BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Royale Boston - ECPv6.15.18//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Royale Boston X-ORIGINAL-URL:https://royaleboston.com X-WR-CALDESC:Events for Royale Boston REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20160313T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20161106T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20170312T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20171105T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20180311T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20181104T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20190310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20191103T060000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/New_York:20171126T193000 DTEND;TZID=America/New_York:20171126T193000 DTSTAMP:20260409T165314 CREATED:20170809T170020Z LAST-MODIFIED:20170809T170020Z UID:10002546-1511724600-1511724600@royaleboston.com SUMMARY:Cut Copy DESCRIPTION:Bowery Boston presents \nDoors: 7:30 pm / Show: 8:30 pm \nThis event is 18+. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 8/11 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nCut Copy \n \nWebsite\nFacebook\nTwitter \nIt’s hard to believe that Cut/Copy once only existed as an idea in the Melbourne bedroom of frontman Dan Whitford\, who was at the time running a very successful local design studio and immersing himself in club culture by night\, both in front of and behind the decks. Whitford’s early blend of samples and newly learned instruments has since evolved into a full-fledged band with guitarist Tim Hoey\, drummer Mitchell Scott\, and bass player Ben Browning\, with each member handling a multitude of instruments. \nIn the past decade\, Cut/Copy has truly become an international act. Touring across the world\, headlining massive sold-out shows\, and slated on prime slots of prestigious festivals worldwide such as Coachella\, Ultra Music Festival\, and Lollapalooza in the US; Primavera in Spain\, Pitchfork in Paris; Summer Sonic in Japan; and Big Day Out in Australia. They’ve released four critically praised albums and accumulated more than a thousand tour dates in the process\, the great majority of which have been to sold out audiences. \nCut/Copy’s high-energy live show is matched only by the beautiful complexity of their songs. They layer large swaths of melody\, sections with dissonance\, nods to many genres\, and package them into coherent pop songs. The result can make large groups of people gather together and explode with joy. There is a Cut/Copy song for everyone\, and their songs tend to be ageless — suitable for both teenage angst and cocktail parties. \nEach of their four records have garnered great critical acclaim\, and Cut/Copy’s catalog has won or been nominated for such prestigious awards as the GRAMMYs and the ARIAs\, in addition to underground Awards such as the Webbies or the J Awards. Cut/Copy’s diversity has also landed their songs into movies like 30 Minutes or Less and Savages\, television shows such as Nip/Tuck and So You Think You Can Dance\, video games including FIFA 12 and Madden\, and ads for PlayStation\, Blackberry\, Levi’s and Orange. \nDJing and mixes have also been a big part of Cut/Copy’s identity. From their famed Fabric mix\, Fabriclive.29\, to the release of 2014 Melbourne dance compilation Oceans Apart\, Cut/Copy mixes are highly anticipated\, often duplicated\, and profoundly inimitable. Whitford and Hoey also perform as Cut/Copy DJs\, and embarked on their first DJ tour in the summer of 2015. You’ll still hear the Cut/Copy sound within the songs they include in their DJ sets\, but they’re known to include the best of underground dance music and perhaps-forgotten classics. \nCut/Copy is constantly full of surprises. With each album they’ve grown stronger as songwriters\, performers\, experimenters\, and curators. As those who have been lucky enough to witness the ride can attest\, it has been an amazing evolution for this Melbourne band and the journey is far from over. \n*** \nPalmbomen II \n \nWebsite\nFacebook URL:https://royaleboston.com/event/cut-copy/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/08/Cut-Copy-Admat-2017.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20171128T190000 DTEND;TZID=America/New_York:20171128T190000 DTSTAMP:20260409T165314 CREATED:20170724T161803Z LAST-MODIFIED:20170724T161803Z UID:10002534-1511895600-1511895600@royaleboston.com SUMMARY:Cannibal Corpse 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. 7/28 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nCannibal Corpse \n \nWebsite\nFacebook\nTwitter \nTo say “Cannibal Corpse are the biggest death metal band in the world” admittedly\, is a lofty declaration; one made by Metal Hammer UK in an article back in 2009. Since then\, the band has released “Evisceration Plague” and “Torture” – both included future classic Corpse cuts\, reaped praise from press and fans across the globe\, and both accumulated sales on a level rarely seen in death metal. In direct contrast with the “decline” of the music industry\, Cannibal Corpse appears to be growing in popularity. 2006′s “Kill” debuted on the Billboard Top 200 at #170\, followed by “Evisceration Plague” at #66 in 2009\, and #38 in 2012 with “Torture.” Whether or not that trend will continue is impossible to predict\, but George “Corpsegrinder” Fisher (vocals)\, Alex Webster (bass)\, Pat O’Brien (guitar)\, Rob Barrett (guitar)\, and Paul Mazurkiewicz (drums) plan to continue to expose legions of metal fans to their hyper-brutal brand of death metal in 2014 and beyond. The campaign beings in the summer of 2014 as Coldcock Herbal Whiskey Stage headliners on the Rockstar Energy Drink Mayhem Festival\, immediately followed by the release their thirteenth studio album: “A Skeletal Domain.” \nCannibalCorpse-ASkeletalDomainLucky number thirteen? Lucky or not\, it’s a quantity of releases (not even counting VHS/DVD releases and EPs) and a wealth of material beyond which most bands could even imagine. Cannibal Corpse approaches each recording session with a honed and precise vision of a band in their third decade of existence. With this new entry to their extensive catalog\, they have switched gears\, opting to work with producer Mark Lewis at Audio Hammer Studios\, after having tracked their previous three (Kill\, Evisceration Plague\, Torture) with Erik Rutan. Mark Lewis is a name metal fans have surely heard at this point; he has produced recent albums from The Black Dahlia Murder\, DevilDriver\, and many more. Sonically speaking\, the result this time around is a massive\, belligerent\, and deliberate aural attack. \nPreparation for “A Skeletal Domain” did not vary significantly from previous efforts. “At the end of the day\, we’re still making a death metal record\, no matter where it’s being recorded\,” says bassist Alex Webster. Mark Lewis offered a slightly different\, modern recording approach\, but the band stressed that they could not be more pleased with their previous albums with Rutan\, and the door is most definitely open to work with him again in the future. Changing producers is something the band has historically done after every few albums\, if only to not get too comfortable. Cannibal Corpse also tried to step outside of their comfort zone when it came to songwriting and their musical performances. “Consistency is often confused with repetition. We are established with what we do as a band\, and we could relax and not push ourselves\, but we try to push the envelope. That’s what makes this exciting\,” adds Webster. He continues\, “Anyone who really listens to this album with an open mind will hear that it’s not same-old same-old.” Mark Lewis would concur with Webster’s analysis and even goes a step further by claiming that “there are moments on this record that have never happened in musical history.“ \nAlex Webster\, along with O’Brien\, Barrett\, and Mazurkiewicz\, are all accomplished song writers\, that much is no secret. For “A Skeletal Domain\,” each member made a significant contribution to the song writing. O’Brien wrote five tracks\, Webster wrote four\, and Barrett handled two and half (“Asphyxiate to Resuscitate” was co-written with Mazurkiewicz). Alex Webster describes the band’s song writing proficiency as a “football team with a lot of roster depth. Any of us could write an entire album\, but when we’re working together and putting forth our best material\, we get an even better whole record.” That strength is on display in spades\, and led to a particularly impressive performance from O’Brien. Mark Lewis raved about the guitarist’s playing: “I don’t think he’s written crazier music than what’s on this album. He’s never written something like on the solo for “The Murderer’s Pact.” Simply put\, this is legit guitar playing.” Webster reiterated that this is “one of the most important albums for Pat [O’Brien].” His solos draw on his oft-overlooked neo-classical background while remaining dark enough to fit comfortably within the band’s death metal strike zone. In addition to Pat’s contributions\, Paul Mazurkiewicz entered the studio arguably more prepared than ever. Mark Lewis elaborated: “Paul came in so prepared and he hammered the hell out of every song. The drums on this record are not over doctored – the toms aren’t sampled\, Paul just HIT HARD.” In addition to his drum performance\, Mazurkiewicz’s lyrics continued to weave detail-filled tales of death and disgust. The drummer penned half of the album’s lyrics\, with Webster penning four\, and Barrett another two to round out the album. \nThe musical and lyrical team effort here laid the foundation for the vocal performance of iconic front man\, George “Corpsegrinder” Fisher. For “A Skeletal Domain\,” producer Mark Lewis worked to cull the most potent performance from the vocalist as possible. Lewis explains: “The mindset with George was to capture more high screams. We wanted to revisit the “Bloodthirst” days a bit. There’s a violence that lives in his throat that we really wanted to capture.” Evidence of these efforts exists in the violent howls in “Headlong into Carnage\,” the title track\, album opener “High Velocity Impact Splatter\,” and more. Corpsegrinder’s trademark vocals are the final piece of the death metal puzzle that is “A Skeletal Domain.” Cannibal Corpse have proven time and again that they have more fuel in their tank\, more riffs in their minds\, and more ways to describe gore than any single group of human beings could ever have hoped. The thirteenth album will prove to be as important a landmark in their career as just about any other. Cannibal Corpse are consistency defined. \n*** \nPower Trip \n \nWebsite\nFacebook\nTwitter \nPower Trip slay us with the first new single “Firing Squad” from their anxiously awaited sophomore release Nightmare Logic\, which finally sees light February 24 on Southern Lord. “Firing Squad” debuted via NPR who’ve described it as possessing “a certain monolithic quality Lemmy would admire: a massive rawness and a sludgy\, heavy hopelessness that thrashes with punk immediacy and metal intricacy…it’s a track preparing for war.” \nPower Trip are a real band – like no other. Their raw energy\, musical proficiency\, perfect song structure\, rich tones\, fierce riffs\, persecution and collective attitude has seeded them as one of the most prolific underground staples in the U.S. metal\, punk and hardcore scenes. \nPower Trip have relentlessly toured the world for years now with the likes of Anthrax\, Lamb Of God\, Cro-Mags\, Negative Approach\, Turnstile\, Backtrack\, Eyehategod\, Bane\, Off! and having performed with literally countless others\, in addition to pummeling audiences at major festivals all over the US\, EU and beyond. \n*** \nPower Trip \n \nWebsite\nFacebook\nTwitter \nSonoran Depravation by Gatecreeper \nGatecreeper was formed in September of 2013 with members originating from both Tucson and Phoenix\, Arizona. After a debut 4-song EP a series of splits\, the band signed to Relapse Records which resulted in the release of their debut full-length Sonoran Depravation on October 7th 2016. The band has since toured with Nails\, Pallbearer\, Code Orange\, Skeletonwitch and more. Gatecreeper play crusty\, doom-soaked death metal at its most infectious and uncompromising\, with a massive sound that calls to mind the classic Swedish buzz-saw attack of Dismember and Grave mixed with the impeccable groove of Obituary and Bolt Thrower. URL:https://royaleboston.com/event/cannibal-corpse/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/07/cannibal-corpse-admat-2017.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20171130T200000 DTEND;TZID=America/New_York:20171130T200000 DTSTAMP:20260409T165314 CREATED:20170925T161718Z LAST-MODIFIED:20170925T161718Z UID:10001847-1512072000-1512072000@royaleboston.com SUMMARY:Country 102.5 presents David Nail DESCRIPTION:Country 102.5 presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 9/29 at 11AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nDavid Nail \n \nWebsite\nFacebook\nTwitter \nDuring the making of his fourth MCA Nashville album\, David Nail underwent a transformation – and so did his music. Fighter is the most vulnerable\, personal record the Missouri native has ever made\, and it signals the beginning of a new phase in his career.” \n“Six months ago\, people would ask me about the record and I would jokingly say ‘It’s my love-making record\,’” Nail explains. “But what it meant to me then and what it means to me now are completely different. … Having been a father for about five months\, it definitely changes the dynamic of things.” \nFollowing the birth of he and wife Catherine’s long-hoped-for children (twins born in December 2015)\, the singer-songwriter found his world turned upside down. The mark he wanted to leave and things he wanted to say had changed\, and despite an early version of Fighter being already finished\, he decided to record four new songs\, completely changing the project’s tone. \nIn short\, Nail decided to get real in a way he never would have allowed himself before. Already known for powerful\, emotionally-charged vocals\, he took the same approach to choosing Fighter’s 11 tracks (seven of which were written or co-written by Nail himself)\, celebrating life’s victories but also exposing the knock-downs he’s endured – and it wasn’t always flattering. \n“[I was] like\, ‘Am I ready to sing this? Am I ready to tell this story?” Nail says. “[But] they come from a genuine place that you can kind of say\, ‘Okay\, I’ve said that. I’m at peace with that.’ I think that’s what this record is.” \nWriting and singing in courageous personal detail\, Nail confronted some of his deepest troubles\, revealing the clarity he’s achieved about his hometown\, the true struggle depression caused in his marriage\, the answered-prayer of his children’s birth and the things he never told his own father. \nMeanwhile\, producer Frank Liddell (who also guided Nail’s first three albums\, I’m About to Come Alive\, The Sound of a Million Dreams and I’m a Fire) made sure Fighter’s musical tone was just as authentic\, backing Nail’s volcanic vocals with a melting pot of Mississippi-delta sounds — a mix of classic-country balladry and sweaty Memphis soul\, with touches of in-the-moment modernity sprinkled throughout. \n“I grew up listening to all this music that my father listened to\,” says Nail. “A lot of it was classic\, huge songs and artists from the ‘60s and ‘70s – and even the ‘80s – so I think there’s always part of me that just falls toward that type of sound\, rather than fighting it and trying to say ‘Whoa! No-no-no\, we need to stay 2016.” \nBig-name collaborations abound\, with Nail inviting Vince Gill\, Brothers Osborne\, Lori McKenna and Logan Brill to help tell his story\, as well as Bear and Bo Rinehart of NEEDTOBREATE. \n“When I’m making a record I selfishly want to push my buttons so I try to approach it as my swan song\, it could be the last piece of music I make. I want to fulfill some life goals in the process and one of my biggest influences in the word is Vince Gill so I’m thankful he said yes” \nBrothers Osborne kick the project off in star-crossed revelry on “Good at Tonight\,” McKenna joins “Home” to quietly uncover Nail’s love/hate relationship with his hometown\, Gill adds stunning harmony vocals to the country-soul “I Won’t Let You Go” – a promise to David’s wife Catherine – and the Rineharts help close the album in tender admiration with “Old Man’s Symphony\,” an overdue thank-you note to Nail’s dad. \nAlong the way\, he toasts to the passion of youth in the upbeat hit “Night’s On Fire\,” pledges romantic relief in the raw Chris Stapleton co-write “Ease Your Pain\,” delivers a desperate double entendre in the indie-rocking “Lie With Me” and crafts a loving\, rock-a-bye origin story for his new family in “Babies” – an instant classic. \nThen there’s the project’s title track\, “Fighter\,” a heartfelt ‘80s-country throwback ripped from Nail’s real life that holds his wife up as an unshakable supporter – even when he was at his worst. \n“’Fighter’ is about as honest as I’ve ever been in a song\,” Nail admits. “I mean\, when you’re quoting your wife saying things that are not pleasant [about you]\, you know it was our story. … But it also\, I think\, tells the story of me.” \nNail and Catherine have had to fight their whole lives\, he explains – for his career\, for their marriage\, to battle back inner demons and to conceive their beautiful kids – but their ultimate success in those battles has led them to a better place. And it also gave