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DTSTART;TZID=America/New_York:20160120T200000
DTEND;TZID=America/New_York:20160120T200000
DTSTAMP:20260411T043145
CREATED:20151110T170815Z
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SUMMARY:Miami Horror
DESCRIPTION:Doors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nAustralia’s favourite psychedelic-dance pioneers\, Miami Horror\, are set to return in 2015 with an assured\, neoteric sound to cement their position as innovators in the electronic music world once again. \nThe past few years have seen the group release their highly anticipated debut\, Illumination\, to heady acclaim\, as well as relocate to the US after touring the world multiple times over. Settling in Los Angeles\, the four-piece quickly found inspiration in the glowing year-round Californian sun\, set up a home studio and eagerly started experimenting with new sounds and projects to ease their creative itch. \nAnchored by producer Ben Plant\, the band found it easy to make a home between Melbourne and Los Angeles\, mostly due to the elevated number of Australian artists such as Bag Raiders\, Anna Lunoe and Empire of the Sun\, along with friendly LA natives like Classix and Ariel Pink\, helping the band to quickly settle in. \n“We’ve found there was a strong scene and vibe in LA\, if you look at a lot of the alternative electronica and dance music coming from there it definitely has a sound – we love the weirdness and sunshine. It has been a strong influence on many of our favorite records and we wanted to allow the place to influence this record\, and it definitely has.” \nSpending the last three years crafting and perfecting new material glittered with dream-gazey synth and a matured approach to songwriting\, has delivered a new chapter in Miami Horror’s evolution. Providing insight into what is yet to come\, anthemic singles ‘Real Slow’\, ‘Colours In The Sky’ and ‘Wild Motion (Set It Free)’\, show off polished production with attention to detail that references their Australian context\, but re-establishes Miami Horror as an indie-electronica act at the forefront of the genre internationally. \nNow ready with a huge second studio album\, All Possible Futures is the result of the many dedicated sessions everywhere from Melbourne\, Los Angeles\, Paris and New York\, to cumulate a glowing collection of drifting electronica-infused new-wave that marks a definite coming of age for the band. \n“When I wrote the first record my musical influence was a quarter of what it is now. Illumination was written mostly between the ages of 21 to 23 and it came out when I was 24\, so this record reflects a big difference in terms of maturity.” \nArmed with Plant’s ripened perspective\, the band have effortlessly defined a new direction in their sound with All Possible Futures\, with the record showcasing an eclectic mix of influences from the Post-Disco and punk of Talking Heads\, New Order and INXS\, through to the pop influence of Michael Jackson\, Paul Simon\, Tears For Fears and the dreamy aesthetic of Fleetwood Mac; scattered across all 15 tracks. \nPlant describes the production process as one that was key to ensuring longevity and a sense of permanence for the new album\, a medium which they feel is still necessary for creating a story\, and an emotional connection with music. \n“We wanted to make something that lasts and grows the more you listen to it; we found a lot of fans overseas had been listening to our first album for years and that’s what made us realise the importance of making something permanent. We wanted to make an album that you could listen to over five years and still discover new sounds or favourite songs.” On the current state of the industry\, Plant goes further to explain that a shift in how people consume music affected the new album’s meaning. “We’ve seen the album format quiver and turn to a focus on artists writing one-off hits. We personally love albums and the story they can tell. A great album will still always stand out in history. Just like the boom of disco singles in the ‘70s and then again with house music\, we feel like this is a time where a lot of tracks will be lost amongst sands of time.” \nProving that time and introspective is key to creating their art\, Miami Horror’s eclectic mix of influences\, experimentation with developed songwriting\, and inspired new focus on identity has resulted in a progressive and heart-felt collection of songs that aim to break the mould and challenge the traditional constraints of physical time and space. A sensory voyage from start to finish\, 2015 belongs to Miami Horror.
URL:https://royaleboston.com/event/miami-horror/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160122T180000
DTEND;TZID=America/New_York:20160122T180000
DTSTAMP:20260411T043145
CREATED:20151105T170034Z
LAST-MODIFIED:20151105T170034Z
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SUMMARY:Country 102.5 Presents Kelsea Ballerini [SOLD OUT]
DESCRIPTION:Doors: 6:00 pm / Show: 7:00 pm \nThis event is all ages.\nNote: This show is SOLD OUT. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nKelsea Ballerini launched to stardom with the release of her #1\, GOLD-selling debut “Love Me Like You Mean It.” Abuzz with shout-outs from superstars Taylor Swift\, Carrie Underwood and Little Big Town\, she is the first solo female artist in nine years to hit #1 with her debut country single and one of only 11 women to have ever hit the top of the charts with a debut. Racking up media acclaim\, the Black River Entertainment recording artist has been touted by Billboard Magazine as “Country’s Next Queen\,” praised by ROLLING STONE as one of the “10 Artists You Need To Know” from all genres and selected as one of CMT’s Next Women of Country. Her breakout hit “Love Me Like You Mean It” and catchy new single “Dibs” are featured on her debut album THE FIRST TIME that landed Top 5 on the Billboard Country Albums Chart. Produced by Forest Glen Whitehead and Jason Massey\, Ballerini wrote or co-wrote all 12 songs on the project. This summer\, the talented singer/songwriter is hitting the road playing major festivals\, headline club dates and select stops on Lady Antebellum’s WHEELS UP Tour.
URL:https://royaleboston.com/event/kelsea-ballerini/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160202T200000
DTEND;TZID=America/New_York:20160202T200000
DTSTAMP:20260411T043145
CREATED:20151102T162703Z
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SUMMARY:Ryan Bingham
DESCRIPTION:Doors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nRyan Bingham needed some peace and quiet. Free of the burdens that had saddled\nhim during the writing and recording of his recent albums\, he relocated to an old\nairstream trailer tucked away in the mountains of California\, camping out for several\nweeks and embracing the solitude to dig down deep and craft his most powerful album\nyet\, ‘Fear and Saturday Night.’\n“It gave me the space and time to tap into myself\,” Bingham says of the experience.\n“Up there\, it was totally isolated. No phones\, no noise\, no lights. At night the only\nthing you’d hear is the bugs and the coyotes. It’s lonely when you get back up in there\nand there’s nobody around\, but for me\, I kind of grew up that way in the middle of\nnowhere. Since I’ve started touring\, I’m surrounded by people all the time\, so getting\nback to the roots of everything\, that’s really where I seem to find stuff that’s\nmeaningful when I’m writing songs.”\nBingham was actually in the back of a van in North Dakota when he wrote ‘The Weary\nKind\,’ a song that became the centerpiece of the 2010 film ‘Crazy Heart’ starring Jeff\nBridges. It earned him an Academy Award\, a Golden Globe\, and a Grammy\, and\nskyrocketed him into the spotlight. Amidst the incredible success\, though\, was tragic\nloss behind the scenes that few knew about.\n“A lot of peopled didn’t realize when that Oscar stuff was going on and ‘Junky Star’ was\nreleased\, I was dealing with the loss of my parents\,” says Bingham\, who released the\nfollow-up album ‘Tomorrowland’ as a direct reaction to the emotional turmoil that\nsurrounded him. “My mother drank herself to death\, and my father shot himself. I was\nalso going through a huge transition with the band—we were breaking up—and I felt so\nlost playing with different musicians for the first time in years.”\nThere were positive changes in his life during that time\, too\, including his marriage\,\nwhich serves as a frequent well of inspiration on ‘Fear and Saturday Night\,’ particularly\non tracks like “Snow Falls In June” and “Top Shelf Drug\,” a Stones-esque rocker that’s\nbound to become a live favorite.\nBingham never really set out to be a musician\, though. His mother bought him a guitar\nwhen he was 16 years old\, and a neighbor taught him a mariachi tune. When he grew\ntired of playing the only song he knew\, Bingham began penning his own music\,\ndiscovering the writing process to be a therapeutic coping mechanism for dealing with\nthe tumultuousness of his upbringing. His first performances were informal affairs in\nthe backseats of cars with friends on the way to rodeos\, where he was competing\nprofessionally on the weekends. Every now and then\, Bingham’s friends would convince\nhim to break out the guitar in a bar\, and before he knew it\, he had more gigs playing\nguitar than riding bulls.\nRecorded mostly live with a brand new backing band and under the guidance of\nproducer/engineer Jim Scott\, ‘Fear and Saturday Night’ opens with “Nobody Knows My\nTrouble\,” a loping\, autobiographical ballad about trying to outrun a painful past and\nfinding redemption both in the strings of a guitar and in hitting the road with the love\nof your life. “Adventures Of You And Me” is a slide-guitar and mariachi-tinged barnburner\nabout a pair of misfits who travel the country together\, while “Island In The\nSky” again picks up the theme of travel as a means of salvation and escape.\n“I feel like I’ve been traveling my whole life\, even from when I was a little kid\,” says\nBingham. “Both of my parents were really bad alcoholics\, and my dad could never keep\ndown a job\, so we never lived in the same town for more than a couple years. And\neven if we did\, we’d move to different houses every other month. It felt like I lived out\nof a cardboard box growing up until I was old enough to buy my own suitcase\, and then\nI was just running from everything.”\nBingham faces down his past with a poetic grace throughout the album. Lead single\n“Radio” is about coping with a darkness that doesn’t want to let go\, searching for a safe\nplace to make sense of your life and the strength to stay on the right track through it\nall\, while “Hands of Time” deals with accepting what’s behind you and moving forward\nwith grit and determination. On “Broken Heart Tattoos\,” a wistful waltz written to an\nunborn child\, he imagines what kind of parent he’ll become\, singing\, “Take your sweet\ntime and walk a straight line in two / But don’t you be shy of your wilder side / Or be\nafraid to let loose / With broken heart tattoos.” Perhaps the most affecting moment\non the album arrives in the title track\, when Bingham sings\, “I don’t fear nothin’ except\nfor myself / So I’m gonna go out there and raise me some hell.”\n“Certain things aren’t going to change\,” he explains of the song. “You can’t run away or\nhide from the past. You have to live in it and deal with stuff and find your own way to\novercome. The way I grew up\,” he continues\, “you had to develop a certain kind of\ntoughness. Hanging with those guys on the rodeo circuits\, you learn at an early age\nhow to defend yourself. There’s lots of fights and rowdy bars and mean people out\nthere. But if you’re smart enough to stay out of situations where other people can hurt\nyou\, you’re the only one who can really hurt yourself. That’s something I had to learn\non my own.”\nThose hard-learned lessons\, through both good times and bad\, helped make Bingham\nthe man he is today. ‘Fear and Saturday Night’ is the most authentic\, personal\, and\ndeeply moving portrait of that man we’ve heard yet.
