BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Royale Boston - ECPv6.15.20//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://royaleboston.com
X-WR-CALDESC:Events for Royale Boston
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20150308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20151101T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20160313T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20161106T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20170312T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20171105T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160401T180000
DTEND;TZID=America/New_York:20160401T180000
DTSTAMP:20260417T160504
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
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/01/PARACHUTE-admat-WIDEAWAKETOUR-20161-localized2.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160402T180000
DTEND;TZID=America/New_York:20160402T180000
DTSTAMP:20260417T160504
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
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/01/pokeyDEC_927_1.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160408T183000
DTEND;TZID=America/New_York:20160408T183000
DTSTAMP:20260417T160504
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
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/01/4.08-DDT.jpg
ORGANIZER;CN="PartytimeBoston":MAILTO:info@partytimeboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160412T183000
DTEND;TZID=America/New_York:20160412T183000
DTSTAMP:20260417T160504
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
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/01/MM-HOTLINE-SPRING-BOSTON-NOW.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160414T183000
DTEND;TZID=America/New_York:20160414T183000
DTSTAMP:20260417T160504
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
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2015/11/decibel-dB_tour2016_admat_NOdates-localized.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160415T183000
DTEND;TZID=America/New_York:20160415T183000
DTSTAMP:20260417T160504
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:20260417T160504
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
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/01/lissie-admat.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160419T190000
DTEND;TZID=America/New_York:20160419T190000
DTSTAMP:20260417T160504
CREATED:20160215T060332Z
LAST-MODIFIED:20160215T060332Z
UID:10001637-1461092400-1461092400@royaleboston.com
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
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/02/12747262_943427572389809_2978474597867611277_o-copy.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160421T183000
DTEND;TZID=America/New_York:20160421T183000
DTSTAMP:20260417T160504
CREATED:20160112T215112Z
LAST-MODIFIED:20160112T215112Z
UID:10002155-1461263400-1461263400@royaleboston.com
SUMMARY:Into It. Over It. / The World Is A Beautiful Place And I Am No Longer Afraid To Die
DESCRIPTION:Doors: 6:30 pm / Show: 7:00 pm \nThis event is all ages.\nTickets on sale Fri. 1/15 at 10AM! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only.
URL:https://royaleboston.com/event/into-it-over-it-the-world-is-a-beautiful-place-and-i-am-no-longer-afraid-to-die/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/01/into-it-over-it-admat-localized-IIOI_TWBP_Admat_FLAT.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160424T190000
DTEND;TZID=America/New_York:20160424T190000
DTSTAMP:20260417T160504
CREATED:20160111T180038Z
LAST-MODIFIED:20160111T180038Z
UID:10001627-1461524400-1461524400@royaleboston.com
SUMMARY:Behemoth
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nBLASFEMIA AMERIKA 2016 \nThis event is 18 and over.\nTickets on sale Fri. 1/15 at noon! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n“The Satanist is magic. It’s dangerous. It’s adventurous\, and it’s organic\,” states Nergal\, the driving force behind Behemoth since their inception in 1991\, and brief exposure to the band’s tenth album more than supports this statement. While instantly recognizable as the work of the Polish blackened death quartet it takes their sound in previously unimagined and riveting directions. A writhing\, densely layered\, brutally violent and sinister record\, it is quite unlike anything ever unleashed within the canon of heavy music. As such it demands attention\, offering ever greater sonic and emotional depths with every listen. “You may hear the title and think it’s very primitive and one-dimensional\, and yes it is\, but when you look beyond that it’s as primitive as it is complex and multidimensional\, and that applies to everything about the record.” \nIt has been a rocky road leading to the realization of the album. Having dropped 2009’s Evangelion to almost universal critical acclaim they saw it top the chart in their native country and dramatically expand their following around the world\, and playing some of the best shows of their lives the band seemed truly unstoppable. But\, in August 2010 Nergal was diagnosed with leukemia\, stopping them in their tracks. Forced to abandon their ongoing tour in support of Evangelion Nergal was hospitalized\, and both he and Behemoth faced an uncertain future. With the search for a bone marrow donor ultimately successful Nergal underwent a transplant\, leaving the hospital after six months and beginning down the long road to rehabilitation. “I knew I was pretty much fucked and there was a battle to be won\, and I had no fucking idea if it was going to take six months or twelve months or maybe four years\, because with cancer you never know. I learned from being in the hospital that there are things in life that you can control and things that you can’t control. The sooner you realize which is which it’s going to make your life so much easier\, and since then I started to focus on the right things. I could be determined\, I could have discipline\, I could have faith\, but everything else is not under my control\, and it really was a case of just crossing fingers for the best possible outcome. I was fortunate enough that that recovery period was relatively fast\, and that I was really strong and very determined to get back into shape made a real difference.” \nRather than immediately getting down to working on a new album\, the band – also comprised of drummer Inferno\, bassist Orion\, and guitarist Seth – set out to complete the abandoned touring cycle for Evangelion\, hitting the road for the aptly titled Phoenix Rising Tour. Wanting to prove they were stronger than ever the first show was the only time doubts crept into Nergal’s mind. “I was a fucking wreck\, and I almost didn’t make it to the end of the set. The venue was really smoky\, and that was stuffing my nose and my lungs\, and physically I felt that I couldn’t pull it off. I did\, but I was close to passing out on stage. I was literally shocked by this\, I remember thinking while we were playing shit\, what if I can’t do this anymore? I’m just a human being after all. Going into the next show I had no sleep because of all the nerves and anxiety\, but it was fucking amazing. With every following show I would get stronger and stronger and grow more confident\, and aware of the fact that yes\, we will do this.” \nHaving returned to full force the band were ready to once more move forward\, and they began work on what would become The Satanist. While many bands might be concerned with how to follow up a record as devastatingly powerful – and successful – as Evangelion Nergal faced no such doubts. “I don’t race myself\, and I don’t need to prove anything to anyone. Evangelion was a very important record to us\, and yes\, it was very successful too\, but in making The Satanist it wasn’t a point of beating that. The point was to do what was organic\, and make a natural and honest and sincere album\, and that’s it. Now the record is finished I like to think of it as an album that is just so different that you can’t really compare it to our previous works\, which is the best outcome I could hope for.” One thing is inarguable\, and that is the record is the most sonically rich and complex released under the Behemoth name. With layer upon layer of sound it has great sonic density\, but there is intricacy to this\, and nothing is forced or contrived. “I don’t have a kid but I think the process of raising one is comparable: you invest a lot of your energy and effort and wisdom and money and you educate them\, but there’s never a one hundred percent guarantee he’s going to become a lawyer and not a serial killer. It’s the same story with the records – we supply the elements but we just don’t know how these elements mixed together are going to come out\, and I think it’s fortunate that we don’t have one hundred percent control over it! It makes for something special.” \nThe title of the record itself is undeniable in its power\, and Nergal sees it as capturing the primal wisdom that the band have always tried to maintain. “To me it’s not pretentious at all. It’s very straight up\, very sincere\, and a devastating\, conquering statement. There’s no compromise or bullshit or gimmicks. What I love about it is that it just speaks for itself. On one hand it’s a very black and white title: The Satanist is like a fucking nail through the hand of Jesus Christ\, period. No more\, no less. But then again\, as with everything else you put a hundred people together and ask them what the name The Satanist means to them and you’re going to hear a hundred different opinions\, which they can then discuss and fight over.” Likewise\, Nergal views the lyrical content of the record as similarly open to interpretation\, encouraging this. “There’s a lot of symbolism and reflections and impressions in there\, and it’s using millions of metaphors to express a certain very sinister and very captivating atmosphere\, but there are no answers. People always like to have a deeper insight into what we do\, but that’s not what we want to give with this record. The way I see it is that between us we can make a huge fucking pyre and set the world on fire\, but what we’re doing is just giving you the matches\, giving you the spark\, what you want to do with it is up to you. Personally\, if I sat down with the lyrics in front of me I too would probably come up with a lot of different interpretations and concepts\, it’s a never ending process\, and that’s exciting to me.” \nTwenty-three years and ten albums into their career\, that Behemoth is still in the ascendant is a statement to their commitment\, determination and capacity for writing such powerful music. If ever a band was to go out on a high The Satanist would make for one hell of a swan song\, but don’t expect them to disappear any time soon. “I remember before we we had a record deal I was having a conversation with Baal\, the band’s original drummer\, and we said okay\, if one day we manage to record an album and put it out how cool would it be to split up right after that? It would be one record and no more\, and there was something about that that had an appeal\, but y’know what\, it doesn’t work like that for individuals like myself. Hunger has always driven me through life\, and I can never sit in one place and relax for too long because I have the need to explore this whole universe in every possible way. Now\, over two decades later it’s the same story. I can tell you I have no problems with finishing my career after this record. Just say the title itself: The Satanist. How the fuck am I gonna beat that title? It sounds like the ultimate definition of our art – but then again\, I remember that conversation with Baal\, and I know it doesn’t work like that\, so I know there will probably be other incarnations of our artistic identity\, one way or another. All I know is I love being here and now\, and I just want to underline that I couldn’t be more proud and happy with my own music. It really drives me through the day\, and now I just want to sit back and hear any and all opinions of it.” \nBehemoth is:\nNergal – vocals & guitars\nInferno – drums\nOrion – bass\nSeth – guitars
URL:https://royaleboston.com/event/behemoth/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/01/Behemoth-Admat-US2016-localized21.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160425T200000
