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 3/11 at noon! \n*** \nBelly \n \n[Website] [Facebook] [Twitter] \nBelly formed in 1991 after Tanya Donelly left the critically acclaimed Throwing Muses\, which she’d founded with her stepsister Kristin Hersh while they were both still in high school. Just prior to leaving the Muses\, Tanya co-founded The Breeders as a side project with Kim Deal of The Pixies\, but soon realized she needed more space to pursue her own fractured-fairytale alternative-pop-rock song-writing vision. \nTanya recruited Fred Abong to play bass (he had played on her final Muses album)\, and brothers Chris and Tom Gorman- friends from her native Rhode Island- to play drums and guitar\, respectively. The band immediately got to work rehearsing and demoing the material that would eventually become Belly’s debut album\, Star. Star was recorded in two sessions\, the first in Nashville\, with engineer Tracy Chisholm\, the second in Liverpool\, England\, with producer Gil Norton. \nJust before the release of the album on 4AD/Sire/Reprise in January 1993\, Abong left the band and was replaced by music scene veteran and hard-rocker Gail Greenwood. \nBy turns dreamy\, creepy\, jaggedly delicate and melodically expansive\, Star was propelled by the single “Feed the Tree” to gold-record status in the US\, earning two Grammy nominations and eventually selling two million copies worldwide. \nBelly spent more than a year of nearly nonstop touring for Star\, performing throughout the US\, UK\, Europe\, Australia and Japan\, with opening bands that included The Cranberries and Radiohead. The band also opened for U2 and the Velvet Underground at the Hippodrome in Paris. \nIn the summer of 1994\, Belly began writing and rehearsing for their sophomore release. Produced by the legendary Glyn Johns and released in February 1995\, King was a more ‘rock-oriented’ and live-sounding album\, reflecting the band’s experience of hard touring that preceded it\, as well as Johns’ minimalist production style. Stripped down and direct\, Kingdispensed with much of the layering and idiosyncratic charm that had characterized Star. \nAnother extensive tour followed the release of King\, with dates opening for R.E.M. in Europe\, and U.S. dates supported by the Catherine Wheel and Superchunk. \nAlas\, King didn’t meet record-label sales expectations. Falling prey to the all-too-common rock-and-roll cliché of industry pressure\, financial issues\, personal conflict and divergent creative ambitions\, Belly disbanded without ceremony on Nov. 11\, 1995\, after playing the final show of the King tour at The Dragonfly in Los Angeles. \nTanya went on to pursue a solo career\, continuing to perform internationally and\, to date\, releasing four albums under her own name: Lovesongs for Underdogs (1997)\, Beautysleep (2002)\, Whiskey Tango Ghosts (2004) and This Hungry Life (2006). In recent years\, she has self-released a stream of digital EPs known as The Swan Song Series\, an expansive collection of collaborations with some of her favorite musicians and authors. The entire series is to be released on CD and vinyl in 2016 by American Laundromat Records. Tanya lives in Boston with her husband\, musician Dean Fisher (the Juliana Hatfield Three)\, and their two daughters\, and works as a postpartum doula. \nAfter Belly\, Gail spent three years playing in L7\, followed by two years as touring bassist for pop-punk artist Bif Naked. Since 2002 she has performed with her partner Chil Mott in the metal-inflected power-punk band Benny Sizzler. She lives in Rhode Island\, where she and Chil run a graphic design business and are active in anti-sprawl efforts and lobbying for land conservation. They share their home with Bear and Maurice\, trained therapy dogs who perform in libraries and nursing homes\, star in Benny Sizzler videos and have been featured on the PBS Kids’ show “Martha Speaks.” \nNot long after Belly called it quits\, Chris moved to New York City and opened a studio to pursue commercial and fine-art photography. He’s also designed and built several restaurant spaces\, a yoga studio and his own surf shop. In 2015\, he published his first children’s book\, Indi Surfs. Chris lives near the beach on Long Island with his wife\, two kids\, two cats\, a dog and a fish named Godzilla. \nTom briefly played guitar and keyboards with Buffalo Tom after the breakup of Belly\, toured with Kristin Hersh in 1999 and eventually moved to New York City\, where he joined Chris in the commercial photography business. He now splits his time between New York City and rural upstate NY\, where he and his wife are implementing permaculture design on their small farm. They are also active in the fight against fracking and the expansion of fracked-gas pipelines and infrastructure- in their small town and everywhere.
URL:https://royaleboston.com/event/belly-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTEND;TZID=America/New_York:20160812T180000
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SUMMARY:[SOLD OUT] Belly
DESCRIPTION:Doors: 6:00 pm / Show: 7:00 pm \nThis event is 18 and over. \nSOLD OUT!\nPlease note: this is an evening with Belly. No support acts. \n*** \nBelly \n \n[Website] [Facebook] [Twitter] \nBelly formed in 1991 after Tanya Donelly left the critically acclaimed Throwing Muses\, which she’d founded with her stepsister Kristin Hersh while they were both still in high school. Just prior to leaving the Muses\, Tanya co-founded The Breeders as a side project with Kim Deal of The Pixies\, but soon realized she needed more space to pursue her own fractured-fairytale alternative-pop-rock song-writing vision. \nTanya recruited Fred Abong to play bass (he had played on her final Muses album)\, and brothers Chris and Tom Gorman- friends from her native Rhode Island- to play drums and guitar\, respectively. The band immediately got to work rehearsing and demoing the material that would eventually become Belly’s debut album\, Star. Star was recorded in two sessions\, the first in Nashville\, with engineer Tracy Chisholm\, the second in Liverpool\, England\, with producer Gil Norton. \nJust before the release of the album on 4AD/Sire/Reprise in January 1993\, Abong left the band and was replaced by music scene veteran and hard-rocker Gail Greenwood. \nBy turns dreamy\, creepy\, jaggedly delicate and melodically expansive\, Star was propelled by the single “Feed the Tree” to gold-record status in the US\, earning two Grammy nominations and eventually selling two million copies worldwide. \nBelly spent more than a year of nearly nonstop touring for Star\, performing throughout the US\, UK\, Europe\, Australia and Japan\, with opening bands that included The Cranberries and Radiohead. The band also opened for U2 and the Velvet Underground at the Hippodrome in Paris. \nIn the summer of 1994\, Belly began writing and rehearsing for their sophomore release. Produced by the legendary Glyn Johns and released in February 1995\, King was a more ‘rock-oriented’ and live-sounding album\, reflecting the band’s experience of hard touring that preceded it\, as well as Johns’ minimalist production style. Stripped down and direct\, Kingdispensed with much of the layering and idiosyncratic charm that had characterized Star. \nAnother extensive tour followed the release of King\, with dates opening for R.E.M. in Europe\, and U.S. dates supported by the Catherine Wheel and Superchunk. \nAlas\, King didn’t meet record-label sales expectations. Falling prey to the all-too-common rock-and-roll cliché of industry pressure\, financial issues\, personal conflict and divergent creative ambitions\, Belly disbanded without ceremony on Nov. 11\, 1995\, after playing the final show of the King tour at The Dragonfly in Los Angeles. \nTanya went on to pursue a solo career\, continuing to perform internationally and\, to date\, releasing four albums under her own name: Lovesongs for Underdogs (1997)\, Beautysleep (2002)\, Whiskey Tango Ghosts (2004) and This Hungry Life (2006). In recent years\, she has self-released a stream of digital EPs known as The Swan Song Series\, an expansive collection of collaborations with some of her favorite musicians and authors. The entire series is to be released on CD and vinyl in 2016 by American Laundromat Records. Tanya lives in Boston with her husband\, musician Dean Fisher (the Juliana Hatfield Three)\, and their two daughters\, and works as a postpartum doula. \nAfter Belly\, Gail spent three years playing in L7\, followed by two years as touring bassist for pop-punk artist Bif Naked. Since 2002 she has performed with her partner Chil Mott in the metal-inflected power-punk band Benny Sizzler. She lives in Rhode Island\, where she and Chil run a graphic design business and are active in anti-sprawl efforts and lobbying for land conservation. They share their home with Bear and Maurice\, trained therapy dogs who perform in libraries and nursing homes\, star in Benny Sizzler videos and have been featured on the PBS Kids’ show “Martha Speaks.” \nNot long after Belly called it quits\, Chris moved to New York City and opened a studio to pursue commercial and fine-art photography. He’s also designed and built several restaurant spaces\, a yoga studio and his own surf shop. In 2015\, he published his first children’s book\, Indi Surfs. Chris lives near the beach on Long Island with his wife\, two kids\, two cats\, a dog and a fish named Godzilla. \nTom briefly played guitar and keyboards with Buffalo Tom after the breakup of Belly\, toured with Kristin Hersh in 1999 and eventually moved to New York City\, where he joined Chris in the commercial photography business. He now splits his time between New York City and rural upstate NY\, where he and his wife are implementing permaculture design on their small farm. They are also active in the fight against fracking and the expansion of fracked-gas pipelines and infrastructure- in their small town and everywhere.