URL:https://royaleboston.com/event/ryan-bingham/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160203T190000
DTEND;TZID=America/New_York:20160203T190000
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CREATED:20151209T162703Z
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SUMMARY:Reel Big Fish
DESCRIPTION:Doors: 7:00pm / Show: 8:00pm \nThis event is 18+. Patrons under 18 admitted if accompanied by parent or legal guardian. \nTickets on sale Fri. December 11 at 12PM! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nReel Big Fish was one of the legions of Southern California ska-punk bands to edge into the mainstream following the mid-’90s success of No Doubt and Sublime. Like most of their peers\, the band was distinguished by their hyperkinetic stage shows\, juvenile humor\, ironic covers of new wave pop songs\, and metallic shards of ska. The group cultivated an underground following that broke into the mainstream in summer 1997\, when their single “Sell Out” became a modern rock radio and MTV favorite. Their appearance in the movie “Baseketball” as the halftime band also gained them more fans and helped the bands popularity to grow. Still fronted by original lead singer and song writer Aaron Barrett\, they continue releasing albums and touring relentlessly\, playing more and more countries and bigger venues all over the world. \nReel Big Fish recorded its self-released debut album\, “Everything Sucks”\, in 1995. “Everything Sucks” became a word-of-mouth underground hit in ska-punk and college circles\, which gave the band enough leverage to sign with the indie label Mojo Records. The label’s president\, Jay Rifkin\, and former Oingo Boingo bassist John Avila co-produced “Turn the Radio Off”\, which marked Reel Big Fish’s first album for Mojo. “Turn the Radio Off” was unleashed in August 1996\, and over the next year\, the group continually toured in support of the album’s release\, expanding their fan base all the while. In spring 1997\, the single “Sell Out” began receiving heavy airplay from several influential modern rock stations in the U.S.\, which soon translated into MTV support for the song’s quirky video. By summer\, the song had become a moderate modern rock hit\, and the album had charted in the Top 100. \nIn 1998 the song “Take on Me” from the “Baseketball” motion picture soundtrack was released as the promotional single for the movie and once again found the band in regular rotation on rock radio and MTV in the USA. \nThe Album “Why Do They Rock So Hard” followed a year later\, once again enlisting Oingo Boingo Bassist John Avila as producer. The album was not as commercially successful but is still regarded by many fans as the bands finest work. The band filmed a music video for “the Set up (You Need This)”\, the only single released from this album. \nThe guys wound up on Jive Records in fall 2001 when their current label\, Mojo\, was bought by Jive’s parent label\, Zomba. Reel Big Fish’s first release for Jive\, a more rock-oriented record entitled “Cheer Up!”\, appeared in mid-2002. This album was very successful in Europe with the video for the single “Where Have You Been” receiving heavy airplay on many music video channels. \nLater that same year\, RBF did a song for a Rice Krispies called “Snap\, Krackle\, Pop-punk” which was used in 3 separate commercials. Also that year\, they recorded a cover of Toots and the Maytals “Monkey Man” for the Nickelodeon movie “The Wild Thornberrys.” The single for “Monkey Man” was also released in the UK and received heavy radio play as well as the music video being put on heavy rotation on Kerrang TV. \nThe band’s next album\, the cynical yet catchy “We’re Not Happy ‘Til You’re Not Happy”\, was issued in April 2005. Touring continued for the rest of the year\, and Reel Big Fish happily parted ways with Jive in January 2006\, having wished to be dropped from the label since the “Cheer Up!” release.\nIn August 2006\, the group self-released a double-disc live CD (along with an accompanying DVD) titled “Our Live Album Is Better Than Your Live Album”. \nBarrett said of this album “We finally captured the energy\, excitement and humor of our live shows that we were previously unable to create in the recording studio environment. And it all sounds really good!” \nThis album is very popular with RBF fans and is sometimes referred to as “the Reel Big Fish Stand-up comedy album” because of all the silly stage banter. \nThe band returned with some new material in February 2007\, splitting an EP “Duet All Night Long” with their friends in Zolof the Rock & Roll Destroyer. “Monkeys for Nothin’ and the Chimps for Free” followed several months later\, marking Reel Big Fish’s first full-length studio release since leaving Jive’s roster\, and 2009′s “Fame\, Fortune and Fornication” found the band covering songs by the likes of Poison\, the Eagles\, and Tom Petty. \nIn 2010\, the band released “A Best of Us for the Rest of Us”. It includes a 22 song disc of re-recorded hits and classic fan favorites as well as a bonus disc of 14 Acoustic or “SKAcoustic” versions. \nOn July 31st\, 2012 Reel Big Fish released their 7th studio album\, Candy Coated Fury (Rock Ridge Music)\, an inspired and infectiously catchy return to the hyperkinetic ska and biting wit of the band’s beloved early albums. “This album is a lot like our first two albums. It’s got a lot of the same intensity\, frantic energy in the music\, and the same sarcastic sense of humor. I think these are the fastest songs we’ve done since those albums\,” Aaron Barrett\, founding vocalist\, guitarist\, and principal songwriter says. “We’re finally just doing what Reel Big Fish does best\, and that’s what we did on those first two albums.” \n“Candy Coated Fury pretty much describes what Reel Big Fish does\,” Barrett says of the significance of the new album’s title. “It’s hateful\, mean\, sarcastic\, and\, sometimes sad lyrics\, over happy\, wacky\, silly\, joyous\, fast music that makes you want to dance. This album is mostly love songs\, but bitter\, angry\, hateful love songs. Just about everybody knows what it’s like to be in a bad relationship. These songs could be sung by a 15 year old about his first love-gone-wrong\, or by a 55 year old about a bitter divorce after 30 years. They’re bad-relationship songs that everybody can relate to.”\nCandy Coated Fury is Reel Big Fish’s first album of newly recorded original material in five years. Overall\, it’s the seventh in the band’s twenty year history\, and it feels as vital and vitriolic as RBF’s foundational releases. The record opens with the huge sing-along vocal\, balmy horns\, and hyperactive ska groove of “Everyone Else Is An Asshole.” The track is an exceptional distillation of Reel Big Fish’s classic euphorically-juvenile ska punk. The stately arena riffs in “I Dare You To Break My Heart” reference cock rock\, new wave\, and soul without sacrificing one iota of RBF’s signature simmering skank. “I listen to the Darkness a lot; it was only a matter of time till I wrote a song like this! I can’t really sing as high as that guy so this song sounds more like Kiss\, if Kiss was a Motown band that played ska\,” Barrett says\, detailing the song’s diverse stylistic touchstones. The anthemic “I Know You Too Well To Like You Anymore” features some of Barrett’s finest cutely cruel lyrics. “I think that is an amazing bad-relationship song\,” he laughs. “I really captured the hateful love of two people who were once madly in love\, but have been together so long\, they can’t stand the sight of each other anymore but still say ‘they drive me crazy\, and I hate this and this about them\, but I love them.’” No RBF album would be complete without playfully irreverent 1980s covers. The band rounds things out ska-ifying the Wonderstuff’s “Don’t Let Me Down Gently” and When In Rome’s “The Promise.” \nOn December 12th\, 2014 RBF released their first Christmas Album\, A six song\, digital only album entitled “Happy Skalidays”. This album includes 4 classic Christmas songs and 2 RBF originals. \nReel Big Fish continues to tour non-stop\, playing over 250 shows a year to thousands of loyal fans all over the world\, gaining more and more underground popularity as the Ska scene continues to flourish.
URL:https://royaleboston.com/event/reel-big-fish/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160204T190000
DTEND;TZID=America/New_York:20160204T190000
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CREATED:20151129T110044Z
LAST-MODIFIED:20151129T110044Z
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SUMMARY:Jack's Mannequin [SOLD OUT]
DESCRIPTION:Please note: Tickets for this show are WILL CALL ONLY and NON TRANSFERABLE. The ticket purchaser must use one of the tickets purchased and enter with their entire party upon entry. \nDoors at 7PM / Show at 8PM \nRadio 92.9 presents\n10 Years In Transit\nDoors: 7:00pm \nThis show is SOLD OUT. \nThis event is all ages. \n*** \nI am pleased to announce\, the Jack’s Mannequin band and I will be getting together for a handful of exclusive engagements to celebrate the album Everything in Transit. I will be the first to admit\, I prefer keeping my focus in the present\, but I cannot deny Transit’s place in my life and the lives of my fans. As I said so many years ago\, this is a story\, and it will be performed as such\, in its original running order from start to finish. The band and I are truly excited by the opportunity to revisit this album and we hope to see you there. \nLineup\nAndrew McMahon\nBobby “Raw” Anderson\nJay McMillan\nMikey “The Kid” Wagner \nGuest on Keys\nZac Clark
URL:https://royaleboston.com/event/jacks-mannequin/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160217T200000
DTEND;TZID=America/New_York:20160217T200000
DTSTAMP:20260411T043145
CREATED:20151109T140057Z
LAST-MODIFIED:20151109T140057Z
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SUMMARY:St. Lucia [SOLD OUT]
DESCRIPTION:WERS 88.9 Discovery Show \nDoors: 8:00 pm / Show: 9:00 pm \nThis show is SOLD OUT. \nThis event is all ages. \n*** \nSt. Lucia is BACK with an infectious new single “Dancing On Glass” and a brand new album Matter. And with those comes a series of North American dates\, following up on the band’s sold out fall 2014 headline tour.  \nSt. Lucia’s 2013 debut LP When The Night earned raves everywhere from Entertainment Weekly (“an absolute smash”) to Elle (“we have an obsession for this group”) to Billboard (“essential listening”).  The last two years have also seen the band touring with the likes of Ellie Goulding\, Empire Of The Sun\, Charli XCX\, Foster The People\, performed at Coachella and Lollapalooza\, and appeared on Jimmy Kimmel Live!\,  and Late Night With Seth Meyers.
URL:https://royaleboston.com/event/st-lucia/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160219T180000
DTEND;TZID=America/New_York:20160219T180000
DTSTAMP:20260411T043145
CREATED:20151207T140020Z
LAST-MODIFIED:20151207T140020Z
UID:10002068-1455904800-1455904800@royaleboston.com
SUMMARY:Best Coast / Wavves [SOLD OUT]
DESCRIPTION:Doors: 6:00pm / Show: 6:30pm \nThis event is open to all ages. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nBest Coast [Website] [Facebook] [Twitter] \nWavves [Website] [Facebook] [Twitter] \nCherry Glazerr [Website] [Facebook] [Twitter]
URL:https://royaleboston.com/event/best-coast-wavves/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160220T180000
DTEND;TZID=America/New_York:20160220T180000
DTSTAMP:20260411T043145
CREATED:20160110T181415Z
LAST-MODIFIED:20160110T181415Z
UID:10002083-1455991200-1455991200@royaleboston.com
SUMMARY:Best Coast / Wavves [SOLD OUT]
DESCRIPTION:SECOND SHOW ADDED DUE TO DEMAND! \nDoors: 6:00pm / Show: 6:30pm \nThis event is open to all ages.\nTickets on sale now! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nBest Coast [Website] [Facebook] [Twitter] \nWavves [Website] [Facebook] [Twitter] \nCherry Glazerr [Website] [Facebook] [Twitter]
URL:https://royaleboston.com/event/best-coast-wavves-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160221T190000
DTEND;TZID=America/New_York:20160221T190000
DTSTAMP:20260411T043145
CREATED:20151020T124946Z
LAST-MODIFIED:20151020T124946Z
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SUMMARY:Ron Pope + The Nighthawks
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is open to all ages. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nNashville-based\, independent artist\, Ron Pope\, has stood at a crossroads where so many musicians find themselves — at the intersection of record label and independence. In an ever-evolving industry filled with rejection and compromise\, he has plotted a new course for his music to reach loyal listeners\, taking the industry-road-less-traveled in exchange for the ultimate payback\, a league of devoted fans the world over. \nPope has made a name for himself in the music industry over the years as one of the top grossing independent acts on the scene today. On the sales front\, he has sold over 2 million singles to date\, averages 15 million spins a month on Pandora\, and his songs have been streamed over 120 million times. His songs have been featured on NBC’s “The Voice\,” CW’s “Vampire Diaries” and “90210” and multiple seasons of FOX’s “So You Think You Can Dance\,” which sent two of his albums into the top 100 on iTunes simultaneously. He was recently honored by premier digital music distributor TuneCore for being one of the top-selling independent artists using their service. \nPope’s fifth studio album\, Calling Off the Dogs\, found the passionate songwriter expanding upon his rootsy sound with a set of atmospheric\, moody songs. The album follows up Pope’s last two albums\, 2012’s Atlanta and Monster. Ostensibly a concept album\, Calling Off the Dogs found Pope investigating the twists and turns of one couple’s relationship\, from when they first meet and fall in love to when they finally say goodbye. He spent the better part of 2014 touring the album across the US\, UK\, & Australia. \nNot one for taking a break\, Pope found himself writing and recording his upcoming album\, Ron Pope & The Nighthawks (release date January 8\, 2016) while still on tour in 2014. Pope gathered his favorite Brooklyn-based musicians to form The Nighthawks (Paul Hammer\, Alex Foote\, Andrew Pertes\, Alex Brumel\, Alan Markley\, & Michael Riddleberger) and they were all instrumental in the creation of each song. Pope and his Nighthawks started their journey at a lake house in Blue Ridge\, GA where they took songs from concept to completion. They then took the tunes directly out onto the road and played most of them in front of a live audience – all while recording the process. “This is me going back to the roots of what made me a songwriter…I was trying to blow my own mind with the last album (Calling Off The Dogs); this time I’m trying to soothe it. I want to take those songs out on the road and get them dirty\, sharing them with the fans while they are still fresh and brand new rather than incubating them in a sterile environment for a long time” The first two singles from the album – “Ain’t No Angel” & “Southern Cross” – were released in early 2015.