DTEND;TZID=America/New_York:20160425T200000
DTSTAMP:20260417T160504
CREATED:20160127T175644Z
LAST-MODIFIED:20160127T175644Z
UID:10002178-1461614400-1461614400@royaleboston.com
SUMMARY:The Residents present Shadowland
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18+.\nTickets on sale Fri. 1/29 at 12pm! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n[Website] – [Facebook]
URL:https://royaleboston.com/event/the-residents-presents-shadowland/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/01/ShadowlandStageHiRes.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160429T180000
DTEND;TZID=America/New_York:20160429T180000
DTSTAMP:20260417T160504
CREATED:20160306T170010Z
LAST-MODIFIED:20160306T170010Z
UID:10002248-1461952800-1461952800@royaleboston.com
SUMMARY:Baroness
DESCRIPTION:Doors: 6:00 pm / Show: 6:45 pm \nThis event is 18 and over.\nTickets on sale Fri. 3/11 at 10AM! \n*** \n \n*** \nBaroness \n \n[Website] [Facebook] [Twitter] \nPete Adams – Guitar\, Vocals\nJohn Baizley – Vocals\, Guitar\nNick Jost – Bass\, Keyboards\nSebastian Thomson – Drums \nBaroness’ triumphant new album contains some of the biggest\, brightest and most glorious riffs and choruses the adventurous rock group has ever recorded. But its title\, Purple\, also reflects a dark moment in the group’s recent history: the terrifying bus crash they survived while on tour in 2012. “The band suffered a gigantic bruise\,” singer-guitarist John Baizley says of the accident. “It was an injury that prevented us from operating in a normal way for quite some time. Hopefully\, this record is the springboard that helps us get away from all that.” \nThe album\, which is due out December 18 and which producer Dave Fridmann (the Flaming Lips\, Sleater-Kinney) helmed\, covers the gamut of emotions Baroness have experienced in recent years and serves as their victory cry. Purple finds a revamped lineup of the band – Baizley and Pete Adams (guitar\, vocals) and new additions Nick Jost (bass\, keyboards) and Sebastian Thomson (drums) – playing 10 intricately textured tunes and singing about the worry they felt immediately after the crash (“If I Have to Wake Up (Would You Stop the Rain)”)\, the struggle to recover as smoothly as possible (“Chlorine & Wine”) and their ongoing quest for survival (“The Iron Bell”). From its bulldozing opener “Morningstar” to the avant-garde 17-second closer “Crossroads of Infinity\,” the record is at once both their most emotionally threadbare and musically complex offering to date\, with passages that allude to their classic-rock roots as much as their crushing metal past. \n“We didn’t want to make a mellow\, sad\, dark thing\,” Adams says. “We needed to be up-tempo. We needed to be melodic\, and it also needed to be aggressive. In all of that\, I think we were able to get out everything we felt\, all of the emotion involved\, everything from being angry to wanting to continue to push forward.” \nBaroness formed in 2003\, slugging it out in their local Savannah\, Georgia scene while adhering to a DIY punk ethic\, booking their own tours and silk-screening their own shirts. In 2007\, they put out their critically acclaimed debut\, the sludgy\, guitar-banging Red Album\, which heavy-metal magazine Revolver named Album of the Year. They followed it up two years later with the heavier Blue Record\, extreme-metal magazine Decibel’s Album of the Year. But it was on their last release\, the 2012 double-album Yellow & Green\, where they really opened up\, exploring a slightly lighter touch with more accessible vocals and alt-rock arrangements\, leading to a Top 30 chart debut in the U.S. and Spin declaring it the “Metal Album of the Year.” Unfortunately\, the group would not be fully able to enjoy Yellow & Green’s success and accolades. \nIn August 2012\, less than a month after Yellow & Green came out\, Baroness were on tour driving in England when their bus broke through a guardrail on a viaduct near Bath and plummeted nearly 30 feet to the ground below. Through some miracle\, none of the nine passengers died\, though Baizley broke his left arm and left leg and the group’s rhythm section at the time\, bassist Matt Maggioni and Allen Blickle\, both suffered fractured vertebrae. \n“I was lying in my bunk when the brakes went out\, and I knew immediately once we picked up speed that we were going to crash\, period\,” recalls Adams\, an Army vet who went through the equivalent of a bus crash a day while fighting in Iraq and who earned a Purple Heart in combat. “I didn’t tense up. I didn’t brace myself. I just rolled over in my bunk and said a few peaceful words to myself and hung in there\, because I was like\, ‘Here we go. If it this is it\, then make it quick.’ I felt like a shoe in a dryer. Next thing you know\, it’s over and I’m standing there\, and I was not broken. I was burned\, I was cut\, I was bleeding\, I was dazed\, but I was OK. And I collected myself and started helping people out. But I absolutely thought the band would be over.” \nBaizley spent two-and-a-half weeks immobile in a hospital and then months to recover from his injuries\, but when he did\, he and Adams decided to keep the group going. “I spoke to James Hetfield\, who has also dealt with the fallout from a bus-related accident\, and he said\, “Life is going to be difficult for a while; but you’ll be fine. You’ve got this\,'” he says. “And once I had done some physical therapy and played guitar again\, I thought\, ‘Yes\, I’ve got this. It’s not over.'” \nLooking back on it now\, Hetfield was right\, and now Baroness’ members feel like they’ve gotten through the worst of it. “While we realize the accident is obviously of interest\, we have gone over that particular story’s details at length over the past few years\,” Baizley says. “We feel that this album not only addresses but puts a punctuation mark on that story. Baroness existed before the accident and will continue to exist\, and we’d rather talk about what we’ve created with Purple than let one side-story overtake or define who we are as a band.” \nOnce Baizley was ready to get moving again\, the first matter at hand was to find a rhythm section\, since Maggioni and Blickle had both split amicably with the group. To find the right people\, Baizley leaned on some famous friends for advice. Eventually\, Baizley spoke to Mastodon’s Brann Dailor\, who pointed him in the right direction to finding the group’s new drummer\, Trans Am member Sebastian Thomson\, to help build up the band again. “We didn’t try out anyone else\,” Baizley says. Another friend suggested that they check out someone whom she described as being the best player she’d ever heard. That turned out to be Nick Jost\, who not only played both the upright bass and bass guitar\, but was also a skilled piano player with a degree in jazz composition. \nWith a new lineup in place\, the group eventually embarked on lengthy trek that Baizley describes as a “thank you tour\,” to the fans who stood by the band in its darkest hour\, in the spring of 2013. Other than a handful of Australian gigs in 2014\, Baroness spent the time since then getting ready for their next chapter\, setting up their own indie label\, Abraxan Hymns\, and writing songs for Purple. \n“I wanted to celebrate my misery through my creativity and face it head on\,” Baizley says of the LP. “The lyrics on Purple are about the different paths that formed in the fallout of the crash\, from very direct stories about difficult moments of suffering to the love I feel for people who were there for me.” \nWhen the group finally got to work out the tunes in the studio\, they did so with a producer whom Baizley has always been eager to work with: Dave Fridmann. “He’s been on the top of my list since Day One\,” the singer says. “I never thought he’d work with us. I absolutely worship his recordings.” With 25 years of experience mapping out Wayne Coyne’s intricate flights of audial fancy on Flaming Lips records and making the most of bands generally known for understatement like Low and Spoon\, the producer helped the group construct a sonic habitat for all of Purple’s unique sounds\, including acoustic guitar\, otherworldly keyboard and echoes galore. He also helped them make the most of themselves. \n“We’re a very analytical band\,” Adams says. “We’ll write something and overanalyze it to the point where we feel we’ve edited the songs as much as they could be\, and Fridmann threw ideas at us that we’d never thought about before. We needed that outside ear.” \nBut Purple is perhaps most notable for serving as a vehicle for Baizley and Adams to move on\, and welcome Jost and Thomson to the fold. “They are both very talented musicians\,” Adams says. “They’re open to new ideas and you can rely on them.” \n“They said\, ‘We just want to make sure it kicks ass\,'” Baizley recalls. “That’s what I needed. I was in a pretty bleak spot when we weren’t playing. And when I realized that Pete\, Nick and Sebastian were excited – and I hadn’t felt that unified amount of excitement before – it pushed us into saying\, ‘We’ve got this.'” \n“The whole process was very smooth\,” Thomson says. “The only thing that required a little bit of work was learning how to write together. That took us a month or two to figure out\, but once we did we got on a roll.” \n“I made a mistake and hit the wrong chord at the end of a run through of ‘If I Have to Wake Up’ and out of that mistake we wrote ‘Fugue\,'” Jost says. “That shows how we grew. And then ‘If I Have to Wake Up’ shows just how far we came.” \n“We had a situation where a band had to rebuild itself with half-new members and an almost entirely new crew\,” Thomson says. “On paper that sounds like a possible recipe for disaster\, but we all clicked almost immediately. We still have that attitude to this day.” \nAdams says only recently\, since the group has gotten back on the road\, he thinks that Baroness has felt like a band again. And now with Purple under their belts\, Baroness are ready to take on the world. “There’s a lot more playfulness now\,” Adams says. “Everyone now is positive\, there’s no heavy bullshit. People are laughing and smiling more now in Baroness than I’ve ever seen. That’s real\, and I’m thankful for that.” The bruise is beginning to heal.
URL:https://royaleboston.com/event/baroness/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/03/Baroness_US_AdMat_Spring_2016_Flat_v1-localized.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160501T180000
DTEND;TZID=America/New_York:20160501T180000
DTSTAMP:20260417T160504
CREATED:20151201T120007Z
LAST-MODIFIED:20151201T120007Z
UID:10002066-1462125600-1462125600@royaleboston.com
SUMMARY:[SOLD OUT] Basement
DESCRIPTION:Doors: 6:00pm / Show: 7:00pm \nThis show is open to all ages. \nThis show is SOLD OUT. \n*** \nSince abruptly announcing an indefinite hiatus only weeks after the release of 2012’s breakthrough LP Colourmeinkindness\, Basement’s intensely devoted following has only grown. Promise Everything is the band’s full-length return to writing and recording since the break. Challenged by the spacing out of members not only across the country – but across the globe – Promise Everything was written by piecing together songs without the luxury of a space or even a time zone to share. Perhaps this is why upon listening\, Promise Everything feels like a conversation between different people\, revealing different moods and feelings throughout. This conversation shifts and evolves\, filtering subtle\, tasteful alternative rock touchstones through the band’s unmatched melodic lens. More clearly aggressive songs like “Brother’s Keeper” and title track “Promise Everything” situate Basement at the forefront of the rock world\, pairing that aggression with an inherent sense of melody. On the standout track “Aquasun\,” lyrical flow and melody overtake the listener while overt meaning gives way to musicality and its nuance. Despite years spent apart\, it would seem Basement’s musical conversation has been one that has lingered even when after it was interrupted too soon by their premature & luckily temporary break\, and as their first true cohesive document\, Promise Everything is only the beginning of what Basement has to say.