URL:https://royaleboston.com/event/belly/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160906T200000
DTEND;TZID=America/New_York:20160906T200000
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CREATED:20160523T144442Z
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SUMMARY:Band of Skulls
DESCRIPTION:Doors: 8:00 pm / Show: 8:30 pm \nThis event is 18 and over.\nTickets on sale Thu. 5/26 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*** \nBand of Skulls \n \n[Website] [Facebook] [Twitter] \nToo many careers in rock’n’roll are sprints rather than marathons. Few artists make it past their debut album without having already squandered their life’s quota of creative ideas. Fewer still make it to four albums in without hitting some kind of existential crisis\, without losing direction\, or going on autopilot and resorting to the same old tricks to keep a dwindling fan-base interested. \nMeet Band of Skulls\, then\, whose fourth album\, By Default’\, is the sound of a group on the sharpest form of their career\, more engaged and focused than they’ve ever been. An album that electrifies with rock’n’roll cut back to its most vivid elements\, focusing all their brawny power and maverick invention into choruses\, hooks and expertly-sculpted three-minute bursts so unashamedly anthemic and accessible they’ll soundtrack this summer\, and far beyond. \n“It’s definitely a new era\,” says guitarist/vocalist Russell Marsden. “The first three records were like a trilogy\, a piece of work in themselves. We wanted to do those things\, and we did them all. We took a breath\, took a look at what we’d done\, and started from scratch again.” \n“We hadn’t stopped since releasing our first album in 2009\,” remembers Matt. Their new contract with BMG Recordings bought them breathing space\, time to reflect on where they’d been creatively – and where they wanted to go next. They hired rehearsal space in Central Baptist Church in Southampton\, and loaded in the barest bones of equipment – some ratty old practice amps\, Matt’s dad’s drum-kit from the 1960s; “Even shit songs sound impressive on expensive gear\,” explains Russell\, of the spartan set-up – and started work on writing a new future for Band of Skulls. \n“We went back to Square One\,” smiles Matt. “It felt new and exciting again.” In the church – between visits from the vicar\, bringing tea and biscuits on his trolley – they found the new songs in hours of woodshedding\, each member bringing new ideas into the room\, which the band studied with unforgiving ears. “We’re pretty merciless\,” says Russell\, of this process. “We’re emotional about it – we get mad. We get mad at each other\, at ourselves. We care about it. We were looking to challenge ourselves\, to surprise each other.” Indeed\, as they rehearsed and rewrote the new material\, Band of Skulls stalked far outside their comfort zone\, hammering out their own version of techno music on their primitive instruments\, or writing songs around the spectral sound of hands clapping in the natural reverb of the church. \nAfter accumulating a sackful of new tunes that had withstood their punishing audition process\, the group went into the studio with legendary producer Gil Norton (Pixies\, Foo Fighters\, Patti Smith) to commit the new songs to tape. They brought with them sounds sampled in the church\, to preserve the magical ambience they’d discovered. They also brought with them some of their strongest songs yet – from the primal brilliance of opener Black Magic and the irresistible dynamics of Killer\, to the slow-burning drama of the powerful Embers\, to the razor-edged funk of So Good\, to the swaggering\, steroidal\, futurist blues-rock of Little Mama. Norton helped them polish the raw material; more often\, though\, he encouraged further excursions into the unknown\, like the wild freakout that scores the muscular rhumba of Tropical Disease. \nThe band’s drive\, their passion for reinvention – their reluctance for simply following the same beaten path – should come as no surprise to anyone who’s been following Band of Skulls’ movements thus far. They formed just over a decade ago after Marsden and drummer Matt Hayward (who\, from a young age\, spent every Saturday morning making a righteous racket together after their folks recognised their love for music was more than just a passing thing) joined forces with bassist/singer Emma Richardson. \nFrom the off\, Band of Skulls were different. They had two lead singers\, and all three were songwriters. “We had high ambition\,” remembers Russell. “We wanted to tour\, to make albums\, to be in it for the long run. We were never in a rush for an instant fix\, it was never a scene thing; we were always outsiders\, the three of us banded together\, but all of us battling for the spotlight.” \nThere’s a key moment in the Band of Skulls story that illustrates their drive\, the sense of purpose that’s set them apart from their contemporaries. In America to complete work on what would become their 2009 debut album Baby Darling Doll Face Honey’\, they lit out for their first American tour. But this was no whistle-stop visit to New York and Los Angeles and then back home: instead\, the group elected to play every city they came across until they’d completed a circuit of the Americas. \n“We’d paid our dues\, played all over Britain\, and were looking for a new challenge\,” says Russell. And a challenge it most certainly was. Their only calling card was debut single\, I Know What I Am\, which had been given away free as iTunes’ first-ever Single Of The Week; they used this notoriety to book a slew of tiny gigs across America\, and proceeded\, as Russell puts it\, to “knock those small gigs over one-by-one”. There was no Plan B’\, no safety net; either Band of Skulls succeeded over those months as a touring band in America\, or the game was over. \nNot only did Band Of Skulls make a triumph of that first circuit of America’s vast expanse\, they completed a second victory lap of larger venues before returning home to the UK\, establishing a momentum that carried them through three acclaimed albums – Baby Darling Doll Face Honey’\, 2012’s Sweet Sour’ and 2014’s Himalayan’ – and further long tours across the globe (Matt reckons they spent no more than a month off the road during this era). \nBy Default’ is an album of which Band of Skulls are understandably proud\, but the group know it is more than just their latest record; it’s also the gateway to their future. “This album could have been fifty songs\, each one a minute long\, because we had so many ideas” says Russell\, hinting that the group’s fearsome pace and creative stamina are far from exhausted. \nNow\, the band’s focus is taking these new songs on the road\, to play them before audiences. “For us\, it’s like a tightrope thing\,” says Matt. “Like\, can we pull off this trick” Smart money says they can\, with a killer flourish. “We’re proud of this new album we’ve made\,” adds Russell. “We hope it bursts out of the speakers to make that clear.” \n*** \nMothers \n \n[Website] [Facebook] [Twitter] \n“Mothers’ music reminds us that gentleness isn’t weakness\, and that despite the world’s best efforts\, honesty is not an entirely lost art.” – Flagpole  \nMothers began in 2013 as the solo project of Athens\, Georgia-based visual artist Kristine Leschper while she studied printmaking at the Lamar Dodd School of Art. The discipline instilled in her a strong work ethic and an intense focus to detail\, while simultaneously inspiring her to pursue other creative aspects of her personality. A self-taught songwriter and multi-instrumentalist\, Leschper’s earliest musical influences span a great swath of early aughts rock and folk\, such as Sufjan Stevens\, Joanna Newsom\, The Microphones\, and Athens legends Neutral Milk Hotel; she later developed a love for experimental music\, math rock\, and noise artists\, including Lighting Bolt\, Hella\, Don Caballero\, and Tera Melos. As a result\, her earliest demos exhibit a sense of striking catharsis under non-traditional song structures\, which flirt between strength and vulnerability\, and are often quite linear in form. \nLeschper wrote the majority of the songs that would evolve into When You Walk A Long Distance You Are Tired while finishing art school in early 2014. Fittingly\, as while her attention to visual art and music come from very different creative spaces for her\, each cannot help but bleed into one another. The delicately resolute opener “Too Small For Eyes\,” which she says is about “being incredibly uncomfortable in your own body and learning how to relate to yourself\,” even shares its title with that of her senior thesis project.  \nOver the course of the year\, she played solo shows that earned her local acclaim\, including from Flagpole\, which praised her “visceral\, deeply personal” songs. But she knew that in order to reach her true musical vision\, she would need to expand the line-up\, so she recruited multi-instrumentalist Matthew Anderegg to help flesh out the arrangements and guide the songs to their final state. They expanded the line-up with guitarist Drew Kirby and\, after playing together for only one month’s time\, quickly recorded their debut full-length album with producer Drew Vandenberg – who has worked on albums by Of Montreal\, Deerhunter and Porcelain Raft – at Chase Park Transduction in Athens in December 2014 (the album also features collaborations with Josh McKay of Deerhunter on vibraphone as well as McKendrick Bearden of Grand Vapids\, who played bass and provided string arrangements throughout). Bassist Patrick Morales would later join the band as a permanent fixture.  \nWhen You Walk A Long Distance You Are Tired is an introduction to the foundations of the young band\, a snapshot of a particular period of their genesis that maps both where they began and where they are heading. It’s the sound of a band being born\, in the truest sense: songs that were conceived in Leschper’s solitude and nurtured with added direction from Anderegg. “The name Mothers relates to the idea of creation and being the mother of something. The act of being a Mother is tragic\, you have to eventually let go of the things you created\,” says Leschper of their name’s origin.  \nThe album’s bookends perhaps most explicitly display this musical chronology. The gorgeous “Too Small For Eyes” was the only one of a few solo songs Leschper had written on the mandolin that made it onto the album\, its use of space\, piano\, strings\, and her voice entwining and undulating to elegantly set the stage for what unfolds afterward; closer “Hold Your Own Hand” blooms from its plaintive opening bars to an ascendant\, spirally waltz to an uproarious math-y breakdown\, hinting at the louder\, more post-rock and math rock-influenced sound for which their live show is fast becoming known (the blog Heartbreaking Bravery described one of the band’s CMJ sets as “…intricate\, knotty indie pop songs that are equally unpredictable and enticing”). “Copper Mines\,” the first song they wrote together as a band\, captures the new mix of everyone’s voices and energy on tape\, and also informs their other new material\, such as “No Crying in Baseball\,” a home recorded B-side they wrote together in the months following the completion of When You Walk a Long Distance You Are Tired. “It Hurts Until It Doesn’t\,” which looks at the dichotomy of an artist’s ego and sense of self-doubt\, falls somewhere in between – the first song she wrote that she saw in the context of something bigger than her performing solo\, it takes many twists and turns before arriving\, like so many of their songs\, at a different sonic place than where it began. \nAcross the album\, Leschper meditates on the human condition: what anyone’s place is in the universe; what is our value; mortality; and what it means to have relationships in consideration of all these things. And while the songs are filtered through her frequently difficult\, personal microcosmic experiences\, she relates them in a manner that is at once highly intimate and readily universal. At heart\, When You Walk A Long Distance You Are Tired is about being alive\, and just how surprisingly unmooring – and exhausting – this fundamental thing can be. The album is a window into the long path Leschper traveled while creating it: breathtakingly honest and rooted in the subconscious of one’s journey.  \nUpon the album’s completion in January 2015\, the new quartet line-up steadily played local shows throughout the spring and summer\, including at festivals like ATHfest and Slingshot. Before heading out on their first tour supporting Of Montreal\, they debuted “No Crying in Baseball\,” earning national press attention from Stereogum\, NME\, Brooklyn Vegan\, Ghettoblaster\, and others. A headlining east coast tour followed in September\, and things began to fall into place. Stereogum named them a ‘Band To Watch’ alongside a premiere of “It Hurts Until It Doesn’t” ahead of their 10-shows-over-five-days jaunt at the 2015 CMJ Music Marathon\, which included sets at the Aquarium Drunkard\, Brooklyn Vegan and Culture Collide showcases. Both the song and the band earned even more praise throughout the week\, including from Vulture\, NME\, BBC Radio 1\, and The Wild Honey Pie\, among many others. The following week they were named one of Stereogum’s ’50 Best New Bands of 2015\,’ and signed to Grand Jury in the US and Wichita Recordings in the UK.
URL:https://royaleboston.com/event/band-of-skulls/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160907T190000
DTEND;TZID=America/New_York:20160907T190000
DTSTAMP:20260407T225733
CREATED:20160608T143013Z
LAST-MODIFIED:20160608T143013Z
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SUMMARY:Corinne Bailey Rae
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 6/17 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*** \nCorinne Bailey Rae \n \n[Website] [Facebook] [Twitter] \nFrom Leeds\, England\, artist Corinne Bailey Rae released her self-titled debut album in 2006\, debuting at #1 in the UK and #4 in the USA\, featuring the global hits “Put Your Records On“ and “Like A Star“. It catapulted Bailey Rae into the spotlight with millions of albums sold and earned multiple award nominations\, including Grammy® and Brit Awards. \nThe second album\, ‘The Sea’ released to worldwide critical acclaim\, reaching Top 5 in the UK and Top 10 in the USA. It was no surprise that Corinne Bailey Rae found “The Sea“ nominated for the Mercury Music Prize. The subsequent EP ‘Is This Love’ was awarded a Grammy® for Best R&B Performance in 2011. \nCorinne received a Grammy® Award for her work on Herbie Hancock’s album ‘The River’. Recent recordings have seen her work with Al Green\, Claude Kelly\, Esperanza Spalding\, Herbie Hancock\, John Legend\, John Mayer\, KING\, Malay\, Norah Jones\, Paul McCartney\, RZA\, Salaam Remi\, Stevie Wonder\, The Roots\, Valerie Simpson and more. Bailey Rae also has written music for films and television shows\, including “Venus” (starring Peter O’Toole)\, “Man with the Iron Fist” and\, most recently\, the theme song to Stan Lee’s “Lucky Man”. \nOriginally the front-woman of an indie band\, Corinne Bailey Rae’s music spans indie\, electronic\, soul and experimental.Bailey Rae has just completed her highly anticipated third studio album and she recently performed in Los Angeles for The Grammys’ MusiCares Foundation with Pharrell\, The Roots and Leon Bridges just prior to the first track launch and album announcement. \n*** \n Mayaeni  \n \n[Website] [Facebook] [Twitter] \nMayaeni\n(mah-yay-knee) \nEarly on\, the self-professed shy hippie kid saw her future self filling a void. “I don’t know why that lane hasn’t been filled\, at least mainstream wise. Why there hasn’t been a female black John Mayer or Gary Clark Jr. I became it\, because I wanted to see it so bad.” \nRaised in a suburb just outside Detroit that she describes as racially “pretty segregated\,” Mayaeni—pronounced mah-yay-knee—was actually born to rock.  \n“Growing up in Detroit\, I spent a lot of time not necessarily knowing where to fit in.” Her mom is black\, her dad white. “So I ended up hanging out with all cultures.” \nHanging out with her musician dad in the studio was Mayaeni’s form of grooming\, with Chuck Berry\, Bob Dylan and Hendrix records serving both as musical surrogates and soundtracks to her life. \n“I’ve always had this rock-soul thing going. I can’t escape it.” Not seeing many black women rocking out with a guitar\, Mayaeni put herself on that stage. \nThe instrumentally rich and electric songs she creates now are extensions of her rocker past. Her earliest material was recorded on her dad’s 8-track tapes. “I would see him rocking out as a kid\, and I would get instrumentals from his tape singles and record over those.” \nSeeking independence at age 17\, Mayaeni headed to London\, where she made money under the tables selling clothes at Camden Markets. \nThe cost-of-living struggle persisted when Mayaeni moved to New York\, but those survival years turned out to be perfect preparation. \n“London was my first eye opener to being in the city. I didn’t have a plan beyond the two grand I saved. It was hard\, but I had so much ambition. I didn’t want to go back home.” \n“I wrote a lot about struggle\, not being able to pay rent and having a bunch of jobs\, a lot about coping with pain. Hard times\, heartbreak.” \nIn New York\, Mayaeni worked the open mic circuit\, up to five times a week\, hopping in and out of places like Village Underground\, The Grove and Café Wha. \nThe music is as edgy and raw as it is emotional\, like the sounds of a guitar crying out\, whether it’s the yearning in the mid-tempo anthem “Million N1” or the angst in the clamorous rock-out garage jam “Too Late.” It’s the sound of progress. “I like to think it’s classic.”