URL:https://royaleboston.com/event/ron-pope-the-nighthawks/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160222T200000
DTEND;TZID=America/New_York:20160222T200000
DTSTAMP:20260411T043145
CREATED:20151207T155751Z
LAST-MODIFIED:20151207T155751Z
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SUMMARY:Animal Collective [SOLD OUT]
DESCRIPTION:Doors: 8:00pm / Show: 9:00pm \nThis show is SOLD OUT \nThis event is 18+. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nAt the beginning there were two of them – Avey Tare and Panda Bear – banging drums and tweaking synths in their bedrooms\, singing strange and sometimes heartbreaking songs about imaginary friends and childhood pets. Carried along by washes of squalling feedback\, the music was noisy\, and it was weird\, but it was\, at heart\, pop music. This was the start of Animal Collective. For fifteen years Dave Porter (Tare)\, Noah Lennox (Bear)\, Brian “Geologist” Weitz and Josh “Deakin” Dibb have been rewriting the musical map\, their line-up and aesthetic shifting with each astonishing release as they continue their pursuit of a new psychedelia. Their wild path has taken them from cramped concrete basement shows and forest floor singalongs to immersive installations at the Guggenheim and performances to millions on national television. So where now from here? \n“Caveman circles”\, says Lennox\, discussing the vision for their eleventh full-length album\, Painting With; “Caveman circles\, the first Ramones record\, early Beatles and electronically produced. I think that was kind of our starting point”. Dizzyingly upbeat and gloriously realised\, their latest LP bounces and pops with an urgent\, ecstatic energy\, propelled by polyrhythmic beats and gurgling modular synth\, with Lennox and Portner’s vocals gleefully falling in and out of syncopation and off-kilter harmony. The songs are as experimental and deeply textured as anything that has come before but sound as sharp and snappy as chart hits\, finding the band at both their most minimal and most ambitious: “The idea with cavemen was about being more primitive – the way we sounded when we were first playing together in New York” says Portner. “I feel like what we were doing with the last record [2012’s Centipede Hz] was something a little more complicated. This time we wanted to strip it down and simplify it\, like techno and punk… And then put the Animal Collective filter on it all.” \nWorking as a trio\, Portner\, Lennox and Weitz began trading demos in early 2015\, pursuing a goal of what Portner calls “really short pop songs: no B.S\, get in\, get out material…” The three met up in Ashville during that Spring and began exploring the songs together. “I feel like lyrically there’s some really tough stuff” says Lennox\, “but the intention was for the songs to have the spirit of trying to work things out. To make things better.” The group made a conscious decision not to tour the songs first in an attempt to keep them fresh\, something Weitz found to be “a freeing process. That shift in perspective contributed to how much space is on the record.” \nRecording took place in the legendary EastWest Studios in Hollywood\, home to sessions by The Beach Boys and Marvin Gaye. Making the space feel like home was essential: they lit candles on lily pads and projected a two-hour reel of dinosaur movies – spliced together by Dave’s sister Abby – on a constant loop. A baby pool was set up to help add to the vibe of the room\, but the group soon discovered it sounded amazing when thudded and treated with effects. “Everything sounded good in that room” says Weitz.  \nYou can hear it. Everything about Painting With feels crisp and direct as though delivered in super high-definition Technicolor; the pitter-pattering handclaps of Lying In The Grass\, the delirious arcade-hall rave of Burglars\, the galloping bass and piano of the radiant On Delay – even Bea Arthur’s introduction to Golden Gal seems to shimmer. The interplay between Avey Tare and Panda Bear’s vocals (recorded while sat on high pedestals to lend the singing an “airy” quality) is brought front and centre with an uncharacteristic clarity: “With the vocals\, it’s not like a typical call and response or harmony.” says Lennox\, “It’s like two voices become one. Without one singer it doesn’t really work the same way. They dance with each other.” Portner interrupts: “Both vocals are meant to complete one thought”. The band put much of this down to their close collaboration with engineer Sonny Diperri: “He played a big part in how the vocals sounded. We didn’t put a lot of effects on the voices like in the past… We tried to be really careful about reverb\, to not make everything washed out. When there is echo on the album almost everything is acoustic reverb. It attests to the greatness of those old studios – it’s cool you can record in your apartment\, plenty of great music has been recorded that way\, but there is something to say about the time that went into crafting these rooms. It feels like a lost art form.” \nIn their search for more organic sounds\, the trio challenged themselves to incorporate elements they usually find off-putting\, either structurally or sonically “I remember specifically we brought up saxophone and brass instruments” recalls Portner. They enlisted the services of multireedist Colin Stetson – whose resumé includes collaborations with Arcade Fire\, Godspeed You Black Emperor\, Bon Iver and Tom Waits – to appear on the album’s rapturous\, swirling opener\, FloriDaDa\, an ode to breaking boundaries and not seeing any separation in people or places: “We were huge fans of Colin’s and the sound that he has is super unique. We don’t notate a score for somebody\, so it was cool to have him come in and lay down a bunch of ideas while the song was playing”. After discovering John Cale was a fan of their music\, the group invited him down to the studio to record drones for Hocus Pocus – a slow-burning collage of stroboscopic vocals and bleeping\, squelching modular synth that gives way to delirious release. Discovering the song wasn’t in a key the viola could be tuned for came as “a happy surprise” as they found themselves working with Cale’s material in new and exciting ways\, his bowed tones and electronic manipulations forming a hypnotic transition into the beautifully sun-warped Vertical. \nIt’s just that that kind openness to playing with expectation and experimenting with form that lies at the heart of this personal and human album. “When we were doing (2007’s) Strawberry Jam\, I thought it would be cool to literally rename ourselves The Painters.” recalls Portner\, “Everyone kind of rolled their eyes at that one. But Noah brought the idea back [this time]. We talked about painting – cubism\, Dada\, these distorted ways of looking at things…” It’s all there in Painting With: the sound of artists finding vivid new ways to shape their ideas and challenge their own conventions\, creating music that is at once startlingly fresh and still recognisably\, uniquely Animal Collective.
URL:https://royaleboston.com/event/animal-collective-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160225T200000
DTEND;TZID=America/New_York:20160225T200000
DTSTAMP:20260411T043145
CREATED:20151102T163132Z
LAST-MODIFIED:20151102T163132Z
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SUMMARY:The Floozies
DESCRIPTION:The Granola Jones Tour \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nJust outside the jazz mecca of Kansas City springs liberal oasis Lawrence\, Kansas—separated only by the waves of wheat from the epicenter of the electronic music revolution in Colorado. From Lawrence\, it would logically follow that an act could rise to prominence fueled by the swing of Basie\, the birth of Charlie Parker’s bebop\, and the wild frontier of electronica. Born in funk and bred in the digital age\, live electronic duo The Floozies have burst onto the scene at a time when the industry needed them the most.  \nBrothers Matt and Mark Hill share the stage just as easily as they share a musical brain. Without a setlist\, and without a word between them\, Matt’s guitar is in lockstep with the thud of Mark’s kick. Endless looping and production builds the raw scenery upon which palm muted chugs\, searing solos\, and wobbling bass paint their dazzling array of colors.  \nWell versed in everything from Chris Cornell to Kavinsky\, the sonic vision shared by the brothers eschews contemporary electronic influences in favor of broader\, deeper tastes including Zapp & Roger\, Lettuce\, and Amon Tobin. That wide-angle view of a century of popular music allows the Hills to remix Toto and The Dead—in the music you can hear reverence for the giants of the past\, all the while producing wildly futuristic tunes for the masses to dig now.  \nWhen the pendulum swung as far as it could away from live instrumentation to laptops\, The Floozies rose up to the challenge\, swinging as hard as they could in the other direction with neck-snapping\, knee-breaking funk so dirty that the gatekeepers stood up\, wiped themselves off\, and took notice. A bold live show full of sonic exploration and unbreakably deep pocket grooves has landed the brothers on stage with luminaries of the jam world Umphrey’s McGee as readily as electronic elites STS9 and Big Gigantic. With sold out shows across the Country\, and huge festival appearances at Summercamp\, Wakarusa\, Camp Bisco\, Sommerset\, and Bumbershoot that continue to cement the duo’s ascent\, while also joining Griz at Red Rocks Amphitheater on September 4th for a sold out show.
URL:https://royaleboston.com/event/the-floozies/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160301T200000
DTEND;TZID=America/New_York:20160301T200000
DTSTAMP:20260411T043145
CREATED:20151111T165802Z
LAST-MODIFIED:20151111T165802Z
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SUMMARY:[SOLD OUT] Ty Segall & The Muggers
DESCRIPTION:[FACEBOOK EVENT] \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n***\nTy Segall & The Muggers \n \n[WEBSITE] [FACEBOOK] [TWITTER] \nTHE SEGALL HAS LANDED. And it’s fully loaded with everything that Ty Segall (and you and me) are gonna need in the world to come. Sticking his hand deeper into the machines all around him\, Ty is reaching ever further to the outer limits of inner space orbited throughout Twins and Sleeper. And now more than ever\, the chunks of the world that came before are like asteroids formed in his image\, picking up speed. Still fighting the power with all the energy that a determined mind-patriot can conjure\, Ty’s a fighter who loves\, a surfer\, a spaceman\, and yeah\, a casualty – like you\, he’ll never be free. But unlike you\, he knows it – and when he goes down and his head cracks in two\, out pour the multi-colored manias that make up Manipulator. Sour-sweet declarations featuring freaks and creeps alike: “The Singer\,” “The Faker\,” “Mister Main\,” “Susie Thumb\,” the “Connection Man\,” and “The Crawler\,” to name but a mutant fistful. \nTo see these peeps\, to realize their dreams and visions\, Ty kept working\, kept writing\, laying down more tracks than ever. New musical expressions pop and surprise relentlessly throughout all the knockout tunes of Manipulator which feature Ty’s helium-cooled vocals\, sounding more powerful and dynamic than ever\, and many sounds in the mix\, but most of all\, SO many guitars! Strangled-neck solos recalling the good old days down by the river with Neil\, numbed-and-unplugged discursions\, three-quarter quartets raising their din in a few key places\, waves of sparkling acoustics with ominous\, Love-ly undertones – and then\, torrents of filthy git-grunge\, exploding into the chorus\, washing everything away\, fusing the blackness of Sabbath with the grime and grab-ass of the Stooges and the sweet swinging tones of the Stones. All in the name of getting higher on the music. Why have one guitar solo when you can have a few in the same space? There’s so little time\, and a LOT to say. \n***\nCFM \n \nUp a dead end street just before you twist and turn your way up to Los Angeles’ majestic Mount Washington is a house of stairs and weeds and strays of all kinds. A large iguana remains perma-frozen in time on a brick wall\, guarding a small iron door. Sparse and small\, a place where time doesn’t matter and solitude is king. \nCharles Francis Moothart II went mostly unseen for a month or two. A prisoner of time in a dimension of sorrow and confusion\, Moothart was hitting a personal crossroads and nursing a brief and impermanent break up with his long time girlfriend/band mate by retreating\, putting the pain from his head into his tape machine\, stepping away from struggling for the answers in order to sit with them and pull from them. Greasing the pain to form relief. The only medicine was to challenge himself and sand down enough to break through the fear of failure. To see it all through to the end and find out what stood as truth. \nNow\, after the fog has lifted\, upon returning\, Moothart is sharing the souvenir of his travels to another dimension\, a postcard from a dream in which time stood still\, the girl got away and the wolf-man-glass-in-hand risked it all for the sea change. \nStill Life is unlike any other record Moothart has recorded; the songs came quickly\, were recorded as experiments and he went through the process alone. Previously Moothart’s bands have been collaborations from all sides\, from his high school hardcore punk quartet Culture Kids with CFM band mate Michael Anderson to the toughest pop band in Southern California\, Moonhearts\, to the fleeting garage rock band the Perverts with long time friend and collaborator Ty Segall. The monolithic super group Fuzz was the product of Charles’ master riffs marrying Segall’s songwriting prowess and unparalleled rhythmic style. A perfect meeting of minds of two musicians in their prime. Two friends with egos so intertwined in the midst of a five year touring spell in Segall’s band as his secret weapon\, heard but not seen\, hidden in tangles\, the two became a tangled force themselves. \nSometimes you realize you must shed what’s most comfortable to find truth in yourself again and so Moothart has denied the comforts of being the sideman to give listeners a slice of himself. \n***\nMidriffs \n \n[WEBSITE] [FACEBOOK] [TWITTER] \n  \nBoston\, MA. \nFlower punk.