the album a mission. \nFighter is more than a bookmark in Nail’s life and career – it’s a period on the final sentence of a difficult chapter. Penned during dark times that have given way to a new sunrise\, these are some of the most meaningful and personal songs he’s ever recorded. And now that they exist for all to hear\, he can finally move on. \n“I feel like I’ve told the main aspects of my career\, and my life\, up to this point\,” he explains. “So I really think whatever we do in the future\, we’ll be able to start just completely fresh. It’ll be a new story\, a new part of my life.” \n-Chris Parton \n*** \nTown Meeting \n \nWebsite\nFacebook\nTwitter \nTown Meeting is a Central Massachusetts-based group featuring original songs and unusual instruments. Their work is eclectic. At one hand\, their power and energy compels a crowd to its dancing feet; on the other\, their lyrical imagery quietly absorbs the audience. \nTown Meeting is composed of “three brothers and two others”. Luke\, Russ and Babe Condon are joined by Dean Adrien and Tim Cackett. They have developed an avid local following\, but have also performed from Maine to Nashville\, and opened for the likes of Willie Nelson\, Sturgill Simpson\, Third Eye Blind and Bob Dylan. \nEldest brother Luke Condon strums a left-handed rhythm guitar with infectious vigor. His lyrics are poetic (“The hour glass is getting bottom heavy\, and I can feel the glass about to break”)\, or whimsical (“I’m in love with Hermione Granger”). His song “Time” combines an intimation of one’s mortality with a raucous rockabilly beat that celebrates life in the face of death – Hamlet goes to a Hoe-down. \nRuss Condon sits astride a cajon\, a Peruvian drum. He coaxes\, with hand slaps\, a spectrum of percussive nuances and volumes. His clear baritone fits seamlessly with Luke’s\, the natural blend and timbre of brothers. A prolific songwriter\, his powerful “You Don’t Hear My Music Any More” is a primal wail of anguish over lost love\, running the gamut of shock\, denial\, rage and finally acceptance. His songs are introspective\, such as “If This Were A Movie”\, with the opening lines\, “If this were a movie\, would we be the stars\, or would we be the people walking our dogs?” \nBrendan (“Babe”) is the youngest Condon brother. A percussionist and vocalist\, Babe adds a howling\, growling harmonica to the mix. His first writing effort is “Phoenix”\, a touching quest of youthful angst\, in search of a safer future\, risen from its past ashes. “California isn’t what I thought it’d be when I put myself inside a plane and left my family. Now I’m hoping I can find relief in Phoenix.” \nLongtime music fans will recognize the name of Dean Adrien\, lead guitarist and tenor for Town Meeting. Co-founder of the 1970s Boston-based group Orphan\, he later combined with Orphan’s Eric Lilljequist as a duet\, and for decades backed Tom Rush on his New England gigs. Dean’s guitar work is melodic and understated\, befitting each song. Note his tasteful licks in “Leave the Light On” and funky picking in “Digging”. \nTim Cackett\, instrumental virtuoso\, plays dazzling electric bass lines. He kills it! Collaborative songwriter. His mandolin work is unique. It tinkles like a piano\, bounces like a plucked violin\, or drives a dancing crowd with a powerful rhythm. He has lately added banjo\, acoustic/electric guitar and upright bass to his repertoire. \nIn 2016\, Town Meeting released its first studio CD\, “If I Die”. They are currently working on a follow up to be recorded this fall for release in 2017. URL:https://royaleboston.com/event/country-102-5-presents-david-nail/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/09/David-Nail-Admat-2017.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20171206T200000 DTEND;TZID=America/New_York:20171206T200000 DTSTAMP:20260409T165314 CREATED:20170911T174950Z LAST-MODIFIED:20170911T174950Z UID:10002555-1512590400-1512590400@royaleboston.com SUMMARY:[SOLD OUT] Illenium DESCRIPTION:Bowery Boston & NV Concepts presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited. \nSOLD OUT! \n*** \n \n*** \nIllenium \n \nWebsite\nFacebook\nTwitter \nThere are melodic bass producers\, and then there is Nick Miller. In the few short years that Denver-based Miller has been producing under the name Illenium\, his prolific outpouring of captivating remixes and haunting originals has garnered him a devoted following and seen him rise quickly in the ranks of the dance music community to become one of its most beloved new stars. Illenium has distinguished himself from the myriad of others through an unrivaled ability to create an immersive emotional experience of highs and lows that pulls on the heart-strings and leaves the listener awestruck\, displaying an adeptness for creating aural arrangements that vary in style\, yet always maintain beauty\, complexity and emotional depth. Illenium’s stunning productions come to life through a live performance that incorporates a keyboard and drum pad framed by cutting-edge lighting and visuals\, creating an immersive experience that has captivated audiences across the country. In early 2016\, Illenium released his debut artist album ‘Ashes\,’ which earned him the No. 1 spot on the iTunes Electronic Album Chart\, as well as a remix of The Chainsmokers’ “Don’t Let Me Down\,” which racked up over 10 million plays in its first month alone. In addition to selling out most of his debut headlining tour\, Illenium has appeared at Lollapalooza\, Mysteryland\, Summer Set Music Festival\, Paradiso\, and more. \n*** \nSaid The Sky \n \nWebsite\nFacebook\nTwitter \nPlaying piano and various instruments since the age of eight\, Colorado native Trevor Christensen is coming forward with a fresh perspective on music. Bringing his melodic background and technical training into his music\, he works to capture everything beautiful in what people know as EDM. His last 3 years have been devoted to his production\, and bring the ideas build up in his head from his entire childhood to life. His music is\, what he hopes it to be\, an experience: A captivating blend of moving bass lines\, and soaring melodies. This is nothing you want to miss. \n*** \n Dabin \n \nWebsite\nFacebook\nTwitter \nDabin is a 22-year old music producer from Toronto\, Ontario. Having spent his teens learning to play the guitar\, piano\, and drums\, Dabin started producing electronic music in 2011. He quickly attracted the attention of Montreal-based Kannibalen Records and released his first tracks on the fledgling independent label in 2012. His music\, ranging from mellow electronica to hard-pounding dubstep & electro\, features lush sonic textures\, rich melodies and intricate instrumental work. His songs have charted regularly on Beatport and Itunes and he’s been featured several times on well-known online music channel UKF\, racking up millions of plays along the way. He performs a unique genre-defying live show in which he incorporates live electronic guitar and synthesizers. URL:https://royaleboston.com/event/illenium/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/09/ILLENIUM-admat-2017v2.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20171207T190000 DTEND;TZID=America/New_York:20171207T190000 DTSTAMP:20260409T165314 CREATED:20170320T154540Z LAST-MODIFIED:20170320T154540Z UID:10001769-1512673200-1512673200@royaleboston.com SUMMARY:Mogwai 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. 3/24 at 10AM! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n***\n \n*** \nMogwai \n \n[Website] [Facebook] [Twitter] \nEight studio albums\, a live album and four compilations\, four soundtracks\, a record label\, and a few blown PAs and dislodged pieces of ceiling over uncountable gigs\, not to mention a series of amusing Twitter accounts reviewing hotels and on-tour dinners. Over the 21 years since they formed with rehearsal after rehearsal rattling Stuart Braithwaite’s living room\, Mogwai might have become one of the most important groups of a fragmented but increasingly potent British musical underground\, but they’ve steadfastly refused to sit back and rest on their laurels. \nIndeed\, you might refer to them as the cockroaches of post rock\, for Mogwai have never split up for a while in favour of a lucrative reunion playing classic albums live\, instead continuing to push themselves and their sound. Then again\, as any cursory listen to their 2015 compilation Central Belters will tell you\, is post rock really a generous enough term to describe what Mogwai do? Over 20 years their one constant has been of a mastery of dynamics\, an embracing both of power and minimalism\, and a willingness to experiment with new instrumentations and technology. Within that though\, one of the most recognisable sonic identities in contemporary music unites the songs as disparate of graceful sung moments like Travel Is Dangerous or epic Black Sabbath temper tantrum My Father My King\, the shimmering\, stately atmosphere of I’m Jim Morrison\, I’m Dead or the burbling kosmische electronics that drive Mexican Grand Prix. \nThe Mogwai of 2017 is a very different group to the four kids who\, in February 1996\, released their debut single Tuner/Lower to a musical climate suffering the appalling hangover of late Britpop. Theirs was a sound of happy accident\, Stuart Braithwaite\, Dominic Aitchison\, Martin Bulloch\, John Cummings and later Barry Burns uniting over shared love of skateboarding\, Star Wars\, The Cure\, and American indie rock to somehow end up with music that was\, and remains\, as affecting as it is powerfully loud\, as sensitive as much as it has the propensity to rip your ears off. Since debut album Young Team the group have always kept their eyes on the future\, playing different sets mostly of new material on each night of their never-ending tours. “It’s better to keep doing what you’re doing right now\,” says Braithwaite. “looking at what’s happened with some other bands it’s hard to get people interested in what you’re doing now once you’ve made a big deal about going back to something from ten or 20 years ago.” \nPart of Mogwai’s progressive zeal is in their continuing independence and support for artists around them. In 2005 they opened their own Castle Of Doom studio\, using it to record four albums as well as opening it up to fellow- travellers Errors\, Malcolm Middleton and The Twilight Sad. Their Rock Action label has not only released Mogwai’s own music since that debut single\, but albums from Blanck Mass\, Sacred Paws\, Afrirampo and Remember Remember\, among others. In a commercial climate that hardly favours independent artists operating outside the mainstream\, Mogwai have always led by example\, doing it it themselves\, where they can. “Someone sent us a flyer of a gig we did with Trout at Nice ’n’ Sleazy in 1996\, and I remembered going round the photocopy shops\, making them\,” Stuart Braithwaite has said.“Even though everything’s on a different scale\, you’re still doing the same thing. It’s still letting people know that you’re playing\, and making sure that all the band members remember there’s a gig that day… there’s nothing different about playing to 2000 people as to playing to 50 people. Just you’re a bit higher up. And you get a dressing room! But really\, it’s the same thing.” \nThis singularity of purpose can also be heard in Mogwai’s soundtrack albums. While Braithwaite has said that when the band first started they’d rather jump off a bridge than take on such a difficult task\, their music for football biopic Zidane and French TV series Les Revenants has been among their finest work. The latest and best is Before The Flood. Mogwai collaborated with Trent Reznor\, Atticus Ross and Argentine film composer Gustavo Santaolalla to create the soundtrack to Leonardo DiCaprio’s 2016 documentary on climate change\, directed by Fisher Stevens and co-created by DiCaprio. \nAtomic was Mogwai’s accompaniment to Mark Cousins’ BBC documentary on the horrors of Hiroshima and the Cold War Arms race. As opponents of the presence of the Royal Navy’s Trident deterrent in Scottish waters\, this was a subject close to Mogwai’s hearts\, and the album gives a lie to the view that instrumental music can’t be political. With the tracklisting slightly rejigged\, the Atomic soundtrack was released as a standalone album in April 2016\, reaching number 20 in the UK charts\, their second-highest ever chart placing. \nMogwai toured Atomic alongside the film\, in the US\, Europe and Japan\, including a show in Hiroshima. In between touring the band wrote and recorded their ninth studio album\, due later this year. The as-yet-untitled record sees them reuniting with producer Dave Fridmann for the first time since 2001’s acclaimed Rock Action LP\, and was recorded at Tarbox Road Studios\, Cassadaga\, New York. Mogwai have announced a massive hometown show at the SSE Hydro\, Glasgow on Saturday 16 December 2017\, in support of the forthcoming album. \nA couple of years ago\, Stuart Braithwaite said of the period recording Young Team that “We were very driven\, and it was definitely an exciting time. Everyone was hyped up and focused\, and a little bit unhinged. It was a wild time in the band.” With the tantalising prospect that Mogwai’s ninth studio album will pick up where Atomic left off\, perhaps some things haven’t really changed at all. \n*** \nXander Harris \n \n[Website] [Facebook] \nHarris is an electronic artist providing a balance between tense atmospherics\, disco and psychedelic flair. His exploration of Giallo landed his well-received debut “Urban Gothic” on Fact Magazine’s Best 50 LPs of 2011. The last year has found the native Texan equipped with a diverse catalog that has taken him across the world. URL:https://royaleboston.com/event/mogwai/ LOCATION:279 Tremont Street\, Boston\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/03/mogwai-admat-2017v2-1.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499958;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=279 Tremont Street Boston 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499958 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20171208T180000 DTEND;TZID=America/New_York:20171208T213000 DTSTAMP:20260409T165314 CREATED:20170731T163952Z LAST-MODIFIED:20170731T163952Z UID:10002539-1512756000-1512768600@royaleboston.com SUMMARY:[CANCELLED] Pinegrove DESCRIPTION:Bowery Boston presents \nPinegrove has cancelled all N. American 2017 tour dates. Refunds available at point of purchase. \n*** URL:https://royaleboston.com/event/pinegrove/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/07/pinegrove-admat-winter-2017.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20171211T200000 DTEND;TZID=America/New_York:20171211T200000 DTSTAMP:20260409T165314 CREATED:20170907T152634Z LAST-MODIFIED:20170907T152634Z UID:10002553-1513022400-1513022400@royaleboston.com SUMMARY:Petit Biscuit DESCRIPTION:Bowery Boston presents \nPetit Biscuit\nw/ Electric Mantis \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale NOW! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nPetit Biscuit \n \nWebsite\nFacebook\nTwitter \nPetit Biscuit is a 17-year-old electronic music producer from France\, keen to take on the world. After picking up the cello at age 5 and entering French classical music school the Conservatoire soon after\, things heated up when Petit Biscuit got his first PC at 11. Editing and mixing all the sounds of his tracks himself\, he excels in creating unmistakable chopped and twisted vocal leads. His first tracks got him an impressive following on SoundCloud and YouTube early on. Now with the release of his debut EP in May 2016\, the delicate music of the young prodigy has started to spread like wildfire. The song “Sunset Lover\,” heady and recognizable among thousands\, acts as its spearhead. \n*** \nElectric Mantis \n \nWebsite\nFacebook\nTwitter \nAlaskan born 23-year-old born electronic and hip hop composer Electric Mantis broke through with the viral success of his track “Flips and Flops\, Drips and Drops” thanks to Reddit and a plug from Djemba Djemba. Today\, the San Francisco-based artist is taking the next step in his increasingly heat-seeking career with official remixes for Porter Robinson\, Giraffage\, and more. URL:https://royaleboston.com/event/petit-biscuit/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/09/PB_WinterTour_ADMATv2.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20171212T190000 DTEND;TZID=America/New_York:20171212T190000 DTSTAMP:20260409T165314 CREATED:20170912T154052Z LAST-MODIFIED:20170912T154052Z UID:10002557-1513105200-1513105200@royaleboston.com SUMMARY:The Dear Hunter 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. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 9/15 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nThe Dear Hunter \n \nWebsite\nFacebook\nTwitter \nIt’s been almost a decade since Casey Crescenzo brought The Dear Hunter — both the band and the character of the same name — to life with his 2006 debut full-length\, Act I: The Lake South\, The River North. Although it was evident from his stint as singer of The Receiving End Of Sirens\, the record revealed Crescenzo’s incredibly inventive and ambitious musical flair\, something which has been evolving ever since. The two albums which followed — 2007’s Act II: The Meaning Of\, And All Things Regarding Ms. Leading and 2009’s Act III: Life And Death — cemented the now 32 year-old as a maverick\, idiosyncratic talent whose music\, while fitting a modern aesthetic\, was also from a bygone era. \nAnachronistic and timeless in equal measure\, the narrative of The Dear Hunter existed in both the past and the present\, its detailed plot standing simultaneously as an age-old and new age fable. As that tale progressed\, so did Crescenzo’s art\, his experimental compositions blurring the line between different genres to create a sound that was — and still is — unique to the band. But then\, halfway through the six envisioned Acts of the Dear Hunter narrative\, Crescenzo’s attentions shifted. Between 2010 and 2011\, the band recorded a series of nine four-track EPs known as The Color Spectrum. Later released as a single volume edition\, each EP was a musical interpretation of a color from the visible spectrum\, showcasing the increasingly far-reaching ambitions for Crescenzo’s musical vision and his inventive interpretation of the world around him. Two years later\, the more mellow and straightforward fifth full-length Migrant showcased a different side to the songwriter’s talents\, and last year he composed and recorded his first symphony Amour & Attrition. With such a storied musical repertoire\, its clear Crescenzo is no ordinary musician. \nNow\, six years and two albums after The Dear Hunter released Act III: Life And Death\, Crescenzo has returned to the narrative of the anti-hero who shares the band’s name\, applying all of the knowledge and experience of the last ten years to this new chapter. Picking up where the story left off — with the eponymous protagonist assuming the identity of his late brother and returning home — Act IV: Rebirth In Reprise is an album that explores the complex notions of who and what we are\, and which attempts to answer its own questions through the wanderings and wonderings of the album’s protagonist. Yet as the plot and the music weave their way through these fifteen songs\, it’s clear that they transcend the boundaries of the Dear Hunter story. This is as much about a return in real life as it is the fictional story. \n“Revisiting something that was six years removed from my life\,” explains Crescenzo\, “and going back to doing these records was actually a suggestion of my manager and friend Mike Marquis. We got talking about the title of the record and it really just made sense\, both within this story — which is about this character returning to a familiar place as a different person — but also in terms of the music\, which was returning to a familiar place as a different person for myself. So it was the perfect middle ground of describing conceptually\, and as far as the plot goes\, a story\, but also a very perfect paralleling between my personal life and the story of the record — that revitalization and rejuvenating that comes from revisiting something with a newfound perspective.” \nThe result is the band’s most orchestral and multi-layered set of songs to date. Both nuanced and euphoric — sometimes at the same time — their very essence breathes life back into a story that has been on pause for over half a decade\, reigniting the lives of the characters with heart and aplomb. That’s something Crescenzo insists could only have happened by taking a break from the world with The Color Spectrum and Migrant. The distance that making those records afforded Crescenzo means that of all the albums The Dear Hunter has made\, Act IV’s soundtrack to its main character’s physical and philosophical journey is also the closest Crescenzo has come to realizing the true musical vision inside his head. \n“I was trying to do it on Act I\, Act II and Act III\,” he says with a slight sigh of fake exasperation\, “but I could never get to the point where I was just in a room with an orchestra playing these parts\, because I didn’t know how to do it. It was this thing that I always wanted to incorporate into what I did before\, I always wanted this and I was always upset that I didn’t get it. This time\, I could apply this knowledge that I actually possess into this music. It was one of the most exciting experiences of my life because the orchestra is such an integral part of that album from start to finish\, as far as weaving in and out of the music and gluing it all together.” \nThat’s certainly an understatement. Aside from a couple of brief pauses\, Act IV is almost one continuous piece of music. Whether it’s the gracefully powerful lilt of “At The End Of The Earth”\, the frantic\, almost King Crimson-esque 9 minute epic surge of “A Night On The Town” or the angular guitars of “King Of Swords (Reversed)” — which Crescenzo says drew inspiration from unlikely sources such as ELO\, Talking Heads and Michael Jackson — it all creates a sense of dramatic momentum to parallel all the physical and metaphysical action that takes place across this record’s ambitious 64 minutes. Initially written and recorded at Crescenzo’s self-built studio in Port Angeles\, Washington (where he now lives) with the rest of the band\, once their parts were done\, Crescenzo then set about finishing the rest of it himself. \n“I tracked most of my guitar and then I finished writing the scores for the orchestra\, so before I even got in to doing vocals\, my girlfriend\, my dog and I drove down to California and tracked the orchestra.” \nPlayed by the community-based Awesöme Orchestra collective at Berkeley’s Fantasy Studios\, it means the album truly is the culmination of everything that preceded it. As such\, even though it’s part of a fictional narrative\, it doubles up as the band’s most autobiographical album to date. That might seem like a paradoxical concept\, but to listen to Crescenzo explain it\, and it makes perfect sense. As Crescenzo points out\, “There were always these big pillars of the story that I wanted to tell as far as broad strokes. It’s always had Point A and Point B on a grand scale\, but I like to grow as a human being\, a songwriter\, a lyricist\, and I didn’t want to bind myself to the outlook and my feelings and my personal headspace at 22\, when I started writing this\, knowing that it would be years and years and years before I’d ever get to the sixth part. I didn’t want to control the creativity of the 32 year-old me at 22. I left a lot of wiggle room so I could pull on the new experiences I’d have as an adult and through the years it would take to finish it. So a lot of the detail is told from the last six years of my life going into Act IV.” \nAs such\, the personal growth that Crescenzo experienced in his own life shaped those moments. For a start\, he wanted the band — completed by Nick Crescenzo (drums\, percussion)\, Robert Parr (guitar\, keyboards)\, Nick Sollecito (bass)\, Maxwell Tousseau (guitar\, keyboards) and Andrew Brown (keyboards) — to have more input into the development of the songs. Secondly\, he found his attitude towards the people who initially inspired the characters had changed over time — and so had the characters as a result. \n“Looking back on the way that it started\,” Crescenzo remembers\, “the story was rooted in such an intensely bitter place I was able to demonize whoever I wanted through the fiction of it. What’s really interesting is that\, just by coincidence\, in this story and in these characters who have been somewhat demonized in my mind relating to real life people\, there are these moments somewhat of redemption for these characters. It was like I knew I wasn’t going to want to make that record until I was in a personal place where I had sort of gotten past the initial bitterness and the grudge I’m incapable of not holding. If I had written it all as younger man\, I think it would have been bitterness from the beginning to the end\, and there would have been no room for my growth or the growth of whatever character I’m putting in there.” \nThere are still two more Acts planned\, as well as a graphic novel in the works\, but for now\, the life of the Dear Hunter — both the character and the band — is fully consumed by this newest part of the story. It’s been a long time in the waiting\, but that’s precisely why the pieces have all fallen so perfectly into place. “Honestly\,” Crescenzo chuckles\, “just the act of making this record after so long\, and making the record I said I was going to make and not damning the younger version of me to having lied\, is very cathartic. And when it was done\, I had no idea what to do with myself. All of a sudden\, I was finished with this thing I didn’t even know if I would get to. I was blindsided by the finality of it.” \nOne listen\, and you probably will be\, too. \n*** \nThe Family Crest \n \nWebsite\nFacebook\nTwitter \n“Everything we’ve done over the past five years has been leading up to this\,” reflects Liam McCormick. “We’ve been working on this project for almost the entire time we’ve been a band.” \nMcCormick\, the frontman and songwriter of The Family Crest\, is referring to the band’s upcoming release\, an EP titled Prelude to War. Remaining tight-lipped about the EPs relationship to a mysterious “broader project” that’s been mentioned of late\, he grins and says\, “Our listeners have been waiting so patiently for new music. Let’s just say that what we’re planning should make up for the wait and keep them satiated for quite a while.” \nThe brainchild of McCormick\, The Family Crest was started as a recording project in 2009 with co-founder John Seeterlin (bass). The pair set out to reinvent how music could be created. “We always liked making music with people — getting a bunch of people together and singing. So we put ads everywhere\,” says McCormick. “We posted on Craigslist and emailed old friends from school.” The outcome was greater than the original duo imagined\, with 80 people credited on the first recording the band produced. From that a band emerged\, at the urging of the guest musicians\, who wanted to hear the songs performed live. “We’ve worked with a lot of conservatory students as well as people who just sing in the shower\,” McCormick adds. “It became a lot about giving these people a chance to express themselves without being locked into a commitment.” \nThe band evolved into a seven-piece core with over 400 “Extended Family” members who have contributed to the music. With the 2014 release of Beneath the Brine\, The Family Crest skyrocketed into mainstream awareness\, with critics at Paste Magazine\, Spin and NPR raving\, “there’s a decent chance you’re about to discover your favorite new band.” For nearly two years\, The Family Crest toured in support of Beneath The Brine\, and seeing their songs featured in campaigns for GoPro\, Carnival Cruises\, Coachella\, and more. \nBeneath the Brine showed that McCormick’s writing for classical instruments had grown. In Prelude to War\, his style and prowess has been even more augmented. Paste Magazine exclaims\, “[Prelude to War] delivers a dose of both the familiar and the experimental: Huge\, rollicking numbers with a few sparse moments of tenderness interspersed throughout. There’s material here that wouldn’t have sounded out of place on Beneath the Brine\, but also several songs that hint at an evolution and embrace of even more seemingly disparate genres. One thing is certain: These guys are just as explosive as ever\, and these songs are going to bring the house down in a live setting.” \nFans of Beneath the Brine’s title track will find drama and dark romanticism in “Sparks” and “Battle Cry\,” and subtle yet powerful musical gestures in “Don’t Wake Me\,” the sole ballad of the EP. Those looking for a lighter\, more pop-infused sound will gravitate toward “Can You Stay” and the undeniably groovy “Mirror Love\,” of which Bob Boilen (NPR’s All Songs Considered) says\, “[Mirror Love] extends into new sonic territory for the group\, capturing the late ’70s sounds of the Bee Gees in both beat and chorus … [a] stunning kaleidoscopic imagery and bold sound.” \n*** \nVAVÁ \n \nWebsite\nFacebook\nTwitter \nLos Angeles\, CA URL:https://royaleboston.com/event/the-dear-hunter-2/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/09/the-dear-hunter-admat-2017.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20171216T180000 DTEND;TZID=America/New_York:20171216T213000 DTSTAMP:20260409T165314 CREATED:20170822T153753Z LAST-MODIFIED:20170822T153753Z UID:10001837-1513447200-1513459800@royaleboston.com SUMMARY:ALONE & TOGETHER ft. Elvis Perkins\, Joe Russo\, Eric D. Johnson (Fruit Bats)\, Sam Cohen and Josh Kaufman DESCRIPTION:Newport Folk® 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. This is a partially seated general admission show. Seating is available on a first-come\, first-served basis. Please note: bags or backpacks larger than a purse are prohibited. \nTickets on sale Fri. 8/25 at noon! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \nALONE & TOGETHER \n \n“Alone and Together\,” now in its fourth incarnation\, is a series wherein some of your favorite singer/songwriters/musicians get together and cover one another\, in addition to playing their own songs\, choice covers\, and surprise jams. It’s a freewheeling and frequently magical environment. Featuring: Elvis Perkins\, Sam Cohen\, and Eric D. Johnson (Fruit Bats) – joined by instrumentalists Joe Russo and Josh Kaufman. URL:https://royaleboston.com/event/alone-together-ft-elvis-perkins-joe-russo-eric-d-johnson-fruit-bats-sam-cohen-josh-kaufman/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/08/alone564.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180112T180000 DTEND;TZID=America/New_York:20180112T213000 DTSTAMP:20260409T165314 CREATED:20171004T162303Z LAST-MODIFIED:20171004T162303Z UID:10002561-1515780000-1515792600@royaleboston.com SUMMARY:[SOLD OUT] Yacht Rock Revue 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. Please note: bags or backpacks larger than a purse are prohibited. \nSOLD OUT \n*** \nYacht Rock Revue \n \nWebsite\nFacebook\nTwitter \nThe Yacht Rock Revue is the greatest show on Surf and the finest tribute to ’70s light rock to ever perform anywhere. Ever. Their spot-on renditions of Hall & Oates\, Michael McDonald\, Steely Dan\, and the rest of the Time-LifeInfomercial Catalog have enthralled fans across the United States. It goes without saying they have taken their act to the high seas\, performing showcase sets on music cruises with Weezer\, Kid Rock\, Train\, Zac Brown Band\, Sister Hazel\, and fitness guru Jillian Michaels. \nBy blurring the lines between a tribute\, an original act\, and a comedic troupe\, the Yacht Rock Revue has forged a unique niche market and a special bond with their fans. The band attacks each song as if it were their own\, and the energy exchanged between the band and the crowd has more in common with a stadium U2 show than that of a typical bar band.\nThe band has won accolades ranging from “Best Place to Get Drunk With Your Dad” to “Best Overall Music Act in Atlanta” to “Best Place to Start an Extramarital Affair\,” and has been name-dropped by the New York Times\, Pitchfork\, the Guardian UK\,Spin\, TimeOut New York\, Billboard\, MTV.com\, and (probably) your mom at her last cocktail party. \nSpeaking of name-dropping\, members of the band have played on-stage with members of Weezer\, Billy Joel\, Walter Egan\, .38 Special\, John Mayer\, Zac Brown Band\, Little River Band\, Sheryl Crow\, Noel Gallagher\, Starbuck\, Sarah McLachlan\, Don Henley\, Lynyrd Skynyrd\, Neil Finn\, Jellyfish\, Devo\, Nine Inch Nails\, Joan Jett\, Wet Willie\, Bon Jovi\, Skid Row\, and the Saturday Night Live Band. (None of those were a joke.) URL:https://royaleboston.com/event/yacht-rock-revue-2/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/10/DSCF0846-1-1.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180121T190000 DTEND;TZID=America/New_York:20180121T190000 DTSTAMP:20260409T165314 CREATED:20170822T154550Z LAST-MODIFIED:20170822T154550Z UID:10001838-1516561200-1516561200@royaleboston.com SUMMARY:Tennis DESCRIPTION:Bowery Boston presents \nDoors: :00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited. \nTickets on sale Fri. 8/25 at noon! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nTennis \n \nWebsite\nFacebook\nTwitter \nTennis continue their extensive North American tour in celebration of their fourth full-length album\, Yours Conditionally. After a cross country tour in the Spring/Summer supporting artists including Spoon\, The Shins and Father John Misty the band is primed to head out on a Fall Headline tour crisscrossing the United States; their largest to date. \nYours Conditionally—out now on Mutually Detrimental via Thirty Tigers and available at all record stores as well as via iTunes and Spotify— continues to receive praise from NPR’s “Weekend Edition\,” Interview Magazine\, W\, New York Magazine and many more. \nThe new record was composed both on land and at sea during a five-month sailing trip through the Sea of Cortez. Upon returning\, Tennis’ husband-and-wife team of Patrick Riley and Alaina Moore self-produced the record in a small cabin in Fraser\, CO. It was mixed by Spoon’s Jim Eno at Public HiFi. \nNow based in Denver\, Moore and Riley began writing music together as a way to document the history of their time living aboard a sailboat. The result was their first release\, Cape Dory. Moore and Riley followed Cape Dory with Young and Old\, which The New Yorker described as “winsome as it is ebullient” and debuted #1 on Billboard’s Heatseeker Chart and #1 on CMJ Top 200\, where it remained for three straight weeks. The album also debuted on Soundscan’s “New Artist Chart” at #1\, remaining there for nine consecutive weeks. Their newest record comes on the heels of the group’s most recent release\, 2014’s Ritual in Repeat\, which received rave reviews from The New York Times\, NPR’s “All Things Considered” and “Fresh Air\,” TIME\, Vogue\, Pitchfork\, The FADER\, Entertainment Weekly and many more. The band has performed on “The Late Show with David Letterman\,” “The Tonight Show with Jay Leno\,” “Conan” and “Last Call with Carson Daly.” \n*** \nOvercoats \nOvercoats\, Hana Elion and JJ Mitchell\, in the studio with photographer Anna Azarov. \nWebsite\nFacebook \nOvercoats is the New York-based female duo of Hana Elion and JJ Mitchell. Their debut album YOUNG captures a sound rich in minimalism and melody: songs of connection and tension\, on the depths of love and challenges of family. \nOvercoats’ music draws strength from vulnerability\, finding light through darkness\, and the catharsis of simple\, honest songwriting. YOUNG is about a transformation: the passage into womanhood\, sung through the shared experience of two best friends. \nOn their first single “Hold Me Close\,” Hana and JJ’s melodies are purity in unison\, providing two distinct but entwined perspectives on the complexity of love. In their words\, “the song is about finding solace in the present when the future and past seem impossible to understand. It’s about loneliness and disillusionment that we can feel in relationships\, and how we must persevere anyway in hopes of finding the beauty in love.” \nElion and Mitchell were drawn to each other when they first met in 2011\, finding connection in their diverse love of music and an immediate closeness that verges on sisterhood. Their meeting was transformative emotionally as well as creatively. Both halves of Overcoats describe the first time hearing each other sing as an epiphany: the harmony of their voices leading to personal\, individual discovery. This bond forms the foundation of Overcoats\, and it fills the ecosystem of YOUNG with its stunning sound and sentiment. \nAlbum opener “Father” unfurls in clouds of three-dimensional sound: a cathedral of echo over waves of delay and the din of incidental noise. There is a rare resonance in Overcoats evident from these opening tones: between their separate (but inseparable) voices\, flawlessly intuitive performance\, and sublime musical production. Their harmonies slide from brassy to silken with elegant ease\, floating over muted rhythms wrapped in lush swells of synthesizers. \nYOUNG was written by Overcoats and co-produced by Nicolas Vernhes (Daughter\, The War On Drugs\, Dirty Projectors\, Cass McCombs) and experimental R&B artist Autre Ne Veut\, with additional production from Myles Avery and mixing by Ben Baptie (Lapsley\, Lianne La Havas\, Lady Gaga\, Mark Ronson). \nTheir palette is stealth and simple electronics\, with traces of folk\, pop\, and bluegrass embedded within. Like a spectrum from Sylvan Esso to Simon & Garfunkel\, Overcoats creates music deeply rooted in emotion\, and guided by the search for its innate expression through voice and electronics. Songs that began as bedroom creations flourished into rich but restrained productions\, with careful craft illuminating the nuance of Overcoats’ unique songwriting. \nOn YOUNG\, Overcoats creates music of mutual empowerment\, at once synthetic and organic\, wistful and uplifting\, triumphant and subdued. \n“The Fog” is a bay of lonesome\, oscillating synth chords: its boundaries defined by the reflection of echoic finger snaps. Elion and Mitchell find clarity through a lovers’ haze\, their stoic verses liberated by resounding chorus: Freedom is when I’m without you / When the fog lifts I’m the only one I see. \n“Leave The Light On” layers looped and transposed vocals over thumping two-step 808 and punctuations of club-ready brass. Showing the true breadth of influence\, songs like “Little Memory” and “Smaller Than My Mother” are laced with gospel and jazz\, strands woven in with Vernhes’ and Autre Ne Veut’s natural touch. \nYOUNG has a clear\, vertical ambience that lets the topical vibration of the music shine through. This is the arrival of a magical collaboration: a rare unification of two hearts under one imagination. Elion and Mitchell are bound by absolute belief in one another\, and the confidence that every creation is compelled by shared purpose. \nLike its arc of transformation\, from “Father” to album closer “Mother\,” Overcoats captures the notion that we are the intersections of our parents’ greatest fantasies and biggest follies. YOUNG is a startlingly wise portrayal of these complexities: of love\, on inspiration\, and the legacy of family. URL:https://royaleboston.com/event/tennis/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/08/TENNIS-ADMAT-DARK-2017v2.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180126T180000 DTEND;TZID=America/New_York:20180126T213000 DTSTAMP:20260409T165314 CREATED:20171102T140051Z LAST-MODIFIED:20171102T140051Z UID:10001857-1516989600-1517002200@royaleboston.com SUMMARY:J. Roddy Walston and the Business 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. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 11/10 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nJ. Roddy Walston and the Business \n \nWebsite\nFacebook\nTwitter \nHeading into Destroyers of the Soft Life\, the fourth LP by J. Roddy Walston and The Business set to be released September 29 via ATO Records\, JRWATB pursued a brighter\, more nuanced sound that teased out the band’s latent pop sensibilities without skimping on energy or attitude. As you press play on the opening track “You Know Me Better”\, anthemic guitars scream out of buoyant\, hooky lyrics as Walston’s chugging piano supplies a persistent heartbeat. The “bar band” sound of the past has been replaced by an aspirational\, booming cacophony that could fill stadiums. \nInstead of the raucous bombast JRWATB manifested on their breakout hit album Essential Tremors\, the band’s leader had certain rules he was determined to follow on Destroyers of the Soft Life. One was: “Speak/sing clearly\, no hiding behind mumbles.” Another was\, “D.I.Y. but hi-fi — record ourselves as much as possible but have it sound amazing and full.” The final\, most important\, rule was\, “Nostalgia is a cancer — acknowledge that you are in the present.” \n“We had never been a band where we pretended that it’s 1965\,” Walston says. “But we ended up in situations with our records where those rules were imposed on us.” \nOn Essential Tremors\, JRWATB inspired pangs of joy in music fans that yearn for the days of Bob Seger and early Bruce Springsteen. But when Walston returned home from touring in 2015 and began contemplating his next move\, he no longer felt the same connection to that classic-rock sound. \n“Loud rock and roll music has become less relevant because it’s just been on a loop\,” he says. “If there was any rule on this record\, it was\, let’s be a part of music right now. I want to be part of living music in this moment.” \nHelping the band realize a new vision for its music was veteran producer Phil Ek (Built To Spill\, Father John Misty\, Fleet Foxes)\, who came in to apply some finishing touches after JRWATB completed most of the record in Virginia. \n“The thing with Phil is he is a servant of the song and that is my vibe as well\,” Walston says. “Ego has no place in songwriting or the studio and we hit it off in that respect right away.” \n“Is there any point to making a record that has real instruments (guitars\, drums\, piano etc.) right now?” he continues. “Is there anything left to be said by writing this way? Do albums matter anymore? Can I make something that I care about right now because it’s a manifestation of the fear/love/excitement/ I am feeling right now\, not because is tickles some easy to reach nostalgic pleasure center.” \nLead single “The Wanting” boasts a shimmering\, uplifting guitar riff and an impossibly huge chorus that belies the song’s thoughtful exploration of familial relationships and the fallacy of distilling complicated people down to archetypes. “Did you do right by us / best it could be\,” Walston sings\, addressing a prodigal father figure. “You’ve done no harm / but you’ve been no good to me.” \nThroughout Destroyers of the Soft Life JRWATB similarly melds engaging\, melodic songwriting with sharp observations about American culture that take on a new kind of power in light of the 2016 presidential election. Standout tracks such as the infectious “Ways And Means” and swaggering “Blade Of Truth” offer the uncompromised\, salt-of-the-Earth perspective of a songwriter who grew up among the white working class and yet has enough perspective to see the ways in which those people have undermined themselves in the political realm. As Walston sings in “Blade of Truth\,” there is now “a judgement on the herd / and your privilege will burn.” \nAmid the torn-from-the-headlines commentary\, Walston revisits the same question: “Is the truth a hard line\, or it is a flexible line that can be messed with?” \n“I got to straddle the line a bit with this record\,” he says. “I hit a point in my life where I could pay my bills on time for the first time ever\, and take a breath. I got to see the life you can have when you’re not living a life of desperation. But I was just outside that line of desperation.” \nThe band’s newfound financial security is largely the result of the band’s hard work on the road. Looking back on the tour cycle for Essential Tremors\, Walston can only chuckle. \n“We probably toured on it way longer than our contemporaries would\,” he admits. \nOf course\, not many bands experience the sort of growth in prominence and audience size that Walston and his compatriots have witnessed in the past several years. Road warriors from the time they formed in 2002\, JRWATB has long been an underground favorite\, toiling away in clubs and bars and carving out its own niche outside of the rock mainstream. But the radio success of Essential Tremors opened new doors and fostered exciting opportunities\, including invites to Lollapalooza\, the Newport Folk Festival\, and Bonnaroo\, and a featured slot in an episode of the prestigious music TV institution\, Austin City Limits. With every new experience came requests to play more shows. \n“The train just kept rolling\,” Walston says\, until finally he hit a wall. “By the time I came off the road\, I thought\, ‘I’m toast. I don’t have anything in the tank.’” \nWalston’s world was also rocked by a huge life-changing event — the birth of his first child. “I think having a kid made me care less of what people think of me\,” he says. “I have one ultimate mission right now — keep a human alive. I don’t care if someone doesn’t like my pants or my hair or whatever. Being a parent makes you powerful in that way.” \nOver the next year and a half\, Walston committed to building himself and his band back up into a new kind of rock ‘n’ roll beast. But before JRWATB could get started on its fourth album\, Walston decided to do some literal construction on a new space for the band where it could rehearse and record. \nThe only space available in the band’s hometown of Richmond\, Va. hardly seemed promising — it was “a completely annihilated warehouse” that had been a grenade factory during World War II\, says Walston\, who decided to rent the place after the landlord offered the first two month’s rent for free. Perhaps the landlord expected JRWATB to eventually pack up and retreat. But that guy clearly knows nothing about this band’s work ethic\, or affinity for lost causes. Instead of giving up\, they gutted the place and spent the next seven months rehabbing the building until it was transformed into a suitable headquarters for JRWATB. \nWhy go to all the trouble of making your own space when there are any number of established studios where you can make your record? For JRWATB\, like it is with so many things in their lives\, building a personal studio was a matter of principle. When you’re renting studio time\, it’s always somebody else’s time. For once\, Walston wanted to make a record on his time. \n“I don’t listen to our old records because I get so stressed when I think about making them\,” he says\, reflecting on how rushed the band was in the studio back then. “We’re taking the experience back.” \n*** \nPost Animal \n \nWebsite\nFacebook\nTwitter \nPost Animal is a psych rock band born and bred in the roaring music hub that is Chicago\, Illinois. True to their DIY roots\, they feel most at home playing in a crowded basement surrounded by dancing strangers and sweaty friends. Members include Dalton Allison\, Jake Hirshland\, Javi Reyes\, Wesley Toledo and Matt Williams. \nMoving and grooving as this six-piece since 2016\, the boys of Post Animal developed a loyal fan base early on following their single “When I Get Home\,” which landed them shout outs in Paper Mag\, Vice and NME. URL:https://royaleboston.com/event/j-roddy-walston-business/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/11/J-Roddy-Walston-Admat-2018-Announce.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180127T170000 DTEND;TZID=America/New_York:20180127T220000 DTSTAMP:20260409T165314 CREATED:20171228T190221Z LAST-MODIFIED:20171228T190221Z UID:10001876-1517072400-1517090400@royaleboston.com SUMMARY:1st Annual Generations Gala Hosted by Jeff Timmons DESCRIPTION:THE JOHNNY WINTER FOUNDATION FOR THE ARTS IS BRINGING THE MOST ECCLECTIC CONCERT OF THE NEW YEAR TO THE ROYALE THIS JANUARY!\nJoin us on for an evening of incredible musical talent spanning three decades at the 1st Annual GENERATIONS GALA hosted by 98 DEGREES’ JEFF TIMMONS on January 27.\nUnlike any other concert you’ve ever seen\, this diverse show is filled with an array of musical genres from Blues to Soul\, Pop\, R&B\, Hip-Hop and across the musical spectrum to good old-fashioned Rock & Roll with performances by 2018 Rock & Roll Hall of Fame Inductee ELLIOT EASTON of THE CARS playing their mega-hit songs of the 1980’s\, JEFF TIMMONS of the multi-platinum selling vocal group 98 DEGREES\, Boston legend CHARLIE FARREN from the Joe Perry Project\, rising star and super-singer NICOLE MICHELLE\, singer/songwriter WOLFTYLA\, SIMONE CARDOSO\, THE STUMPS (with a special tribute to the late Johnny Winter) and JONNY GLENN. With special guests NICOLE SPILLER and BRITTANY BALDI of the hit MTV series ARE YOU THE ONE along with other surprise appearances\, this unique event pays homage with special honor and respect for our pop culture and showcases artists of many different styles with divergent musical interpretations. \nThe GENERATIONS GALA tributes Johnny Winter’s love of supporting newer generations of musicians and artists that pioneer contemporary music.\nThe JOHNNY WINTER FOUNDATION FOR THE ARTS is dedicated to the life and legacy of John Dawson Winter III. Johnny Winter graced the musical landscape with his youthful playing\, building admiration from peers and influences alike. His incendiary guitar playing and famous showmanship throughout his illustrious career changed the acceptance of music forever. Rolling Stone Magazine named him one of the 100 GREATEST GUITARISTS OF ALL TIME\, Guitar World Magazine chose Johnny Winter for the cover of the very first issue of the print in July of 1980 and he took the stage at the mythical Woodstock concert in 1969 on the third day of the show. \nThe 1st Annual GENERATIONS GALA will bring you into a new world of music while simultaneously bringing you back to the sounds of musical eras now lost in time.\nDon’t miss this one-of-a-kind event where varying musical genres merge for one night under one roof at one of the most prestigious venues in Boston.\nA portion of the proceeds will be donated to the treatment of opioid abuse in the ongoing fight against this profound epidemic.
\nDate – January 27\, 2018\nTicket Links – https://www.ticketfly.com/purchase/mobile/index/1618594\nGeneral Admission – Show – 5PM-9PM (Ages 18+)\nVIP Meet & Greets – pre-show 4PM-5PM and post-show 9PM-10PM\nSponsors – All Access with Skybox Seating available. Please call (617) 821-1204 for more information on becoming a sponsor for this event.\n1. $55 – General Admission tickets. (Show begins at *5PM)
\n2. $100: VIP (Meet and Greet begins at *9PM*) – VIP’s remain on the second level after the show – meet the performers\, have one item signed\, take a photo\, and enjoy crowd-free merch shopping. VIP guests receive a VIP laminate lanyard. Includes one standing ticket for the show.
\n3. DONATION: Any individual or company that donates as a sponsor to the event/cause will have All-Access VIP tickets (with laminate lanyard) and will have Skybox Seating (number of seats are case by case and not assigned). All sponsors can advertise their company logo on media screens on outer Skybox balconies. Larger sponsors can submit a media package that will loop on the media screens. Please call (617) 821-1204 for more info on sponsorships. 100% funds raised through donations or through individual ticket sales for Skybox Seating will be donated to the treatment of opioid abuse through our fiscal sponsor. The beneficiary of the monies raised will be disclosed to sponsors with a receipt referencing 100% tax deductible donation.