URL:https://royaleboston.com/event/corrine-bailey-rae/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160913T190000
DTEND;TZID=America/New_York:20160913T190000
DTSTAMP:20260407T225733
CREATED:20160811T153545Z
LAST-MODIFIED:20160811T153545Z
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SUMMARY:1974 AD #NewLineUp Live
DESCRIPTION:Doors: 7pm \nMeet & Greet: 8-9pm (VIP only) \nConcert 9-11pm \nDJ 11-1am \n21+
URL:https://royaleboston.com/event/1974-ad-newlineup-live/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160914T200000
DTEND;TZID=America/New_York:20160914T200000
DTSTAMP:20260407T225733
CREATED:20160607T154520Z
LAST-MODIFIED:20160607T154520Z
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SUMMARY:Peaches
DESCRIPTION:Doors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 6/10 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*** \nPeaches \n \n[Website] [Facebook] [Twitter] \nIt’s been six years since Peaches released her last studio album. But far from being a break\, these past six years have been some of the busiest and most productive in the provocative musician-producer-filmmaker-performance artist’s career. From acclaimed theater productions to her cinematic debut at the Toronto International Film Festival to the release of her first book\, Peaches pushed herself further and with more artistic rewards than ever before during her time away from the studio. That work ethic should come as little surprise\, though. This is Peaches we’re talking about\, an artist who’s managed to wield immeasurable influence over mainstream pop culture while still operating from outside of its confines\, carving a bold\, sexually progressive path in her own image that’s opened the door for countless others to follow. Now\, creatively refreshed and recharged\, she’s emerged from the studio in rare form with ‘RUB\,’ her fifth and most unequivocal album to date. It’s an adventurous\, audacious musical statement\, the latest entry in a conversation Peaches opened up 15 years ago and the world may just now have finally caught up with. \n“Since 2000\, I’ve been making a record for a year\, and then touring it for two years over and over\,” Peaches explains of the impetus for her studio hiatus. “After 10 years of doing that\, I needed a change. I didn’t feel like writing another album and touring it for two years again\, so I was really excited to try new projects.”  \nThat desire led to her one-woman production of ‘Jesus Christ Superstar\,’ redubbed ‘Peaches Christ Superstar’ and mounted initially in Berlin before touring the world. “It was an endurance performance\,” she explains\, “and a time for me to celebrate my actual singing voice\, which I never pursued as Peaches.” \nThe Guardian hailed it as “killer\,” raving that “Peaches gets into the guts of the songs\, extracting with utter sincerity every ounce of pathos and comedy\,” while SPIN praised the production’s “absurd beauty” and The Globe and Mail applauded her vocals\, which “explode[d] with soulful power.” \nCritics’ surprise may have stemmed from the fact that Peaches had spent the past decade pushing buttons and boundaries with a sexually-charged blend of electronic music\, hip hop\, and punk rock that she delivered via one of the most raw and creative stage shows in popular music. When she first emerged to international attention with ‘The Teaches of Peaches\,’ her 2000 debut album\, single “Fuck The Pain Away” catapulted her into the spotlight and appeared everywhere from Sofia Coppola’s ‘Lost In Translation’ and 30 Rock to South Park and HBO’s True Blood. Rolling Stone called the album “surreally funny [and] nasty\,” and the Village Voice named it one of the year’s best. She followed it up with ‘Fatherfucker\,’ which further challenged and reversed issues of gender politics and sexual identity and featured an appearance by Iggy Pop. She was joined by Joan Jett\, Josh Homme\, Beth Ditto\, and more on her 2006 call to revolution\, ‘Impeach My Bush\,’ and by the time she returned with ‘I Feel Cream’ three years later\, The New York Times had dubbed her a genuine “electro-clash heroine\,” though she’d already transcended the genre tag and demonstrated an incisive artistic prowess far beyond her musical output. Uncut raved that her work brought together “high art\, low humour and deluxe filth [in] a hugely seductive combination.” \nShe looked back on it all in 2010 with ‘Peaches Does Herself\,’ an electro-rock opera spanning material from all four albums arranged as a semi-autobiographical narrative. It morphed into a film of the same title\, which premiered at the TIFF in 2012 before traveling to more than 60 festivals around the world over the next two years. In another unexpected twist\, she sang the title role in a production of Monteverdi’s epic 17th-century opera ‘L’Orfeo’ in Berlin\, in addition joining Yoko Ono’s Plastic Ono Band for performances at the iconoclast’s request and collaborating with Major Lazer\, Le Tigre\, REM\, and more.  \nThe whole period is documented beautifully in the new book ‘What Else Is In The Teaches Of Peaches\,’ a collection of Holger Talinski’s photos from at home and on the road\, on-stage and behind-the-scenes\, as Peaches conquered new artistic heights. Yoko Ono\, Ellen Page\, and Michael Stipe all contributed to the text\, which offers unique insight into a side of the artist the audience has rarely seen.  \n‘RUB’ begins where the book leaves off\, in 2014\, as Peaches headed into her newly-built garage studio in Los Angeles to begin more than a full year of work on the album\, collaborating with longtime friend Vice Cooler. \n“After six years\, I was excited about my lyrics again\, about what Peaches was\,” she explains. “I felt more comfortable living out any idea I wanted to try. We spent ten hours a day making beats\, and whatever stuck\, I would write on and develop. The only agenda was to make the best album we could.” \nOozing with seductive rhythms and bedroom-rattling bass\, the record opens with the semi-spoken hook of “Close Up\,” delivered with an inimitable and impenetrable cool by Sonic Youth’s Kim Gordon in just one take. Peaches’ old collaborator Feist also returns on album closer “I Mean Something\,” singing a hypnotic hook and lending a chillingly beautifully wordless melody. But in between those two guest appearances\, this album is pure Peaches. \n“Come with me / You know me / Feel free / Peaches\,” she raps with a hard-won swagger and confidence on the title track\, which is as full of vivid\, lewd imagery as anything she’s ever written. “Dick In The Air” flips gender roles with an absurdist twist\, as Peaches preaches\, “I’m sick of hands in the air / And shake our asses like we don’t care / We’ve been shaking our tits for years / So let’s switch positions no inhibitions” before exhorting her audience to “put your dick in the air.” Similarly\, on “Vaginoplasty\,” she responds to a culture that measures manhood in inches but shames women for their sexuality with lines like “my pussy’s big and I’m proud of it…make you bow down to it til you drown in it.” \nIt doesn’t stop at the music for Peaches\, though. “I’m curating my whole visual lineup\,” she explains of her plans to once again direct and present videos for every track on the album with a slew of collaborators. Margaret Cho\, designer Sarah Sachs from Moonspoon Saloon\, A.L Steiner\, Ryan Heffington\, Kim Gordon\, Vice Cooler\, and more are all on tap for contributions to the series.  \nThe gorgeous\, throbbing “Light In Places” was written for performance artist Empress Stah and her ‘Stargasm’ show\, the world’s only Laser Buttplug Aerial performance (“I’ve got light in places you didn’t know it could shine”)\, while “Sick In The Head” is a gritty electro-pop track influenced by Suicide\, and the album’s two breakup songs—the dark and menacing “Free Drink Ticket” and the insanely catchy pop song “Dumbfuck”—find Peaches addressing issues far more personal than political. \n“In any relationship\, there’s that moment everybody has when you find out something and want to kill the other person\,” she explains. “You get over it\, but I wrote ‘Free Drink Ticket’ in that moment. It’s the most vulnerable—and also the most angry—song I’ve written in my life.” \nThe reality\, though\, is that everything is personal for Peaches. “When I started\, half the people just weren’t having it\, so it’s incredible where we are right now\,” she says of her undeniable role in shaping of the current pop landscape. “But I didn’t do it for any reason other than that it was just what I really wanted to say.” \nAnd that’s what’s in the teaches of Peaches.  \n*** \nDJ Colby Drasher (Don’t Ask Don’t Tell) \n \n[Website] [Twitter] \nRESIDENT DJ FOR THE “DONT ASK DONT TELL” DANCE PARTY AT GREAT SCOTT IN BOSTON MASSACHUSETTS.  \n“ALL ARE WELCOME WHO WELCOME ALL” \nDJ\, PRODUCER\, PROMOTER\, VISUAL ARTIST
URL:https://royaleboston.com/event/blind-pilot-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160915T190000
DTEND;TZID=America/New_York:20160915T190000
DTSTAMP:20260407T225733
CREATED:20160117T160031Z
LAST-MODIFIED:20160117T160031Z
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SUMMARY:Lush
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18+.\nTickets on sale Fri. 1/22 at 12pm! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nLush \n[WEBSITE]\n[FACEBOOK]\n[TWITER] \nIn a sense\, the beginning of Lush was as inevitable as its ending was not. Formed from a friendship started at age fourteen by Londoners Miki Berenyi and Emma Anderson\, the pair ran a fanzine\, and attended a catholic variety of gigs nightly at the likes of Fulham Greyhound and Hammersmith Clarendon. And they were learning the ropes in other people’s bands – Berenyi in The Bugs\, Anderson in The Rover Girls – working to make their own band a reality. Eventually\, along with the absurdly good-humoured Lancastrian punk drummer Chris Acland\, and bassist Steve Rippon\, they went out on their own. \nFor music\, the late Eighties were a vibrant and volatile time. There was acid house\, US art-core\, death metal\, fledgling industrial and European sampledelia\, a rising Madchester and the shimmering punk pop of The Primitives\, plus the delicate oceanics of The Sundays. Having much in common with these last two and\, attitude-wise\, at least three of the others\, Lush were quickly hot property. One review in Melody Maker brought 12 major labels to see them play at London’s ULU. None called again\, but 4AD’s Ivo Watts-Russell was interested\, soon putting the band in Blackwing Studios with John Fryer. \nBy the time debut LP Spooky was released in 1992\, Rippon had amicably departed\, to be replaced by Phil King (ex of Felt and Biff Bang Pow!). The LP went Top 10 in the UK and was an indie chart-topper. It sold upwards of 120\,000 in the US too\, in part due to one of the most glorious chapters in the Lush story: Lollapalooza II. Regularly swapping band members with Pearl Jam and Ministry\, while proving beyond all argument their hellraising credentials\, Lollapalooza was a hedonistic and enlightening experience for the band. Such was that case that on their return to the UK\, Lush immediately repaired to Rockfield Studios in Wales. \nThe recording of Split\, their second LP proper (a collection of their early EPs\, entitled Gala\, had been released in the US only) was exceptionally testing. Expectations of an American breakthrough were high and the pressure was on. However\, despite being the band’s best work to date\, the album wasn’t the commercial success it promised and\, as is often the case\, failure proved liberating. While the pressure came off\, new enthusiasm was injected by the arrival of new manager Peter Felstead. The band threw themselves into recording what would be their final LP\, Lovelife. The combination of personal freedom with a growing experience and expertise took Lush onto a new creative plane. As such\, the pressure was immediately back on to break America. Now the touring became back-breaking and repetitive. Frustration and bad feeling within the band grew inexorably. Acland\, ordered to rest by his doctor\, returned to his parents’ home in the Lake District. Anderson\, dissatisfied with her current position\, called a meeting and announced her departure. Then worse news was to follow. Up in the Lakes – horribly\, terribly – Acland had hanged himself. “For me\,” says Berenyi “That was the end. There was no way on earth I could have gone on with Lush without him\, because I always firmly believed that without his benign influence Emma and I would have torn each other apart years ago.” \nIt should have come as no surprise that Acland’s death finished Lush. Privately and professionally\, in their joyful celebrations and their painful (and far more frequent) self-examinations\, they were in the business of living life\, really living it. Their talent and their exuberance though had already made a difference. Particularly in the States\, where their music was deeply respected and their lyrics – often moving\, rigorous and earthy appraisals of themselves and their relationships\, their nature and nurturing – were a motivating force for female songwriters. As well as being accidental icons (the best kind)\, Lush also made exceptional music: classic pop\, fiery punk\, soaring ambient and a modern\, lilting folk. It can be harrowing – fun or fraught\, these are recognisably real life experiences. But it’s all worthwhile\, all of it. And few bands could truthfully say that. \n*** \nTamaryn \n[WEBSITE]\n[FACEBOOK]\n[TWITER] \nTime and changes distance Tamaryn’s Cranekiss from her earlier efforts\, and for that matter\, from everyone else’s. Time\, by way of the long period spent crafting this material\, both on her own and with Weekend’s Shaun Durkan\, who with producer Jorge Elbrecht (Violens\, Lansing-Dreiden)\, make up the creative team behind Cranekiss. Changes\, by relocating across the country from San Francisco to New York City\, by expanding the approach taken on her two previous albums (2010’s The Waves and 2012’s Tender New Signs)\, by making music that pulls you closer to it despite the enormity of the sounds within.\nTamaryn’s first two full-lengths stood out in a crowd of shoegaze/ethereal revivalists as much for what they were (careful\, gorgeous\, thrilling tapestries of guitar-based textures) as what they weren’t (simplistic\, trendy\, disposable signposts made to be broken). With Cranekiss\, Tamaryn emerges from her past in a way that’s inviting\, warm-blooded\, and shockingly direct. She’s made a big record\, loaded with samples\, synth triggers and processing that was missing from her previous efforts\, the result of long nights grinding it out at the Brooklyn studio Gary’s Electric\, where the record was born. The Waves and Tender New Signs focused on the sounds Tamaryn and her group could coax out of guitars\, but with Cranekiss her sonic palette has exploded with maniacal abandon\, pressed into service of a post-adolescent love letter to all the music that she and her collaborators hold dear\, drawing influences from the feelings that fell out of her. Anyone familiar enough with those times should be able to draw their own comparisons\, recognizing the modes of musical respect and adoration flashing past as the record spins. From there\, though\, Tamaryn has modeled these elements into simulacra\, where despite the nods and glances to the past\, play as a totally new sound. \nLyrically\, this is Tamaryn’s most personal collection of songs to date\, and Elbrecht has placed her voice front and center across the entire record\, elevating her presence like never before. Cranekiss explores dark rock\, dance pop\, and glistening melancholy with a uniformly commanding presence across it all\, in stormy\, unsettled brushstrokes that apply pressure behind Tamaryn’s words. \nCranekiss represents a long journey\, and a new phase in Tamaryn’s music unfolding before you\, a blood-red kaleidoscope of desire and late night abandon\, a bold step forward.