URL:https://royaleboston.com/event/ty-segall-the-muggers/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160302T220000
DTEND;TZID=America/New_York:20160302T220000
DTSTAMP:20260411T043145
CREATED:20151216T185759Z
LAST-MODIFIED:20151216T185759Z
UID:10002120-1456956000-1456956000@royaleboston.com
SUMMARY:HARDWELL
DESCRIPTION:21+
URL:https://royaleboston.com/event/hardwell/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Nightclub
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DTSTART;TZID=America/New_York:20160311T180000
DTEND;TZID=America/New_York:20160311T180000
DTSTAMP:20260411T043145
CREATED:20151211T162254Z
LAST-MODIFIED:20151211T162254Z
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SUMMARY:Brian Fallon & the Crowes
DESCRIPTION:Doors: 6:00pm \nTickets on sale Thu. 12/17 at 12pm \nThis event is 18+. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n***\nBrian Fallon \n[Website] [Facebook] [Twitter] \n“This one is different\,” says Brian Fallon. “This one is mine.” \nBursting at its seams with huge hooks\, big choruses\, and enormous heart\, PAINKILLERS marks the first solo album from Brian Fallon\, known far and wide as singer/guitarist of the Gaslight Anthem\, as well as such acclaimed outfits as The Horrible Crowes and Molly & The Zombies. Produced by studio superstar Butch Walker (Taylor Swift\, Frank Turner\, Keith Urban)\, richly textured songs like “Long Drives” and the addictive title track encompass the great rush and flow of American music\, fusing sonic hits of heartland country and folk with hardcore punk energy and classic rock ‘n’ roll swagger. PAINKILLERS once again affirms the NJ-based rocker’s elemental gifts as a songwriter and storyteller\, booming with insistent imagery\, narrative craft\, and the extraordinary emotional acuity that has informed his music since the very start. \n“I’ve had this sound kicking around in my head for so long\,” says Fallon\, “but it took maturity to get it out.” \nFallon decided to begin work on PAINKILLERS immediately following the announcement of The Gaslight Anthem’s indefinite hiatus. Though his prior extracurricular projects were made under alternate band monikers\, a dear friend suggested that this time perhaps he might think otherwise. \n“She said I was limiting myself\,” Fallon says. “’If you make a Horrible Crowes record\, then you’ve got to make Horrible Crowes music. You have to float within those guidelines. But if you use your own name you can make any record\, you can change throughout your career\, work with different musicians\, be whatever you want to be and then wrap it all together.’ That’s one of the best pieces of advice I’ve ever gotten.” \nSolo or otherwise\, Fallon knew he couldn’t make his record all alone. He considered a number of potential collaborators but again and again\, Butch Walker’s name kept coming up as an ideal match. A meeting was arranged and the two musicians hit it off from the jump\, tracking four demos in three days\, including fleshed out versions of “Painkillers” and “Nobody Wins.” \n“It was just like fast friends\,” Fallon says. “All the sounds fell into place. There wasn’t any searching – it was all right there. We had a blueprint from the records we grew up on.” \nFallon set to work in September\, spending three weeks at Nashville’s Taxidermy Studios backed by a crack outfit featuring Walker\, Molly & The Zombies bassist Catherine Popper (Jack White\, Ryan Adams & The Cardinals\, Willie Nelson)\, and drummer Mark Stepro (Hayes Carll\, Ben Kweller\, Jackson Browne). Freed from any brand\, Fallon felt\nmore comfortable and confident than ever before\, unrestrained and able to fully articulate himself in the studio. \n“I felt like I was doing exactly what I should be doing\, at exactly the moment I should be doing it\,” he says. “There was a very nice feeling\, like\, you’ve been working towards this record your whole career and here you are getting to do it.” \nFallon had spent much of the past decade pushing himself in different directions\, challenging himself as a songwriter by trying on various guises and techniques. This being his solo debut\, he decided to return to his initial path\, cutting through the craft to simply write “couch songs” on his trusty acoustic guitar. \n“I’d been trying different things for the past few years now\,” Fallon says\, “but there’s a path that I started on. I thought\, let me go back to the very basics of where I started writing songs and maybe see if I’ve gotten any better. I know I haven’t mastered the craft but now that I’ve learned a bit\, let me see what I can pull out now.” \nInspiration came\, as it often does\, from Fallon’s lifelong canon\, specifically BORN IN THE USA and FULL MOON FEVER\, milestone rock records unafraid to work as mass appeal pop statements. Classic sounds abound throughout PAINKILLERS\, from the ringing Rickenbackers that drive “Among Other Foolish Things” to the shingled backing vocals that give lift and spirit to each of the album’s dozen songs. “A Wonderful Life” is perhaps Fallon’s greatest anthem thus far\, a righteous slice of 60s-fueled dance party rock ‘n’ roll brought full stop into the new century. \n“It’s got all the bits\,” Fallon says\, “the riff\, the whoa-whoa-whoas\, the chorus\, the whole thing. It’s simple but we just knew right away that that one was something else.” \nOther high spots include “Red Lights” and the intensely orchestrated “Long Drives\,” both originally written and demoed by the country rock-inspired Molly & The Zombies but never properly recorded. Walker helped Fallon retrofit the Molly tunes by “straightening out the beat\,” bringing them in from the front porch and placing them square on the boardwalk where they belong. \n“I didn’t want to make a country record\,” Fallon says. “I’m from New Jersey\, not Nashville. But I thought those songs were too good to throw away.” \nFallon’s garrulous lyricism – as ever\, ribboned with spot on setting\, telling character study\, and cultural references spanning “Famous Blue Raincoat” to DC post-hardcore heroes Rites of Spring – is more than matched here by his musical ambition\, for the first time truly weaving his wide-ranging tastes into a distinctive and dramatic unified whole. Remarkably\, PAINKILLERS was recorded with but one amp\, the very same Tone King Imperial 20th Anniversary Edition Fallon used to record his initial demos. \n“This thing does everything\,” Fallon says. “Sounds like the Byrds when you plug in the 12-string\, it rocks when you plug the Les Paul in\, it does country\, everything. I showed it to Butch and he was like\, alright\, cool\, we’ll use your amp. He plugs into it\, we recorded all the guitars for one song on it\, he goes\, wow\, that amp’s pretty good. Let’s use it tomorrow. And that’s what we did. At the end of the session\, Butch said to me\, I don’t think I turned on another amp this whole time. It was awesome!” \nFallon – with Tone King Imperial in tow – plans to spend much of 2016 on the road\, accompanied by a stellar combo comprised of The Gaslight Anthem guitarist Alex Rosamilia\, The Horrible Crowes’ Ian Perkins\, and the aforementioned Catherine Popper. With PAINKILLERS largely crafted in the studio\, transitioning its songs to the stage offers yet another happy challenge. \n“You just do it when you’re making a record\,” Fallon says. “Then to play it live you kind of have to pull it all apart and put it back together again. So the songs take on a whole new life\, which is the benefit of going to see a band live.” \nThe Gaslight Anthem will return\, avows Fallon\, but for the time being his focus is firmly locked on the present moment. For him\, PAINKILLERS marks neither an end nor even a beginning – where he’s at now is all that matters. \n“Pseudo-philosophically\,” Brian Fallon says\, “you really only have what’s in front of you today. That’s kind of where my head’s at with this. I’m doing this now\, I’ve always wanted to do it\, let’s see where it goes. And that’s kind of it.” \n*** \nAustin Plaine \n[Website] [Facebook] [Twitter] \n*** \nJared Hart \n[Soundcloud] [Twitter]
URL:https://royaleboston.com/event/brian-fallon-the-crowes/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160312T180000
DTEND;TZID=America/New_York:20160312T180000
DTSTAMP:20260411T043145
CREATED:20151124T161338Z
LAST-MODIFIED:20151124T161338Z
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SUMMARY:Rachel Platten [SOLD OUT]
DESCRIPTION:Doors: 6:00pm / Show: 6:30pm \nThis show is SOLD OUT. \nThis event is open to all ages. \n*** \nGrowing up in Boston\, Rachel Platten recalls harmonizing with her family to finely crafted pop songs – from Sam Cooke to The Beatles – that dominated her parents’ vinyl collection. As a teenager\, Rachel gravitated towards\, and began to become affected by\, hip-hop and female singer-songwriters. “My CD collection was Tori Amos and Patti Griffin but then A Tribe Called Quest and Nas.” The commonality between the two seemingly different genres: confessional and vulnerable songwriting.  \nAs a kid\, Rachel dreamt about music as a career but never really thought it could happen in real life. “I grew up playing classical piano and I knew I could sing but I had no model to follow creatively. The idea of growing up to be an artist seemed impossible.” However\, the electricity she felt on stage while studying abroad in college\, performing in front of 80\,000 at the International Soca Monarch Finals in Trinidad\, inspired Rachel to start chasing what she once thought was an impossible dream.  \nAfter finishing college\, Rachel immediately set out for New York City where she took up residence in the very apartment building on MacDougal Street in Greenwich Village where Bob Dylan once lived. Naturally\, she found a band on Craigslist and started performing in clubs around the city. Those years consisted of paying dues through a mix of temping during the day and getting fired a lot\, gigging until 4am\, and lugging an 80-pound keyboard to her fifth floor walk-up night after night. Despite the struggle and the setbacks\, Rachel loved being on stage\, even if at times nobody was listening.  \n“I felt crazy sometimes that I still believed in myself when there were no signs that I should.” During this time\, a conversation with her soon to be manager\, Ben Singer\, helped reignite her passion. “Ben helped me realize that I had to start my own fire and my songs would be the sparks.”  \nRachel would find her first big spark with “Fight Song\,” which took two years for the singer/songwriter to complete. She turned inward by telling her own story through the song. Turns out it was just the message people needed. “The reactions were honest\, and intense. People have been sending me the most beautiful stories of how they refuse to give up\,” she recalls. “Fight Song” is without a doubt the life-changing inspirational song of 2015\, topping iTunes and radio charts\, and selling more than 2 million downloads in the U.S. alone.  \nThe fire that “Fight Song” ignited has connected not only with music fans but also Columbia Records. Now planning her major label debut in early 2016\, Rachel is touring the world\, performing on countless television shows and being played on radio stations coast to coast. Rachel just recently premiered the beautifully uplifting music video for her newest single “Stand By You\,” another emotionally empowering anthem from the songstress. But ask Rachel what she wants people to take away from her music and she says\, “I’m in love with the idea of connecting people. Bringing people together is to me\, the most important thing we can do in this life. I feel like that’s my mission with my music. I think that’s why I’m getting this chance right now.”
URL:https://royaleboston.com/event/rachel-platten/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160313T190000
DTEND;TZID=America/New_York:20160313T190000
DTSTAMP:20260411T043145
CREATED:20160112T140010Z
LAST-MODIFIED:20160112T140010Z
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SUMMARY:Kyle Kinane
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18+. \nThis is a partially seated show and seats are available on a first-come\, first-serve basis.  \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nKyle’s new special “I Liked His Old Stuff Better” debuted on Comedy Central in January\, 2015. He’s appeared on @Midnight\, Conan\, Workaholics\, Those Who Can’t and Comedy Bang! Bang! He can be heard as the voice of Comedy Central and in various animated programs such as\, Regular Show\, Aqua Teen Hunger Force\, Bob’s Burgers\, TripTank\, Adventure Time\, and Lucas Bros. Moving Co.. His first one hour special\, Whiskey Icarus\, aired on Comedy Central in 2012.