\nBuy your tickets now and experience the 1st Annual Generations Gala sponsored by the Johnny Winter Foundation for the Arts with an amazing lineup of artists on January 27\, 2018 at the Royale! URL:https://royaleboston.com/event/1st-annual-generations-gala-hosted-jeff-timmons/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts,Special Events ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/12/127-FINAL-Generations-Gala.jpg GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180128T193000 DTEND;TZID=America/New_York:20180128T193000 DTSTAMP:20260409T165314 CREATED:20171201T182709Z LAST-MODIFIED:20171201T182709Z UID:10002580-1517167800-1517167800@royaleboston.com SUMMARY:Nikos Makropoulos w/ Kostas Karafotis DESCRIPTION:VIP Tables available\, please call/text Themi 781.964.5014 or Maria 617.407.8664 URL:https://royaleboston.com/event/nikos-makropoulos-w-kostas-karafotis/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts,Special Events ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/12/128-Makropoulos-Royale.jpg GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180131T200000 DTEND;TZID=America/New_York:20180131T200000 DTSTAMP:20260409T165314 CREATED:20170912T152045Z LAST-MODIFIED:20170912T152045Z UID:10002556-1517428800-1517428800@royaleboston.com SUMMARY:Black Rebel Motorcycle Club DESCRIPTION:Bowery Boston presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 9/15 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nBlack Rebel Motorcycle Club has partnered with PLUS1 so that $1 from every ticket goes to War Child to support children and families in communities affected by war throughout the world. More info at: https://warchildusa.org/homeusa \n*** \n \n*** \nBlack Rebel Motorcycle Club \n \nWebsite\nFacebook\nTwitter \nFor 15 years\, Black Rebel Motorcycle Club has carried the torch for true rock and roll. The latest edition of the firebrand rock troupe\, sees them at their most dynamic. Their sixth studio album\, “Specter at the Feast\,” ventures into diverse sonic territory\, delivering their most ambitious offering yet. It’s an album of impossible dichotomies; opposing sounds amalgamate into a seamless\, entirely coherent package\, that rumbles with driving rhythms\, and soars with skyward-arcing guitar howls. Robert Been delivers growling bass grooves on “Hate the Taste\,” and Peter Hayes’ guitar wails on what may be their most hard-rocking song\, “Rival.” Counterbalancing these frenetic outbursts are moments of star-gazing ambient textures\, like the crystalline harmonics introducing the slinking album opener\, “Fire Walker\,” and the organ drones of “Returning.” There are moments of down-home blues paired alongside flailing punk bombasticism; gnarled dark rock shores upon uplifting\, and optimistic anthems. Taking cues from all points of the band’s many years on the road\, this record is the band’s most well-realized album to date. “We thought about making it a double album\,” Been says of the many songs that were written for the record. \nTo write the album\, the Los Angeles band traveled north to the sleepy Northern California town of Santa Cruz\, where they holed up in an old Post Office-turned-recording studio. It was here\, just a few blocks from where Been grew up\, that they began to write. \n“Peter would spend all day and night in that studio\,” Been recalls\, “[Drummer] Leah [Shapiro] and I would go and check on him every few days\, and he’d show us these incredible textures and guitar lines that he built.” \n“I’ve never seen the sunrise so many times\,” Hayes laughs\, “I’d work all night on these songs\, trying to get them right.” \nPrior to heading north to Santa Cruz\, Dave Grohl invited them to his Studio 606\, home to the storied Neve 8028 console soundboard from the legendary Sound City — the subject of his recent documentary — and on which Nirvana created “Nevermind” and BMRC recorded their debut album in 2001. “It was a nice sense return\,” Been says\, “to come back to the place where it all began for us.” \nFor two years\, the band worked on creating the album\, a process that they all agree\, was one of the most difficult of their career. Like the Macbeth quote that became the album’s title\, there was a painful shadow that had been cast upon the band. \nDuring the band’s 2010 tour\, Robert’s father Michael Been — known for fronting 1980’s alt-rock group\, The Call — died while backstage. He was BRMC’s sound engineer\, and as Hayes says\, “he was like another member of the band.” They finished the tour but afterward\, the trauma began to set in. \n“Music began as the best way to escape what was out there\, all the shit in the world that feels false\, everything you want to say against it\,” Been says\, “but when a loss like this is so close to music\, it turns everything upside down. Music becomes the one place where you can’t escape. It’s like waking up in a completely different world. How do I get my bearings in this world?” \nSlowly\, the band began to rebuild. They fought grief and the pain of Michael’s death by confronting it directly\, with no fear. \n“The only thing that felt good was just getting together\, plugging in\, and turning up loud as shit\,” Been says. “It was kind of this therapeutic process\, playing really loud\, and just feeling this energy; letting that be a release. It really helped us pull out of that darkest place that we were in.” \nAs their momentum regained\, their synergy reconnected them to one another. Then one session began the process that unlocked their creative energy again. “I began playing this drumbeat that I had been working on\,” Shapiro says\, “the guys started playing\, and suddenly we realized that we were playing the Call’s ‘Let the Day Begin.'” \nThe unintentional homage to The Call turned into their own high-powered take on the song they performed with Michael around the world. The energy was explosive and real; it became the first song they recorded at Grohl’s studio\, as a tribute to Michael’s place in the band. For Robert\, of course\, the meaning transcended music. “This song was one of my earliest memories of my father’s music\,” he says. \nGrief transformed to joy. On this album\, where they dug deeper than ever before\, mining these difficult emotional landscapes\, the result is intense\, but rapturous. From personal and intimate hymns like the “Sometimes the Light” to the buzz-saw guitars of “Teenage Disease\,” Been says “it was these two extremes that we were drifting back and forth between\, you feel both when you are going through what we went trough.” \nAbove all\, “Specter at the Feast” is honest; it tells the story of a journey to Hell and back\, revealing that in darkness\, there can be light. Wounds will eventually heal\, and maybe\, music can save your life. As they sing on ‘Returning\,’ “I will follow you till we all return\, till we know our souls’ survived.” \n*** \nNight Beats \n \nWebsite\nFacebook\nTwitter \nDanny Lee Blackwell – guitar / vocals\nJakob Bowden — bass\nJames Traeger — drums\nNight Beats play pure psychedelic R&B music that spikes the punch and drowns your third eye in sonic waves of colour. Theirs is a bastard blues\, contorted and distorted into new shapes for 21st century wastoids — once tasted never forgotten. This is music to melt your sorry little minds.\nMake no mistake: their new album Who Sold My Generation sounds like it has been created against a backdrop of burning Stars and Stripes flags and with the whiff of napalm hanging in the air — an alternative universe where ‘Helter Skelter’ is the national anthem and Charlie Manson is still on the loose. Acid-test heaviness is Night Beats’ currency\, but this is no out-right nostalgia trip either. Instead of Nixon and Vietnam\, Night Beats have their own epoch of God and guns and bombs and drones to rail against…or flee from. Besides\, bad vibrations\, blues jams and id-shattering explorations are timeless pursuits – why shouldn’t today’s young generation be allowed to take a ride down the slippery spiral that sits within the centre of each of us?\nOn their third album – and first for Heavenly Recordings — Night Beats perhaps most recall their Texan forefathers and psyche-rock originators 13th Floor Elevators at their ‘69 peak\, just before The Man busted young Roky Erickson and dragged him to the psyche ward for barbaric doses of shock treatment. These boys represent the best of the Lone Star State’s flipside – that vast dusty hinterland of the soul where it’s easy to drift off the map and reinvent yourself as part of the long lineage of creative cowboys who prefer psychotropics to rodeo riding\, guitars rather than firearms.\n“Old cowboy culture is alive and well in Texas\,” says frontman Danny Lee Blackwell. “I grew up with Texan mythology all around us\, so as a band its instilled in our blood. My Dad didn’t wrangle steers but he did pick cotton when he was young. But then cities like Austin and Dallas\, where we spent most of our time growing up\, have a real sense of musical history that runs deep\, so we feed off legacy that too.”\nFrom the Elevators and The Red Krayola on to pre-ZZ Top band The Moving Sidewalks\, Butthole Surfers and The Black Angels – whose record label Reverb Appreciation Society have released Night Beats — and a clutch of other early cult bands besides (Bubble Puppy\, Shiva’s Headband and the Golden Dawn\, anyone?)\, Texas has always been a prime breeding ground for such outlaw music. “The Elevators were one of the reasons I decided to become a singer and form the group\,” says Blackwell. “I loved their attempt to play R ‘n’ B music\, but from a distinctly Texan approach. I’d say they have profoundly influenced the group\, but it’s now our job to take it to another level in a new age.”\nIt took a cross-country relocation to instigate their formation. Night Beats were born when frontman Danny Lee Blackwell upped stick from Dallas to Seattle\, Washington and was soon joined by childhood friend James Traeger. “James got me a copy of Ginsberg’s Howl when I was around 15 and it changed everything\,” remembers Blackwell of his old friend. “We grew up together and once he moved up to Seattle we did everything together there too. I wanted to try out a different place\, a new city\, where no one knew my music and there wasn’t anything remotely similar going on. Coming from Dallas\, Austin seemed like the obvious choice but I needed something more. Seattle was at one time the home to people we love like Ray Charles\, Jimi Hendrix and Quincy Jones so I didn’t feel too disconnected.”\nThe two existed initially as a guitar and drums duo\, named in honour of Sam Cooke’s 1963 album Night Beat\, before fellow Jakob Bowden Dallas resident joined on bass after a stint in Austin. Filtering a collective love of pioneering artists as disparate as Buddy Holly\, Fela Kuti\, Etta James\, James Brown and Leonard Cohen\, Night Beats dropped a clutch of singles\, split-singles\, cassette release and two albums – their self-titled debut in 2011 followed by Sonic Bloom in 2013 – as well as featuring on all manner of compilation albums that document the cutting edge of the head-bending\, modern counter-cultural US underground.\nNight Beats hit the road too\, touring extensively with Roky Erickson\, The Zombies\, The Jesus and Mary Chain\, The Strange Boys\, Black Lips\, The Growlers and The Black Angels in North America\, Europe\, Israel\, South Africa and Australia.\nRecorded on old two-inch tape in Echo Park\, Los Angeles at the home of producer Nic Jodoin and featuring co-production and guess bass playing from Robert Levon Been of Black Rebel Motorcycle Club\, new album Who Sold My Generation goes beyond merely being a retreading of well-worn garage / R&B path. Instead it offers a contemporary take on the psychedelic experience\, a heady set of hoodoo voodoo songs. Mordant and corrosive opener ‘Celebration #1’ sets the tone with its wailing guitar jams and Messiah-like monologue\, while ‘No Cops’ makes like the imaginary soundtrack to an orgiastic party somewhere in the LA hills as the summer of love gave way to an era of greed and paranoia. ‘Sunday Mourning’ is the sound of blood dripping on the twitching remains of a generation’s super ego and with a rockabilly strut\, ‘Egypt Berry’ chases the White Rabbit down into a cosmic underworld while shaking its burning tail feathers\nWith new Who Sold My Generation\, Night Beats have not only painted it black\, they’ve torched the fucker and driven it off the cliff\, crashing and burning into the arid canyon below.\nIn its afterglow only the lone howl of a solitary coyote remains.\nBen Myers. October 2015. URL:https://royaleboston.com/event/black-rebel-motorcycle-club/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/09/Black-Rebel-Motorcycle-Club-admat-2018.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180204T210000 DTEND;TZID=America/New_York:20180204T210000 DTSTAMP:20260409T165314 CREATED:20171201T180125Z LAST-MODIFIED:20171201T180125Z UID:10002579-1517778000-1517778000@royaleboston.com SUMMARY:Fernando & Sorocaba USA Tour 2018 DESCRIPTION:21+ URL:https://royaleboston.com/event/fernando-sorocaba-usa-tour-2018/ LOCATION:279 Tremont Street\, Boston\, 02116\, United States CATEGORIES:Concerts,Special Events ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/12/24-George-Brazil.jpg GEO:42.3499958;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=279 Tremont Street Boston 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499958 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180206T190000 DTEND;TZID=America/New_York:20180206T190000 DTSTAMP:20260409T165314 CREATED:20170922T172038Z LAST-MODIFIED:20170922T172038Z UID:10001846-1517943600-1517943600@royaleboston.com SUMMARY:Yung Lean & Sad Boys 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. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 9/29 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nYung Lean & Sad Boys \n \nWebsite\nFacebook\nTwitter \n*** \nThaiboy Digital \n \nWebsite\nFacebook\nTwitter URL:https://royaleboston.com/event/yung-lean-2/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/09/Yung-Lean-admat-2018-PORTRAIT.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180217T170000 DTEND;TZID=America/New_York:20180217T213000 DTSTAMP:20260409T165314 CREATED:20171024T161739Z LAST-MODIFIED:20171024T161739Z UID:10001851-1518886800-1518903000@royaleboston.com SUMMARY:The Decibel Magazine Tour 2018 DESCRIPTION:Bowery Boston presents \nDoors: 5:00 pm / Show: 5:15 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 10/27 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \nSince its launch in 2012\, the annual Decibel Magazine Tour’s ambitious curation has unified artists from around the extreme universe who would otherwise never have the opportunity to tour North America together. The lineup for the 2018 Decibel Magazine Tour continues that proud tradition\, as Norwegian progressive metal legends Enslaved join forces with Pacific Northwest black metal heroes Wolves in the Throne Room\, Danish post-black siren Myrkur and doomed rock ‘n’ crushers Khemmis (with regional openers in select markets to be announced next year). \n“I have always wanted Enslaved to be part of the Decibel Tour concept\,” says Enslaved guitarist and co-founder Ivar Bjørnson. “Not only is Decibel an institution\, and defender of the last line of resistance for the printed metal mag in North America (for a band started in 1991\, printed magazines are no small matter)\, but the Decibel Tour has also become an institution and an icon for metal that we admire here on the other side of the pond. So\, to be asked to headline\, and to perform with these other very fine artists\, is a great honor and a great pleasure. Be there or be trapezoid!” \nOf 2018’s four featured acts\, three have released new LPs in late 2017 to coincide with the Decibel Tour: Enslaved\, with their fourteenth full-length album\, E; Wolves in the Throne Room\, with sixth record Thrice Woven; and Myrkur\, with sophomore release Mareridt. The former have already been honored with a pair of authoritative Hall of Fame features (on 1994’s landmark Frost and 2003 groundbreaker Below the Lights). Wolves in the Throne and Myrkur each graced Decibel’s cover in 2017\, while in 2016\, Khemmis took home Decibel’s Album of the Year honor for their Hunted release. Additionally\, Enslaved\, Myrkur and Khemmis have each recorded and released exclusive tracks via the Decibel Flexi Series\, and the 2018 headliners will return with their second flexi contribution\, which will appear in the annual Decibel Tour issue of the magazine that hits stands February 2018. \n*** \nEnslaved \n \nWebsite\nFacebook\nTwitter \n*** \nWolves In The Throne Room \n \nWebsite\nFacebook\nTwitter \n*** \n Myrkur \n \nWebsite\nFacebook \n*** \n Khemmis \n \nWebsite\nFacebook URL:https://royaleboston.com/event/decibel-magazine-tour-2018/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/10/dBTour2018_AdmatOnline.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180222T210000 DTEND;TZID=America/New_York:20180222T210000 DTSTAMP:20260409T165314 CREATED:20180111T172022Z LAST-MODIFIED:20180111T172022Z UID:10002595-1519333200-1519333200@royaleboston.com SUMMARY:IPANEMA & BUDA PRODUCTIONS PRESENT ALOK DESCRIPTION:21+ \nDoors 9pm\nShow time 11pm \nMore info:\nINF.: (508)250-1193 – (617)583-3641\nwww.ipanemaproductionsusa.com URL:https://royaleboston.com/event/ipanema-buda-productions-present-alok/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts,Nightclub,Special Events ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/01/222-Alok.jpg GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180225T190000 DTEND;TZID=America/New_York:20180225T190000 DTSTAMP:20260409T165314 CREATED:20171106T163437Z LAST-MODIFIED:20171106T163437Z UID:10001855-1519585200-1519585200@royaleboston.com SUMMARY:SOLD OUT - dvsn DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nNote: Ticket price includes $4/ticket album bundle. \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 11/10 at 10AM! \nThis show is SOLD OUT. \n*** \n \n*** \ndvsn \n \nWebsite\nFacebook\nTwitter URL:https://royaleboston.com/event/dvsn/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/11/dvsn-admat-2018-1.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180226T190000 DTEND;TZID=America/New_York:20180226T190000 DTSTAMP:20260409T165314 CREATED:20180108T191301Z LAST-MODIFIED:20180108T191301Z UID:10002589-1519671600-1519671600@royaleboston.com SUMMARY:Kelela 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. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 1/12 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \nKelela \n \nFacebook\nTwitter \nKelela’s debut\, Take Me Apart\, spans the past and future of R&B while registering as an instant classic. With critical praise from The New York Times\, Pitchfork (Best New Music)\, and a cover story for The FADER\, it’s clear that Kelela is taking over. Having already performed at The Hollywood Bowl with Solange\, at massive festivals with the Gorillaz and gone around the world with The xx\, Kelela is now selling out her own headline tour. URL:https://royaleboston.com/event/kelela/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/01/Kelela_SHOT_01_HASSELBLAD_008_SS_hires-1.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180302T180000 DTEND;TZID=America/New_York:20180302T213000 DTSTAMP:20260409T165314 CREATED:20171112T150045Z LAST-MODIFIED:20171112T150045Z UID:10001865-1520013600-1520026200@royaleboston.com SUMMARY:LP DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:15 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited. \n*** \n \n*** \nLP \n \nWebsite\nFacebook\nTwitter \nMusic doesn’t have to be complicated.\nAt the end of the day\, it’s all about being honest\, taking no B.S.\, and getting right back up after every fall. New York-born singer\, songwriter\, and all-around rock rebel LP puts it even more succinctly\, “I go Johnny Cash on that shit and just get through it.”\nLike the Man in Black\, she pens and performs timeless tunes with attitude—albeit minus the country twang and cowboy hats. Ukulele in hand\, voice booming with soul and spirit\, and pulling no punches\, LP’s palatability belies an underground unrestraint sharpened by several years in the industry. By 2014\, she had not only written hits for Rihanna\, Cher\, Backstreet Boys\, Cher Lloyd\, and more\, but also released her major label debut\, Forever For Now. The latter’s “Into The Wild” fueled a Citibank ad campaign as everyone from The Wall Street Journal\, CNN\, and USA Today to Vogue and BuzzFeed extolled the artist. She performed on Jimmy Kimmel LIVE! and ignited audiences at Austin City Limits\, Bonnaroo\, Lollapalooza\, and more. However\, as her six-year romantic relationship failed and she split from her label\, LP put her head down and wrote what would become 2016’s Death Valley EP [Vagrant Records].\n“My goal was just to create my best music\,” she says. “I stopped overthinking things. I didn’t know how it was going to come out or if anyone would ever hear it\, but I just wanted to write. No one told me what to do. I wasn’t trying to fit into some fucking label’s ideal of who I should be. I had complete artistic freedom.”\nDeath Valley became a watershed moment for the songstress and modern rock at large. Driven by her signature ukulele\, raspy acoustic guitars\, and the unshakable refrain\, “Baby is that lost on you?\,” its lead single “Lost On You” amassed over 91 million YouTube views as well as 44 million Spotify streams and went triple-platinum in Italy\, platinum in France\, Poland\, and Germany\, and gold in Switzerland. Meanwhile\, the title track\, “Muddy Waters\,” soundtracked the Season 4 climax of NETFLIX’s Orange Is The New Black.\n“I love a record that has an eclectic bunch of songs\,” she goes on. “I want it to be an interesting landscape\, and I like to use my voice in different ways. That was my goal with Death Valley.”\nIt also extends to her 2017 full-length album. Once again\, LP re-unites with the team behind Death Valley—producer POWERS’ Mike Del Rio [Christina Aguilera\, X Ambassadors] and writer Nate Campany [Tove Lo\, Carly Rae Jepsen\, Martin Garrix].\n“It’s a weird thing\,” she says. “I feel more confident than ever before. I don’t have to police myself anymore. For this record\, I decided to unapologetically tress on\, keep going\, and run with my emotion.”\nUltimately\, as LP writes more\, she continues to connect with audiences everywhere. “There’s a survivor mentality that comes through naturally\,” she leaves off. “That strikes a chord. I want to show people it’s possible to do whatever they want on their own terms.” \n*** \nNoah Kahan \n \nWebsite\nFacebook\nTwitter \nFrom the rural solitude of the quiet town of Strafford\, VT (Population: 1000)\, Noah Kahan discovered his penchant for songwriting early on. Long\, cold winters in the Vermont backcountry were spent honing his craft in the rolling hills of his family’s 133-acre tree farm. This serene location provided the backdrop for countless adventures that ranged from typical boyhood antics to the more rebellious teenage exploration. The older that Noah got\, the more he began to feel the pull of adulthood clash with the familiarity of his adolescence. Drawing heavily from these experiences\, Noah’s songs are laced with a youthful wisdom; nostalgia and whimsy taking a back seat to honesty and wit. He meets this conflict head on by acknowledging the loneliness of this new phase of his life coupled with his desire to stay true to himself. Noah’s writing reflects the all too universal feeling of being lost in one’s own backyard and foreshadows the excitement that comes with a leap into the unknown. \nNow 20 years old\, Noah once again finds himself deviating from the norm. As he follows a dream as old as he can remember\, his childhood friends are choosing majors and preparing for more conventional careers. No stranger to feeling lost or isolated\, he now chooses to embrace the uncertainty as fuel. The lyrics to his debut single “Young Blood” read as a letter of encouragement and advice to himself as he embarks on this new adventure. He reminds himself to “be surprised\, keep hungry.” Throughout unexpected challenges and new revelations\, Noah is staying true to his nature; questioning everything and enjoying the ride. \n*** \nKat Cunning \n \nWebsite\nFacebook\nTwitter \nKat Cunningham is a singer-songwriter and actress who frequents Sleep No More as the Master of Ceremonies and is currently performing in Refinery 29’s SOLD OUT “29 Rooms.” Her single\, “BABY” is out now on SPOTIFY. \nThe SUNY Purchase Dance Conservatory Graduate got her start in Baroque-Burlesque Operas with Company XIV. She recently made her dramatic debut playing Emilie in Les Liaison Dangereuses with Janet Mcteer and Liev Schreiber. and her Broadway Debut in 2016 playing Lila in Cirque Du Soleil’s\, PARAMOUR\, for which she co-wrote Lila’s score to suit her singular voice. \nThe New York Times has described that the “standout spots belong to the sultry-voiced Katrina Cunningham who brings an exquisite indie-siren quality…” \nAwards: Best Actor for Nothing Serious\, 2016 Traildance Film Festival \nBest Supporting Actor Pepper and the Salt Sea\, 2016 Damn! Series URL:https://royaleboston.com/event/lp/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/11/LP-admat-2018v2.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180304T193000 DTEND;TZID=America/New_York:20180304T193000 DTSTAMP:20260409T165314 CREATED:20180122T200935Z LAST-MODIFIED:20180122T200935Z UID:10001886-1520191800-1520191800@royaleboston.com SUMMARY:Natasa Theodoridou DESCRIPTION:21+ \n  \nDoors at 7:30pm \nShow begins at 8:45pm URL:https://royaleboston.com/event/natasa-theodoridou/ LOCATION:279 Tremont Street\, Boston\, 02116\, United States CATEGORIES:Concerts,Special Events ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/01/34-Natasa-Theodoridou.jpg GEO:42.3499958;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=279 Tremont Street Boston 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499958 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180308T200000 DTEND;TZID=America/New_York:20180308T200000 DTSTAMP:20260409T165314 CREATED:20171024T154437Z LAST-MODIFIED:20171024T154437Z UID:10002570-1520539200-1520539200@royaleboston.com SUMMARY:Tune-Yards DESCRIPTION:Bowery Boston presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 10/27 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nNote: Ticket price includes $1/ticket for charity. \n*** \n \n*** \ntUnE-yArDs \n \nWebsite\nFacebook\nTwitter \nTune-Yards was formed by Merrill Garbus in 2006\, and that band name has ever since been synonymous with forward movement—whether because of the group’s explosive performance style\, the always-surprising way in which their songs unfold\, or the lines Merrill draws between music and social activism. First gaining notice with the debut BiRd-BrAiNs\, which The New York Times called “a confident do-it-yourselfer’s opening salvo: a staticky\, low-fi\, abrasive attention-getter\,” Garbus forged a reputation as a formidable live presence through relentless touring. \nGarbus became a producer in her own right working with bassist Nate Brenner and engineer Eli Crews on 2011’s w h o k i l l\, a startling and sonically adventurous statement that led to a whirlwind period where the band accrued accolades from critics (including the #1 spot on the Village Voice’s 2011 Pazz and Jop poll.) In 2014\, Tune-Yards released Nikki Nack\, and through touring and licensing music from that album\, they raised money to begin The Water Fountain\, a fund for water-related causes which has donated over $75\,000 to various nonprofits since its inception. \nTune-Yards has collaborated with Yoko Ono\, Laurie Anderson\, David Byrne\, Mavis Staples\, and others. They are currently working on their fourth album\, for release in 2018. \n*** \nXenia Rubinos \n \nWebsite\nFacebook\nTwitter \nVocalist and composer Xenia Rubinos crafts movingly powerful songs dipping in and out of genre and structure to create a sound that is fearlessly her own. Xenia’s powerhouse vocals are at the center of her music which grows from a wide range of influences from R&B to Hip-Hop to Caribbean rhythms and jazz all delivered with a soulful punk aura. Her debut album ‘Magic Trix’ was released in 2013 by Ba Da Bing! Records to wide critical acclaim. Pitchfork lauded the radiant singer as “a unique new pop personality” while a profile in The New Yorker described her work as “rhythmically fierce\, vocally generous music that slips through the net of any known genre.” Xenia’s energetic live show and presence echoes some of the larger than life iconic singers she admired as a child including Judy Garland\, Nina Simone and La Lupe while her powerhouse vocals recall the pop sensibility of Mariah Carey and soulfulness of Erykah Badu. Touring the US and Europe extensively\, she has played more than 150 shows both as a headliner and supporting act for such diverse bands as Man Man\, Battles\, Coco Rosie\, and Deerhoof. Xenia has been hard at work on her follow-up full-length LP\, due out Spring 2016. URL:https://royaleboston.com/event/tune-yards/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/10/tune-yards-admat-2017v2.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180314T190000 DTEND;TZID=America/New_York:20180314T190000 DTSTAMP:20260409T165314 CREATED:20171203T170015Z LAST-MODIFIED:20171203T170015Z UID:10002581-1521054000-1521054000@royaleboston.com SUMMARY:[CANCELED] Moose Blood DESCRIPTION:Due to heavy snowfall in Boston on Tuesday & Wednesday\, we are forced to cancel our Boston show & instore at Newbury Comics. Refunds available at points of purchase. The NYC show on March 15th will be going ahead as planned. Sorry for any inconvenience but travel safety comes first. \n*** \n \n*** \nMoose Blood \n \nWebsite\nFacebook\nTwitter \n*** \nLydia \n \nWebsite\nFacebook\nTwitter \nLeighton Antelman\nMatt Keller\nJustin Camacho\nShawn Strader \n*** \nMcCafferty \n \nWebsite\nFacebook\nTwitter \nNick Hartkop\nWes Easterly\nChris Joecken\nEvan Graham URL:https://royaleboston.com/event/moose-blood/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/12/Moose-Blood-admat-2018.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180317T190000 DTEND;TZID=America/New_York:20180317T213000 DTSTAMP:20260409T165314 CREATED:20171031T155853Z LAST-MODIFIED:20171031T155853Z UID:10001854-1521313200-1521322200@royaleboston.com SUMMARY:[SOLD OUT] Bianca Del Rio DESCRIPTION:This show is SOLD OUT! \nDoors: 7:00 pm / Show: 8:00 pm \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \nVIP PACKAGE CLASSIFICATIONS\, DESCRIPTIONS & DISCLAIMERS \n\nTHE GUILTY VIP PACKAGE ($199)\nOne ULTRA-Premium Ticket in Bianca’s “Guilty” Section *\n• Includes a Ticket in the First Row \nExclusive VIP Gift Item Created Especially For Guilty Package Purchasers\nSigning-Off – Each Guilty Guest Will Receive an Autographed\, Limited Edition “Blame It On Bianca” Tour Poster\nOne Exclusive Invite to the Preshow VIP Meet & Greet with Bianca Del Rio!\n• Individual Photo Opportunity with Bianca Del Rio\n• Forget the Lines! Access to the Merchandise Booth for All Your Bianca Del Rio Shopping Needs Before General Public\nEssential Bianca Del Rio VIP Merchandise\n• One Commemorative Bianca Del Rio VIP Laminate & Matching Lanyard\n* Venue seating configurations can vary market-by-market \nTHE INNOCENT VIP PACKAGE ($119)\nOne Premium Ticket in Bianca’s “Innocent” Section (Priority entry / entry prior to GA Ticketholders)\nOne Exclusive Invite to the Preshow VIP Meet & Greet with Bianca Del Rio!\n• Individual Photo Opportunity with Bianca Del Rio\n• Forget the Lines! Access to the Merchandise Booth for All Your Bianca Del Rio Shopping Needs Before General Public\nEssential Bianca Del Rio VIP Merchandise\n• One Commemorative Bianca Del Rio VIP Laminate & Matching Lanyard\n* Venue seating configurations can vary market-by-market \nVIP PACKAGE DISCLAIMER INFORMATION \nAll package purchasers will be contacted via e-mail a few days prior to the event date. Information will sent to the e-mail address provided at the time of purchase. If you do not receive an e-mail a few days prior to the event please contact BiancaDelRioVIP@aegpresents.com. \nAll sales are final. There are no refunds or exchanges under any circumstances. All packages and package contents are non-transferable. VIP merchandise will be distributed at the show\, some exceptions may apply. Package purchases are restricted to U.S. & Canadian addresses only. All preshow VIP programs and times may vary market-by-market and are subject to modification at any time for any reason. Information provided at the time of purchase (name\, address\, e-mail\, etc.) is the same information that will be utilized for individual contact requirements as applicable. The artist\, tour\, promoter\, ticketing company\, venue or any other affiliated parties are not responsible for outdated or inaccurate information provided by the consumer at the time of purchase. Commemorative VIP laminates are for commemorative purposes only. The VIP laminate does not gain or authorize access into the venue\, VIP or any backstage areas. \n*** \n \n  \nWebsite\nFacebook\nTwitter \nBIANCA DEL RIO\, the alter ego of seasoned comic Roy Haylock and season 6 winner of RuPaul’s Drag Race\, is a self-professed “clown in a gown.” This hilariously hateful comic is known for her foul mouth and unapologetic humor\, but her victims hardly have time to feel the sting before she zips on to the next topic. Besides\, Bianca is quick to point out that she’s the biggest joke of all. The NY Times calls her “The Joan Rivers of the Drag World\,” and Joan Rivers herself called Bianca’s humor “So funny! So sharp!” \nBianca’s first stand-up special\, “Rolodex of Hate”\, is available on Vimeo OnDemand\, and her first feature film\, “Hurricane Bianca”\, is available on Netflix. \nHer second stand-up special\, “Not Today Satan”\, will be available on Vimeo OnDemand December 2017. “Hurricane Bianca 2: From Russia with Hate” will be released in 2018.\nBianca is currently touring with her new stand-up comedy show “Blame It On Bianca Del Rio” to sold out audiences all over the world. URL:https://royaleboston.com/event/bianca-del-rio-2/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/10/Bianca-Del-Rio-Admat-2018.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180321T200000 DTEND;TZID=America/New_York:20180321T200000 DTSTAMP:20260409T165314 CREATED:20171112T150044Z LAST-MODIFIED:20171112T150044Z UID:10002571-1521662400-1521662400@royaleboston.com SUMMARY:K.Flay DESCRIPTION:ALT 92.9 presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale NOW \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nK.Flay \n \nWebsite\nFacebook\nTwitter \nSince making her debut in 2010\, K.Flay has spun fearlessly detailed lyrics that show the bright and dark of the world in her head. For her second full-length Every Where Is Some Where\, the L.A.-based alt-pop/hip-hop artist pushed deeper into introspection while adding an element of political commentary. The result is her most deliberate and dynamic work yet\, a thrillingly vital album that channels the frenzy and anxieties of today’s world. \nThe follow-up to her 2016 EP Crush Me—whose lead single “Blood in the Cut” hit the top 5 on Alternative radio—Every Where Is Some Where amps up its defiant spirit with a densely textured yet gritty sound. “After Life as a Dog I was listening to so much late-’90s/early-’00s rock\,” says K.Flay\, aka Kristine Flaherty\, referring to her 2014 full-length debut. “I was absorbing the energy of people like Karen O\, Shirley Manson\, and Emily Haines and feeling totally inspired by it\, so there’s lots more live guitar\, bass\, and drums on this record.” Working with producers like Mike Elizondo (Twenty One Pilots\, Fiona Apple\, Regina Spektor\, Skylar Grey) and Tommy English (BØRNS\, Andrew McMahon in the Wilderness\, Ladyhawke)\, K.Flay deftly infused the album with the same raw intensity she’s revealed in touring with such artists as Passion Pit\, Icona Pop\, Awolnation\, and Theophilus London.