URL:https://royaleboston.com/event/lush/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160916T180000
DTEND;TZID=America/New_York:20160916T180000
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CREATED:20160605T135944Z
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SUMMARY:Blind Pilot
DESCRIPTION:Doors: 6:00 pm / Show: 7:00 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*** \nBlind Pilot \n \n[Website] [Facebook] [Twitter] \nThe past isn’t finished with us yet. Love can be like that\, too. A couple of years ago I found love in different forms leaving my life at once. In a single month I lost my closest group of friends\, my 13 year relationship ended\, and my dad was diagnosed with cancer. I had just stopped touring to write the next Blind Pilot album\, but instead I was watching each of my plans unthread as a new season pulled forward relentlessly.  \nAvoiding suffering\, is avoiding real happiness too. My reason to tell this story isn’t because it broke me and pinned me breathless. There was suffering\, but those two years\, as I moved to my hometown to help my parents through my dad’s sickness and eventually his death\, also brought me true closeness\, a deeper will to care and hope\, and many moments of beauty I can barely describe.\n \nThis album came from love for my family\, my town\, my friends\, my community. We don’t have to be so afraid of loss. We can speak and share its name\, knowing we are together in it. If these songs are invitations to talk about loss and death\, the invitation is to talk closely of the courage we find when we face loss honestly\, cracked open and unsure of what we will become.\n-Blind Pilot’s Israel Nebeker\n \nBlind Pilot’s ‘And Then Like Lions’ on ATO Records is the third LP from the Portland\, Oregon-based sextet consisting of frontman Israel Nebeker\, fellow founding member Ryan Dobrowski\, Luke Ydstie\, Kati Claborn\, Ian Krist and Dave Jorgensen.  The album was produced by Israel Nebeker and Tucker Martine (The Decemberists\, Neko Case\, My Morning Jacket)\, and was written and composed by Nebeker.  It comes five years after the band’s well-received ‘We Are the Tide’ and three years after Nebeker thought he’d be starting the songs that would become the band’s third album.\n \n‘And Then Like Lions’ opens with “Umpqua Rushing\,” the first single from the album and the track that most directly deals with the end of his relationship. It’s inspired by memories of visiting the Umpqua River with his then girlfriend. The song connects images of a forest fire to the destruction and new beginning found in love’s wake.\n \n“Umpqua Rushing” has a strong\, mid-tempo flow built on major chords and rich instrumentation that matches the river the song’s named for. Nebeker’s voice soars on strings to an uplifting ending\, and it’s as vulnerable and open as he’s ever been.  \nPacked Powder is an upbeat\, solidly-driven song filled with elevated textures of guitar hooks and trumpets. It comes from an idea Nebeker had as a teenager\, when he and his friends found they could repack fireworks to different outcomes: “We’re all made of the same stuff\, but who knows how we’re packed and what we’ll show as we burn across the black sky of our own time?” The song speaks lightheartedly of ironic outcomes when trying to better a life through different career paths\, and then sings a chorus that surrenders and desires life to reveal what we are made of.\n \n‘And Then Like Lions’ ends triumphantly on “Like Lions\,” a song inspired by various stories of courage Nebeker has whitenessed in his recent years\, including watching his father fight for life and\, before the end\, find strength enough to give himself and be at peace with his own mortality.\n \nBlind Pilot has performed on Ellen and The Late Show with David Letterman\, at the Newport Folk Festival\, Bonnaroo\, and Lollapalooza. The group has shared stages with The Shins\, Local Natives\, Andrew Bird\, and more. The project began in 2007 when Israel and co-founding member Ryan Dobrowski went on a West Coast tour via bicycle. Blind Pilot’s six members recorded for this new album and will tour through 2016. \n*** \nRiver Whyless \n \n[Website] [Facebook] [Twitter] \nAsheville\, North Carolina’s River Whyless is a band much like that titular body of water – a mingling of currents\, a flow of time and physical space\, all brought together in a murmuring sense of purpose. It is the expression of a group of musicians\, three of which are songwriters\, who have played together in various forms since their college days in the North Carolina mountains. Their forthcoming EP\, their first release since their 2012 debut album\, is the next evolution of the band’s collective voice. \nComposed of Ryan O’Keefe (guitars\, vocals)\, Halli Anderson (violin\, vocals)\, Alex McWalters (drums\, percussion) and Daniel Shearin (bass\, vocals\, harmonium\, cello\, banjo)\, the band is preparing to release a self-titled EP\, their first effort since 2012\, on January 20th.
URL:https://royaleboston.com/event/blind-pilot/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160917T180000
DTEND;TZID=America/New_York:20160917T180000
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CREATED:20160710T100037Z
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SUMMARY:KT Tunstall
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 7/15 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*** \nKT Tunstall \n \n[Website] [Facebook] [Twitter] \nTwo years ago\, KT Tunstall thought she was done with music. Not done as in she’d never again play guitar or sing\, but done playing professionally\, at least for the foreseeable future. “As an artist I feel like I died\,” she says. “I didn’t want to do it anymore.” It had been ten years since she’d released her multi-platinum debut\, ‘Eye To The Telescope’ (2004)\, and twenty-some years since she started playing gigs as a teenager back home in St. Andrews\, Scotland. She’d lived a decade in obscurity and a decade in the brightest of limelights\, releasing three more critically acclaimed albums — ‘Drastic Fantastic’ (2007\,) ‘Tiger Suit’ (2010\,) and ‘Invisible Empire // Crescent Moon’ (2013) — and playing everywhere from the rooftops of splashy Las Vegas hotels to Giant’s Stadium. She’d been nominated for a Grammy\, won a BRIT and the Ivor Novello\, and seen her songs used everywhere from opening credits of “The Devil Wears Prada” to Hillary Clinton’s 2008 campaign theme. She’d had a good run\, Tunstall thought\, but it was time to take a serious time out. “I was utterly burnt out\,” she says.  \nSo the singer put her stuff in storage\, sold all of her property in the UK\, and started again\, at what felt like the ends of an entirely different earth\, in a little house in Venice Beach\, California. She lived a quiet life for the better part of a year\, until\, like a little imp waiting in the wings for Tunstall to get really comfortable in her state of blissed out California calm\, one day the urge to rock began to return. And once it took hold\, it just wouldn’t let go. “My physical body was telling me that what I should be doing is sweating onstage\,” she says. “It turns out\, if I can’t do that then I’m just a racehorse in a stable.” Almost against her own will\, Tunstall found herself picking up her guitar and writing riffs. And they came\, one after another after another after another.  \nThe music that Tunstall has written since moving to California is\, she says\, the most impassioned and inspired of her life; these songs were fueled by the openness of desert spaces and wild ocean cliffs\, the intimacy of being snowbound in Taos\, New Mexico during winter writing retreats\, and the freedom and mystery of driving too fast on canyon roads late at night listening to Neil Young and Tame Impala at top volume. A new full-length album coming this September\, is\, in spirit\, the follow-up\, to her debut. A edge-of-your-seat\, psychedelic rock record rooted in classic songwriting\, but infused with the sense of wonder and beneficent chaos Tunstall has reconnected with since untethering herself from her past. But first up\, a little teaser of what’s to come: ‘Golden State\,’ a four-song EP out this June including a remix of “Evil Eye” by critically acclaimed UK band Django Django.  \nThe opening track\, “Evil Eye\,” was the first song that came to her since going on hiatus. “It was just a little seed\,” the singer remembers. She’d been rehearsing for a string of low-key gigs where she’d be performing some of her back catalogue\, the first shows since the relatively formal\, seated gigs she’d given last time she was on tour. “It was a vibrant up-tempo high-octane gig\, after so long of not playing that kind of show\,” she recalls. Something got shaken loose. “I just got excited\, and it was then that I wrote the riff for ‘Evil Eye.'” With its beguiling psychedelic whooshing intro\, propulsive guitar line and primal backbeat\, the song comes on all roll-your-windows-down-and-turn-me-up\, before sneaking up behind you with a downright chilling chorus: “There’s an evil eye\, watching you.” “Some of these songs are like cats\, they’re really furry and sweet and then they fuckin’ scratch you\, and they won’t let you put a leash on them\, ever\,” Tunstall says gleefully.  \nAbove all\, what these songs have in common is they all feel like they had to be written. And now that they’re done\, Tunstall is standing at the starting line\, just itching for the gun to go off. “Getting to know myself these last few years and getting to know what my own mind is capable of and what my soul is capable of and what my spirit is capable of — reading and learning and reaching out to new people and gleaning new information about what’s possible as a human\, it has all made me want to ask the same questions of myself as a musician: how much can I expand?! Where can I go from here?!” Tunstall enthuses\, nearly out of breath. “This feels like the beginning of the second chapter of my career.”  \n*** \nConner Youngblood \n \n[Website] [Facebook] [Twitter] \nFrom growing up in Dallas\, to “studying” at Yale\, and eventually moving to Nashville\, music has always been a big part of Conner’s life\, but it wasn’t until seeing success on the HypeMachine platform that he decided to do it full time.  \nHis music combines lyrically and sonically to paint a vivid picture that is both ambient\, yet focused. The production results in a sound much bigger than your typical singer / songwriter. Combining a wide range of influences from bluegrass to hip-hop with very eclectic instrumentation\, Youngblood decidedly carves out his own niche.  \nFollowing on from “Confidence”\, Conner released his sophomore EP The Generation of Lift in the Fall of 2015. Conner self-produced the five-track compilation\, showcasing his songwriting and knowledge of roughly 30 instruments over the course of its 18-minute run time. Since its official release on October 9\, 2015 The Generation of Lift has reached over one million streams on Spotify. On the heels of the release\, Conner shared a video for “The Badlands\,” which premiered on Nowness and was selected as a Vimeo Staff Pick.
URL:https://royaleboston.com/event/kt-tunstall/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160918T190000
DTEND;TZID=America/New_York:20160918T190000
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SUMMARY:Eric Hutchinson
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 8/5 at 10AM! \n*** \nEric Hutchinson \n \n[Website] [Facebook] [Twitter] \nIf there is an overriding theme to Eric Hutchinson’s career\, it is his relentless pursuit of the kind of feel-good music that will make his fans dance and sing while still managing to ponder the beauty and humor that comes from fully experiencing life. This journey had come to a crossroads this past year\, as the 35 year-old singer/songwriter/performer changed management\, stripped down his sound and embraced the mantle of producer\, all the while spending months working on his fourth studio album\, Easy Street.  \nA collection of penetratingly honest songs\, Easy Street is a musical snapshot of perseverance and musical maturity brimming with superb melodies and contagious rhythms. It is also a reckoning with the inevitability of Hutchinson’s own evolution as an artist and a man.  \n“I see this new album as an embrace of change\,” says Hutchinson. “I guess you can say I grew up a traditionalist – worrying about things changing and wanting to keep things them the same. But once I realized that things change no matter what\, there’s comfort in that; embracing immediately that it takes me a little while to get used to things… and then I usually like them.” \nChange for Hutchinson also meant letting go of the reigns in the writing and recording process\, which is especially prevalent on the album’s first single\, “Anyone Who Knows Me”\, a wonderfully crafted and stirringly melodic ballad of trying to find love within and without.  \n“I was stuck writing the song\, so I just put it away and when I came back to it\, it was like somebody else had sent it to me to work on\, and I thought\, ‘Okay\, cool; I’ll build on top of whatever this guy was doing.’ It felt like co-writing with myself\, which was fun.” \nAnother challenge for Hutchinson on Easy Street was his role as sole producer\, as he had to make all of the final decisions. “In the early days I always felt like I had to do everything myself\,” he says. “This time I said\, ‘I’m producing this\, so why not let Elliott (longtime touring bandleader\, Elliott Blaufuss) play the piano\, because he plays it a little better than I might. It was nice to have that confidence that it’s still my music\, whoever plays it. That was a big change for me.” \nEasy Street is arguably Hutchinson’s most insightful and in some ways autobiographical work\, which manages to balance the profound concepts of evolving and acceptance into a relatable sonic expression. “Things are gonna change\, but change is better than you thought” he sings in the strikingly confessional “Dear Me” that opens the album\, setting the stage for this creative catharsis. “See my reflection now in all of the trends/in isolation with the words of my friends” he sings with stark resonance in “Bored to Death”\, a song that dissects a world view set against personal and satirical introspection.  \nIn fact\, each song on Easy Street is a study in personal\, professional and generational divides; including the seemingly airy if not catchy pop of “Lost in Paradise” that speaks to the wanderer in us all. Hutchinson also plays with music biz preconceptions\, specifically facing the gnawing guilt over success in “Good Rhythm” or his escaping the shadow of his musical heroes to forge his own unique voice in “Same Old Thing”.  \n“When I was growing up I thought\, ‘I’ll never be my heroes’\,” he admits. “And with this album I say ‘I don’t want to be my heroes. I want to be me.’” \nThis has taken many forms for Hutchinson since he released his first album\, Sounds Like This in 2007. Raised in Washington D.C.\, Eric now works and lives in New York City\, where he has begun writing and producing records for other artists. He has also started DJ-ing regularly\, presenting The Basement\, his passion project of spinning Motown\, Soul\, Funk & Oldies.  \nEric is an advocate for Operation Smile and Big Brothers Big Sisters of America. \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. \n*** \nSkout \n \n[Website] [Facebook] [Twitter] \nBetween where you are and where you’d like to be\, there exists a state of hopeful unrest. It’s in that space\, that in-between\, where Brooklyn-based indie-folker Skout has taken residence. \nSkout’s candid lyrics explore the intricacies of navigating this in-between\, powerfully depicting the complex relationships between identity\, change\, and a search for solid ground. Perhaps most unique to Skout\, however\, is the intricate\, percussive acoustic guitar that has come to define her sound. \nSkout’s innate knack for catchy\, eclectic songwriting shines in her 2014 debut EP\, Again Anew. After touring to support the EP and securing talented guitarist Connor Gladney as a songwriting and performing counterpart later that year\, Skout caught the attention of soul-pop powerhouse Eric Hutchinson. He signed on to produce her second EP\, set for release summer of 2016. Skout’s sophomore effort maintains an unshakeable acoustic backbone while simultaneously demonstrating the versatility of her songwriting chops. It’s a testament to the undeniable promise of this young indie-folker.