URL:https://royaleboston.com/event/kyle-kinane/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160317T200000
DTEND;TZID=America/New_York:20160317T200000
DTSTAMP:20260411T043145
CREATED:20160207T170012Z
LAST-MODIFIED:20160207T170012Z
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SUMMARY:House of Pain Featuring Everlast
DESCRIPTION:Doors: 8:00 pm / Show: 9:00 pm \nThis event is 21+.\nTickets on sale now \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n***\nSt. Patrick’s Day 2016\nHouse of Pain Featuring Everlast \n \n[Facebook] [Twitter] \nOn the heels of their widely heralded reunion show at KROQ’s ‘Epicenter 2010’\, EVERLAST and DANNY BOY have decided to get the band back together in celebration of their 20th anniversary. That’s right\, HOUSE OF PAIN is back\, more focused than ever and extremely excited to kick-off a worldwide reunion tour in 2011. \nIt’s hard to believe that the rowdy Irish Americans got started way back in 1991\, but for the past 20 years the group has maintained a high profile – topping the Billboard charts as a group and with solo efforts. It was a turn of a new decade when HOUSE OF PAIN changed the face of hip-hop with their self-titled debut album\, going multi-platinum and launching one of the most memorable songs in hip-hop history with “Jump Around”. Now it’s the start of another new decade and HOUSE OF PAIN is ready to do it all over again; the group aims to bring their fiery live show to fans all over the world\, reclaim the throne as hip-hop’s best and celebrate what has allowed their successes over the past 20 years – the fans. \n“It’s been 20 years and we are very excited to go out there and do this again\,” comments Everlast. “The catalyst was definitely the KROQ Epicenter show this past summer. We had already been working together on the La Coka Nostra record and did an event with [UFC President] Dana White but it really came down to seeing the crazy response from the crowd in LA when we went into ‘Jump Around’. After that\, we went home thinking about it and now is the time to act on it. Every show is going to be like an anniversary party. It’s going to be crazy.” \nSince HOUSE OF PAIN disbanded back in 1996\, the members have kept their star power and went on to huge successes. EVERLAST has maintained an incredibly successful solo career that includes a triple platinum album\, multiple Top 10 hits (including the #1 smash hit “What It’s Like”) and a Grammy for the song “Put Your Lights On” which was recorded with Carlos Santana. Danny Boy changed focus from music to art and launched an extremely successful art company\, multiple clothing lines and ultimately brought the reunion about by forming the group LA COKA NOSTRA that featured the original lineup from HOUSE OF PAIN alongside rappers Slaine and Ill Bill. \nAfter experiencing all of the solo success\, it becomes obvious that HOUSE OF PAIN isn’t a group reforming to cash in on current musical trends. HOUSE OF PAIN is reforming because of the passion that they have for their music. They are back to celebrate with their fans across the 20 years that have spawned tremendous success and undying anthems of rebellious teenagers everywhere. They are back to show young fans everywhere just how raucous and dirty hip-hop can be – to prove that it doesn’t matter your age\, race\, religion or whether you’re into hip-hop\, rock or metal. HOUSE OF PAIN has crafted a 20-year legacy that speaks to fans from all walks of life. \nSo get out of your seat and “Jump Around.” \n*** \nRite Hook \n \n[Website] [Facebook] [Twitter] \nRite Hook gives the lost souls of the world a gritty\, honest\, and unique voice. The Boston based alternative artist blends his dense\, lyrical raps with bluesy\, sung rock choruses to capture the struggles of those on the fringe with gruff\, raw emotion.\n“When I first heard Rite Hook\, his choruses and voice stuck in my head weeks later\,” says Ned Wellbery of Leedz Edutainment\, a Boston promotional company. “That’s how I knew he was someone special.” \nRite Hook spent nearly a decade bouncing from band to band and genre to genre\, sharpening his writing\, singing\, and rapping. Whether rapping\, crooning\, or shouting in a hardcore band\, his voice was always a trademark feature: rough\, gritty vocals that reflect a rough\, gritty life.\nHe soon found consistent work crafting hooks for Boston rap legend Slaine\, who also brought him along on tour. A solid emcee himself\, Rite Hook went bar for bar with Slaine and Vinnie Paz on “It Ain’t Easy\,” a breakout track off 2013’s From the Wrong.  \nRite Hook grew up in the suburbs of Boston and Worcester\, roaming around the state like a nomad\, before settling in the Hub at 18. No matter what town he found himself in\, he was always part of a generation of blue collar kids who liked to party and cause trouble. That lifestyle followed the artist and his friends from their teen years to adulthood. Fights\, fires\, petty thefts\, and close-knit families that struggled with alcoholism and drugs behind closed doors. As the country grapples with an addiction epidemic\, Rite Hook gives voice to those lost in the struggles of drug abuse\, doubt\, and no place to call home. \nA lost son of Massachusetts himself\, years of hard music and hard living defined Rite Hook’s early career in Boston. In 2012\, he overdosed and died. His heart stopped completely\, and paramedics had to revive him. \nNow a survivor in the truest sense\, he returned to music with a newfound focus\, and churned out the polished album From the Wrong—titled after both the outcasts he grew up with and his fanbase of rock kids with an ear for hard rap styles. The local scene enforced a love of classic rock and the blues\, but as a teen he was also exposed to the raw lyricism of 90’s rap. Never an easy act to pin down\, his art is set to evolve\, driven by dense lyrics\, hard flows\, a rock attitude and a bluesman’s soul. \n“Some people can rap well and sing okay\, others can sing well and rap a bit\, but only a very few can do both extremely well\,” says Wellbery. “Plus\, he looks how he sounds\,” he adds\, commenting on how Rite Hook’s grave vocals match his inked forearms and neck\, blocky build\, and lengthy mane. \nWith more artistic changes to come\, Modify was an easy title choice for his fourth effort—an album that sees the artist inviting others to his story\, sharing his realizations\, struggles\, and triumphs.
URL:https://royaleboston.com/event/house-of-pain/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160320T200000
DTEND;TZID=America/New_York:20160320T200000
DTSTAMP:20260411T043145
CREATED:20160118T180020Z
LAST-MODIFIED:20160118T180020Z
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SUMMARY:Pete Yorn
DESCRIPTION:92.5 The River presents \n“Arrangingtime Tour” \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18+.\nTickets on sale Fri. 1/22 at 10am! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \nIt’s hard to think of anything more starkly reliable than the ticking of a clock\, but time is an untrustworthy thing. It feels like ages since we’ve had a proper Pete Yorn LP to dissect\, though it’s been just five years. And it seems like only yesterday that we first heard musicforthemorningafter\, which came out back in 2001. Yorn’s brand new album and Capitol Records debut\, ArrangingTime\, plays with the elasticity of the years both in between and since — it’s not only a culmination of the Los Angeles by way of New Jersey artist’s adventurous latter-day projects\, but a return to his original leaner methods.  \nFor the first time since 2003’s Day I Forgot\, producer R. Walt Vincent returns to help Yorn execute his most poised and diverse set of songs yet. ArrangingTime runs the gamut from elegiac folk to wasteland blues to upbeat\, synth-kissed rock. Of course\, some things never change. Yorn still plays the observer\, stepping into characters — or his past selves from previous years — routing wistful poems and beatific visions through the weather-beaten voice of a man who’s seen a few things in his time.  \n“I’ll look at pictures of places I went\, or things I did\,” says Yorn\, “and I think\, ‘Look at how great that day was and you just missed it.’ I think about the past and how much of it is a blur. The title of the album is a reminder to be present and within each song is a minor lesson about that. Time only gets faster as you get older.” \nWe blinked and Yorn turned 40\, but he isn’t settling or slowing. If the extra-musical side of his last few years has been about anything\, it is hard work. He’s focused on personal growth\, broken bad habits\, learned to get out of his own way\, and become more lithe to life’s undulations. He got married. He gave the commencement address at alma mater Syracuse University (his speech was about running toward the stuff that makes you uncomfortable in life). And last year\, after completing an acoustic tour without a backing band or a set list\, he welcomed a child into this world.  \n“I was taking my life back\,” says Yorn. “It was back-to-back with the records\, and I toured a lot. There used to be just one way to approach the road in my mind: fucking burn it out. I had to realize\, ‘Maybe I’m addicted to some things\, and a little scared of adulthood.’ I said\, ‘I want to tackle this.’ Now\, discipline feels better than excess.”  \nAs he prepares to release another album\, it’s clear his music has been shored up too. By one measure\, another trick of time\, Yorn’s first three albums span a single day. The so-called “trilogy” — musicforthemorningafter\, Day I Forgot\, and Nightcrawler (2006) — captures the man’s progression from an unknown songwriter unspooling raw magic at the storied Café Largo\, to the sort of dude who can dial up Dave Grohl for a ripping drum solo and trade twanged verses with Natalie Maines. Those all found Yorn solo with a producer\, building songs in the studio (or garage).  \nBut for his last two\, 2009’s Back & Fourth and 2010’s Pete Yorn\, he did the session thing\, stepping into readymade bands under the guidance of Saddle Creek producer Mike Mogis and Pixies genius Frank Black\, respectively. And those were bookended by collaborative projects: 2009’s playful album-length duet with Scarlett Johansson\, Break Up\, and The Olms (2013)\, a sunny\, ’60s-styled retro-pop duo with J.D. King. \n“I went on a run abandoning my first approach\,” says Yorn. “I was molting an old skin in a lot of ways. After that\, it felt natural to come back to just letting it flow with Walt. I have no illusions: You can’t walk through the same river twice. I’m not trying to recreate an album I made in my 20s. I’m revisiting a method. I started off doing watercolors\, then I did sculpting. And now I’m back on watercolors.” \nBut he does bring his experience with him to the looser style of his first producer\, R. Walt Vincent (with work from a couple of others). ArrangingTime opener “Summer Was a Day” drops us into the desert at night — it’s lush with shimmering ambience\, swelling strings\, ringing guitar strum and skittering beats. And while “In Your Head” juxtaposes Springsteen’s heartland chug with Morrissey’s dramatic softness\, a song like “Shopping Mall” is just understated and pretty — spare on instrumentation and generous with emotion. Penultimate track “Tomorrow” is almost a dance cut\, and Yorn’s attempt to buck the singer-songwriter trend of the album-ending slow fade. \nArrangingTime flows like a mixtape with Yorn’s warm voice and perspective as the through-line. These 12 songs are populated by fragmented folks: people waiting for something to happen (the bus-stop sitter in the dreamy “Halifax”)\, or chasing a feeling they once had (the angsty burnout in the raucous “Screaming at the Setting Sun”). But it’s not all so bleak — light seeps through the cracks in “I’m Not the One\,” where our host morphs into a loner coming to terms with his self-imposed isolation.  \n“I’m an observer\,” says Yorn. “I’m into subtleties\, the moments between moments\, but I don’t pretend to know where all the ideas come from. I try to clear myself\, create a melody and let that emotion dictate what comes out. I like my own songs when I haven’t even figured them out yet. I’m into the mysterious part of the process.” \nBut we’re still allowed to guess at the hidden lessons of ArrangingTime. In the case of the characters above\, one’s stuck on the future\, one’s trapped in the past\, and the other’s learning to be present. The ambling “Walking Up” acknowledges outcomes both negative and positive as neutral — the titular act is what’s important: facing the challenge\, eyes open\, in the moment. Because as seemingly treacherous as that tick-tock\, tick-tock can be\, it’s not time that’s changeable. It’s the timekeeper.