URL:https://royaleboston.com/event/basement/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2015/12/basement-admat-UK-Tour-Flyer-2016-blank-localized.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160507T180000
DTEND;TZID=America/New_York:20160507T180000
DTSTAMP:20260417T160504
CREATED:20160112T160042Z
LAST-MODIFIED:20160112T160042Z
UID:10001626-1462644000-1462644000@royaleboston.com
SUMMARY:M. Ward
DESCRIPTION:Doors: 6:00 pm / Show: 6:45 pm \nThis event is 18+.\nTickets on sale Fri. 1/15 at 10AM! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nM. Ward returns with a stunning new album\, More Rain\, for release on Merge Records on March 4\, 2016. Ward has released a string of acclaimed solo albums over the past several years\, along with five LPs with Zooey Deschanel as She & Him and a 2009 collaborative album with My Morning Jacket’s Jim James and Bright Eyes’ Conor Oberst and Mike Mogis under the moniker Monsters of Folk. In addition to his celebrated work as a musician\, Ward is an accomplished producer\, handling those duties for such luminaries as Mavis Staples\, Jenny Lewis\, and Carlos Forster as well as his own musical projects. \nM. Ward knows how to live with rain. Having spent the last decade-and-a-half based in the perennially damp Portland\, Oregon\, the singer-songwriter and producer has learned how to shine through the soggy gloom by simply embracing its inevitability. For Ward\, there is inspiration in a dark sky and harmony in foreboding winds. And with his new album More Rain\, he has made a true gotta-stay-indoors\, rainy-season record that looks upwards through the weather while reflecting on his past. \n“I think one of the biggest mysteries of America right now is this: How are we able to process unending bad news on Page One and then go about our lives the way the style section portrays us?” says Ward. “There must be a place in our brains that allows us to take a bird’s-eye view of humanity\, and I think music is good at helping people—myself included—go to that place.” \nThis album\, Ward’s eighth solo affair\, finds the artist picking up the tempo and volume a bit from his previous release\, 2012’s A Wasteland Companion. Where that record introspectively looked in from the outside\, More Rain finds Ward on the inside\, gazing out. Begun four years ago and imagined initially as a DIY doo-wop album that would feature Ward experimenting with layering his own voice\, it soon branched out in different directions\, a move that he credits largely to his collaborators here who include R.E.M.’s Peter Buck\, Neko Case\, k.d. lang\, The Secret Sisters\, and Joey Spampinato of NRBQ. The result is a collection of upbeat\, sonically ambitious yet canonically familiar songs that both propel Ward’s reach and satisfy longtime fans. \nMore Rain begins with an actual rainstorm\, then throughout the album\, guitars chime\, chug\, and riff with Ward’s unmistakable earthy tone\, while layers of atmospheric reverb and skittering drums climb and clip in equal measures. As the cloud of noise rolls in\, the layers part ever so slightly to make way for Ward’s voice\, which can play wispy and whimsical in one moment (“Pirate Dial”) or crackling and smoky in the next (“Time Won’t Wait”) just as well as it can climb to clear-sky clarity (“Confession”) then drop down to smooth\, soulful crooning (“I’m Listening”)\, each one after the other. “Girl From Conejo Valley” is a nostalgic trot through people he used to know and a place he used to be\, and “Slow Driving Man” is sweeping and lush in its orchestral climb towards confident heights. \nAs the album ends with the self-assured swing of “I’m Going Higher\,” voices join together in a chorus of rising “ah”s and\, for just a second\, it seems the storm outside has slowed\, making room for a ray of hopeful sunlight. As Ward knows\, the rainy season is sure to return\, but for now\, More Rain is here to help us with our perspective. \n*** \nPre-order More Rain on CD or LP in the Merge store. The first 750 pre-orders will received a limited edition translucent red vinyl. Pre-order the album digitally via iTunes. \nwww.mwardmusic.com\nwww.facebook.com/mwardmusic\nwww.twitter.com/mwardtweeting
URL:https://royaleboston.com/event/m-ward/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/01/M-Ward-Ad-Mat-localized.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160510T190000
DTEND;TZID=America/New_York:20160510T190000
DTSTAMP:20260417T160504
CREATED:20160229T140010Z
LAST-MODIFIED:20160229T140010Z
UID:10002229-1462906800-1462906800@royaleboston.com
SUMMARY:Chelsea Wolfe
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Wed. 3/2 at noon! \n*** \n \n*** \nChelsea Wolfe \n \n[Website] [Facebook] [Twitter] \nSleep paralysis plagues singer/songwriter Chelsea Wolfe\, and that strange intersection of the conscious and the unconscious has inadvertently manifested itself within her work. Across the span of her first four albums\, there is an underlying tension\, a distorted and nebulous territory where dark shadows hover along the edges of the sublime and the graceful. But until now\, Wolfe’s trials and tribulations with the boundaries between dreams and reality have only been a subconscious influence on her work. With her fifth album\, Abyss\, she deliberately confronts those boundaries and crafts a score to that realm she describes as the “hazy afterlife… an inverted thunderstorm… the dark backward… the abyss of time.” \nChelsea Wolfe’s material has always felt intensely private\, from the almost voyeuristic bedroom-production aesthetic of her debut album The Grime and the Glow to the stark themes and atmospheres of 2013’s Pain Is Beauty. “Abyss is meant to have the feeling of when you’re dreaming\, and you briefly wake up\, but then fall back asleep into the same dream\, diving quickly into your own subconscious\,” says Wolfe. To conjure this in-between world\, Wolfe continued her ongoing collaboration with multi-instrumentalist and co-writer Ben Chisholm and drummer Dylan Fujioka\, with Ezra Buchla brought on board to play viola and Mike Sullivan (Russian Circles) enlisted to contribute guitar. The ensemble traveled to Dallas\, TX to record with producer John Congleton (Swans\, St. Vincent). In the back of her mind burned the words of designer Yohji Yamamoto: “Perfection is ugly. Somewhere in the things humans make\, I want to see scars\, failure\, disorder\, distortion.” The resulting eleven songs reflect that philosophy as they smolder with human frailty\, intimacy\, quiet passion\, anxiety\, and deep longing. \nAbyss opens with the disorienting lurch of “Carrion Flowers”\, where Wolfe weaves a hypnotic vocal melody over monotonic industrial thuds\, much as an Indian raga is constructed around a lone note or swara. On “Iron Moon”\, the band pushes for extremes in its loud-quiet-loud strategy\, alternating between hushed balladry and gargantuan doom. On “Dragged Out”\, glacial-paced fuzz riffs underscore Wolfe’s sultry verses\, until a howling wail of distortion dominates the chorus. But there are certainly moments when the brutish elements are reigned in—“Maw” could serve as a lullaby and “Crazy Love” harkens back to the humble acoustic compositions of her Unknown Rooms album. But between them we have “After the Fall”\, the centerpiece of the album\, where the abrupt tonal shifts\, descending chord progressions\, and climactic vocals illustrate Wolfe’s fascination with Memories\, Dreams\, Reflections by Carl Jung. “I let myself drop\,” begins one of Jung’s recollections of his dreams. “I was so struck by that visual: the drop into the abyss of one’s own mind\, allowing yourself to feel things you’ve hidden away\, bringing them front and center. That became the goal of this album\,” says Wolfe. That surrender can be heard in the slowly escalating cacophony of “Survive”\, the penultimate square-wave hum and yearning of “Color of Blood”\, and the clamorous piano loop and disorienting arrangement of the closing title track. \n“Sleep and dream issues have followed me my whole life\,” remarks Wolfe as she revisits notes from the writing and recording sessions. In a way\, these issues have become a part of Chelsea Wolfe’s identity\, for whom the notion of sleep as an escape has been subverted. Abyss captures this dichotomy\, this battle between the soothing and the upsetting\, and demonstrates why Chelsea Wolfe has become one of the most intriguing songwriters of the decade. \n– Brian Cook\, 2015 \n*** \nA Dead Forest Index \n \n[Website] [Facebook] [Twitter] \nLandscapes both seen and felt\, real and imagined\, lie at the heart of In All That Drifts From Summit Down\, the vast debut full-length release from nomadic duo A Dead Forest Index. Comprised of brothers Adam Sherry (vocals/guitar) and Sam Sherry (drums/piano)\, the group crafts ethereal and intensely intimate compositions that defy trends and labeling\, instead shaping an aural experience as organic as it is unpredictable. Forsaking instrumental complexity in favor of richly dense vocals and an otherwise minimal palette\, the band evokes heaviness with the atmosphere they create rather than through blunt force. Teaming-up with Sargent House on the heels of a recent European tour supporting labelmate Chelsea Wolfe\, A Dead Forest Index are poised to introduce their sound to a global audience in 2016. \nA Dead Forest Index was initially the solo project of Adam Sherry\, begun in 2008. By 2010\, it had evolved into a collaboration\, with Sam Sherry supplying percussive depth to his brother’s distinctively hymnal approach to vocals\, itself characterized by cyclical harmonies and experiments with drone. Untethered by place (or\, for that matter\, era)\, they’ve spent the past few years developing their sound\, touring extensively between 2012-2014\, and issuing the EPs “Antique” and “Cast of Lines” in the process. The latter was released by Jehnny Beth of Savages’ Pop Noire label\, a precursor to the collaborative Savages/A Dead Forest Index composition and performance titled “In What I’m Seeing; the Sun” for the Barbican’s Station to Station Festival in 2015. \nThough basing themselves periodically in locales as far-flung as Melbourne and London\, the oceanic grandeur of A Dead Forest Index’s songs suggests a spiritual mooring in their homeland of New Zealand. Their influences are rich and untapped: the poetic\, archaic ‘deep song’ of Indian and Andalusian origin\, Romanian lăutari troupe Taraf de Haidouks\, and the allegorical symbolism found in William Blake have all been cited as antecedents. The group have themselves been compared to The Velvet Underground with Nico\, Scott Walker\, Swans with Jarboe\, and Antony and the Johnsons\, to name a few. \nIn All That Drifts From Summit Down\, their debut album\, is a testimony to the sublime divinity of nature and the cold reality of time’s passage. Unfolding over 13 tracks\, the album imagines natural phenomena as poetic metaphor for the human condition\, the lyrics evoking stone\, cold air\, unyielding emptiness and erosion\, while the enveloping warmth of Adam Sherry’s layered\, choral vocals makes for an intriguing contrast. “Cast of Lines” is a prime example of this\, its rapturous “In all our currents / a fog upon the sea at night” mantra accompanied by little more than a strumming guitar. Sam Sherry’s steady rhythms propel some tracks\, like “Tide Walks” and “No Paths”. “Ringing Sidereal”\, on the other hand\, unwinds more slowly\, a dark cavern of a song with flickering sparks of percussion emerging only where necessary. Occasionally swells of noise take shape. On “In Greyness the Water”\, a slow-building churn buffers the repeating “In… fall… colour” chorus that penetrates through the cacophony like spires through fog. Savages guitarist Gemma Thompson guests on two tracks\, providing a wiry undercurrent to the brilliant postpunk stomp of “Myth Retraced”\, before fortifying the processional stride of “Sand Verse”. In All That Drifts From Summit Down is a potent\, compelling statement\, an exercise in restraint and severity whose icy hue only accentuates the warmth at its core. \nA Dead Forest Index epitomize the possibilities of the modern age. Weaving threads of disparate influence from around the world into a captivating tapestry\, the duo exemplify their own transience\, producing mature\, wholly inspired work unbound by time or place.
URL:https://royaleboston.com/event/chelsea-wolfe/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/02/11x17-Tour-AdMat-v1.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160512T200000
DTEND;TZID=America/New_York:20160512T200000
DTSTAMP:20260417T160504
CREATED:20160202T174741Z
LAST-MODIFIED:20160202T174741Z
UID:10002194-1463083200-1463083200@royaleboston.com
SUMMARY:NIGHT SNIPERS
DESCRIPTION:Diana Arbenina is a Russian Rock legend – leader of “Night Snipers”. They will be presenting group’s new album “Выживут Только Влюбленные” as well as band’s Greatest Hits. \nDon’t miss an opportunity to see one of Russia’s great independent voices live in concert in Boston!
URL:https://royaleboston.com/event/night-snipers/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/02/5.12-partytime.jpg
ORGANIZER;CN="PartytimeBoston":MAILTO:info@partytimeboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160513T180000
DTEND;TZID=America/New_York:20160513T180000
DTSTAMP:20260417T160504
CREATED:20160201T161015Z
LAST-MODIFIED:20160201T161015Z
UID:10002182-1463162400-1463162400@royaleboston.com
SUMMARY:Old 97's / Heartless Bastards
DESCRIPTION:Doors: 6:00 pm / Show: 6:30 pm \nThis event is 18+.\nTickets on sale now \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nOld 97’s \n \n[Website] [Facebook] [Twitter] \n*** \nHeartless Bastards \n \n[Website] [Facebook] [Twitter] \n*** \nBJ Barham (of American Aquarium) \n \n[Website] [Facebook] [Twitter]
URL:https://royaleboston.com/event/old-97s-heartless-bastards/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/02/Heartless-Bastards-Old-97s-Tour-Admat-plus-Special-guest-localized.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160518T200000
DTEND;TZID=America/New_York:20160518T200000
DTSTAMP:20260417T160504
CREATED:20160223T170046Z
LAST-MODIFIED:20160223T170046Z
UID:10002200-1463601600-1463601600@royaleboston.com
SUMMARY:[SOLD OUT] ZHU
DESCRIPTION:Doors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over.\nSOLD OUT \n*** \nZHU \n \n*** \nZHU \n[Website] [Facebook] [Twitter] \nNeon City.