URL:https://royaleboston.com/event/eric-hutchinson/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160919T190000
DTEND;TZID=America/New_York:20160919T190000
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SUMMARY:Against Me!
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is All Ages.\nTickets on sale Fri. 7/22 at 10AM! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nAgainst Me! \n \n[Website] [Facebook] [Twitter] \nTo pirate the title of one of their early songs (and still a set-list staple)\, Against Me! is a band that laughs at danger and breaks all the rules. \nFronted by Laura Jane Grace\, AM!’s much-anticipated latest offering\, Transgender Dysphoria Blues\, is scheduled for release in January 2014. The title of their sixth album offers a direct nod to news that shocked fans and shook up the rock world when it was dropped—Grace is a transitioning transgender person who revealed her story in the May 12\, 2012 issue of Rolling Stone (readers curious to learn more about the transition can check out Laura Jane’s “My First Year as a Woman” journal online in Cosmopolitan). \nBecause Transgender Dysphoria Blues marks the band’s first release with Grace as a woman\, there are a lot of misconceptions: The record is neither a radical stylistic departure nor a “concept album.” Rather\, it’s just another bold step forward for an artist doing what she has always done—forging her own path by processing the highs and lows of life through music. \nAgainst Me! began as an anarchist solo act in Gainesville\, Florida in 1997. After transforming into a traditional four-piece a few years later with the crucial addition of guitarist James Bowman\, they quickly became a driving force in the punk scene—despite facing an abundance of unsolicited danger. \nWhile emerging unscathed from two separate road tour spinouts and\, more recently\, enduring a flying mic stand which cost Grace her front teeth\, Against Me! have played in all 50 states and 29 countries\, cranking out an average of 200 sweat-drenched\, fist-pumping\, shout-a-long live gigs per year over the past decade. Their music runs the gamut from thrashing to anthemic to intimate\, with Grace’s pointed lyrics and powerhouse voice blending vitriol and vulnerability like few other performers. \nWith a healthy dose of folk and even some old-school country in their sound\, the band’s first three indie full-lengths (2002’s Against Me! is Reinventing Axl Rose\, 2003’s As The Eternal Cowboy and 2005’s Searching For A Former Clarity) earned them a rabid and steadily growing following. \nTheir 2007 major label debut\, New Wave\, was produced by Butch Vig (Nirvana\, Garbage\, Green Day) and named “Album of the Year” by SPIN Magazine. The early-Springsteen-esque raver “Thrash Unreal” reached #11 on the Modern Rock charts\, and in addition to a headlining tour\, the band also supported the Foo Fighters on the road in 2008. \nAfter 2010’s White Crosses (which peaked at #34 on the Billboard charts)\, the band parted ways with Sire. It was at this time that Grace went through an intense soul-searching phase and eventually decided to transition\, going public with the gender dysphoria she had been dealing with since childhood. \nAs might be expected with such an intensely personal project\, Grace took complete creative control of Transgender Dysphoria Blues. She not only assumed producing reins for the first time but even built the Florida studio\, Total Treble\, where the demos were recorded. Then—more danger struck. During a tornado\, a tree crashed through the roof of the studio. \nAfter that mishap\, the full record was recorded without further incident at three separate facilities: Dave Grohl’s 606 Studios in Northridge\, California; Motor Studios in San Francisco; and Earth Sounds in Valdosta\, GA. \nWhich is certainly not to say Transgender Dysphoria Blues is a “safe” record. Grace’s soul is brutally laid bare here in this riveting 10-song collection. While four of the tracks directly address the unique anxieties and fears inherent with being transgender\, they still crackle with universal resonance. \nThe song “Transgender Dysphoria Blues\,” written before Grace announced her transition\, artfully folds the specter of hateful public perception (“You want them to notice\, the ragged ends of your summer dress… They just see a faggot.”) into an irresistible chugga-chugga arrangement\, given ballast as always by Bowman’s bouncing guitar and full-bore backing vocals. \nThen there is the defiant battle cry of “True Trans Soul Rebel” (released in tandem with “FUCKMYLIFE666” on-line to fans through the Against Me! website in the Fall of 2013). Evoking fatalistic images of escape\, the song ultimately showcases the strength both of Grace’s spirit and voice\, soaring mightily as it does when she asks the question “Does god bless your transsexual heart?” \nThe balance of the record covers typical Against Me! touchstones—from matters deeply personal (the sizzling “Unconditional Love”); to political (“Osama Bin Laden as the Crucified Christ\,” which recalls Sandinista!-era Clash and the band’s own “From Her Lips To God’s Ears (The Energizer)”) and even the music biz—“Black Me Out” is a flat-out showstopper\, with Grace ramping a slow-burn into withering nuclear scorn\, screaming at an unnamed power-abusing exec that she wants to “chop those brass rings off your fat fucking fingers” and “piss on the walls of your house.” \nJoining Grace and Bowman in the band are a brand-new rhythm section. Longtime bass player Andrew Seward amicably departed Against Me! in 2013 after 11 years with the band. Fat Mike of NOFX (also the owner of Motor Studios) handled bass duty on the recordings of “FUCKMYLIFE666” and “Unconditional Love\,” while Laura Jane played on the album’s other eight tracks. \nSince that time\, Inge Johannson (formerly of Sweden’s International Noise Conspiracy\, and a surefire winner of the “Scandinavian Ramones Lookalike Contest\,” if one is ever held) has come aboard as the full-time bassist. \nThe new drummer is punk stalwart Atom Willard\, who launched his career as a teenager with Rocket From the Crypt and has had stints with the Offspring\, Angels & Airwaves\, and Social Distortion. Willard replaced Jay Weinberg\, who’d toured with the band since late 2010. \nWith the lineup changes\, Grace acknowledges that Against Me! may be in a state of flux\, but the mission is still real: “If I didn’t feel like I had something that I really needed to say with the album we’ve been working on for the past year then I’d humbly hang the hat and move on\,” she said in the wake of Seward’s departure. \n2013 saw another career milestone for Grace\, as she co-wrote a song (“Soulmates to Strangers”) with rock royalty Joan Jett for Jett’s Unvarnished album. Against Me! is set to tour behind the new record in 2014 with an attitude perhaps best summed up by these lines from“FUCKMYLIFE666”: “No more troubled sleep. There’s a brave new world raging inside of me.” \n*** \nPotty Mouth \n \n[Website] [Facebook] [Twitter] \nPotty Mouth are Western MA-based trio Abby Weems (guitar\, lead vocals)\, Ally Einbinder (bass) and Victoria Mandanas (drums). Originating in 2011 from the hometown of guitar rock predecessors Dinosaur Jr.\, Potty Mouth emerged from a casual\, “why not?” attitude when Einbinder\, who met Mandanas at Smith college\, set out to form a band with like-minded women who shared her interest in learning and growing together as musicians. Though no singer was chosen at the time of formation\, Weems emerged as having a knack for melodies and lyric writing\, and what started out as a casual pastime turned into a way of life; recording\, making t-shirts\, and planning tours soon came in natural succession. \nOne year after their formation\, the band recorded a 12″ vinyl EP\, entitled ‘Sun Damage\,’ released through three small\, independently-run labels. ‘Sun Damage’ garnered the attention of Pitchfork\, who called the six-song EP an “an impressive\, no-filler debut\,” as well as local big-hitters The Boston Globe\, who named Potty Mouth one of the top five indie-rock bands to watch in 2013. \nIn 2013\, Potty Mouth signed with Brooklyn-based indie label Old Flame Records to release their debut full-length album\, ‘Hell Bent.’ NPR music premiered the album\, calling it “one of the best rock albums of the year.” As Potty Mouth garnered national attention\, the band began to tour more extensively\, co-headlining their first full US tour with Perfect Pussy and Swearin’ in summer 2014\, as well as supporting artists like Waxahatchee and Juliana Hatfield. \nOn August 21\, 2015\, the band debuted a five-song self-titled EP under their own imprint\, Planet Whatever Records. Produced by John Goodmanson (Sleater-Kinney\, Blonde Redhead\, Bikini Kill) at London Bridge Studios in Seattle\, the new EP shows off a new level of both songwriting and production for the trio. Refreshingly candid\, singer-guitarist Abby Weems weaves sarcasm and melancholia into a passionate performance held together by drummer Victoria Mandanas and bassist Ally Einbinder’s solid foundation. The crisper direction emphasizes the work the triad has put in since 2013’s ‘Hell Bent\,’ with more vocal harmonies and bigger production\, recalling the sounds of influences like Veruca Salt and Nirvana. \n*** \nFrameworks \n \n[Website] [Facebook] [Twitter] \nLuke\, Cory\, Matt\, Wyatt\, and Bobby
URL:https://royaleboston.com/event/against-me/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160921T200000
DTEND;TZID=America/New_York:20160921T200000
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SUMMARY:TroyBoi: The Mantra Tour
DESCRIPTION:Bowery Boston presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 7/8 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*** \nTroyBoi \n \n[Website] [Facebook] [Twitter] \nOne of South East London’s most closely guarded secrets has recently emerged from the shadows and is set to take the music industry by storm. Known only as TroyBoi\, this multi-talented musician recently signed to Timbaland’s right-hand man and US Super Producer\, Jim Beanz\, things are heating up faster than ever! Producing a wide variety of genres\, but specializing in extraordinarily unique\, versatile\, and highly musical trap beats\, TroyBoi is without a doubt one of the top up-and-coming producers in the game right now and it’s quite clear from his composition that his influences are vast indeed. He is also one half of the Producer/DJ duo SoundSnobz with one of his best friends\, icekream and together they craft the most creative and daring audio paintings you’ll ever listen to. Buckle up and get ready to be taken into the world of TroyBoi because once you are in\, you will never want to get out. \n*** \nFatherdude \n \n[Website] [Facebook] [Twitter] \nObsessively recording moments and having you hear them at a later point in time. \n*** \nGypZ \n \n[Website] [Facebook] [Twitter] \n2 girls just trappin
URL:https://royaleboston.com/event/troyboi-the-mantra-tour/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160924T173000
DTEND;TZID=America/New_York:20160924T173000
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SUMMARY:Brian Fallon & The Crowes / Ryan Bingham