\n \nAn inimitable lyricist who names novelist Marilynne Robinson among her inspirations\, K.Flay also brought a literary sensibility to the making of Every Where Is Some Where. The album’s title\, for instance\, aims to “capture the flexibility of meaning\, the way we fashion our own narratives\,” according to Flaherty. “As a songwriter\, that’s my main enterprise—looking at the events in my life and engaging in a constant framing and reframing of those events\,” she says. “Experience is subjective. We get to decide what’s devastating\, what’s beautiful\, and what we do next. In the books of our lives\, we are both protagonist and narrator. And narrators have incredible power.”\n \nOn the lead single from Every Where Is Some Where\, K.Flay explores the power of lucid self-acceptance and delivers one of the album’s most blatantly upbeat tracks. Matching her seamless flow with sing-song melody\, “High Enough” fuses breezy rhythm and gritty guitar lines into a hopeful meditation on keeping clear-headed. “There are so many songs out there about getting fucked up\,” says Flaherty of the song’s inspiration. “I think a part of me was asking the question: ‘What if I’m already high enough? What if I don’t need anything but what I’ve got?’ There are many moments in my life—whether it’s because of a person or a place—that I don’t want to feel altered or high or buzzed. I just want to feel exactly what I’m feeling.”\n \nKaleidoscopic in mood\, Every Where Is Some Where also offers somber moments like “Mean It”—a stunningly vulnerable track built around K.Flay’s outpourings on love and family and lineage. Laced with subtle wisdom (“Remember what you love/So that when the world gets painful/You become your own god”)\, the starkly arranged song emerged from an especially cathartic writing session for Flaherty. “I wrote ‘Mean It’ in my bedroom in L.A.\, pretty late at night…the song just came pouring out\,” she recalls. “I remember I was crying while I wrote it\, which is pretty unusual for me.” “It’s Just a Lot\,” meanwhile\, came to life while Flaherty was “thinking about the world and how it’s so big and beautiful and sad\,” giving way to a blissfully uptempo but sweetly melancholic pop gem.\n \nOn “The President Has a Sex Tape\,” K.Flay’s measured vocal delivery and throbbing bassline brilliantly clash with her barbed lyrics about the state of the world. “Nothing feels sacred anymore—our highest elected official is a reality television star who is incompetent and openly hateful\,” says Flaherty. “The song started out as a lament\, but turned into a rallying cry as we finished it. I hope it can be a weird little anthem for people feeling disillusioned or alienated.” That anthemic quality intensifies on “Black Wave\,” a powerfully frantic track born from the post-election feeling that “we were all on a beach\, looking out at this terrible black wave in the distance\, knowing it was going to swallow us whole\,” as Flaherty explains. Driven by furious rhythms and urgent vocal work\, the song ends up offering a message of resistance and speaks to “facing something immense and menacing and choosing not to cower\, but to rise up.”\n \nIn a certain way\, defiance is at the root of K.Flay’s evolution as a musician. Originally from Illinois\, she “fell into music very haphazardly” at age 19—a decade after her dad taught her to play guitar. “I was in an argument with someone and was challenged to make a song\, which was my entry point to music\,” says Flaherty\, who studied at Stanford University. “From there I started producing and playing house parties on campus\, kind of as a release from the academic life. I liked that music was a window into a world with a lot of unpredictability and chaos; it was almost diametrically opposed to my very regimented day-to-day living.”\n \nUpon graduating\, Flaherty moved to San Francisco and kept up with music\, making her breakthrough with the 2011 mixtape I Stopped Caring in ’96 and landing a deal with a major label. Not long after putting out her 2013 EP What If It Is (featuring a collaboration with Danny Brown)\, K.Flay launched her own label for the release of Life As a Dog. Then in 2016\, she became the first artist signed to Night Street/Interscope Records (an imprint helmed by Imagine Dragons frontman Dan Reynolds)\, releasing Crush Me that August. “I feel like I’ve somersaulted into everything that’s happened since I first started making music\,” says Flaherty. “It’s like I kept slowly turning to the right and ended up doing this for a living\, which is pretty amazing to me.”\n \nIn creating Every Where Is Some Where\, K.Flay hit a new level of complexity and candor in her lyrics\, as encapsulated in the stream-of-consciousness storytelling of tracks like “Champagne.” “Details are everything to me\,” says Flaherty of that gorgeously unhinged song’s lyrical intricacy. “There are only so many ways that humans feel—but infinite ways to describe and embody those feelings.” And in immersing herself in the process of crafting such lyrics\, Flaherty eventually arrived at the realization that “you can understand the fact of your own smallness in this world while still celebrating the very particular singularity of who you are and where you happen to stand.” That moment of truth proved to be an album-defining revelation\, and instilled Every Where Is Some Where with an unlikely sense of hope. “Each song on the record is about creating a different kind of meaning out of a different kind of something\,” Flaherty says. “Even the dark places are places. You’re still somewhere.” \n*** \nEd Balloon \n \nFacebook \nNO SMOKING by ED BALLOON URL:https://royaleboston.com/event/k-flay/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/11/KFLAY-Admat-2018v3.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180403T180000 DTEND;TZID=America/New_York:20180403T180000 DTSTAMP:20260409T165314 CREATED:20180115T060029Z LAST-MODIFIED:20180115T060029Z UID:10002597-1522778400-1522778400@royaleboston.com SUMMARY:Between the Buried and Me / The Dear Hunter 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. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 1/19 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nBetween the Buried and Me \n \nWebsite\nFacebook\nTwitter \nWhat if dreams could be broadcast for the purpose of entertainment? Could you consume the innermost thoughts of another person on screen? If you could\, what does that say about an attention-starved audience? More importantly\, what would become of the dreamer?\nBetween The Buried and Me pose those questions and more on their two-part eighth full-length and introductory offering for Sumerian Records\, Automata. The North Carolina quintet—Tommy Giles Rogers\, Jr. [lead vocals\, keyboards]\, Paul Waggoner [lead and rhythm guitar\, backing and lead vocals]\, Dustie Waring [rhythm and lead guitar]\, Blake Richardson [drums]\, and Dan Briggs [bass\, keyboards]—explore these themes by personally smashing boundaries once again. Automata marks the band’s first proper double LP-spanning concept. Moreover\, they continue to expand their ever-evolving style\, upholding a tradition of progression in the process.\n“We never want to repeat ourselves\,” affirms Paul. “We’re always trying to do something different\, and this album fell right into that sort of pattern. We push ourselves into new places\, while retaining our basic sound. Musically\, we go somewhere that’s fun and challenging. We never know how it’s going to turn out. These are uncharted waters for us. We’ve never written an entire piece and presented it in separate parts like this.”\nTommy agrees\, “This many years into our career\, we want to continue doing things differently.”\nThis approach cemented the group as progressive music’s most unpredictable outlier since its formation in 2000. Among many milestones\, they released 2007’s watershed Colors followed by The Parallax: Hypersleep Dialogues EP in 2011 and The Parallax II: Future Sequence a year later. 2015 saw Coma Ecliptic elevate them to new heights yet again. Not only did it bow at #12 on the Billboard Top 200 (a career high for the band)\, but it also garnered widespread acclaim from Noisey\, Revolver\, Alternative Press\, and The Guardian who welcomed the album with a rare perfect score. In between\, they launched countless sold out headline tours and support runs with the likes of Mastodon.\nNow\, they break more ground with Automata.\n“Lyrically\, I wanted to write something that I treated as a puzzle until it comes together at the end\,” continues Tommy. “For as deep and dark as it is\, there’s a positive outcome\, which we’ve never had. The story follow a protagonist whose dreams are used as entertainment broadcasted by a company called Voice of Trespass. Most of the record takes place within that dream. The character thinks it’s all real.”\n“Even though it takes place in the future\, there are a lot of parallels to modern society\,” adds Paul. “Oftentimes\, we turn athletes\, movie stars\, and musicians into commodities. We forget that they’re real people with problems and issues. They’re society’s escape from reality as we use them for entertainment. Hence\, society plays a role in their downfall\, be it drug dependence\, isolation\, or even suicide. Society perpetuates mental illness with those expectations.”\nAutomata – Part I unveils the first six songs comprising the entire body of work. Stretching near seven minutes\, “Condemned to the Gallows” kicks off this journey. Acoustic guitar builds in epic fashion before sweeping distortion takes hold followed by unpredictable rhythms and a seismic vocal performance which\, as Tommy puts it\, “sets up the whole story.”\nElsewhere\, the trudging eight-minute guitar symphony of “Yellow Eyes” spirals into the melodic bliss of “Millions.”\n“There are a lot of moments where we totally venture away from the traditional formula of what a progressive metal band can do\,” states Dan. “There are all these little moments where we’ve done something we never did before. ‘Millions’ is the perfect example. It’s four-minutes of straight melody—another first.”\nWith Automata Part I\, Part II\, and the myriad of visuals on the horizon\, Between The Buried And Me realize their potential to its fullest—and go one step further.\n“All of our music should build up to the newest record\,” Tommy leaves off. “That’s what happens with Automata. You can take little snippets from our past throughout this album. It sounds like Between The Buried And Me\, but it’s still new. We hope to keep the music industry on its toes. This is part of doing that.” \n*** \nThe Dear Hunter \n \nWebsite\nFacebook\nTwitter \nIt’s been almost a decade since Casey Crescenzo brought The Dear Hunter — both the band and the character of the same name — to life with his 2006 debut full-length\, Act I: The Lake South\, The River North. Although it was evident from his stint as singer of The Receiving End Of Sirens\, the record revealed Crescenzo’s incredibly inventive and ambitious musical flair\, something which has been evolving ever since. The two albums which followed — 2007’s Act II: The Meaning Of\, And All Things Regarding Ms. Leading and 2009’s Act III: Life And Death — cemented the now 32 year-old as a maverick\, idiosyncratic talent whose music\, while fitting a modern aesthetic\, was also from a bygone era. \nAnachronistic and timeless in equal measure\, the narrative of The Dear Hunter existed in both the past and the present\, its detailed plot standing simultaneously as an age-old and new age fable. As that tale progressed\, so did Crescenzo’s art\, his experimental compositions blurring the line between different genres to create a sound that was — and still is — unique to the band. But then\, halfway through the six envisioned Acts of the Dear Hunter narrative\, Crescenzo’s attentions shifted. Between 2010 and 2011\, the band recorded a series of nine four-track EPs known as The Color Spectrum. Later released as a single volume edition\, each EP was a musical interpretation of a color from the visible spectrum\, showcasing the increasingly far-reaching ambitions for Crescenzo’s musical vision and his inventive interpretation of the world around him. Two years later\, the more mellow and straightforward fifth full-length Migrant showcased a different side to the songwriter’s talents\, and last year he composed and recorded his first symphony Amour & Attrition. With such a storied musical repertoire\, its clear Crescenzo is no ordinary musician.\nNow\, six years and two albums after The Dear Hunter released Act III: Life And Death\, Crescenzo has returned to the narrative of the anti-hero who shares the band’s name\, applying all of the knowledge and experience of the last ten years to this new chapter. Picking up where the story left off — with the eponymous protagonist assuming the identity of his late brother and returning home — Act IV: Rebirth In Reprise is an album that explores the complex notions of who and what we are\, and which attempts to answer its own questions through the wanderings and wonderings of the album’s protagonist. Yet as the plot and the music weave their way through these fifteen songs\, it’s clear that they transcend the boundaries of the Dear Hunter story. This is as much about a return in real life as it is the fictional story.\n“Revisiting something that was six years removed from my life\,” explains Crescenzo\, “and going back to doing these records was actually a suggestion of my manager and friend Mike Marquis. We got talking about the title of the record and it really just made sense\, both within this story — which is about this character returning to a familiar place as a different person — but also in terms of the music\, which was returning to a familiar place as a different person for myself. So it was the perfect middle ground of describing conceptually\, and as far as the plot goes\, a story\, but also a very perfect paralleling between my personal life and the story of the record — that revitalization and rejuvenating that comes from revisiting something with a newfound perspective.”\nThe result is the band’s most orchestral and multi-layered set of songs to date. Both nuanced and euphoric — sometimes at the same time — their very essence breathes life back into a story that has been on pause for over half a decade\, reigniting the lives of the characters with heart and aplomb. That’s something Crescenzo insists could only have happened by taking a break from the world with The Color Spectrum and Migrant. The distance that making those records afforded Crescenzo means that of all the albums The Dear Hunter has made\, Act IV’s soundtrack to its main character’s physical and philosophical journey is also the closest Crescenzo has come to realizing the true musical vision inside his head.\n“I was trying to do it on Act I\, Act II and Act III\,” he says with a slight sigh of fake exasperation\, “but I could never get to the point where I was just in a room with an orchestra playing these parts\, because I didn’t know how to do it. It was this thing that I always wanted to incorporate into what I did before\, I always wanted this and I was always upset that I didn’t get it. This time\, I could apply this knowledge that I actually possess into this music. It was one of the most exciting experiences of my life because the orchestra is such an integral part of that album from start to finish\, as far as weaving in and out of the music and gluing it all together.”\nThat’s certainly an understatement. Aside from a couple of brief pauses\, Act IV is almost one continuous piece of music. Whether it’s the gracefully powerful lilt of “At The End Of The Earth”\, the frantic\, almost King Crimson-esque 9 minute epic surge of “A Night On The Town” or the angular guitars of “King Of Swords (Reversed)” — which Crescenzo says drew inspiration from unlikely sources such as ELO\, Talking Heads and Michael Jackson — it all creates a sense of dramatic momentum to parallel all the physical and metaphysical action that takes place across this record’s ambitious 64 minutes. Initially written and recorded at Crescenzo’s self-built studio in Port Angeles\, Washington (where he now lives) with the rest of the band\, once their parts were done\, Crescenzo then set about finishing the rest of it himself.\n“I tracked most of my guitar and then I finished writing the scores for the orchestra\, so before I even got in to doing vocals\, my girlfriend\, my dog and I drove down to California and tracked the orchestra.”\nPlayed by the community-based Awesöme Orchestra collective at Berkeley’s Fantasy Studios\, it means the album truly is the culmination of everything that preceded it. As such\, even though it’s part of a fictional narrative\, it doubles up as the band’s most autobiographical album to date. That might seem like a paradoxical concept\, but to listen to Crescenzo explain it\, and it makes perfect sense. As Crescenzo points out\, “There were always these big pillars of the story that I wanted to tell as far as broad strokes. It’s always had Point A and Point B on a grand scale\, but I like to grow as a human being\, a songwriter\, a lyricist\, and I didn’t want to bind myself to the outlook and my feelings and my personal headspace at 22\, when I started writing this\, knowing that it would be years and years and years before I’d ever get to the sixth part. I didn’t want to control the creativity of the 32 year-old me at 22. I left a lot of wiggle room so I could pull on the new experiences I’d have as an adult and through the years it would take to finish it. So a lot of the detail is told from the last six years of my life going into Act IV.”