URL:https://royaleboston.com/event/pete-yorn/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160321T190000
DTEND;TZID=America/New_York:20160321T190000
DTSTAMP:20260411T043145
CREATED:20160119T170013Z
LAST-MODIFIED:20160119T170013Z
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SUMMARY:Yung Lean
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is all ages.\nTickets on sale Fri. 1/22 at 12pm! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nYung Lean \n \n[SoundCloud] [Facebook] [Twitter] \nSwedish rapper born in 1996. Yung Lean exists in a universe of instant references to the pop culture that surrounds him. Digimon\, Space Jam\, Nintendo64\, Mindcraft\, Transformers\, Super Smash Bros.\, Pokemon\, Windows screensavers… Musically Yung Lean and his Sad Boys crew\, all born in 1995\, 1996\, works in rap’s freeform tradition. A flowing\, asymmetrical and multicoloured creativity where wrong might as well be right. Emotional laser sword melancholia from Stockholm. \nSo far 2014 Yung Lean has been nominated for a place in the XXL Freshmen Class\, several videos has reached over a million views on Youtube and he’s done a sold out european tour. The next project is on it’s way and it’s finally time to meet the fans in the US and Canada. The Black Marble tour visits around 15 cities in 20 days. \n*** \nAdamn Killa \n \n[SoundCloud] [Twitter] \nChicago\, IL
URL:https://royaleboston.com/event/yung-lean/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160327T203000
DTEND;TZID=America/New_York:20160327T203000
DTSTAMP:20260411T043145
CREATED:20160205T171148Z
LAST-MODIFIED:20160205T171148Z
UID:10001633-1459110600-1459110600@royaleboston.com
SUMMARY:Thanos Petrelis
DESCRIPTION:21+
URL:https://royaleboston.com/event/thanos-petrelis/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160329T190000
DTEND;TZID=America/New_York:20160329T190000
DTSTAMP:20260411T043145
CREATED:20160110T060142Z
LAST-MODIFIED:20160110T060142Z
UID:10002122-1459278000-1459278000@royaleboston.com
SUMMARY:Lucius [SOLD OUT]
DESCRIPTION:92.5 The River presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nThis show is SOLD OUT \n*** \n \n*** \nLucius \n \n[Website] [Facebook] [Twitter] \nLucius is a triple-threat of vocal harmonies\, infectious hooks\, and dance-inducing percussion. Pair those traits with the band’s irresistible live show and it’s easy to see why NPR Music calls Lucius “a fabulous band playing such infectious pop songs.” Charismatic co-founders and lead vocalists Jess Wolfe and Holly Laessig sing in unison uniquely delivering songs with stories told from the same perspective. Multi-instrumentalists Andrew Burri\, Peter Lalish\, and Dan Molad round out the quintet. \nMarch 2016 brings the release of Good Grief\, the band’s sophomore effort and the follow-up to 2013’s successful debut Wildewoman. The lead song “Born Again Teen\,” which Rolling Stone calls “ebullient” is available now. \nWolfe and Laessig met in 2005 while attending Berklee College of Music. Since forming\, Lucius has toured extensively\, playing headline shows and major festivals including Bonnaroo\, Austin City Limits\, Lollapalooza and Newport Folk Festival. Additionally they have collaborated with the likes of Jeff Tweedy\, David Byrne and Roger Waters and have toured with The Decemberists\, My Morning Jacket\, Jack White and more. \n*** \nPure Bathing Culture \n \n[Website] [Facebook] [Twitter] \nTo hear Sarah Versprille and Daniel Hindman tell it\, their Portland\, OR-based band Pure Bathing Culture has always evolved naturally and at a steady pace. “That’s really the path we’ve been on as a band\, always putting one foot in front of the other as opportunities presented themselves\,” Versprille said. “The music just revealed itself to us as we kept going.”\nBut for Pure Bathing Culture’s second album\, Pray for Rain\, the band has taken a big leap forward. You can hear it from the opening notes of their anthemic title track: in Hindman’s clean yet serpentine guitar lines interacting with the live rhythm section and Versprille’s lucid vocals cutting through it all as she asks: “Is it pleasure? Is it pain? Did you pray for rain?” Pray for Rain is the sound of the group confidently taking a step up to the next level and finding their footing as a true band.\n“We needed to make a big step and our version of that was to cut the cord from our previous albums\,” Hindman said of the process\, then confesses: “I was nervous all the way through. It was nerve-wracking and almost antagonizing at times.”\nThe roots of Pure Bathing Culture stretch back to 1999\, when Versprille and Hindman befriended one another on the first day of freshman orientation at William Patterson University in Wayne\, New Jersey. A decade later\, they became bandmates when they both joined Vetiver for their Sub-Pop albums Tight Knit and The Errant Charm. It was while playing in Vetiver that Pure Bathing Culture emerged as its own entity.\n“Dan was working on some instrumentals that he would make on a looping pedal\,” Sarah said. “One night he was out and I just listened to this loop and wrote some lyrics to it. He came home and I showed it to him. We laughed at first\, as we didn’t have some grand plan to start a band. It just happened naturally.” That song “Lucky One\,” wound up in the hands of Richard Swift\, who encouraged the duo to keep writing. “Richard pushed us along and became an inspiration\,” Dan said. Swift wound up producing the band’s first EP and dreamy full-length\, 2013’s Moon Tides at his National Freedom studio.\nFrom there\, PBC evolved from simply being the product of Versprille and Hindman writing songs in their own home to hitting the road as a full touring band. “Sarah and I conceptualize music and then write so it’s a pretty fragile state\,” Hindman said. “Playing live was a huge change for us.”\nWhen it came time to write and record their follow-up to Moon Tides\, the duo knew what they didn’t want. “We didn’t gravitate towards someone making indie dream-pop records\,” Dan said. That was when producer John Congleton (St. Vincent\, Swans\, Angel Olsen\, The Walkmen) reached out to the band and invited them to come record with him in his Dallas\, TX studio.\n“John pushed us to not make clichés\, to not play into the style of other bands\,” Dan said. The challenges came right away as Congleton pressed the group into unfamiliar and at times uncomfortable territory in the studio. “He tricked me with the guitars on the album\,” Dan said. “We got the basic tracks down and he asked me to do scratch guitar and then John wouldn’t let me go back and do the guitars again. He refused to do any layering.” \nAs a result\, everything on Pray for Rain is pretty much as Pure Bathing Culture actually sounds\, all analog gear\, with virtually no plug-ins or effects added afterwards\, no hiding behind multiple layers. “There aren’t a lot of tricks; What you hear is naturally what’s there\,” Dan said. \nIt was a taxing yet ultimately rewarding experience when the album was completed. “It was shocking to hear what the finished product was\,” Sarah said. “It was like being in a vortex and then we came out with this record.” She adds with a laugh something John Congleton told her when all was said and done: “You were very brave.” \nSarah summarizes the Pray for Rain experience as one of “stepping into the realm of discovering who we are as a band and as songwriters\,” echoing a theme of the album itself\, the process of change and transition. “You can find the best version of yourself in those hardest moments\,” she said. To which Dan adds: “You have to be backed up against the wall in order to really feel those feelings and respond to them.” Pray for Rain is the sound of Pure Bathing Culture transforming from who they were to who they will be\, of finding their way\, ready to take steps both small and momentous on their musical path.
URL:https://royaleboston.com/event/lucius/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160401T180000
DTEND;TZID=America/New_York:20160401T180000
DTSTAMP:20260411T043145
CREATED:20160110T060133Z
LAST-MODIFIED:20160110T060133Z
UID:10002124-1459533600-1459533600@royaleboston.com
SUMMARY:Parachute
DESCRIPTION:Doors: 6:00 pm / Show: 6:30 pm \nThis event is all ages.\nTickets on sale Fri. 1/15 at noon! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n  \nBack when they were in high school\, Parachute’s Will Anderson (vocals\, guitar)\, Johnny Stubblefield (drums)\, and Christopher “Kit” French (saxophone\, keyboards) spent nearly every afternoon in Anderson’s basement\, dreaming up songs showing a deep affinity for classic pop\, heart-felt rock\, and tuneful blue-eyed soul. Now\, after a decade of touring internationally and turning out smash singles like “She is Love” (#1 at iTunes) and “Can’t Help” (the first single from the band’s 2013 album Overnight\, which debuted at #15 on the Billboard Top 200 chart)\, Parachute are set to deliver a new album that reclaims the spirit that first sparked their love of music. “Making this record felt just like that one hour after school when we were kids\,” says Anderson of Wide Awake\, the band’s fourth full-length album. “It was like we were all 15 again and just starting to discover that excitement of creating songs together.” \nWith a sound that’s impassioned but sunny\, fresh but timelessly organic\, Wide Awake centers on songs both gracefully arranged and brimming with the boundless energy of Parachute’s live show. Newly pared down from a five-piece to a trio\, the Charlottesville\, Virginia-bred band forged that sound in part by shaking off all creative inhibitions. “We felt like we had no limitations to chase this sound that the three of us have wanted to build for so long\,” says Anderson. “It was as if we were woken up from some sort of slumber\, revitalized and rejuvenated with this new awareness of who we are as a band.” Reuniting with John Fields (the producer behind 2011’s The Way It Was and their 2009 debut Losing Sleep)\, Parachute were also guided by the purest of instincts in the studio. “We knew a song was working when we were all dancing and having a blast with it\,” says Anderson. “And if something didn’t feel good\, we just let it go.” \nThough that commitment to intuition is beyond palpable on Wide Awake\, the album was also born from two and a half years of dedicated writing and exploration. “I don’t know if I’ve ever written more for an album\, or worked so much on any specific song.” says Anderson\, who came up with nearly 100 songs during that time. “It was just very important to me that we got each song exactly to where it needed to be.” \nWith every track on Wide Awake\, Parachute matches their sublime melodies with a refined sense of songcraft. Showing a complex sensitivity shaped in part by lifelong love of artists like Paul Simon and Billy Joel\, Anderson also infuses the album with both carefree warmth and emotional depth. The album’s epic opener “Without You\,” for instance\, captures what Anderson calls “the feeling of meeting someone and knowing that it’s going to happen\,” and harnesses that lovestruck feeling with the help of gorgeous gospel harmonies and soulful horns. The gently devastating “Jennie” wraps its cascading rhythms and wistful vocals around a story of broken opportunity and love lost. “Sometimes you catch a glimpse of they way things could be but end up taking a detour\,” Anderson says\, “only to realize you’ve lost your chance and can’t ever get it back.” \nShifting from joy to heartache and back again Wide Awake\, offers everything from the stomping\, fired-up swagger of “Crave” to the sorrowful piano ballad “What Breaks My Heart” to the hushed acoustic reverie of “When You Move.” And in certain moments Parachute brilliantly embodies both bright and dark\, such as on the swinging and summery anthem “Lonely with Me” (as in: “Baby if you’re gonna be lonely/Be lonely with me”) and on the moody but pop-infused “Love Me Anyway\,” an ode to “knowing you’re inevitably going to mess up\, but having somebody who’s willing to forgive you and move on\,” according to Anderson. \nIn bringing Wide Awake to life\, Parachute made a point of “dialing back our thought process and just doing whatever we could to best serve the songs\,” as Anderson explains. To fulfill that ambition\, the trio returned to the same sense of wonder they felt upon launching their first musical project back in 2002. Starting out while they were still in high school\, the band quickly began landing gigs locally and soon gained a following at the nearby University of Virginia. As their inaugural release under the name Parachute\, Losing Sleep debuted at #2 on the Billboard Digital Albums Chart and climbed to #40 on the Billboard Top 200 chart. Over the next few years\, along with releasing The Way It Was and Overnight (which shot to the #3 spot on iTunes)\, Parachute toured with such artists as Kelly Clarkson and Gavin DeGraw\, in addition to three sold out\nheadlining tours. “One of the biggest highlights over the years is definitely playing all these venues that we dreamed about growing up\,” says Anderson. “Anytime we play a show like that\, it’s just mind-blowing for us.” \nWhile Parachute’s indelibly melodic sound packs more than enough power to electrify an arena- filled crowd\, each song on Wide Awake comes from much more intimate origins. “Most of my writing process for this album was very solitary.” says Anderson. “I’ve written with other people in the past\, but it was fun to go back to the way I used to write when I was a teenager.” And when combined with Parachute’s renewed passion as a band\, that approach ultimately allowed for an honesty and heartfeltness that makes Wide Awake their most thrilling authentic album yet.