DESCRIPTION:Bowery Boston presents \nDoors: 5:30 pm / Show: 6:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 7/29 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*** \nBrian Fallon & the Crowes \n \n[Website] [Facebook] [Twitter] \n“This one is different\,” says Brian Fallon. “This one is mine.” \nBursting at its seams with huge hooks\, big choruses\, and enormous heart\, PAINKILLERS marks the first solo album from Brian Fallon\, known far and wide as singer/guitarist of the Gaslight Anthem\, as well as such acclaimed outfits as The Horrible Crowes and Molly & The Zombies. Produced by studio superstar Butch Walker (Taylor Swift\, Frank Turner\, Keith Urban)\, richly textured songs like “Long Drives” and the addictive title track encompass the great rush and flow of American music\, fusing sonic hits of heartland country and folk with hardcore punk energy and classic rock ‘n’ roll swagger. PAINKILLERS once again affirms the NJ-based rocker’s elemental gifts as a songwriter and storyteller\, booming with insistent imagery\, narrative craft\, and the extraordinary emotional acuity that has informed his music since the very start. \n“I’ve had this sound kicking around in my head for so long\,” says Fallon\, “but it took maturity to get it out.” \nFallon decided to begin work on PAINKILLERS immediately following the announcement of The Gaslight Anthem’s indefinite hiatus. Though his prior extracurricular projects were made under alternate band monikers\, a dear friend suggested that this time perhaps he might think otherwise. \n“She said I was limiting myself\,” Fallon says. “’If you make a Horrible Crowes record\, then you’ve got to make Horrible Crowes music. You have to float within those guidelines. But if you use your own name you can make any record\, you can change throughout your career\, work with different musicians\, be whatever you want to be and then wrap it all together.’ That’s one of the best pieces of advice I’ve ever gotten.” \nSolo or otherwise\, Fallon knew he couldn’t make his record all alone. He considered a number of potential collaborators but again and again\, Butch Walker’s name kept coming up as an ideal match. A meeting was arranged and the two musicians hit it off from the jump\, tracking four demos in three days\, including fleshed out versions of “Painkillers” and “Nobody Wins.” \n“It was just like fast friends\,” Fallon says. “All the sounds fell into place. There wasn’t any searching – it was all right there. We had a blueprint from the records we grew up on.” \nFallon set to work in September\, spending three weeks at Nashville’s Taxidermy Studios backed by a crack outfit featuring Walker\, Molly & The Zombies bassist Catherine Popper (Jack White\, Ryan Adams & The Cardinals\, Willie Nelson)\, and drummer Mark Stepro (Hayes Carll\, Ben Kweller\, Jackson Browne). Freed from any brand\, Fallon felt\nmore comfortable and confident than ever before\, unrestrained and able to fully articulate himself in the studio. \n“I felt like I was doing exactly what I should be doing\, at exactly the moment I should be doing it\,” he says. “There was a very nice feeling\, like\, you’ve been working towards this record your whole career and here you are getting to do it.” \nFallon had spent much of the past decade pushing himself in different directions\, challenging himself as a songwriter by trying on various guises and techniques. This being his solo debut\, he decided to return to his initial path\, cutting through the craft to simply write “couch songs” on his trusty acoustic guitar. \n“I’d been trying different things for the past few years now\,” Fallon says\, “but there’s a path that I started on. I thought\, let me go back to the very basics of where I started writing songs and maybe see if I’ve gotten any better. I know I haven’t mastered the craft but now that I’ve learned a bit\, let me see what I can pull out now.” \nInspiration came\, as it often does\, from Fallon’s lifelong canon\, specifically BORN IN THE USA and FULL MOON FEVER\, milestone rock records unafraid to work as mass appeal pop statements. Classic sounds abound throughout PAINKILLERS\, from the ringing Rickenbackers that drive “Among Other Foolish Things” to the shingled backing vocals that give lift and spirit to each of the album’s dozen songs. “A Wonderful Life” is perhaps Fallon’s greatest anthem thus far\, a righteous slice of 60s-fueled dance party rock ‘n’ roll brought full stop into the new century. \n“It’s got all the bits\,” Fallon says\, “the riff\, the whoa-whoa-whoas\, the chorus\, the whole thing. It’s simple but we just knew right away that that one was something else.” \nOther high spots include “Red Lights” and the intensely orchestrated “Long Drives\,” both originally written and demoed by the country rock-inspired Molly & The Zombies but never properly recorded. Walker helped Fallon retrofit the Molly tunes by “straightening out the beat\,” bringing them in from the front porch and placing them square on the boardwalk where they belong. \n“I didn’t want to make a country record\,” Fallon says. “I’m from New Jersey\, not Nashville. But I thought those songs were too good to throw away.” \nFallon’s garrulous lyricism – as ever\, ribboned with spot on setting\, telling character study\, and cultural references spanning “Famous Blue Raincoat” to DC post-hardcore heroes Rites of Spring – is more than matched here by his musical ambition\, for the first time truly weaving his wide-ranging tastes into a distinctive and dramatic unified whole. Remarkably\, PAINKILLERS was recorded with but one amp\, the very same Tone King Imperial 20th Anniversary Edition Fallon used to record his initial demos. \n“This thing does everything\,” Fallon says. “Sounds like the Byrds when you plug in the 12-string\, it rocks when you plug the Les Paul in\, it does country\, everything. I showed it to Butch and he was like\, alright\, cool\, we’ll use your amp. He plugs into it\, we recorded all the guitars for one song on it\, he goes\, wow\, that amp’s pretty good. Let’s use it tomorrow. And that’s what we did. At the end of the session\, Butch said to me\, I don’t think I turned on another amp this whole time. It was awesome!” \nFallon – with Tone King Imperial in tow – plans to spend much of 2016 on the road\, accompanied by a stellar combo comprised of The Gaslight Anthem guitarist Alex Rosamilia\, The Horrible Crowes’ Ian Perkins\, and the aforementioned Catherine Popper. With PAINKILLERS largely crafted in the studio\, transitioning its songs to the stage offers yet another happy challenge. \n“You just do it when you’re making a record\,” Fallon says. “Then to play it live you kind of have to pull it all apart and put it back together again. So the songs take on a whole new life\, which is the benefit of going to see a band live.” \nThe Gaslight Anthem will return\, avows Fallon\, but for the time being his focus is firmly locked on the present moment. For him\, PAINKILLERS marks neither an end nor even a beginning – where he’s at now is all that matters. \n“Pseudo-philosophically\,” Brian Fallon says\, “you really only have what’s in front of you today. That’s kind of where my head’s at with this. I’m doing this now\, I’ve always wanted to do it\, let’s see where it goes. And that’s kind of it.” \n*** \nRyan Bingham \nBW224967-1-0001-002.psd \nRyan Bingham needed some peace and quiet. Free of the burdens that had saddled him during the writing and recording of his recent albums\, he relocated to an old airstream trailer tucked away in the mountains of California\, camping out for several weeks and embracing the solitude to dig down deep and craft his most powerful album yet\, ‘Fear and Saturday Night.’\n“It gave me the space and time to tap into myself\,” Bingham says of the experience. “Up there\, it was totally isolated. No phones\, no noise\, no lights. At night the only thing you’d hear is the bugs and the coyotes. It’s lonely when you get back up in there and there’s nobody around\, but for me\, I kind of grew up that way in the middle of nowhere. Since I’ve started touring\, I’m surrounded by people all the time\, so getting back to the roots of everything\, that’s really where I seem to find stuff that’s meaningful when I’m writing songs.”\nBingham was actually in the back of a van in North Dakota when he wrote ‘The Weary Kind\,’ a song that became the centerpiece of the 2010 film ‘Crazy Heart’ starring Jeff Bridges. It earned him an Academy Award\, a Golden Globe\, and a Grammy\, and skyrocketed him into the spotlight. Amidst the incredible success\, though\, was tragic loss behind the scenes that few knew about.\n“A lot of peopled didn’t realize when that Oscar stuff was going on and ‘Junky Star’ was released\, I was dealing with the loss of my parents\,” says Bingham\, who released the follow-up album ‘Tomorrowland’ as a direct reaction to the emotional turmoil that surrounded him. “My mother drank herself to death\, and my father shot himself. I was also going through a huge transition with the band—we were breaking up—and I felt so lost playing with different musicians for the first time in years.”\nThere were positive changes in his life during that time\, too\, including his marriage\, which serves as a frequent well of inspiration on ‘Fear and Saturday Night\,’ particularly on tracks like “Snow Falls In June” and “Top Shelf Drug\,” a Stones-esque rocker that’s bound to become a live favorite.\nBingham never really set out to be a musician\, though. His mother bought him a guitar when he was 16 years old\, and a neighbor taught him a mariachi tune. When he grew tired of playing the only song he knew\, Bingham began penning his own music\, discovering the writing process to be a therapeutic coping mechanism for dealing with the tumultuousness of his upbringing. His first performances were informal affairs in the backseats of cars with friends on the way to rodeos\, where he was competing professionally on the weekends. Every now and then\, Bingham’s friends would convince him to break out the guitar in a bar\, and before he knew it\, he had more gigs playing guitar than riding bulls.\nRecorded mostly live with a brand new backing band and under the guidance of producer/engineer Jim Scott\, ‘Fear and Saturday Night’ opens with “Nobody Knows My Trouble\,” a loping\, autobiographical ballad about trying to outrun a painful past and finding redemption both in the strings of a guitar and in hitting the road with the love of your life. “Adventures Of You And Me” is a slide-guitar and mariachi-tinged barn-\n\nburner about a pair of misfits who travel the country together\, while “Island In The Sky” again picks up the theme of travel as a means of salvation and escape.\n“I feel like I’ve been traveling my whole life\, even from when I was a little kid\,” says Bingham. “Both of my parents were really bad alcoholics\, and my dad could never keep down a job\, so we never lived in the same town for more than a couple years. And even if we did\, we’d move to different houses every other month. It felt like I lived out of a cardboard box growing up until I was old enough to buy my own suitcase\, and then I was just running from everything.”\nBingham faces down his past with a poetic grace throughout the album. Lead single “Radio” is about coping with a darkness that doesn’t want to let go\, searching for a safe place to make sense of your life and the strength to stay on the right track through it all\, while “Hands of Time” deals with accepting what’s behind you and moving forward with grit and determination. On “Broken Heart Tattoos\,” a wistful waltz written to an unborn child\, he imagines what kind of parent he’ll become\, singing\, “Take your sweet time and walk a straight line in two / But don’t you be shy of your wilder side / Or be afraid to let loose / With broken heart tattoos.” Perhaps the most affecting moment on the album arrives in the title track\, when Bingham sings\, “I don’t fear nothin’ except for myself / So I’m gonna go out there and raise me some hell.”\n“Certain things aren’t going to change\,” he explains of the song. “You can’t run away or hide from the past. You have to live in it and deal with stuff and find your own way to overcome. The way I grew up\,” he continues\, “you had to develop a certain kind of toughness. Hanging with those guys on the rodeo circuits\, you learn at an early age how to defend yourself. There’s lots of fights and rowdy bars and mean people out there. But if you’re smart enough to stay out of situations where other people can hurt you\, you’re the only one who can really hurt yourself. That’s something I had to learn on my own.”\nThose hard-learned lessons\, through both good times and bad\, helped make Bingham the man he is today. ‘Fear and Saturday Night’ is the most authentic\, personal\, and deeply moving portrait of that man we’ve heard yet. \n*** \nPaul Cauthen \n \n[Website] [Facebook] [Twitter] \nPaul Cauthen remembers sitting alone in an Austin house after a weekend-long bender. A life making music seemed to be slipping away. Wide awake with nothing to lose\, he fell on his hands and knees right there\, bowed his head\, and threw down a divine gauntlet. \n“I dared Him\,” Cauthen says\, recalling his desperate challenge to God. “I said\, ‘Use me. I’ll be a rag doll. Just put me out there\, let’s go. I dare you.’” \nMost people don’t plead in the form of a dare. That blend of vulnerability and brash confidence is part of what makes Cauthen and his music––which often hinges on the same paradox––so compelling. Whether it was by heavenly intervention or sheer force of will\, Cauthen emerged with My Gospel (Lightning Rod Records)\, his mesmerizing full-length solo debut. Produced by Beau Bedford\, the record is both an artistic and personal triumph. My Gospel captures a young artist in full possession of a raw virtuosity that must sometimes feel like a burden: If your singing takes listeners on white-knuckle rides and you write like a hard-luck Transcendentalist poet who abandoned the East Coast for the desert\, you’d better do both. Anything else just wouldn’t feel like living. “I don’t know what else I’m supposed to do in life\,” Cauthen says. “So I just kept on working. Even when I didn’t hardly have money to eat\, my songs allowed me to get into the studios. I wrote my way into this thing.” \nThe album is called My Gospel\, but make no mistake: These are songs about Earthly struggles to love\, connect\, and just get by. “I’m not super religious\,” Cauthen says. “I don’t believe God is this guy wearing a white cloak who comes down with wings and beautiful sandals. I do believe that people are put into other people’s lives for reasons\, and those reasons are unexplained. I believe that is God.”