URL:https://royaleboston.com/event/zhu/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/02/zhu-admat-NeonCity-Individua-1l.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160524T200000
DTEND;TZID=America/New_York:20160524T200000
DTSTAMP:20260417T160504
CREATED:20160124T150037Z
LAST-MODIFIED:20160124T150037Z
UID:10002176-1464120000-1464120000@royaleboston.com
SUMMARY:[SOLD OUT] RuPaul's Drag Race
DESCRIPTION:Bowery Boston & AEG Live present:\nRuPaul’s Drag Race \n8:00 pm / Show: 9:00 pm \nThis event is 18+. \nThis show is SOLD OUT! \nPlease note: Lineup is subject to change. \n*** \nProducer Entertainment Group and Sidecar Management\, in conjunction with World of Wonder and Logo TV\, are announcing the return of the world’s biggest touring drag revue\, based on international mega­hit TV franchise “RuPaul’s Drag Race” (RPDR). Ticket information for the 58­-date “RuPaul’s Drag Race Battle of the Seasons: 2016 Extravaganza Tour” is available now at www.RuPaulBOTS.com.​ \nThe “Battle of the Seasons” tour\, now in its third consecutive year of growth\, will again be hosted by series judge M​ichelle Visage and includes an all-­star cast of past winners\, runners up and fan favorites from each season of RPDR\, including: A​dore Delano\, ​Alaska Thunderfuck\, ​Courtney Act\, Ginger Minj\,​ ​Miss Fame\,​  Phi Phi O’hara\, ​and Violet Chachki\, with an opening DJ set by Pearl.​ \n“Last year the world got merely a taste of RuPaul’s queens with the first global Battle of the Seasons Tour\,” said Michelle Visage\, host of the “Battle of the Seasons” tour and permanent judge on RuPaul’s Drag Race. “This year we are back\, and these bitches are bigger and badder than before! Get ready for the ULTIMATE RuPaul’s Drag Race experience from the minute you walk through the doors. It is a once-­in-a-lifetime extravaganza that you will NOT want to miss!” \nThe “Extravaganza” tour will begin with a 14­ city Europe cycle launching from Antwerp\, Belgium on March 17\, 2016. The second leg of the tour will kick off in Seattle\, Washington on April 19\, 2016 and will cross the United States and Canada with 43 stops. Witness the eleganza! and gag on the shade of it all in a night of unforgettable music and madness with the world’s most talented drag performers. \n \n  \n*** \nVIP packages available: \nRUPAUL’S DRAG RACE SUPERSTAR PACKAGE ($299)\nOne Incredible Top Price VIP General Admission Ticket \n\n Packages Based on General Admission Tickets Include Early Entry (6:30PM) & First Access to the Floor!\n\nOne Exclusive Invite to the Fabulous Post-Show Drag Race ** \n\nMemories to Last a Lifetime – Join Us for a Special Post Show Meet & Greet with Cast Members\nCapture the Moment – Individual On-Stage Group Photo Opportunity with Cast Members\n Signing-Off – Each VIP Guest Will Receive an Ultra-Exclusive\, Limited Edition Autographed Tour Poster\n\nOne Entry into the Official Preshow VIP Mingle ** \n\nMix and Mingle with Your Favorite RuPaul’s Drag Race Stars Before the Show in an Exclusive Pre-Show VIP Meet & Greet Reception\nBring the Fun\, We’ll Bring the Bar – Preshow Mingle Includes a Fully-Stocked Cash Bar for Your Enjoyment\nForget the Lines! Access to the RuPaul’s Drag Race Merchandise Booth for All Your Shopping Needs Before General Public\nBonus – Lucky VIP Guests Will Be Randomly Selected Each Night (via Raffle) to Participate in the Actual Show!\n\nEssential Drag Race VIP Merchandise \n\nOne Exclusive Drag Race Tour-Tee\nOne Official Drag Race Tour Tote Bag\nOne Commemorative Drag Race VIP Laminate & Matching Lanyard\n\n** Please note member participation in preshow/post-show activities is subject to change and can vary by market. You must be of legal age to consume alcohol. Proper identification required for consumption of alcohol; additional local restrictions may apply. \nSHANTAY YOU STAY VIP PACKAGE ($199)\nOne Incredible Top Price VIP General Admission Ticket \n\nPackages Based on General Admission Tickets Include Early Entry (6:30pm) & First Access to the Floor!\n\nOne Entry into the Official Preshow VIP Mingle ** \n\nMix and Mingle with Your Favorite RuPaul’s Drag Race Stars Before the Show in an Exclusive Pre-Show VIP Meet & Greet Reception\nBring the Fun\, We’ll Bring the Bar – Preshow Mingle Includes a Fully-Stocked Cash Bar for Your Enjoyment\nForget the Lines! Access to the RuPaul’s Drag Race Merchandise Booth for All Your Shopping Needs Before General Public\n\nEssential Drag Race VIP Merchandise \n\nOne Official Drag Race Tour Tote Bag\nOne Commemorative Drag Race VIP Laminate & Matching Lanyard\n\n** Please note member participation in preshow/post-show activities is subject to change and can vary by market. You must be of legal age to consume alcohol. Proper identification required for consumption of alcohol; additional local restrictions may apply. \nVIP PACKAGE DISCLAIMER INFORMATION\nAll package purchasers will be contacted via e-mail a few days prior to the event date. Information will sent to the e-mail address provided at the time of purchase. If you do not receive an e-mail a few days prior to the event please contact RuPaulVIP@aeglive.com \nAll sales are final. There are no refunds or exchanges under any circumstances. All packages and package contents are non-transferable. VIP merchandise will be shipped directly to each package purchaser\, some exceptions may apply. VIP merchandise is not required for venue entry. Information provided at the time of purchase (name\, address\, e-mail\, etc.) is the same information that will be utilized for shipping and individual contact requirements where applicable. Package purchases are restricted to U.S. & Canadian addresses only. The artist\, tour\, promoter\, ticketing company\, venue or any other affiliated parties are not responsible for outdated or inaccurate information provided by the consumer at the time of purchase. Commemorative VIP laminates are for commemorative purposes only. The VIP laminate does not gain or authorize access into the venue\, VIP or any backstage areas. \n 
URL:https://royaleboston.com/event/rupauls-drag-race/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/01/APR-19-MAY-24-RuPaul-BOTS-Template-NORTH-AMERICA-AD-MAT-1-REVISED.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160608T190000
DTEND;TZID=America/New_York:20160608T190000
DTSTAMP:20260417T160504
CREATED:20160306T160057Z
LAST-MODIFIED:20160306T160057Z
UID:10002250-1465412400-1465412400@royaleboston.com
SUMMARY:[CANCELED] Hinder: Stripped - An Acoustic Tour
DESCRIPTION:Due to unforeseen scheduling conflicts\, this show has been canceled. Refunds available at point of purchase. \n*** \n \n*** \nHinder \n \n[Website] [Facebook] [Twitter] \nHinder’s certainly had quite the ride to arrive at this point in their careers. Their 2005 debut\, Extreme Behavior\, sold over three-million copies in the U.S.\, while its breakthrough single “Lips of an Angel” hit #1 on the Billboard Pop Chart. The record’s follow-up in 2008\, Take it to the Limit\, surpassed Gold status after debuting at #4 on the Billboard Top 200 with over 80\,000 copies sold first week. Meanwhile\, their third effort\, All American Nightmare\, dropped in 2010\, followed by Welcome To The Freakshow in 2012 . Along the way\, the band has shared the stage on national tours with everyone from Mötley Crüe and Nickelback to Aerosmith and Papa Roach. 
The multi-platinum Oklahoma City hard rockers Joe “Blower” Garvey\, Mark King\, Mike Rodden\, and Cody Hanson — entered the studio in the spring to begin recording a brand new effort which will be co-produced by Hanson and Marshal Dutton. There are no boundaries\, and every idea is going to be fair game throughout the process.
Hanson says\, “We like to think we can do anything. We don’t want to be stuck in a rut with one type of sound or formula. One song might have a country influence\, while another might have a pop influence. Then\, there are some heavy metal moments. We have every element covered on this record. You’ve got to do what’s best for the song.”
After nearly a decade\, Hinder are stronger than ever. Hanson concludes\, “This band was built around a strong core of hard work and friendship. Like it or not\, we’re going to be around for a long time.” \n*** \nLike A Storm \n \n[Website] [Facebook] [Twitter] \nFormed by brothers Chris\, Matt & Kent Brooks\, New Zealand band Like A Storm has made huge waves in both the U.S & Europe – labeled “one of the hottest buzz bands out there right now\,” by National Rock Review. \nWith a brand new album out through Century Media/Another Century\, this year the Storm spreads to Europe and the rest of the world. \nThe band of brothers moved from Auckland\, NZ to North America knowing no one. Renowned for their explosive live show\, LAS quickly climbed the ranks\, having now toured arenas and large clubs all across the US with such heavy-weights as: Alter Bridge\, Black Stone Cherry\, Steel Panther\, Shinedown\, HellYeah & more. \nTheir connection with the crowds every night was instant – Their first album\, “The End of The Beginning\,” debuted in the Billboard Top 200 from nightly tour sales alone. \nLike A Storm’s brand new single\, “Love The Way You Hate Me” has been #1 on the biggest rock station in North America for 5 weeks. Its stateside success makes LAS the highest-charting New Zealand rock act in US radio history. \nThe track connected with listeners everywhere. When a new single typically lasts a few weeks at US radio\, “Love The Way You Hate Me” blasted for over 9 months! Outlasting singles from much more established acts. \nThe official video for “Love The Way You Hate Me”\, which features a zombie mob of actual LAS fans\, has over 2 million views on Youtube. \nThe track was inspired when someone at a truck-stop in small-town USA called one of the brothers a “freak.” Produced by the band themselves\, it’s one of the first\, if not the only\, charting single to feature the ancient Aboriginal wood instrument\, the Didgeridoo. When combined with crushing guitars and prog drumming\, “Didgeridoo Metal” was born. \nTheir brand new album\, “Awaken The Fire” is one of the first releases from Century Media imprint ANOTHER CENTURY\, and will be released all across Europe on March 16th\, 2015 \nLike A Storm will be touring all across Europe in 2015 supporting the release. \n*** \nBrad Ray \n \n[Website] [Facebook] \nGrowing up in Rome\, Georgia\, Brad began playing guitar at the age of twelve.  His influences included such artists as Third Eye Band\, Prince\, White Snake and Maxwell.  Having a keen sense of creativity led to his writing with a particular focus on lyrics.  His writing styles range from ballad love songs to reggae and include topics as diverse as political and social commentaries as well as more personal and sensitive subjects with a mass appeal. \nWith his first album\, “So What\,” recorded at Kent Wells Studios in Nashville\, Brad showcases a collection of songs reminiscent of John Mayer\, Dave Matthews and Sublime.  The album includes songs such as the title cut\, “So What\,” “Homeward Bound\,” “Crimes\,” and “Twisted.”  His talents stretch to more than just the guitar\, playing banjo\, bass\, drums and keyboards.  A-list studio musicians from Nashville included session leader Mike Brignardello\, Mike Rojas\, Rob McNelley and Matt Combs. \nWhile attending Temple University in Philadelphia\, Pennsylvania\, Brad began writing hundreds of songs and performed around the city before returning home to the Southeast and beginning to play locally.  He currently is still writing\, performing and touring with his band\, Guest House.