URL:https://royaleboston.com/event/parachute/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160402T180000
DTEND;TZID=America/New_York:20160402T180000
DTSTAMP:20260411T043145
CREATED:20160124T100946Z
LAST-MODIFIED:20160124T100946Z
UID:10002174-1459620000-1459620000@royaleboston.com
SUMMARY:Pokey LaFarge
DESCRIPTION:6:00 pm / Show: 7:00 pm \nThis event is 18+.\nTickets on sale Fri. 1/29 at 12pm! \n \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nPokey LaFarge\n \n[Website] – [Facebook] – [Twitter] \n“It really feels like I’m taking a big step forward on this one\,” Pokey LaFarge says of Something in the Water\, his seventh album and his Rounder debut. “While we were recording it\, I kept thinking\, ‘Hey\, we’re really onto something here.’” \nIndeed\, the dozen-song set marks a new landmark in a career that’s already filled with musical highlights. The St. Louis-based singer\, songwriter\, and multi-instrumentalist draws from a deep well of American musical traditions to create distinctively personal music that’s timeless rather than retro\, transcending the confines of genre in a manner that reflects the artist’s openhearted attitude. \nIncorporating elements of early jazz\, ragtime\, country blues\, Western swing\, and beyond\, LaFarge has created a vibrant\, deeply expressive body of work that embodies an expansive musical vision and vivid storytelling sensibility that are wholly his own. He’s also earned a reputation as a tireless\, uniquely charismatic live performer\, winning a loyal international fan base that regularly packs his rousing\, celebratory live shows. \nSince he began recording in 2006\, Pokey has maintained an indefatigable work ethic that’s yielded a wealth of compelling music. After making a grass-roots splash with his self-released debut album Marmalade and moonlighting as mandolinist with the Hackensaw Boys\, he continued to gain notoriety with his widely acclaimed longplayers Beat\, Move\, and Shake\, Riverboat Soul and Middle of Everywhere—the latter two were both named Best Americana Album by the Independent Music Awards—and the concert set Live In Holland. \nLongstanding admirer Jack White added LaFarge to the roster of White’s Third Man label for the 2011 EP Chittlin’ Cookin’ Time in Cheatham County (which White produced) and the 2013 album Pokey LaFarge\, as well as enlisting Pokey as opening act on the North American tour in support of White’s Blunderbuss album. Also in 2013\, Pokey was featured on the soundtrack of HBO’s Boardwalk Empire\, performing the jazz standard “Lovesick Blues” with Vince Giordano’s Nighthawks. 2014 was LaFarge’s busiest year yet\, with the hard-working artist performing on five continents\, including tours in India\, Australia and New Zealand as well as extensive roadwork in the United States\, Canada\, UK\, Ireland\, and The Netherlands. \nSomething in the Water finds the artist doubling down on his established creative strengths\, expanding and deepening his musical reach on such new originals as the wry\, rollicking title track\, the swaggering ragtime workout “Wanna Be Your Man\,” the infectiously jazzy “Underground\,” the evocative instrumental “Cairo\, Illinois\,” the exotic ballad “Barcelona” and the swinging album-closer “Knocking the Dust off the Rust Belt Tonight\,” whose witty lyrics underline the album’s proudly Midwestern sensibility. Also featured are fresh\, buoyant takes on popular blues standards “When Did You Leave Heaven” and “All Night Long.” \n“The Midwest is at the heart of this record\,” LaFarge asserts. “The people playing on these songs are from Wisconsin and Illinois and Chicago and St. Louis\, and there’s a certain attitude that comes across in the songs and the way that they’re performed. I’m born and raised in the Midwest\, and my family’s been here for generations. This is where I’m from and how I think\, and that’s reflected in the music I make. \n“Americans love to reinvent themselves\, but you can never really get away from the place that you come from\,” he continues. “And in a globalized world\, I think that there are some parts of our regional identity that we should hang onto and cherish. I do buy into that old idea of the Midwestern work ethic\, and it’s definitely something that’s been passed down through my family and something that I feel connected to\, and it influences the way I approach making music.” \nLaFarge teamed with kindred-spirit producer Jimmy Sutton to record Something in the Water at Chicago’s Hi-Style Studio. For the occasion\, he recruited a diverse cast of talented players\, including his own longstanding touring combo as well as members of such notable outfits as NRBQ\, the Fat Babies\, the Modern Sounds\, and the Western Elstons. He designed the sessions’ communal recording approach to push himself creatively\, while bringing several new musical elements—including the more prominent use of drums and vocal harmonies—to the table. \n“I knew that I really had to challenge myself on this one\, and to create a slightly different take on my music\,” LaFarge notes. “The Third Man album put me on the map for a lot of people\, so I was conscious that I wanted to take things to the next level. One thing that I really wanted to do this time was to emphasize the groove\, and I was also thinking a lot about space and about juxtaposition. The ability to work with some different people took me out of my comfort zone\, and Jimmy really challenged me and pushed me into some new places. And as I felt the spirit and the camaraderie that we all had in the studio\, the whole thing took on a life of its own.” \nThe resulting album is the most powerful showcase to date for Pokey LaFarge’s peerless gifts as a songwriter\, performer and entertainer. \n“You try to make something that’s cool\, something that’s sexy\,” he observes. “But when you come down to it\, you can really only make music for yourself\, and I feel like this album is the first time that I was really able to do that. I’m 31 and I’ve been doing this for awhile\, but I feel like I’m only starting to make the music that I’ve always wanted to make. I used to put a lot of pressure on myself when I was younger\, because guys like Hank Williams and Bob Dylan and Otis Redding made so much great music when they were in their 20s. But now I feel like I no longer have that pressure\, so I can just be myself.” \n*** \nThe Cactus Blossoms \n \n[Website] – [Facebook] – [Twitter] \nBrothers Jack Torrey and Page Burkum grew up in northeast Minneapolis and have been blending their voices as The Cactus Blossoms since 2010. Their hypnotic harmonies and unforgettable songs have made them favorites in the Minneapolis–Saint Paul music scene. Their latest album\, Live at the Turf Club\, blurs the line between old and new as they sneak a few originals into their repertoire of early country and Western swing. \n“The brother duet that America is waiting for”\nGarrison Keillor \n“An absolute gem – a completely stunning debut album”\nBob Harris\, BBC Radio 2 \n“The Cactus Blossoms have quickly turned into the Twin Cities’ most beloved new traditional-country act”\nChris Riemenschneider\, Minneapolis Star Tribune \n“It’s true and traditional country\, folks”\nCraig Shelburne\, Country Music Television
URL:https://royaleboston.com/event/pokey-lafarge/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160408T183000
DTEND;TZID=America/New_York:20160408T183000
DTSTAMP:20260411T043145
CREATED:20160108T201929Z
LAST-MODIFIED:20160108T201929Z
UID:10001625-1460140200-1460140200@royaleboston.com
SUMMARY:DDT
DESCRIPTION:DDT returns to Boston with it’s new show “Prozrachnii” and Greatest Hits.\nDDT is one of the most prolific Russian rock band founded by its lead singer Yuri Shevchuk. \n21+\nManagement reserves the right to refuse admission. \nDoors: 6:30\nShow starts: 7:00
URL:https://royaleboston.com/event/ddt/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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ORGANIZER;CN="PartytimeBoston":MAILTO:info@partytimeboston.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160412T183000
DTEND;TZID=America/New_York:20160412T183000
DTSTAMP:20260411T043145
CREATED:20160115T170047Z
LAST-MODIFIED:20160115T170047Z
UID:10002158-1460485800-1460485800@royaleboston.com
SUMMARY:Magic Man / The Griswolds
DESCRIPTION:Radio 92.9 presents \nDoors: 6:30 pm / Show: 7:30 pm \nThis event is all ages.\nTickets on sale Fri. 1/22 at 12pm! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nMagic Man \ncjmoyphoto.com \n[Website] [Facebook] [Twitter] \n*** \nThe Griswolds\n\n[Website] [Facebook] [Twitter] \n*** \nPanama Wedding\n\n[Website] [Facebook] [Twitter]
URL:https://royaleboston.com/event/magic-man-the-griswolds/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160414T183000
DTEND;TZID=America/New_York:20160414T183000
DTSTAMP:20260411T043145
CREATED:20151116T181050Z
LAST-MODIFIED:20151116T181050Z
UID:10002016-1460658600-1460658600@royaleboston.com
SUMMARY:The Decibel Magazine Tour 2016
DESCRIPTION:Doors: 6:30 pm / Show: 7:25 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nAbbath\, High on Fire\, Skeletonwitch and Tribulation spearhead metal mag’s ferocious new tour this March. \nOver the last four years\, Decibel Magazine has redefined what a metal tour can accomplish. Creative and ambitious curation has unified artists from far reaches of the extreme universe who would never have the opportunity to tour North America together. The 2016 Decibel Magazine Tour continues that proud tradition\, as Norwegian black metal legend Abbath takes his new band of the same name to war with Bay Area metallic institution High on Fire\, Ohio thrash powerhouse Skeletonwitch and Swedish progressive black/death prodigies Tribulation (with regional openers in select markets to be announced soon). \nThe Decibel Magazine Tour has an impressive history of bringing extreme metal’s most notorious global icons to the stage\, boasting headliners such as Behemoth\, Cannibal Corpse\, Carcass and At the Gates. This year\, Abbath (former frontman of Norwegian black metal legends Immortal) will join that storied legacy to perform songs from not only Immortal’s fabled back catalogue\, but brand new music from January’s self-titled debut as the band Abbath\, on Season of Mist. It will be Abbath the band’s first tour on North American soil. Presented by Randall Amplifiers\, ESP Guitars\, IndieMerchstore.com\, Season of Mist\, eOne\, Century Media and Prosthetic\, the 2016 Decibel Magazine Tour will treat North American audiences to 23 grim and frostbitten dates\, boasting a rich array of metal’s most riotous voices. \nOf 2016’s four mainstage artists\, the two that released new albums in 2015 placed high in Decibel’s notorious Top 40 Albums of the Year list: High on Fire\, with seventh full-length Luminiferous\, and Tribulation\, with third effort The Children of the Night. High on Fire have already been honored with a dB cover and an authoritative Hall of Fame feature on 2002 album Surrounded by Thieves. Skeletonwitch have likewise graced dB’s cover\, and their most recent album\, 2013’s Serpents Unleashed\, also cracked our Top 40. Their original track “Tragedy of Days” was one of the first installments in Decibel’s renowned Flexi Series\, also celebrating its fifth birthday. And Tribulation will soon join them\, recording a track that will appear in the Flexi Series next year. \nWhile there’s plenty of time to stir up your corpsepaint for the 2016 Decibel Magazine Tour\, here’s your chance to score a great deal and avoid standing in line. There will be a number of VIP premium packages available in each market\, providing you with a limited edition T-shirt\, 18 x 24 tour poster\, “Skip the Line” pass\, exclusive digital tour issue of Decibel Magazine and a coupon for 15% off a purchase on Indie Merch’s webstore. The price of this package is less than you would spend on a ticket and a tour shirt at the show! More details\, including ticket info\, are available at www.decibelmagazinetour.com
URL:https://royaleboston.com/event/the-decibel-magazine-tour-2016/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160415T183000
DTEND;TZID=America/New_York:20160415T183000
DTSTAMP:20260411T043145
CREATED:20151220T042923Z
LAST-MODIFIED:20151220T042923Z
UID:10002126-1460745000-1460745000@royaleboston.com
SUMMARY:SPLEAN
DESCRIPTION:There is hardly a Russian in the world that hasn’t heard of the legendary rock band SPLEAN and its leader Alexandr Vasilyev.  \nFor the first time in over 10 years\, the band will be hitting the road for a North American tour in spring of 2016. The SPLEAN will be playing only one show per city\, performing all time favorites. The tour will kick off on April 15th in Boston\, MA and wrap on April 24th in Seattle\, WA. For a complete list of dates\, more details and ticketing information\, visit the US Tour 2016 official website: SPLEAN2016.COM
URL:https://royaleboston.com/event/splean/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2015/12/Boston_600х900_new.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:20160416T180000
DTEND;TZID=America/New_York:20160416T180000
DTSTAMP:20260411T043145
CREATED:20160118T170019Z
LAST-MODIFIED:20160118T170019Z
UID:10002157-1460829600-1460829600@royaleboston.com
SUMMARY:Lissie
DESCRIPTION:Doors: 6:00 pm / Show: 7:00 pm \nThis event is 18+.\nTickets on sale Fri. 1/22 at 12pm! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n‘My Wild West begins’ with an overture\, by definition an “introduction to something more substantial.” In this case it is Lissie’s third studio album and her most personal one to date\, a fitting tribute to Lissie’s life in California\, from her arrival as a fresh-faced singer-songwriter till now\, leaving for the Midwest wiser and more self-assured. Bookended by the songs “Hollywood” and “Ojai\,” it brings out the two extremes of the past decade — the dashed hopes and heartbreak of the former and the “stability\, joy and peace” of the latter. ‘My Wild West’ represents both a new beginning and a return to Lissie’s Midwestern roots. \n‘My Wild West’ was recorded with producer Curt Schneider in his Studio City home — he oversaw the project as a whole\, produced 8 tracks on the record and pulled together the additional material from Lissie’s time recording with her band in Ojai and with Bill Reynolds in Nashville. As the album unfolds\, we see a more confident Lissie\, self-assured and coming into her own power. “I want my 40 acres in the sun\,” sings Lissie on “Hero\,” written before she had made the decision to leave California. It details Lissie’s life on the West Coast and the empowerment she felt that she could leave and demand a new adventure from life: “I could have been a hero\, I could have been a zero\, I could have been all of these things.”  \nAfter being signed by Sony U.K.\, Lissie’s two previous albums\, 2010’s ‘Catching a Tiger’ and 2013’s ‘Back to Forever\,’ came out on Columbia in England and prestigious indie Fat Possum in the U.S.\, both scoring in the Top 20 of the U.K. charts and Top 5 in Norway\, the former going gold in both countries. Stateside\, the two releases hit the Top 5 in Billboard’s Heatseekers chart\, peaked at #5 and #11\, respectively\, on the U.S. Folk tally and went Top 40 on the Indie chart.  \n“There was always a bit of commercial compromise\, like pressure to make the charts and sell units\,” she recalls of her experience on a major label. “I just wanted to be able to move people with this gift I’ve been given… my voice.”  \nWhat emerged was a cohesive\, conceptual\, musical whole\, which belied the rather unorthodox manner in which it was created. “The songs turned out to be more personal because I wasn’t adhering to a strict set schedule\,” she realized. “In writing ‘Hero’ and ‘Wild West\,’ I had no idea at the time I was going to leave California and move back to the Midwest. I feel like their very creation was predictive of the changes that were coming. The moment I decided not to make an album was when I really started to make the album. That took all the pressure off!”  \nLissie’s tales of triumph and self-propelled adventure were inspired by strong females close and far from home: “Sun Keeps Risin'” was inspired by an aunt of Lissie’s who passed away from ALS\, while “Daughters” is a pro-feminist call-to-arms that took its cue from Liberian peace activist and Nobel Prize winner Leymah Gbowee\, subject of the documentary “Pray the Devil Back to Hell.” The funereal\, dirge-like “Shroud” and the upbeat “Go for a Walk” shed light on the yin-and-yang nature of Lissie’s personality\, the first a meditation on depression and isolation\, the latter a heartfelt affirmation of nature’s power of renewal. “Stay” and “Together or Apart” detail the pain and pleasure of relationships\, while “Don’t You Give Up On Me” is a spiritualized self-pep talk\, urging those around her to hang in there while she figures life out: “Don’t you give up on me/As I dive into the dark/And slip into the endless sea.” There’s also the line “I left you on the coast for something only I can see” and that’s just it\, Lissie has a personal vision and it may be hard for others to understand at times but she has to follow it.  \nHaving recently purchased a farm on 10.7 acres in a small Iowa town\, Lissie now boasts her own personal “Field of Dreams\,” just across the Mississippi River from Rock Island\, Illinois\, where Elisabeth Maurus grew up in possession of a strong rebellious streak surrounded by the memory of steamboats and railroads of past. Concentrating on converting the barn into a recording studio\, getting used to her new pick-up truck and setting up beehives\, Lissie is visibly content in her new life\, eager to take on each new adventure and challenge that presents itself.  \nWith a career that has seen her open for renowned artist Lenny Kravitz (an early supporter)\, Tom Petty and even been asked to perform at Ashton Kutcher and Demi Moore’s wedding\, Lissie has had a wealth of incredible experiences that have made her the confident and determined artist she is today. “I have a loyal\, passionate fan base that every day is growing through its own power\, not just an aggressive marketing campaign\,” she says. “I want to be an artist with longevity\, which is an exciting prospect for me. I feel I’m in a really good place. In fact\, I’m already planning a follow-up album\, ‘My Mild Midwest\,'” she says with a laugh.  \n‘My Wild West’ will be released on February 12th\, 2016\, via Thirty Tigers in North America and Cooking Vinyl elsewhere.