URL:https://royaleboston.com/event/brian-fallon-the-crowes-ryan-bingham/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160925T190000
DTEND;TZID=America/New_York:20160925T190000
DTSTAMP:20260407T225733
CREATED:20160613T150846Z
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SUMMARY:Peter Bjorn and John
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 6/17 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*** \nPeter Bjorn and John \n \n[Website] [Facebook] [Twitter] \nIt’s been five years since Peter Bjorn And John have wowed the world with their musical talents. During a fruitful period of disappearance\, the trio have built their own studio\, started a record label\, and toiled to perfect a formula for effortless sounding pop music that (spoiler alert!) has taken them a huge amount of effort. Something else happened\, too. The rise of Swedes in music scenes around the globe gained huge traction. From Avicii and Swedish House Mafia to Lykke Li and Robyn\, the flag for Scandinavian genius flew. But one (or –more accurately – three) names were missing: those of Peter Moren\, Bjorn Yttling and John Eriksson. \nThe gang of childhood friends who once bonded over a love of ‘60s baroque pop and Stone Roses famously broke the mould an entire decade ago with one of the catchiest songs to feature whistling ever – ‘Young Folks’. But as bassist and production whizz Bjorn says\, ‘Young Folks’ was not a curse upon a career that is on the verge of entering its seventh era with forthcoming album ‘Breakin’ Point’. “Seven albums seems like an awful lot\,” reflects Bjorn. “But we put them out during a long period so it’s OK!” \n‘Breakin’ Point’ is about the band’s newfound search for another career high. “We started with some other album title ideas – like ‘Thriller 2’. Then we realised we were pushing the envelope so got into the idea of a breaking point. If we broke it once\, we can break it twice\,”says Bjorn. That’s why the album artwork features a hammer with three heads on it\, not just to strike your nightmares\, but to send a message out to everyone. “It says – ‘We’re back! We’re smashing it!’ Haha.” In the literal sense\, they may be wielding hammers\, but how about musically? “Musically\, a breaking point is just about working so hard until you know you can’t do any more\,” says Bjorn. “It’s about being in that fog when you’re creating where you can’t see. That’s when you find something – the door home\, or the door out. You get a chance to turn it around. You have to really put yourself in a big mess to be able to go somewhere new.” \nThe trio’s previous record ‘Gimme Some’ wasn’t exactly a big mess\, it was Peter Bjorn And John’s “power pop\, guitar statement”\, focused on recreating in the studio what they were confidently doing live. Having established that ground for themselves\, they wanted to do the total opposite of that this time around. “This was about doing big pop songs\,” says Bjorn\, who recalls sitting around listening to ABBA with his bandmates\, marvelling at how they made it sound and look so easy. \n‘Gimme Some’ was also the first of Peter Bjorn And John’s first records to feature an outside producer. ‘Breakin’ Point’ sees the threesome high on that socialising bug\, inviting a whole host of others to join them aboard the good pop/rock ship. Together these outside influences have helped the band realise their dreams of creating era-defining\, dance floor appropriate indie pop that intends to affect people on a deeper level. It’s about the tropes of life\, the difficulties that come with maturing. “There are very few songs in our collection that are positive. I can’t think of one\,” laughs Bjorn. “It’s always been about the blues. Life is shit\, but tonight is nice – that’s what pop is\, especially the songs that we love. You wanna have some darkness to be able to see the light. That’s how we do it up here in Sweden! It’s like a black and white movie if you look out: snow and a black mass of darkness.” \nIndeed\, opening track and album highlight ‘Dominos’ is a piano disco anthem about working for the Man. The track ‘Hard Sleep’ and title track ‘Breakin’ Point’ are about abandoning life’s small trivialities and embracing newfound fatherhood. //You’ve been hiding in the bosom of my dream\, now the clock sets the scene// go the lyrics.On ‘A Long Goodbye’ the guitar riff is reminiscent of Blondie classic ‘Heart Of Glass’. “Yes I can hear that\,” agrees Bjorn. “But we haven’t sampled it so you can forgive us for that.” \nBjorn comments on how they didn’t need to go too far to find their collaborators – the alternative music community had naturally begun to hang out more in Stockholm. “So we started to see more people more regularly\,” he says. They met Patrik Berger first. At the time he was working with Icona Pop and Robyn. “We knew he was in a punk band before. We were looking for people who wanted to make hits that also had that rock influence.” \nThankfully they also had the likes of Paul Epworth (Florence And The Machine\, U2\, Paul McCartney)\, Greg Kurstin (Sia\, Adele)\, Emile Haynie (Lana Del Rey\, FKA Twigs\, Kanye West) and Pontus Winnberg (Miike Snow) to help guide them. “You behave better when you have people over for dinner that aren’t just your family\,” he says\, proverbially. “It wasn’t that we just brought in anyone. We really respect what these guys do. We wanted to make pop music that was relevant now and not in a fantasy world of what we thought would be relevant. We learned how to not dwell on stuff because you can’t sit forever. You have to reach a goal. That was a little bit scary at first.” One fulfilled goal was to have their own built studios in Sweden\, studios that were formerly used by ABBA. It’s also the site of the trio’s new label INGRID. \nDespite their fears\, the collaborating also reasserted their own winning sense of self-confidence. “Well\, you realise you know some stuff yourself too!” laughs Bjorn. “That made us cocky.” Peter Bjorn And John intend for these songs to be consumed on the radio\, in live shows and – most importantly – on the dance floor. “Like ABBA would though\, it’s not like we’re going for the Avicii thing. In a nice pub\, you know?” says Bjorn. “We definitely want it to be like Prince’s version of a dance floor song. Everything should be groovy and funky.” \nHaving been together almost 20 years\, Bjorn is still unsure as to what their secret is. “Exercise!” he jokes. “We all have different ideas and those have to live close to each other. That’s what makes it an interesting mould. If you mix two similar ingredients you’re not gonna get a good result. You have to have a little pepper and salt to get a good dish.” Indeed\, just like their culinary acronym counterpart – P B & J (peanut butter and jelly) – Peter Bjorn And John are a meld of three disparate and unique elements. Together\, they’re both classic and delicious. \n*** \nCity of the Sun \n \n[Website] [Facebook] [Twitter] \nNew York’s City of the Sun is a worldly\, genre-bending instrumental trio whose sound combines their love of indie rock\, flamenco\, and post-rock. Formed in 2011 by guitarist John Pita\, COS also features guitarist Avi Snow and percussionist Zach Para. Having honed their sound performing on the streets of New York City\, the group first gained wider attention after playing a 2013 TED conference.  \nSince then\, City of the Sun has headlined and sold out NYC venues like the Gramercy Theater and Brooklyn Bowl; they played SXSW\, Firefly\, CMJ and CBGB music festivals\, among others. The band supported Charles Bradley and Gregg Allman\, and have long-standing collaborations with Sofar Sounds and Godin Guitars. “The C Word” documentary\, directed by Meghan O’Hara and narrated by Morgan Freeman\, featured a score worked on by John\, Avi\, and Zach.  \nCity of the Sun signed with Chesky Records in 2016 and released their LP ‘To the Sun and All the Cities in Between\,’ which debuted at #12 on the Billboard Jazz Albums chart. Lead Track “Everything” hit #2 on Spotify’s US Viral 50 chart and #5 on Global Viral with over one million plays in two months. \n*** \nCleopold \n \n[Website] [Facebook] [Twitter] \nCleopold is an Australian singer-songwriter whose debut EP was just snapped up by Detail Co.\, a boutique record label owned and curated by Chet Faker. Its lead single\, “Down In Flames\,” will serve as Cleopold’s emergence as an independent artist. \nBased in Los Angeles\, Cleopold has penned multiple singles for Miami Horror and Cassian\, while collaborating with other Australian luminaries like Bag Raiders and Chet Faker. Cleopold provided the lead vocals for Miami Horror’s latest single\, “Love Like Mine\,” and Cassian’s recent club hit\, “Running\,” while honing his compositional chops on film scores for directors like Roman Coppola. \nCleopold crafts blunt\, honest songs with a confidence and sonic precision rarely heard in an emerging artist. His shapeshifting voice is deliberately hard to pin down\, and places Cleopold in a musical territory all his own. \nCleopold will return to Australia in August for a national tour supporting Miami Horror. With the keys to Chet Faker’s Melbourne recording studio\, he also plans to pen his debut LP in his label-owner’s throne—a seat still warm from composing the award-winning album\, Built On Glass.
URL:https://royaleboston.com/event/peter-bjorn-and-john/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160927T190000
DTEND;TZID=America/New_York:20160927T190000
DTSTAMP:20260407T225733
CREATED:20160614T120015Z
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SUMMARY:Buzzcocks
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale 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*** \nBuzzcocks \n \n[Website] [Facebook] [Twitter] \nThere are hardly any bands performing today that genuinely deserve the adjective ‘legendary’. Buzzcocks are one of those very few. Their achievements are staggering: one of the original holy trinity of British punk (with the Sex Pistols and the Clash)\, innovators of the independent record scene and genuine punk rock superstars who have been cited as inspirational by bands as diverse as REM\, Nirvana and Green Day. Eight studio albums\, over twenty singles and EPs\, a constellation of compilations\, covers by other bands and songs on film soundtracks and advertisements have put Buzzcocks among the top echelons of British recording artists. A Mojo Inspiration award in 2006 is just one of the many accolades they have received for their work. \nBuzzcocks have been thrilling audiences for over thirty years. Once called ‘the Beatles of punk’\, their music blends high-octane guitar\, bass and drum power with heartrending personal statements of love won and lost or dismay at the modern world to create a unique catalogue of unforgettable and immortal music – music they continue to deliver to fans old and new around the world with undiminished passion and energy. \nBuzzcocks have forged a unique relationship with their public and are deeply loved and revered by a global audience. They are simultaneously true to their original ideals and open to new ideas – a happy result of their own uncompromising and individual standing. \nOver the years\, generations of musicians have tried the Buzzcocks methodology and have made their own variations of it. Most are generous in their thanks to the band that started it all. Those impressed by the recent waves of ‘punk’ bands would do well to spend an afternoon with Buzzcocks’ seminal pop treasure Singles Going Steady\, consistently the band’s biggest seller and a masterclass in genre-busting songcraft. This compilation of their first UK Top 40 hits is a classic album in every sense\, an astounding collection of stunning moments such as ‘Orgasm Addict’\, ‘What Do I Get?’ the anthemic ‘Harmony In My Head’ and\, of course\, the song that has become their calling card: ‘Ever Fallen In Love With Someone (You Shouldn’t’ve Fallen In Love With?)’. These songs have been covered by dozens of groups in many styles\, a testament to the originals’ strengths not as slices of punk rock history but as examples of songwriting craft. \nBuzzcocks are the true godfathers of punk-pop\, having laid down that infinitely superior archetype. They are also a band with a past\, present\, and future. It is a history the group’s members could never have imagined back in the hot punk rock summer of ’76. Says Pete Shelley: “Looking back on it now\, what’s going on is like echoes of the Big Bang. You look around you in society and the culture; so many things would not have been the same if there never was punk rock. It’s strange; it’s like a science fiction novel. But to us at the time\, it just sprung naturally.” \nThey’re still doing it\, better than anyone. Sometimes the archetype is clearly the best. Buzzcocks – no. 1 in people’s hearts. Icons\, superstars\, legends. \n*** \nResiduels \n \n[Website] [Facebook] \nPhilly’s Residuels aren’t ashamed to play big\, dumb rock n’ roll. They’ve got a stripped-down\, 70’s punk vibe but whip out extended improvisations without coming off like assholes… think MC5 without the speeches or the afros. In virtually no time this power-trio has played all over the continent with bands like THEE OH SEES\, BLACK LIPS\, THE SONICS\, DESTRUCTION UNIT + THE SPITS and made IGGY POP a fan with their cover of STOOGES’ “I Got A Right” \n“”I first met Justin Pittney (Residuels singer / guitarist) working on the Stooges music for a Sailor Jerry spot. I noticed he had a great feel for our music\, and I enjoyed his company and his wit\, and I still do. I think Justin is a good example of someone who is solving the puzzle of how to have fun and more as a young musician today” – IGGY POP \n*** \nThe Welch Boys \n \n[Website] [Facebook]\n[Twitter] \nTHE WELCH BOYS are a five-piece punk band from Boston featuring members of SLAPSHOT and THE BLUE BLOODS. \nRaised and bred on the many great Boston punk and hardcore bands\, THE WELCH BOYS emerge with a sound that is a perfect mix of punk rock\, Oi!\, and east coast hardcore. They were formed in 2004 by guitarist\, and founding member of The Blue Bloods\, T.J. Welch. The lineup for their self-titled debut also includes Slapshot alumni Ed Lalli on vocals\, Mark Powers on bass\, P.j. Dionne on lead guitar and Ron Holbrook on drums. \nTHE WELCH BOYS write short\, catchy\, and powerful songs that emphasize sing along choruses and aggressive playing. There is an economy to their music that strips everything down to the unpretentious\, honest core. While firmly rooted in the punk rock legacy of their hometown\, THE WELCH BOYS’ sound is unique enough to set themselves apart. Lyrically\, they tackle a wide variety of subjects that convey the struggles of working class life laced with an underlying core of hope and optimism. \nMet with critical praise and acceptance from the punk community\, their debut self titled disc was recorded with Dropkick Murphys’ producer Jim Seigal . Earning a reputation as a rowdy\, high energy live act \, the band has toured with The Dropkick Murphys\, The Dead Kennedys \, Sham 69\, and The Business. .  \nIn August of 2007\, drummer Ron Holbrook unexpectedly passed away. After this deeply sad period\, the band offered the resilient follow-up disc\, Drinking Angry in 2008. The band continued with several superb drummers\, including Sam Jodrey formerly of Toxic Narcotic. In 2014\, THE WELCH BOYS released their third disc\, Bring Back the Fight.. A call to arms from a now veteran punk band\, the disc was received with raves.  \nThe current lineup includes original members\, and new addition Jose Morales on drums from Boston band Dead Friends. The band continues to play out and write new material. Garnishing a deeply loyal\, strong following\, they continue to grow in popularity. THE WELCH BOYS are even more passionate about delivering their honest brand of punk music as they enter their second decade together.