URL:https://royaleboston.com/event/hinder-stripped-an-acoustic-tour/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/03/Hinder-Stripped-Admat-w-special-guests-localized.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160609T180000
DTEND;TZID=America/New_York:20160609T180000
DTSTAMP:20260417T160504
CREATED:20160401T142540Z
LAST-MODIFIED:20160401T142540Z
UID:10002274-1465495200-1465495200@royaleboston.com
SUMMARY:PVRIS
DESCRIPTION:Doors: 6:00 pm / Show: 7:00 pm \nThis event is all ages. \nPlease note: Beach Weather will no longer be performing due to vocal strain. Read a message from Beach Weather HERE. \n*** \n \n*** \nPVRIS \n \n[Website] [Facebook] [Twitter] \nLynn Gunn – guitar/vocals/keys\nAlex Babinski – guitar/keys\nBrian MacDonald – bass/keys \nThere is a moment where every artist decides that it is best to create music based on instinct rather than expectation. For PVRIS\, a three-piece rock band from Boston\, that moment came during their conception. The trio formed in the studio while making songs for a previous project and realized that they needed to collectively eschew any preconceived idea of what music should be. “It occurred to us that we should just make whatever we want and not worry about fitting into the local scene\,” Lynn says. “Our vision was whatever we felt like doing. It was about making what we felt like making in the moment.” \nThat vision has manifested itself into PVRIS’s debut album White Noise\, which follows an acoustic EP that came out in April of 2014. The album is its own entity\, a collection of dynamic\, surging rock songs that combine the musicians’ collective influences and inspirations. The band has continually fostered an interest in electronic music and hoped to organically bring those sounds into their pop-tinged rock numbers. “We knew we wanted to go in a more electronic direction on the album\,” Lynn says. “We had that vision but we had no clue how it would actually sound. We let the music find itself.” \nWhite Noise was recorded last winter with musician Blake Harnage\, a longtime friend of the band\, in his home studio. It was Blake’s first time producing a full-length album\, but his influence became essential to the music. “Blake texted me after we signed to Rise saying he thought we could make an awesome record together and we worked it out and it was amazing\,” Lynn says. “He doesn’t have a filter. He just makes the music. He doesn’t care what people think of him or his music – he just lets his ideas flow and embraces them. He changed our perspective on writing and making music.” \nThe songs on the album are connected through the lyrics and the title\, which evokes both the supernatural and the harsh sound created by TV static and electricity. Ghosts\, often metaphorical\, populate the songs\, a haunting theme resonating throughout. Lines reappear in various tracks\, hinting back at one another and tying the album together. Each song exists as its own entity\, embracing different musical vibes\, but there is a sense of cohesiveness through White Noise. “St. Patrick\,” a propulsive rocker\, is driven by Lynn’s evocative vocals\, which soar over an electronic flourish that surges beneath the guitars. “White Noise” has a moodier quality\, its driving beats leading the way for a chorus that aches with longing\, while “My House” balances insistent\, pummeling rock sounds with melancholy reflection. Together\, the songs create a darkly tinged album that resonates with confidence. \n“There was some anxiety in the studio because we would think something sounded amazing but that no one would get it or take to it the right way\,” Lynn says. “But we got over that fear. Blake helped us find confidence in what we were making. We had to be happy with what we were making no matter what and that was the mindset we had for the rest of the process. We’re super proud of the record and how it represents us as a band.” \nPVRIS\, who has toured the U.S. several times in the past few years and played Warped Tour in the summer of 2014\, have reimagined their live set-up to reflect the album. Ultimately\, PVRIS wants to make music that is their own. Without expectation\, the musicians have songs that give something important to their audience – whatever that may be. \n“I hope people can take anything they desire away from this record\,” Lynn says. “It can be anything. We made the music because we loved it and now it can belong to everyone else.” \n*** \nLydia \n \n[Facebook] [Twitter] \nLydia is an indie rock band from Gilbert\, Arizona. Formed in 2003\, frontman Leighton Antelman along with a different array of band mates released three albums and took to the road for their first headlining tour in 2008 in support of their record Illuminate. \nAfter a brief hiatus in 2010\, the band returned in September 2011 with a new song\, and their album\, Paint it Golden\, was released shortly after in October of that same year. Lydia’s success has led them to tours such as the Zumiez Couch Tour\, Vans Warped Tour\, and The Bamboozle Festival as well as extensive headlining and supporting tours across the US\, Canada\, and the UK. \nIn March of 2013\, Lydia released Devil\, produced by Colby Wedgeworth (The Maine\, This Century)\, as a follow up to 2012’s Acoustics EP. The band toured in support of the record\, then Lydia re-released Devil in a deluxe version shortly thereafter. \nIn September of 2015\, Lydia released their latest full length Run Wild – coproduced by Aaron Marsh (of Copeland) and Colby Wedgeworth. The band embarked on a headlining run with support from Turnover\, Seahaven\, and The Technicolors. The band has earned press coverage by many reputable press sources over the years including Alternative Press\, Absolute Punk\, idobi radio\, Guitar World\, and more. Lydia’s most recent music video\, for “When It Gets Dark Out” off of Run Wild\, has been picked up by major media outlets MTV\, AXS TV\, and Yahoo Music to name a few. The band plans to continue to tour on the success of Run Wild. \nLydia is Leighton Antelman\, Matt Keller\, and Justin Camacho. \n*** \nCRUISR \n \n[Website] [Facebook] [Twitter] \nCRUISR began in 2012 as the solo project of Andy States and quickly morphed into what it is today; an indie-pop band whose summery\, feel-good hooks are infectious and stadium ready. \nStates wrote and recorded the band’s first EP in his Philadelphia bedroom\, fixated on the idea of what it means to craft a pop song. “I have an obsession with writing pop music and the idea that songs can transcend people.\,” States says. “I saw that producer Jeremy Park started writing blog articles about how he recorded Youth Lagoon\, so I wrote to him and sent him my songs asking for advice and knowledge. He wrote back and loved my stuff and helped me produce the first EP.” \nThe six-song self-titled EP was released in the summer of 2012 and quickly garnered attention online and in the press. With all the newfound awareness Andy promptly realized he needed a band to bring his songs to the stage. “Jon was always my sounding board. I’d show him songs in the making and get his advice. It only made sense that he’d become part of CRUISR\,” Andy notes. With the addition of Kyle and Bruno the quartet set out performing whenever possible. And of course\, they continued to write. \n“The writing process definitely changed once we became a full band. I’ll work on my computer and bring the idea to Jon. By that time it’s structured and has a backbone\, guitars are figured out etc. Jon elaborates on the idea with drums and it goes from there.” In late 2013 CRUISR released a new track online\, “Kidnap Me\,” which attracted even more positive attention than the EP. Representative of CRUISR as a cohesive unit\, “Kidnap Me” was the first track written as a band and showcases what CRUISR does best; sunny\, warm\, indie-pop. “It’s funny because we’re from Philadelphia and we write songs that sound like summer\, which is a fleeting season here. I guess it’s just because Philly is where we feel happiest\, and when we’re happy we write happy music.” \nFast-forward to present day when CRUISR is gearing up to release their second EP\, All Over\, which features definitive recordings of “Kidnap Me” and “Don’t Go Alone” as well as the brand new title track “All Over”; all of which were produced and mixed by Andrew Maury (RAC\, Panama Wedding\, Ra Ra Riot). All Over demonstrates how fantastically Andy’s mind is able to translate pop hooks. “How does pop music make everyone like it so much?” States laughs\, “Little kids hear it on the radio and just go crazy\, singing stupid songs. There’s something that’s so smart about it\, and a lot of things that people don’t notice are the key ingredients to writing a pop song. I’m just really into trying to decipher what those things are and trying to make pop music in our own way.” \nAll Over will be released on September 23 via Vagrant Records. \nCRUISR is Andy States (vocals / guitar)\, Jonathan Van Dine (drums)\, Kyle Cook (bass)\, Bruno Catrambone (guitar)
URL:https://royaleboston.com/event/pvris-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/04/PVRIS-admat-_NA16_Layered2.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160610T180000
DTEND;TZID=America/New_York:20160610T213000
DTSTAMP:20260417T160504
CREATED:20160327T170013Z
LAST-MODIFIED:20160327T170013Z
UID:10001645-1465581600-1465594200@royaleboston.com
SUMMARY:PVRIS
DESCRIPTION:Radio 92.9 presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is all ages. \n*** \n \n*** \nPVRIS \n \n[Website] [Facebook] [Twitter] \nLynn Gunn – guitar/vocals/keys\nAlex Babinski – guitar/keys\nBrian MacDonald – bass/keys \nThere is a moment where every artist decides that it is best to create music based on instinct rather than expectation. For PVRIS\, a three-piece rock band from Boston\, that moment came during their conception. The trio formed in the studio while making songs for a previous project and realized that they needed to collectively eschew any preconceived idea of what music should be. “It occurred to us that we should just make whatever we want and not worry about fitting into the local scene\,” Lynn says. “Our vision was whatever we felt like doing. It was about making what we felt like making in the moment.” \nThat vision has manifested itself into PVRIS’s debut album White Noise\, which follows an acoustic EP that came out in April of 2014. The album is its own entity\, a collection of dynamic\, surging rock songs that combine the musicians’ collective influences and inspirations. The band has continually fostered an interest in electronic music and hoped to organically bring those sounds into their pop-tinged rock numbers. “We knew we wanted to go in a more electronic direction on the album\,” Lynn says. “We had that vision but we had no clue how it would actually sound. We let the music find itself.” \nWhite Noise was recorded last winter with musician Blake Harnage\, a longtime friend of the band\, in his home studio. It was Blake’s first time producing a full-length album\, but his influence became essential to the music. “Blake texted me after we signed to Rise saying he thought we could make an awesome record together and we worked it out and it was amazing\,” Lynn says. “He doesn’t have a filter. He just makes the music. He doesn’t care what people think of him or his music – he just lets his ideas flow and embraces them. He changed our perspective on writing and making music.” \nThe songs on the album are connected through the lyrics and the title\, which evokes both the supernatural and the harsh sound created by TV static and electricity. Ghosts\, often metaphorical\, populate the songs\, a haunting theme resonating throughout. Lines reappear in various tracks\, hinting back at one another and tying the album together. Each song exists as its own entity\, embracing different musical vibes\, but there is a sense of cohesiveness through White Noise. “St. Patrick\,” a propulsive rocker\, is driven by Lynn’s evocative vocals\, which soar over an electronic flourish that surges beneath the guitars. “White Noise” has a moodier quality\, its driving beats leading the way for a chorus that aches with longing\, while “My House” balances insistent\, pummeling rock sounds with melancholy reflection. Together\, the songs create a darkly tinged album that resonates with confidence. \n“There was some anxiety in the studio because we would think something sounded amazing but that no one would get it or take to it the right way\,” Lynn says. “But we got over that fear. Blake helped us find confidence in what we were making. We had to be happy with what we were making no matter what and that was the mindset we had for the rest of the process. We’re super proud of the record and how it represents us as a band.” \nPVRIS\, who has toured the U.S. several times in the past few years and played Warped Tour in the summer of 2014\, have reimagined their live set-up to reflect the album. Ultimately\, PVRIS wants to make music that is their own. Without expectation\, the