URL:https://royaleboston.com/event/lissie/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160419T190000
DTEND;TZID=America/New_York:20160419T190000
DTSTAMP:20260411T043145
CREATED:20160215T060332Z
LAST-MODIFIED:20160215T060332Z
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SUMMARY:Peter Murphy "Stripped"
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale now! \nA rare opportunity to see Peter Murphy in an intimate setting performing acoustic versions of his music from throughout his illustrious career. \n*** \nPeter Murphy \n \n[Website] [Facebook] [Twitter] \nIn his four decades of service in the post-punk culture wars\, PETER MURPHY has confounded fans\, critics\, even himself. As the mainman of the acclaimed outfit Bauhaus\, he helped usher in ground breaking opaque moods and atmospheres into the post-punk landscape. When the band broke up for the first time in 1983\, the singer set off on a solo career that found him challenging his audiences in numerous ways. When the music press tried to tag him as “the new David Bowie\,” he’d close his shows with a vamping of the Thin White Duke’s disco classic “Stay\,” only to switch into a cover of Bauhaus’ funky punch-up “Kick In The Eye\,” followed by a cover of Pere Ubu’s “Final Solution\,” which ended with a burly roadie physically picking up the singer and putting him in an airplane spin. When fans and critics tried to paint him exclusively as “the King of the Goths\,” his response was to encore with Prince’s venerable “Purple Rain.” When the singer began to explore more melodic concerns to distance himself from the gothic-rock culture he helped create\, he accessed both new audiences and successful records. \n“People remember those things\,” the singer says\, laughing at memories of his onstage audacity. “They don’t remember some digital file they downloaded from the Internet that gets lost among the other 3\,000 ones they already have.” \nIt’s doubtful Peter Murphy will be assigned a similar fate. He’s aligned himself with Nettwerk Records to release NINTH\, his first solo album in seven years and the first since the permanent dissolution of Bauhaus in 2009. Produced by David Baron\, Ninth is a culmination of where the singer has been and where he is now\, all imbued with a confidence that has been Murphy’s stock in trade. While countless\n\nperformers and industry types bemoan the demeaning of music in current download culture\, Murphy’s only concern is continuing to connect with his audience with unparalleled honesty. \n“I think younger audiences are just as aware that they don’t have any identity in the music they follow\,” he says\, commenting from a place of aesthetic analysis than any kind of bitterness. “Once they start listening to older music or music that isn’t generically issued\, they start to hold onto things more. That’s why it’s more important for people like myself to connect with an audience. I’m not talking about Facebook—I’m talking about a live show. People can really start to form a congealed idea in their relationship with an artist. That kind of connection is missing in the digital world: You experience things more in a tangible realm than in a virtual existence. I don’t deny or get anxious about being labeled; I can’t really describe what I do\, but it does have an outside effect on an audience. But I mustn’t get stuck holding onto that\, because you mustn’t rest on your laurels.” \nMurphy is hardly the poster child for artistic inertia. His 2004 solo album\, Unshattered\, was doomed not by any artistic shortcomings\, but by the Artful label closing its doorsjust as the record was coming out. The following year\, he once again teamed up with his colleagues in Bauhaus for a co-headlining tour with Nine Inch Nails\, when it was decided that they would reconvene in a recording studio to create new music. After a tumultuous 18 days in an Ojai\, California studio in 2006\, the band came out with Go Away White\, a record displaying both the personal chemistry\, as well as the incendiary aspects of the group dynamic. \n“It was typically Bauhaus\,” says Murphy\, who actively embraced the high tensions within the band. “The tension [on that album] is palpable\, isn’t it? I loved it. People hearabout that record retrospectively. Danny [Ash\, Bauhaus guitarist] would say\, ‘We couldn’t stand to be in the same room together.’ But that’s not my experience. I was always the biggest advocate for that band. We were warming up when it ended. I was still raring to go to complete that album. I was putting my solo career on hold to advocate for Bauhaus. We split up\, I reworked my life—I’m Peter Murphy in or out of Bauhaus\, so it’s not too difficult. I’ve got a band of my own\, but I didn’t have an idea where it’s going to go.” \nUnbeknownst to him\, Murphy’s career arc would take a different turn. In 2005\, he met singer/songwriter Sarah Fimm\, the support act for his tour that year. He did some recording with the electronics-based artist in upstate New York\, with the sessions being helmed by producer David Baron. In Baron\, Murphy found not only a kindred spirit\, but also a person with great jurisprudence with regards to modern technology and how it should be considered within an artist’s work. “I call David an errant genius\,” Murphy says about his collaborator. “He’s like my brother: very perceptive\, very musical. So musical you can’t quantify it. He allowed the music and the ideas to speak for themselves.” Considering the breadth of his career\, conventional wisdom would question why Murphy would need a producer to see his vision through in the first place. But the singer is in service to his songs—not his ego. “I don’t want to be hands- on\,” he says. “It’s distracting for me. I’m hands-on in terms of exchanges\, discussions and various takes. David is superior in that he is super-musical and totally respects the artist. He doesn’t fall for overproduction. He is only concerned with the songs’ needs.” \nProbably the most apparent characteristic of Ninth is the level of intimacy Baron and engineer John Siket captured. The proceedings carry the feeling of a tight\, seasoned band—in this case\, guitarists Mark Gemini Thwaite and John Andrews\, bassist Jeff Schartoff and drummer Nick Lucero—facing each other in a small studio\, playing together. There’s a sophisticated energy and psychic urgency to tracks like “Seesaw Sway\,” “Slowdown” and “Memory Go.” Equally exciting are moments like “Velocity Bird\,” where Murphy gets his swagger on in the same wild kingdom where Iggy Pop’s “streetwalking cheetah” prowled; the rocking “Peace To Each\,” where the singer ramps up his sinister quotient a few notches; the slow grooving head-nodder “Uneven & Brittle\,” and the brooding\, atmospheric noir of “Secret Silk Society.” On the convex\, Ninth also features moments of warm poignancy\, like the lover-comforting “Never Fall Out” and the melancholy closing track\, “Crème de la Crème.” \nBut it’s the album’s first single\, “I Spit Roses\,” that reconciles Murphy’s melodic sophistication with his resignation toward the fate of Bauhaus. Teeming with nautical metaphors of a ship’s crew (i.e.\, the other three members of Bauhaus) and a dip into Lewis Carroll territory (“Shick-shack\, left you in shock/shed poison with a lover’s lock”)\, the song was inspired after Murphy spent a long day in the studio during the making of Go Away White. As the other members were working on an arrangement\, Murphy went home\, having put in a full session. He suspected that his decision would cause more schism when he returned to the studio the next day. “When I went in the next day\, I knew there was going to be some kind of confrontation about my leaving the previous night\,” Murphy recalls. “I was sitting near a rose garden\, talking on the phone to a friend of mine about the situation. She told me not to worry\, to take a rose there as a friendly gesture. Instead\, I took three or four and put them in my mouth. \n“As I walked in\, David [J]\, Kevin [Haskins] and Danny were in conference about the band\,” he continues. “I thought\, ‘Oh dear\, here we go…’ The moment anyone speaks to me\, my response is to spit roses in their face—and that’s what happened. Daniel said\, ‘Peter we need to talk about…’ Pwah! ‘That’s my answer.’ It caused them to think\, ‘Look at him\, he’s crazy!’ And I responded\, ‘Look\, it’s roses\, don’t you get it? C’mon\, let’s just work.'” \nDealing with short-fused tempers (and botanical snacks) are part of his artist mythology\, but it cannot be denied that much of Murphy’s artistic visions have been original and seminal. Fortunately\, he’s not interested in trading on his significant accomplishments. While Ninth marks another chapter in his artistic (and thereby personal) evolution\, the album exists on a plane of its own. Ninth isn’t a “reinvention\,” “return to form\,” or any of the buzzword nomenclature used to herald an album’s release date. For three decades\, Peter Murphy introduced new ways of thinking in the rubric of rock music. He’ll be the first to tell you the work is its own reward and that it’s acceptable if the world at large still hasn’t caught up with him. Well\, maybe… \n“Although people tell me I’m famous\, I don’t feel like it\,” he resigns. “Right now\, it’s quite nice: I feel like I’m 24 with this record and I think a lot of people are going to get to know my music. I have a very hardcore audience who’ve been with me for a long time\, but I do have a great urge to broaden it.” \nHe stops to laugh. “I’d like to play theaters; I’m more able to be lowered from the rafters on a chain than in a club!”
URL:https://royaleboston.com/event/peter-murphy-stripped/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160421T183000
DTEND;TZID=America/New_York:20160421T183000
DTSTAMP:20260411T043145
CREATED:20160112T215112Z
LAST-MODIFIED:20160112T215112Z
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SUMMARY:Into It. Over It. / The World Is A Beautiful Place And I Am No Longer Afraid To Die
DESCRIPTION:Doors: 6:30 pm / Show: 7:00 pm \nThis event is all ages.\nTickets on sale Fri. 1/15 at 10AM! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only.
URL:https://royaleboston.com/event/into-it-over-it-the-world-is-a-beautiful-place-and-i-am-no-longer-afraid-to-die/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VCALENDAR