\nAs such\, the personal growth that Crescenzo experienced in his own life shaped those moments. For a start\, he wanted the band — completed by Nick Crescenzo (drums\, percussion)\, Robert Parr (guitar\, keyboards)\, Nick Sollecito (bass)\, Maxwell Tousseau (guitar\, keyboards) and Andrew Brown (keyboards) — to have more input into the development of the songs. Secondly\, he found his attitude towards the people who initially inspired the characters had changed over time — and so had the characters as a result.\n“Looking back on the way that it started\,” Crescenzo remembers\, “the story was rooted in such an intensely bitter place I was able to demonize whoever I wanted through the fiction of it. What’s really interesting is that\, just by coincidence\, in this story and in these characters who have been somewhat demonized in my mind relating to real life people\, there are these moments somewhat of redemption for these characters. It was like I knew I wasn’t going to want to make that record until I was in a personal place where I had sort of gotten past the initial bitterness and the grudge I’m incapable of not holding. If I had written it all as younger man\, I think it would have been bitterness from the beginning to the end\, and there would have been no room for my growth or the growth of whatever character I’m putting in there.”\nThere are still two more Acts planned\, as well as a graphic novel in the works\, but for now\, the life of the Dear Hunter — both the character and the band — is fully consumed by this newest part of the story. It’s been a long time in the waiting\, but that’s precisely why the pieces have all fallen so perfectly into place. “Honestly\,” Crescenzo chuckles\, “just the act of making this record after so long\, and making the record I said I was going to make and not damning the younger version of me to having lied\, is very cathartic. And when it was done\, I had no idea what to do with myself. All of a sudden\, I was finished with this thing I didn’t even know if I would get to. I was blindsided by the finality of it.”\nOne listen\, and you probably will be\, too. \n*** \nLeprous \n \nFacebook\nTwitter URL:https://royaleboston.com/event/buried-dear-hunter/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/01/between-the-buried-admat-2018.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180404T193000 DTEND;TZID=America/New_York:20180404T193000 DTSTAMP:20260409T165314 CREATED:20180116T165609Z LAST-MODIFIED:20180116T165609Z UID:10002596-1522870200-1522870200@royaleboston.com SUMMARY:The Black Angels with special guest Black Lips DESCRIPTION:Bowery Boston presents \nThe Birds and The Bees Tour \nDoors: 7:30 pm / Show: 8:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 1/19 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nThe Black Angels \n \nWebsite\nFacebook\nTwitter \nDeath Song is the first full-length release in four years from The Black Angels – Austin’s five-piece psych rock masters – and their debut for Partisan Records.  \nWritten and recorded in large part during the recent election cycle\, the music on Death Song serves as part protest\, part emotional catharsis in a climate dominated by division\, anxiety and unease. “Currency\,” a strong contender for the heaviest song the band has ever put to wax\, meditates on the governing role the monetary system plays in our lives\, while slow-building psychedelic earworm “Half Believing” questions the nature and confusing realities of devotion. \nRecorded between Seattle and Austin\, Death Songfeatures production from Phil Ek (Father John Misty\, Fleet Foxes\, The Shins). The 11-track collection offers a sharply honed elaboration on their signature sound – menacing fuzz guitar and cutting wordplay\, steeped in a murky hallucinatory dream.  \nThe band will tour extensively behind Death Song\, including a headline set at one of the first-ever shows at new NYC venue Brooklyn Steel on May 2nd. Full itinerary below for “The Death March Tour”\, which begins in Nashville. The band will be supported by A Place to Bury Strangers. \nSince forming in Austin in 2004\, The Black Angels have become standard-bearers for modern psych-rock\, and the New York Times has said they “play psychedelic rock as if the 1960s never ended\, and they are absolute masters of it”. The band has toured with Queens of the Stone Age\, Brian Jonestown Massacre\, the Black Keys + more\, and played festivals such as Glastonbury\, Fuji Rock\, Primavera\, Harvest Fest\, Coachella and Bonnaroo. Two of the band members co-founded Levitation Festival (formerly Austin Psych Fest) in 2008\, which has since grown into one of the best-reviewed and expertly-curated festivals in the country (returning in 2018). \n*** \nBlack Lips \n \nWebsite\nFacebook\nTwitter \nThe story of the Black Lips began in Dunwoody\, Georgia\, a quiet\, conservative suburb of Atlanta\, in the year 1999. Born of a mutual love of Link Wray\, The Stooges\, and The Ramones\, and sealed through a shared dedication to defiance\, the band formed after childhood friends Jared Swilley and Cole Alexander were kicked out of Dunwoody High for separate\, yet equally bad\, behavior. The former classmates took their love of\nmusic and restless energy and channeled it into their newly found free time\, and joined by\nfriends Ben Eberbaugh and Joe Bradley\, the Black Lips started playing shows around Atlanta\, at house parties and bars. They spent this time honing their sound – garage rock infused with blues\, psychedelia\, and punk\, plus a healthy dose of reckless abandon – and released their first 7-inch\, “Ain’t Coming Back\,” in 2002 on Die Slaughterhouse records (named in homage to the flophouse den they called home). Shortly before the band was set to head out on their first ever national tour\, Eberbaugh was tragically killed by a drunk driver. Devastated but determined to carry on in Eberbaugh’s honor\, the Black Lips hit the road as a trio just a few days later.\nIt’s been 15 years\, but that passionate dedication to touring has never left the\nband. The Black Lips have released eight full-length albums since that first tour\, and have\ntraveled the country and the world extensively\, making a name for themselves as an electrifying\, must-see live act. It helps that the same mischievous spirit that helped speed up their exit from the educational system is still very much alive\, thriving in its new environment on stage\, resplendent with punk rock theatrics and miscellaneous bodily fluids\, amongst other things. The band’s energy and unique “flower punk” sound helped them build a rabid fan base\, and after releasing their first two albums through Bomp!\, they put out the critically celebrated Let It Bloom on In The Red records. This record garnered the Black Lips features in Spin and Rolling Stone\, and they were soon signed to Vice Records\, subsequently releasing Los Valientos Del Mundo Nuevo\, an ambitious album recorded live at a bar in Tijuana\, Mexico\, in February of 2007.\nIn their decade-long tenure with Vice\, the Black Lips have evolved from wildly crooning over fuzzy\, raucous music at house shows full of kids to wildly crooning over fuzzy\, raucous music at international festivals in front of thousands of fans. They have toured consistently\, with their zeal for travel taking them all over the world\, and not without some international adventure: In 2009 the Black Lips went on their first (and last) tour of India\, playing shows in Bangalore and Mumbai before chaos struck in Chennai after the band ditched their toned-down presence in favor of classic Black Lips capers\, including some not so well received Lips-locking. After the same sex smooching and\nalso Alexander baring his butt to the rowdy crowd\, the tour’s sponsors pulled out and the band was nearly jailed\, their passports confiscated by the disgruntled promoters. According to Swilley: “The first few shows\, we were being really reserved because we didn’t want to offend anyone\, but they kept telling us to do what we wanted…I guess “do whatever you want” didn’t include kissing each other\, and I think Cole mooned the crowd\, which is a huge no-no. We had to physically wrestle our passports back from the promoters. It was the scariest 15 hours of my life\, but we got out of there.” The band ended up taking a 200 mile cab ride to the next province and hopped a flight to Berlin\, narrowly escaping Indian prison.\nUndeterred\, the band jumped at the chance to become the first Western punk band to tour another notoriously conservative continent\, the Middle East\, just a few years later. Why? “It was important for a number of reasons\,” Swilley says of the tour. “We’ve always wanted to push boundaries of where we go. Plus\, a lot of people told us we couldn’t do it\, and anytime someone tells us we can’t do something\, then we kind of have to. We have O.D.D\, oppositional defiance disorder.” This time\, their shows went off without a hitch\, and Black Lips played shows for crowds in Jordan\, Cyprus\, Egypt\, Lebanon\, Iraqi Kurdistan\, and the United Arab Emirates in 2011 in support of that year’s release of their record Arabia Mountain\, produced by Mark Ronson. The title was\nactually a reference to a mountain in Georgia\, but that didn’t stop the Lips from playing\nthe record all over the Middle East\, to enthused fans and without causing any further international incidents. “Everyone was really nervous about us going there\, but it really went off without a hitch\,” adds Swilley. The band also hasn’t abandoned plans to become the first rock band to play on all seven continents\, hoping to hit their last remaining one\, Antarctica in the near future\, and disregarding Metallica’s claim of this achievement: “Just when we were securing the funding\, Metallica sniped us. They took a boat\,\nprobably a gold plated Versace boat\, down there. But they actually didn’t play on land\, and they didn’t play with amps\, so technically they haven’t played Antarctica. Metallica hasn’t beat us yet.”\nFor their ninth studio album\, the Black Lips have teamed up with Sean Lennon\,\nwho got on board to produce Satan’s graffiti or god’s art? in 2016. The Black Lips had formerly worked with Lennon on Arabia Mountain\, where Lennon played theramin on several tracks. The band moved up to Lennon’s studio compound on a remote farm in upstate New York\, and spent several months living and breathing the new record. This removal from the outside world\, plus the return of beloved early guitarist Jack Hines and the exciting addition of new members Oakley Munson on drums and Zumi Rosow (the first female Black Lip) on saxophone\, infused the project with a focused\, intoxicating liveliness\, similar to the spirit that had brought the Black Lips to life in the first place\, way back in 1999. Only this time\, the band is drawing from nearly two decades of experience and musicianship\, and the newness is tethered by familiarity: Munson is a longtime friend of the band\, and Rosow has been playing live with the Black Lips for several years now. There’s even a dash of kismet: unbeknownst to the band\, after being off the grid for some time\, Munson had just recently moved to a cabin a short distance away from Lennon’s compound\, and the first time his phone ever rang after he plugged into the wall\, Alexander was on the other end\, asking him to play.\nAll of this excitement and immersion created the perfect storm for the Black Lips’\nmost musically evolved album to date. “It was a really beautiful experience. We were very far from civilization\, and we were all living at the studio. We weren’t going home to our own beds every night; that was our whole world\, 100% of the time\,” says Swilley of the experience. “Making this record was the most wonderful few months of my life. It\nwas by far my favorite time recording an album so far…It was just magic.” The Black Lips were joined by Saul Adamczewski of Fat White Family\, who helped co-produce the record with Lennon\, plus another rather magical guest: Yoko Ono. “She’s very cosmic\,” Swilley says of the celebrated artist and musician\, who makes an appearance on a few of the tracks. The final product is urgent and thoughtful\, reflecting the growth the Black\nLips have experienced since bursting onto the scene (once or twice quite literally on fire)\,\nbut it’s also true to their original blistering\, careening take on rock n’ roll: fuzzy\, dirty\, and rife with three and four part harmonies. Satan’s graffiti or god’s art? proves that while they may have grown up a bit and changed a few things around\, the Black Lips are still as creatively unhinged and exhilarating as ever.\nSatan’s graffiti or god’s art? is out May 5th on Vice Records. URL:https://royaleboston.com/event/black-angels-black-lips/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/01/the-black-angels-admat-2018.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180405T183000 DTEND;TZID=America/New_York:20180405T183000 DTSTAMP:20260409T165314 CREATED:20180207T193020Z LAST-MODIFIED:20180207T193020Z UID:10001890-1522953000-1522953000@royaleboston.com SUMMARY:[SOLD OUT] James Bay DESCRIPTION:SOLD OUT \nPlease note: tickets are NON-TRANSFERABLE. The original purchaser of the tickets must pick up their tickets at will call night of show with valid ID and will be required to enter the venue immediately. No exceptions will be made. \nBowery Boston presents James Bay \nDoors: 6:30 pm / Show: 8:00 pm \nPlease note: bags or backpacks larger than a purse are prohibited. \n*** \n \n*** \nJames Bay \n \nWebsite\nFacebook\nTwitter \nJames Bay is the definition of a modern day rock star.  Following the release of his debut album Chaos And The Calm\, featuring—“Hold Back The River” and “Let It Go”— BAY was nominated for “Best Rock Album\,” Best Rock Song\,” and “Best New Artist” at the 2016 Grammy Awards. In the UK\, the record became the “Biggest New Artist Album Release” that year and has been certified Gold in the United States\, Germany\, Australia\, Switzerland\, platinum in Canada\, Ireland\, Netherlands\, Sweden\, double platinum in the UK and has sold nearly 3.5 million albums in global consumption\, and 2.7 billion streams worldwide. Receiving the BRIT’s Critics Choice award in 2015\, BAY has gone on to receive a win for “Best Male Solo Artist” at the BRITS\, International Newcomer at the ECHO Awards\, “Best New Act” & “Best Solo Artist” at the Q Awards\, “Most Performed Work” at the Ivor Novello Awards and was nominated for “Best New” & “Best PUSH” at the MTV EMA’s and a MTV VMA for “Best New Act.” On the other side of the globe\, he has received a nod for “Best International Artist” at the ARIA Awards in Australia. In addition to selling out shows and performing at festivals across the globe\, BAY lent a new version of his song “Running” for the 2016 Sports Relief charity\,  is an advocate for the international non-profit Wateraid\, designed his own signature line for Topman\, and Epiphone created the Limited Edition James Bay Signature “1966 Century” Guitar in his name. \n*** \nDavid Ryan Harris \n \nFacebook \nDavid Ryan Harris. “Sounds like a law firm\, tastes like analog tape\,” says the soul singer/songwriter and guitarist. “I heard music\, melodies and stories in my head as a child. It never went away and I hope it never does\,” he says. \nBorn in Chicago and raised in Atlanta\, David was drawn to the blues after hearing songs by Son House\, Robert Johnson and others. Growing up at a time when Prince\, Parliament-Funkadelic\, Stevie Wonder and other musicians were stretching the boundaries of popular music\, he began to understand that music could not and should not be limited by our often narrow views of what it should be. \nIn 1991\, David co-founded Follow For Now\, a band that combined all of the influences that had been shaping his musical vision: Bad Brains meets Stevie Wonder and Public Enemy in Memphis. While the band had a short life\, it was David’s launching pad\, as it allowed him to taste the fruits of such a strange mess of musical ingredients. He signed to Columbia Records in 1997\, released a self-titled record and began to spread his wings as an artist\, writer and producer. In 2000\, he signed to Elektra with the band Brand New Immortals. Shortly after releasing an album\, the label folded and the band followed suit. \nToday\, David Ryan Harris calls Los Angeles home\, but is internationally recognized for playing guitar and singing in John Mayer’s band from 2004-2012. He has also had the pleasure of writing with\, playing with and/or producing artists from Dave Matthews\, Cassandra Wilson\, Derek Trucks\, Santana\, Marc Broussard\, and Guy Sebastian. Most recently\, he produced and co-wrote six songs on Indie.Arie’s album\, Songversation. \nSince his major label days\, David has independently released many singles and solo albums\, including the wildly popular 2007 LP\, The Bittersweet. On October 23\, 2015\, he released his fourth full-length album\, Lightyears\, which includes co-writes with Derek Trucks\, Susan Tedeschi\, Tyler Lyle and Joe Gil among others. The LP also features guest appearances by John Mayer\, Indie.Arie and Nikka Costa. “Lightyears is me sending up a flare into the darkness from where I live\,” says David. It’s a soulful look into my life. My past and how it informs my present. My sense of hope\, my sense of humor.” URL:https://royaleboston.com/event/james-bay/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/02/James-Bay-admat-2018-localized.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT END:VCALENDAR