musicians have songs that give something important to their audience – whatever that may be. \n“I hope people can take anything they desire away from this record\,” Lynn says. “It can be anything. We made the music because we loved it and now it can belong to everyone else.” \n*** \nLydia \n \n[Facebook] [Twitter] \nLydia is an indie rock band from Gilbert\, Arizona. Formed in 2003\, frontman Leighton Antelman along with a different array of band mates released three albums and took to the road for their first headlining tour in 2008 in support of their record Illuminate. \nAfter a brief hiatus in 2010\, the band returned in September 2011 with a new song\, and their album\, Paint it Golden\, was released shortly after in October of that same year. Lydia’s success has led them to tours such as the Zumiez Couch Tour\, Vans Warped Tour\, and The Bamboozle Festival as well as extensive headlining and supporting tours across the US\, Canada\, and the UK. \nIn March of 2013\, Lydia released Devil\, produced by Colby Wedgeworth (The Maine\, This Century)\, as a follow up to 2012’s Acoustics EP. The band toured in support of the record\, then Lydia re-released Devil in a deluxe version shortly thereafter. \nIn September of 2015\, Lydia released their latest full length Run Wild – coproduced by Aaron Marsh (of Copeland) and Colby Wedgeworth. The band embarked on a headlining run with support from Turnover\, Seahaven\, and The Technicolors. The band has earned press coverage by many reputable press sources over the years including Alternative Press\, Absolute Punk\, idobi radio\, Guitar World\, and more. Lydia’s most recent music video\, for “When It Gets Dark Out” off of Run Wild\, has been picked up by major media outlets MTV\, AXS TV\, and Yahoo Music to name a few. The band plans to continue to tour on the success of Run Wild. \nLydia is Leighton Antelman\, Matt Keller\, and Justin Camacho. \n*** \nCRUISR \n \n[Website] [Facebook] [Twitter] \nCRUISR began in 2012 as the solo project of Andy States and quickly morphed into what it is today; an indie-pop band whose summery\, feel-good hooks are infectious and stadium ready. \nStates wrote and recorded the band’s first EP in his Philadelphia bedroom\, fixated on the idea of what it means to craft a pop song. “I have an obsession with writing pop music and the idea that songs can transcend people.\,” States says. “I saw that producer Jeremy Park started writing blog articles about how he recorded Youth Lagoon\, so I wrote to him and sent him my songs asking for advice and knowledge. He wrote back and loved my stuff and helped me produce the first EP.” \nThe six-song self-titled EP was released in the summer of 2012 and quickly garnered attention online and in the press. With all the newfound awareness Andy promptly realized he needed a band to bring his songs to the stage. “Jon was always my sounding board. I’d show him songs in the making and get his advice. It only made sense that he’d become part of CRUISR\,” Andy notes. With the addition of Kyle and Bruno the quartet set out performing whenever possible. And of course\, they continued to write. \n“The writing process definitely changed once we became a full band. I’ll work on my computer and bring the idea to Jon. By that time it’s structured and has a backbone\, guitars are figured out etc. Jon elaborates on the idea with drums and it goes from there.” In late 2013 CRUISR released a new track online\, “Kidnap Me\,” which attracted even more positive attention than the EP. Representative of CRUISR as a cohesive unit\, “Kidnap Me” was the first track written as a band and showcases what CRUISR does best; sunny\, warm\, indie-pop. “It’s funny because we’re from Philadelphia and we write songs that sound like summer\, which is a fleeting season here. I guess it’s just because Philly is where we feel happiest\, and when we’re happy we write happy music.” \nFast-forward to present day when CRUISR is gearing up to release their second EP\, All Over\, which features definitive recordings of “Kidnap Me” and “Don’t Go Alone” as well as the brand new title track “All Over”; all of which were produced and mixed by Andrew Maury (RAC\, Panama Wedding\, Ra Ra Riot). All Over demonstrates how fantastically Andy’s mind is able to translate pop hooks. “How does pop music make everyone like it so much?” States laughs\, “Little kids hear it on the radio and just go crazy\, singing stupid songs. There’s something that’s so smart about it\, and a lot of things that people don’t notice are the key ingredients to writing a pop song. I’m just really into trying to decipher what those things are and trying to make pop music in our own way.” \nAll Over will be released on September 23 via Vagrant Records. \nCRUISR is Andy States (vocals / guitar)\, Jonathan Van Dine (drums)\, Kyle Cook (bass)\, Bruno Catrambone (guitar)
URL:https://royaleboston.com/event/pvris/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/04/PVRIS-admat-_NA16_Layered2.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160613T190000
DTEND;TZID=America/New_York:20160613T190000
DTSTAMP:20260417T160504
CREATED:20160412T153829Z
LAST-MODIFIED:20160412T153829Z
UID:10002332-1465844400-1465844400@royaleboston.com
SUMMARY:The Jayhawks
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 4/15 at noon! \n*** \nThe Jayhawks \n\n[Website] [Facebook] [Twitter] \nThe incredible harmonies and distinctive arrangements of The Jayhawks set them apart from the rest of the Minneapolis music scene that emerged in the 1980s. By the early 90’s they became a driving force and inspiration behind the growing Americana movement. Combining the talents of singer-songwriters Gary Louris and Mark Olson\, The Jayhawks released their major label debut\, the acclaimed Hollywood Town Hall (1992) on the Def American label. This was followed by Tomorrow the Green Grass (1995)\, which produced the alternative radio hit single “Blue”. \nWhen Olson left to pursue a solo career\, Louris singularly took over the songwriting role in The Jayhawks creating the band’s enduring sound on some of their best selling and well-received albums including Smile (2000) and Rainy Day Music (2003). Louris continues to write and tour with the longtime core group of Marc Perlman\, Karen Grotberg\, and Tim O’Reagan. While the touring line-up has changed over the years and Olson briefly reappeared in 2010 to record and tour\, this classic lineup maintains a commitment to adventure and forward motion in their shows and in their recordings. Their latest album\, Paging Mr. Proust (2016)\, was produced in Portland with Peter Buck and Tucker Martine. \n*** \nFolk Uke \n \n[Website] [Facebook] [Twitter] \nCathy Guthrie and Amy Nelson\, also known as Folk Uke\, have been writing and performing together for over a decade. This duo is a unique amalgam of angelic harmonies often wrapped around edgy\, surprising lyrics. Folk Uke plays folk music in its truest form with a delightfully wicked twist.
URL:https://royaleboston.com/event/the-jayhawks/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/04/The-Jayhawks-Royale-6-13-16-poster-2.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160615T190000
DTEND;TZID=America/New_York:20160615T190000
DTSTAMP:20260417T160504
CREATED:20160222T170053Z
LAST-MODIFIED:20160222T170053Z
UID:10001636-1466017200-1466017200@royaleboston.com
SUMMARY:Jack Garratt
DESCRIPTION:WERS 88.9 Discovery Show \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 2/26 at noon! \n*** \n \n*** \nJack Garratt \n \n[Website] [Facebook] [Twitter] \nBritish artist-producer Jack Garratt could not have wished for a better introduction. The sharp young newcomer started 2015 as highly touted as he now looks to be concluding it\, and with the announcement of his self-written\, self-performed\, self-recorded\, and largely self-produced debut album now readied\, that heat looks set to reach fever pitch ahead of its February release. \nDrawing the dots between significant moments\, and landmark events of this fledgling career would already become a headache – the young Buckinghamshire artist has achieved more than he has any right to\, from bringing the house down at Radio 1’s Future Festival back in January\, selling out each and every UK and US show he’s played to ever expansive rooms\, through to being crowned BBC Introducing’s Artist of the Year at their annual televised awards ceremony this December. The scrapbook is bursting and that’s just volume one. Not bad for a guy who tends to do it all by himself. Maybe the humble ‘bedroom producer’ tag needs an update. \n“It’s a bloody minefield!” grins the larger-than-life Jack Garratt\, stroking that fine ginger beard of his in contemplation. \n“I loathe the idea that if I suggest that I produce my own songs then people presume I’m sat hunched over my laptop weeping into my own self-doubt. Life is too short for all that. I opened the door to a couple of excellent producers for Phase on a couple of songs\, and it was a really exciting experience. We got a lot done.” \nTruth be told\, Jack wasn’t even sure music was a legitimate pursuit\, and was already training to become a primary school music teacher when he dropped it all for those drums sticks\, pads and keys. It’s been a move none shrewder. \nHis first release\, the limited edition Remnants EP (self-released through Bubinga Records in early 2014 and featuring the first incarnation of Phase highlight\, ‘Worry’) was an invigorating\, almost spiritual listen. It married those distinct elements of electronica with classic guitar-fronted songwriting\, finding their skeletal shape from repeat listens to Channel Orange by Frank Ocean. \n“One Christmas\, everyone kept telling me to listen to Frank Ocean\, but that only made me not want to listen to him. Eventually I did\, and holy shit\, it virtually re-shaped what I wanted to do completely.” \nConversely\, another record that refused to budge from the stereo was Jack White’s Blunderbuss. \n“I would say that Blunderbuss and Channel Orange are the primary reasons that I do what I do now. I loved the raw\, bluesy riffs and crunch of Jack White\, but also that smoothness and ambience of Channel Orange. Why should they be incompatible? They shouldn’t\, so here we are.” \nBorn and raised in a Buckinghamshire village in the South of England\, Jack’s parents were musical and he learned to play instruments early\, something he’s never really stopped doing.  His initial acoustic shows were largely open-mic\, but the vision was to take the new sound and shows somewhere else completely. Everything you hear\, both on stage and off it\, is performed by Jack. The intimacy of the blues and Jack’s scintillatingly raw vocal can be juxtaposed with a bassline that rattles the foundations of the building. He keeps you on your toes\, and your hands in the air. \nThat Jack broadly produces all his own music is testament to the influence of leftfield production. He cites Flying Lotus\, Son Lux and Jai Paul as primary examples of taking something and twisting it into something obtuse\, fresh\, and interesting. \n“Those guys are just operating on a completely different plane. I love how disarming their productions can sound.” \nJack’s second EP\, Synesthesiac (released early Summer 2015 through Island Records)\, was indeed a quantum leap on from Remnants. The Love You’re Given\, which features here on Phase\, is a smouldering\, tranquil beauty that explodes in a haze of colour like a firework. Chemical\, another track that dazzles on the record\, is a gnarly beast that tangles multi-tracked handclaps with a beats-laden dancefloor-hookline. You couldn’t place it\, but you knew it was destined for far bigger venues\, which indeed Jack is already making light work of. \nA first single\, Weathered (one of the many ‘moments’ that pepper the live set)\, and the current second single Breathe Life\, show Jack confidently laying out his cards on the table. They are huge\, infectious pieces of work\, the sound of a young musician finding his feet and showing his strengths. They are songs that sit neatly on the radio playlists\, and songs with an innate sense to impress. Phase is a record that is\, indeed\, littered with them\, without any need to truly compromise what sparked all the initial interest. The propulsive Fire\, and the torchlight anthem in waiting\, Surprise Yourself\, are merely two of the handful of songs here that are yet to be documented in those impressive live shows. \nHaving sold-out a UK tour this Autumn\, which included a very special night at Shepherds Bush Empire\, and the recent announcement of a headline show at London’s Brixton Academy for April 2016\, this is an incredibly impressive feat for a young artist with only a handful of songs out there in the internet ether. You suspect it must\, therefore\, feel pretty good to be Jack Garratt right now. \n“At the moment every day brings something new\, something exciting. It’s blowing my mind. I really love it.” \n*** \nContact \n \n[Website] [Facebook] [Twitter] \nBoston\, Massachusetts.