URL:https://royaleboston.com/event/buzzcocks/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160928T190000
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SUMMARY:Jake Bugg
DESCRIPTION:92.5 The River Presents \nDoors: 7:00 pm / Show: 8:30 pm \nThis event is All Ages.\nTickets on sale Fri. 5/6 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*** \nJake Bugg \n \n[Website] [Facebook] [Twitter] \nThe new album “On My One” out June 17th.\niTunes: https://po.st/JBOMOft\nStore: https://po.st/JBOMOe \nSign up to Jake’s newsletter https://po.st/u8B1kY\nSpotify https://po.st/JakeBuggSpotify \n*** \nSyd Arthur \n \n[Website] [Facebook] [Twitter] \nFree and edgy\, operatic and immediate\, Sound Mirror sees Syd Arthur lighting out for the territory\, reconfiguring contemporary psychedelia with a harmonic interplay of deeply felt songcraft\, collectivist performance\, and limitless invention. Their second full-length outing\, the album sees traditional borderlines obliterated as elements of free jazz improvisation\, floor-filling funk\, and bucolic folk fuse with the band’s most concentrated and emotionally direct songwriting thus far. From the tantalizing “Garden of Time” to the prophetic “Sinkhole\,” Sound Mirror expands and refines Syd Arthur’s already uncommon sonic multiverse into a brave new space where focus and concision is as essential as freewheeling abstraction and genre-shattering creativity. \n“The weirder stuff comes as naturally as the more traditional\,” says singer/guitarist Liam Magill. “It’s all the same to us\, really. Somehow everything filters through and comes out as us four guys and the sound that we make.” \nSyd Arthur – Magill\, his brother Joel (bass\, vocals)\, Raven Bush (violin\, keyboards\, mandolin)\, and Fred Rother (drums) – emerged out of Kent early in the new century\, their post-millennial revision of classic British psychedelic music leading MOJO to proclaim them “Canterbury’s dazzling new sons.” On An On\, the band’s 2012 debut album (released in 2013 by Harvest)\, affirmed their insatiable appetite for invention\, bridging ambitious time-shifting workouts with indelible folk-pop dazzlers like the breakthrough single\, “Ode To The Summer.” \nSyd Arthur also earned hosannas as an exhilarating live act\, honing their distinctive jams through near-constant performance\, from their start playing self-promoted festies to myriad headline shows in both the UK and the US with support slots in the past alongside such like-minded artists as White Denim\, Vampire Weekend and the one and only Paul Weller\, as well as upcoming performances tours with Jonathan Wilson and Sean Lennon’s The Ghost of a Saber Tooth Tiger. Performing on increasingly bigger stages proved a valuable lesson and a significant influence on the band’s musical perspective. \n“It taught us that you’ve got to be a bit fatter in your delivery\,” Bush says. “The intricacies don’t always come across the same way when you’re playing a bigger gig. It’s the main points that you’re trying to say that become important.” \nSound Mirror’s genesis began in late 2012 with the band traveling to Rother’s parents’ house in Ireland\, their equipment literally in tow. The four musicians spent the holiday season woodshedding as a unit\, laying the groundwork for their second album in advance of what they knew would be a busy 2013. Indeed\, extensive touring followed – including the band’s debut trip to North America – before they finally set to work in September at their own recently refurbished Wicker Studios in Southeast London. \n“Everything felt right making the album\,” Joel Magill says. “There was no tension\, we were all just pumped to have what was the longest period we’ve ever had just solely concentrating on music and being in the studio.” \nAs with all their prior recordings\, the band produced and engineered Sound Mirror on their own\, its crystalline intensity and aural innovation reflective of the proudly self-reliant band’s ever-expanding mastery of the studio process. \n“It felt like we had a lot more in ourselves that we could get out before we reached that point where having a producer would help\,” Joel says. “We’re well up for exploring that option in the future. We don’t have our heads buried in the sand.” \nIndeed\, Syd Arthur elected to have the Sound Mirror recordings mixed by one of the industry’s top hands\, multiple GRAMMY® winner Tom Elmhirst (Adele\, U2\, Arcade Fire). \n“At first we were apprehensive\,” Bush says\, “because even though he’s obviously the best at what he does\, we didn’t think\, ‘Oh yeah\, he’s the obvious guy.’ But ultimately\, his perspective on our music was very interesting because he approached it with more of a broader brush stroke.” \nHaving spent much of the past two years on the road\, Sound Mirror echoes Syd Arthur’s deep connection to their home turf\, its title referencing the massive concrete structures placed around coastal England to detect incoming enemy aircraft in the pre-World War II era. \n“They were the precursor to radar\,” says Bush. “They’re very striking objects\, basically facing out from England to France. We liked the idea of this mega mirror\, reflecting out to the rest of the world from Kent.” \nProgressive in the truest sense\, tracks like “Forevermore” and “Backwardstepping” evolve the archetypal Canterbury sound into a surprisingly heartfelt mutation of Arcadian acoustica and Syd Arthur’s own uniquely modern voice. “Hometown Blues” – perhaps the most plainspoken song in the band’s increasingly rich oeuvre – was born of a 2012 collaborative session with avowed fan Paul Weller at his Solid Bond Productions Ltd. Studio. \n“We were jamming and it just fell out\,” Liam says. “Weller actually got my book out and read through it – that was pretty nuts. I nailed it\, the essence of what I was trying to say.” \nSyd Arthur’s determined search for quintessence extends into the album’s more experimental excursions. Songs such as “Autograph” and “Singularity” gambol around rock’s outer limits\, their gear-shifting extremes counterbalanced by windswept melody and brilliantly crafted production. \n“I like to think we can get weirder and more poppy at the same time\,” Bush says. “We want to reach a place where the songs can get tighter and more succinct and then when we go crazy\, we really go crazy.” \n“Our take on it\, at the moment anyway\, is to present our music in a slightly more concise way on the album\,” says Joel\, “and then live\, we explore the compositions and jam out.” \nThat unbridled spirit of transgression and forward motion defines both Sound Mirror and Syd Arthur\, a band preternaturally unwilling to settle down\, forever looking towards the far horizon. \n“We’re not ever going to stay still\,” Bush says. “We’re going to keep pushing on. We feel like there are a lot of records to be made\, if we can work out how to make them. It’s funny\, as soon as we finish one thing\, we start getting excited about the next one.” \n“For a long time\, I’ve felt we’ve needed to get a lot further out of field\,” Liam Magill says. “I’m looking forward to getting out amongst it\, getting to explore further\, it’s going to be really interesting. It’s going to be fun.”
URL:https://royaleboston.com/event/jake-bugg/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160930T183000
DTEND;TZID=America/New_York:20160930T183000
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SUMMARY:Luna
DESCRIPTION:Doors: 6:30 pm / Show: 7:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 6/3 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*** \nLuna \nOLYMPUS DIGITAL CAMERA \n[Website] [Facebook] [Twitter] \nLuna\, the New York-based quartet\, were last seen on stage in February 2005. In 2015 they will play their first shows in ten years. \nLuna recorded 8 studio albums between 1992 and 2005. The current touring lineup is the exact ’99-’05 group that recorded Luna Live!\, Romantica\, Close Cover Before Striking\, and Rendezvous: Dean Wareham and Sean Eden on guitar\, Lee Wall on drums\, and Britta Phillips on bass. \nAt their best\, it’s hard to believe there is any other kind of music besides this simple\, graceful\, chiming chug — the Guardian \nOne of indie rocks’ most beloved live acts — Rob Sheffield\, Rolling Stone \nDean Wareham has an unlikely quiver of a voice that\, for whatever ungodly reason\, sounds as if he’s survived something his music alludes to but never gives away — Jerry Stahl \nA handful of records and songs that will accompany me forever – Ignacio Julia \nLuna timeline \n1992. Dean Wareham\, after leaving Galaxie 500\, recruits Justin Harwood (ex-Chills) on bass and Stanley Demeski (ex-Feelies) on drums to record Lunapark for Elektra Records. After completing the album\, the band adds Sean Eden on guitar. Eden first appears on the Indian Summer EP (aka the Slide EP). \n1993. The band records their second album\, Bewitched\, featuring Sterling Morrison of the Velvet Underground on guitar on two tracks. \n1995 Luna’s classic third album\, Penthouse (1995) is recorded in New York City\, featuring guests Tom Verlaine (Television) and Laetitia Sadier (Stereolab). The band signs to Beggar’s Banquet in Europe. \n1997 Lee Wall replaces the travel-weary Stanley Demeski on drums\, and the band records Pup Tent\, their fourth album for Elektra. \n1998 Luna recorded their fifth album The Days of Our Nights\, produced by Paul Kimble (Grant Lee Buffalo).  \n1999 Justin Harwood moves back to his home country (New Zealand)\, and is replaced on bass by Britta Phillips.  \n2000 finding themselves between contracts\, the band quickly records a live album — Luna Live! for the Arena Rock label. \n2002 the band sign to Jetset Records\, record Romantica\, co-produced by Gene Holder (DB’s) and Dave Fridmann (Mercury Rev). Romantica was followed by the mini-LP Close Cover Before Striking. \n2004 Luna record their final album\, Rendezvous\, in Brooklyn\, NY. Produced by Bryce Goggin with minimal overdubs\, it captures the band more-or-less live.  \n2005 February 28 the band play their last shows at New York’s Bowery Ballroom. \n*** \nSam Evian \n \n[Website] [Facebook] [Twitter] \nSam Evian is a new music project from New York City\, and the latest signing to Saddle Creek. \n“Sleep Easy” is the first track to be shared from Premium\, the debut Sam Evian LP\, scheduled for release in 2016. The limpid ease of Premium was captured in just a handful of days at Figure 8 studio in Brooklyn\, where Sam is a resident engineer and producer. \nWatch the music video for “Sleep Easy“. (Video cleared to post and share). \nGlowing lead guitar\, aching pedal steel\, Wurlitzer keys and iconic 20th-century synths coalesce over a sublime\, supportive rhythm section\, guiding Sam’s melodies through a semi-familiar mist: the post-’60s zeitgeist\, a sun-baked cassette of Pet Sounds\, the modern struggle for emotional involvement in the internet age. \nGet “Sleep Easy”: iTunes\, Apple Music\, Spotify\, Soundcloud \n“Sleep Easy” is available on limited edition 7 inch vinyl backed with “You Have To Hydrate” – ready to ship in September and available for pre-order now at the Saddle Creek Online Store. \n“Someone once told me that having one penny is 100% better than having no pennies. Making Premium was like picking a lucky penny up off the street. I wrote the songs ten days prior to my first show\, though the ideas had been living under the surface for some years. Sometimes a deadline is all you need. The band came together effortlessly and we found ourselves in the studio on borrowed time\, smiling a lot. The use of ‘Premium’ is funny to me. Bottled water is funny to me. We’re all hustling the same thing and packaging it in different ways. Stay hydrated\,” says Sam. \n‘Oh\, it was wonder of wonders. And then\, a bird of like rarest spun heavenmetal\, or like silvery wine flowing in a spaceship\, gravity all nonsense now\, came the violin solo above all the other strings\, and those strings were like a cage of silk round my bed. Then flute and oboe bored\, like worms of platinum\, into the thick thick toffee gold and silver. I was in such bliss\, my brothers.” -Anthony Burgess
URL:https://royaleboston.com/event/luna/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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