URL:https://royaleboston.com/event/jack-garratt/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/02/jack-garratt-admat-royale-8-2.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160617T183000
DTEND;TZID=America/New_York:20160617T183000
DTSTAMP:20260417T160504
CREATED:20160228T140034Z
LAST-MODIFIED:20160228T140034Z
UID:10002202-1466188200-1466188200@royaleboston.com
SUMMARY:[SOLD OUT] Oh Wonder
DESCRIPTION:Doors: 6:30 pm / Show: 7:00 pm \nThis event is all ages.\nSOLD OUT \nSecond show added on Sat. 6/18 due to overwhelming demand. Tickets for the 6/18 show available HERE.\n*** \n \n*** \nOh Wonder \n \n[Website] [Facebook] [Twitter] \nThere is a sign pinned to the wall of Oh Wonder’s recording studio in south-east London\, a pact of sorts\, signed by the band’s two members\, Josephine Vander Gucht and Anthony West\, in the winter of 2012. It isn’t a checklist or a plan so much as a setting down of shared dreams for their musical careers. “We wrote it to say that we’re dependent on one another\,” explains Josephine. “That there are things we want to achieve\, and we can help each other get there.” \nThat Oh Wonder have achieved all of these dreams in the first year since starting the project is testament to their talent and their perseverance\, but even they seem a little startled by how much more they have attained: the 100 million streams and now their debut album\, a collection of 15 impeccably-crafted songs that explore London and loneliness\, love and the need for human relationships. \nJosephine was a classically-trained solo performer and Anthony a singer and producer whose lives and careers overlapped for several years — a run of near-encounters and half-conversations at gigs and venues\, and vague introductions through musical acquaintances and mutual friends. It was only when they finally sat down in Anthony’s former studio in north London with a view to producing an EP of Josephine‘s solo material that they realised their great musical bond. “We found all our favourite bands were the same bands\, all our favourite songs were the same songs\,” says Anthony. “It was a day of saying ‘Oh you should listen to this’. And then the other one saying ‘I know that song. That’s one of my favourite songs.’” “It was\,” adds Josephine “really\, really odd. I’ve never had that. I’ve never felt that closely aligned with someone\, musically speaking\, and more widely in terms of how we view the world.” \nIt was Anthony’s suggestion that they begin writing together — purely for fun at first\, as an exercise in songwriting and collaboration while they pursued their other musical projects. The first song they wrote was called Body Gold and was\, Josephine says\, “the marker for what the sound of Oh Wonder was: electronic and somewhat R’n’B\, which was totally surprising\, and totally different to our solo work\, but we were really proud of it.” \nStill\, for 18 months they did nothing with it. Anthony moved to London and released an EP as part of a duo\, Josephine was busy writing and recording as Layla. “But we thought it was a waste to leave Body Gold unheard\,” says Anthony. And so they decided to post it on the internet\, anonymously. \nThat day they went to a café in east London\, posted the song on SoundCloud and emailed a few of their favourite music blogs about it. “We were in this café\,” Josephine remembers\, “and we were looking at the play-count\, and I think it said six plays\, and then all of a sudden these blogs started posting the song — really lovely write-ups saying ‘Who the hell are these people? They’re about to blow up the internet.’” They sat in the café and watched the play count climb to 100. A few weeks later it had reached 100\,000 plays. Just over a year later and they have tens of millions of plays and a string of sold out headline shows across the UK\, Europe\, Australia and the USA. “It was just really\, really bizarre. And odd. And completely accidental\,” she says. “We didn’t tell anyone it was us\, we didn’t ask people to listen\, we didn’t tell our friends\, it was so far removed from us. But I genuinely think that the reason so many people connected with it was because it was really sincere.” \nThe plan from the start was to release a song a month\, for the course of a year. “We approached it as a songwriting project rather than an artist project\,” continues Anthony. “And so the most important thing of all is the song and we would never release what we consider to be a bad song.” \nThey had already written two other tracks: Shark and All We Do — a track Josephine finds most affecting. “It’s about the human propensity to play it safe and not push yourself beyond the parameters of normal life\,” she says. “It’s about just existing and not wondering or being inquisitive. It’s about how a lot of people sink into the monotony of everyday life. And how it’s a shame\, because the world’s there for the taking\, and you’ve got to go grab it and have an adventure.” \nTheir own adventure soon gathered pace. They found they could write quickly\, finishing the body of a song in 20 minutes or so and spending more time\, they say\, on the production. “Writing together is a weird magical thing\,” says Josephine. “More than anybody else in the world I trust Ant. Which makes the writing process totally open\, totally vulnerable and non-judgmental\, and means you can say all of these things openly in a song.” \nThe things they chose to say all possess a striking tenderness and a tangible passion for life\, ranging from exquisite break-up songs Drive\, Landslide and The Rain to quiet rallies against materialism\, gambling\, gentrification and globalization\, and\, in Lose It\, a song that serves as a tribute to a night out they once had in Melbourne\, where as the sun came up\, Josephine found herself at a party dancing in her underwear to Destiny’s Child. “I’ve never before felt what I felt that night\,” she says. “I didn’t take any drugs\, and I wasn’t even drunk\, there was just something heady in the air. It was the first time I’d ever felt untethered from myself.” \nThough they vary from piano-led ballads to whip-sharp electronica\, what unites all of Oh Wonder’s songs is their extraordinary sense of humanity. “We didn’t realise it at first\, but a lot of our songs are about relationships and support\,” says Josephine. Anthony points to album opener Livewire\, “which is about needing someone to lift you up\, someone who can bring you up from your lowest point\, bring you back to life\, be the heartbeat you need…” and to White Blood\, about times in life\, in illness or difficulty\, when you “really need someone with you”\, and to Heart Hope\, inspired by watching the area around their home in east London rapidly gentrify\, and feeling that for all the shiny new buildings\, what people really need is other people\, “it’s saying actually all you need is a heart and a soul and to be connected to yourself and to each other.” \n“They’re songs about humans\, and about people being there in your life\,” says Josephine. “People need people. And that’s what this album looks at\, from all the different angles: it’s about being grateful for the people in your life\, for relationships of all sorts.” \nPerhaps most of all\, this album is Anthony and Josephine’s tribute to each other\, to the partnership they have formed\, the places it has taken them and the confidence they have given one another. \nJosephine tells a story that perhaps best sums up the depth of the belief they have in one another — the bond\, the trust\, and the faith they have in their own music: “I used to have lots of jobs\,” she says. “I worked in Waterstones\, and waiting tables\, and Ant was the person who told me to give them up. He told me to call up my boss and say “Sorry I can’t work at Waterstones anymore\, I’m being a musician.” He said “we’re going to do this. And that was the same day we wrote that sign.” \n*** \nLANY \n \n[Website] [Facebook] [Twitter] \nInitially harvested entirely behind a Windows computer during what industry veterans have comically–‐referenced as the most–‐productive handful of months by a new artist\, this genre–‐bending band is prepping a busy 1st quarter of touring in 2016 in what is destined to be the year LANY becomes a household name. Born in a Nashville bedroom\, LANY (pronounced LAY–‐NEE)\, comprised of Paul\, Les and Jake\, are a trio that started as a group of friends looking to combine their unique skills to “see what happens.” LANY had initial unprecedented success on Soundcloud’s platform which was enough to get Soundcloud’s internal cloud of executives to partner with the new artist\, and impactful social platforms like Snapchat have been avid supporters – LANY played their Holiday party this past December. \nMasochists in love with an underwritten theme of hopeless romance\, LANY front man Paul opens on debut cuts like “Walk Away\,” “youarefire” and “ILYSB\,” with vocals that are glacial while engaging\, and draw you into their heartbreak manifesto; and a vibe reminiscent of the 80s on tracks like “Made In Hollywood” and “4EVER!” LANY makes it clear that lethal good looks and vocal prowess are not mutually exclusive\, and even guys with all of the above get their hearts broken. \nSince their initial experiment to get feedback on what was just an idea little over a year ago\, LANY has released 2 EP’s to their dedicated and rapidly growing fan base. Often utilizing the success trends within the millennial landscape\, LANY has zeroed in on a gap in the music business that aches for a sound like theirs. \nIn 2015 LANY wrapped tours with Halsey\, Tove Styrke\, Zella Day\, Twin Shadow and X Ambassadors. They played Lollapalooza and Sloss Festival in the summer and ended the year with a headline run on the Westcoast. As for 2016\, in February they play Summit Series in Utah and perform 12 shows with Troye Sivan in North America; in March they play 11 Arena shows with Ellie Goulding in the UK; and then they go on to play Squamish and Shaky Knees Festivals.
URL:https://royaleboston.com/event/oh-wonder/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/02/Oh-Wonder_North-America-2016-Layered.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160618T183000
DTEND;TZID=America/New_York:20160618T183000
DTSTAMP:20260417T160504
CREATED:20160411T120030Z
LAST-MODIFIED:20160411T120030Z
UID:10002215-1466274600-1466274600@royaleboston.com
SUMMARY:Oh Wonder
DESCRIPTION:Second show added due to overwhelming demand! \nDoors: 6:30 pm / Show: 7:00 pm \nThis event is all ages.\nTickets on sale Fri. 4/15 at noon! \n*** \n \n*** \nOh Wonder \n \n[Website] [Facebook] [Twitter] \nThere is a sign pinned to the wall of Oh Wonder’s recording studio in south-east London\, a pact of sorts\, signed by the band’s two members\, Josephine Vander Gucht and Anthony West\, in the winter of 2012. It isn’t a checklist or a plan so much as a setting down of shared dreams for their musical careers. “We wrote it to say that we’re dependent on one another\,” explains Josephine. “That there are things we want to achieve\, and we can help each other get there.” \nThat Oh Wonder have achieved all of these dreams in the first year since starting the project is testament to their talent and their perseverance\, but even they seem a little startled by how much more they have attained: the 100 million streams and now their debut album\, a collection of 15 impeccably-crafted songs that explore London and loneliness\, love and the need for human relationships. \nJosephine was a classically-trained solo performer and Anthony a singer and producer whose lives and careers overlapped for several years — a run of near-encounters and half-conversations at gigs and venues\, and vague introductions through musical acquaintances and mutual friends. It was only when they finally sat down in Anthony’s former studio in north London with a view to producing an EP of Josephine‘s solo material that they realised their great musical bond. “We found all our favourite bands were the same bands\, all our favourite songs were the same songs\,” says Anthony. “It was a day of saying ‘Oh you should listen to this’. And then the other one saying ‘I know that song. That’s one of my favourite songs.’” “It was\,” adds Josephine “really\, really odd. I’ve never had that. I’ve never felt that closely aligned with someone\, musically speaking\, and more widely in terms of how we view the world.” \nIt was Anthony’s suggestion that they begin writing together — purely for fun at first\, as an exercise in songwriting and collaboration while they pursued their other musical projects. The first song they wrote was called Body Gold and was\, Josephine says\, “the marker for what the sound of Oh Wonder was: electronic and somewhat R’n’B\, which was totally surprising\, and totally different to our solo work\, but we were really proud of it.” \nStill\, for 18 months they did nothing with it. Anthony moved to London and released an EP as part of a duo\, Josephine was busy writing and recording as Layla. “But we thought it was a waste to leave Body Gold unheard\,” says Anthony. And so they decided to post it on the internet\, anonymously. \nThat day they went to a café in east London\, posted the song on SoundCloud and emailed a few of their favourite music blogs about it. “We were in this café\,” Josephine remembers\, “and we were looking at the play-count\, and I think it said six plays\, and then all of a sudden these blogs started posting the song — really lovely write-ups saying ‘Who the hell are these people? They’re about to blow up the internet.’” They sat in the café and watched the play count climb to 100. A few weeks later it had reached 100\,000 plays. Just over a year later and they have tens of millions of plays and a string of sold out headline shows across the UK\, Europe\, Australia and the USA. “It was just really\, really bizarre. And odd. And completely accidental\,” she says. “We didn’t tell anyone it was us\, we didn’t ask people to listen\, we didn’t tell our friends\, it was so far removed from us. But I genuinely think that the reason so many people connected with it was because it was really sincere.” \nThe plan from the start was to release a song a month\, for the course of a year. “We approached it as a songwriting project rather than an artist project\,” continues Anthony. “And so the most important thing of all is the song and we would never release what we consider to be a bad song.” \nThey had already written two other tracks: Shark and All We Do — a track Josephine finds most affecting. “It’s about the human propensity to play it safe and not push yourself beyond the parameters of normal life\,” she says. “It’s about just existing and not wondering or being inquisitive. It’s about how a lot of people sink into the monotony of everyday life. And how it’s a shame\, because the world’s there for the taking\, and you’ve got to go grab it and have an adventure.” \nTheir own adventure soon gathered pace. They found they could write quickly\, finishing the body of a song in 20 minutes or so and spending more time\, they say\, on the production. “Writing together is a weird magical thing\,” says Josephine. “More than anybody else in the world I trust Ant. Which makes the writing process totally open\, totally vulnerable and non-judgmental\, and means you can say all of these things openly in a song.” \nThe things they chose to say all possess a striking tenderness and a tangible passion for life\, ranging from exquisite break-up songs Drive\, Landslide and The Rain to quiet rallies against materialism\, gambling\, gentrification and globalization\, and\, in Lose It\, a song that serves as a tribute to a night out they once had in Melbourne\, where as the sun came up\, Josephine found herself at a party dancing in her underwear to Destiny’s Child. “I’ve never before felt what I felt that night\,” she says. “I didn’t take any drugs\, and I wasn’t even drunk\, there was just something heady in the air. It was the first time I’d ever felt untethered from myself.” \nThough they vary from piano-led ballads to whip-sharp electronica\, what unites all of Oh Wonder’s songs is their extraordinary sense of humanity. “We didn’t realise it at first\, but a lot of our songs are about relationships and support\,” says Josephine. Anthony points to album opener Livewire\, “which is about needing someone to lift you up\, someone who can bring you up from your lowest point\, bring you back to life\, be the heartbeat you need…” and to White Blood\, about times in life\, in illness or difficulty\, when you “really need someone with you”\, and to Heart Hope\, inspired by watching the area around their home in east London rapidly gentrify\, and feeling that for all the shiny new buildings\, what people really need is other people\, “it’s saying actually all you need is a heart and a soul and to be connected to yourself and to each other.” \n“They’re songs about humans\, and about people being there in your life\,” says Josephine. “People need people. And that’s what this album looks at\, from all the different angles: it’s about being grateful for the people in your life\, for relationships of all sorts.” \nPerhaps most of all\, this album is Anthony and Josephine’s tribute to each other\, to the partnership they have formed\, the places it has taken them and the confidence they have given one another. \nJosephine tells a story that perhaps best sums up the depth of the belief they have in one another — the bond\, the trust\, and the faith they have in their own music: “I used to have lots of jobs\,” she says. “I worked in Waterstones\, and waiting tables\, and Ant was the person who told me to give them up. He told me to call up my boss and say “Sorry I can’t work at Waterstones anymore\, I’m being a musician.” He said “we’re going to do this. And that was the same day we wrote that sign.” \n*** \nLANY \n \n[Website] [Facebook] [Twitter] \nInitially harvested entirely behind a Windows computer during what industry veterans have comically–‐referenced as the most–‐productive handful of months by a new artist\, this genre–‐bending band is prepping a busy 1st quarter of touring in 2016 in what is destined to be the year LANY becomes a household name. Born in a Nashville bedroom\, LANY (pronounced LAY–‐NEE)\, comprised of Paul\, Les and Jake\, are a trio that started as a group of friends looking to combine their unique skills to “see what happens.” LANY had initial unprecedented success on Soundcloud’s platform which was enough to get Soundcloud’s internal cloud of executives to partner with the new artist\, and impactful social platforms like Snapchat have been avid supporters – LANY played their Holiday party this past December. \nMasochists in love with an underwritten theme of hopeless romance\, LANY front man Paul opens on debut cuts like “Walk Away\,” “youarefire” and “ILYSB\,” with vocals that are glacial while engaging\, and draw you into their heartbreak manifesto; and a vibe reminiscent of the 80s on tracks like “Made In Hollywood” and “4EVER!” LANY makes it clear that lethal good looks and vocal prowess are not mutually exclusive\, and even guys with all of the above get their hearts broken. \nSince their initial experiment to get feedback on what was just an idea little over a year ago\, LANY has released 2 EP’s to their dedicated and rapidly growing fan base. Often utilizing the success trends within the millennial landscape\, LANY has zeroed in on a gap in the music business that aches for a sound like theirs. \nIn 2015 LANY wrapped tours with Halsey\, Tove Styrke\, Zella Day\, Twin Shadow and X Ambassadors. They played Lollapalooza and Sloss Festival in the summer and ended the year with a headline run on the Westcoast. As for 2016\, in February they play Summit Series in Utah and perform 12 shows with Troye Sivan in North America; in March they play 11 Arena shows with Ellie Goulding in the UK; and then they go on to play Squamish and Shaky Knees Festivals.
URL:https://royaleboston.com/event/oh-wonder-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/02/Oh-Wonder_North-America-2016-Layered.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160620T190000
DTEND;TZID=America/New_York:20160620T190000
DTSTAMP:20260417T160504
CREATED:20160427T145151Z
LAST-MODIFIED:20160427T145151Z
UID:10002336-1466449200-1466449200@royaleboston.com
SUMMARY:[SOLD OUT] Jon Bellion
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is All Ages. \nThis show is SOLD OUT! \n*** \n \n  \n  \n*** \nJon Bellion \n \n[Website] [Facebook] [Twitter] \nJon Bellion is a singer\, songwriter and producer from New York. After beginning his career as a songwriter\, Bellion signed to Visionary Music Group\, an independent label based out of New York in August of 2012. Jon’s sound is an eclectic mix of pop\, hip hop\, rap and soul\, citing musical influences like Andre 3000 and Kanye West. \nJon recently released “The Definition\,” an 11 track album that really captures his genre blending sound. Jon wrote and produced 10 of the 11 tracks on the album. An amazing feat that continues to separate him from any other singer is his ability to produce his entire catalog that’s helped make his first projects musically diverse. The rollout to “The Definition” included singles\, “Munny Right\,”Luxury\,””Simple and Sweet\,”and “Carry Your Throne.” \nBellion’s 2014 was highlighted by his national headline tour\, “The Beautiful Mind Tour\,” selling out cities such as Los Angeles\, New York\, Chicago\, Minneapolis\, San Francisco\, Boston and Chappell Hill. In December 2014\, Bellion was named the winner of Spotify’s Emerging Artist program. Jon is working on his next album throughout 2015 and expects to return on the road. \n*** \nSonReal \n \n[Website] [Facebook] [Twitter] \nFlanked by a squad of quirky characters unafraid to rock bowl cuts and mustaches\, spitting bars like nobody’s business\, and melting hearts left and right\, SonReal would be just as at home in a Wes Anderson or Farrelly Brothers movie as he is behind a mic.\nHip-hop has never seen a maestro quite like the British Columbia-born rapper\, singer\, and songwriter. That’s why he’s already earned multiple Canadian Juno Award nominations including “Rap Recording of the Year” for “Everywhere We Go” in 2014\, racked up millions of Spotify streams and YouTube views\, and packed shows all over the continent. However\, his story begins in the tiny town of Vernon. \nGrowing up\, he’d watch his father sing and play country songs on an acoustic guitar with rapt attention. By high school\, he started frequenting the local skate park\, and became infatuated with the lifestyle of music and skateboarding. At the time\, his musical tastes spanned everything from Guns N’ Roses to Green Day\, but listening to Nas’s Illmatic and Mobb Deep’s The Infamous resonate through the park would change his life. \n“As a kid from a small town\, I loved hearing stories of these artists from Queensbridge and Brooklyn\,” he says. “It was like listening to an exciting movie play out. That made me want to rap.” \nFollowing high school\, SonReal spent his days working as a carpenter and his nights writing and recording countless songs at home. Quietly and diligently honing his skills\, he released a series of buzzing mixtapes beginning with Where’s Waldo in 2011 and followed by Words I Said and Good News just a year later. Hailing from Canada meant he had to grind twice as hard to be heard globally. \n“There weren’t any studios in my town\,” he explains. “I couldn’t have a mentor\, because no one was rapping. I taught myself making music on an old desktop. Touring is tough because you have to drive longer distances in much worse weather than America. I got made fun of a lot. During the week\, I was always getting fired from carpentry jobs\, because I’d be up late recording or I’d quit to go on tour. I never gave up though. I decided I had to go big.” \nHe did just that with the music video for “Everywhere We Go.” Boasting the best talent show sequence since Napoleon Dynamite\, it introduced a bevy of memorable mischief makers and spotlighted the many sides of SonReal. The clip would rack up over one million views in less than a month as he received acclaim from MTV Canada\, Noisey/Vice\, Earmilk\, HipHopDX\, and many more\, setting the stage for a recording deal with independent label Black Box Recordings. \n“There’s so much static out there\,” he sighs. “It’s so easy to make a music video with an SLR. I had to do something deeper. I’m not good at standing in front of a car rapping or dancing on a roof with a bunch of girls in a club. It’s not me. I strive to be myself and do things I want no matter how much they scare the fuck out of me. All of the characters are big extensions of who I am.”\nHe continued this visual tradition with “Preach\,” which would receive Much Music Video Awards nominations for “Hip Hop Video of the Year” in 2015. Along the way\, he toured Canada many times\, and embarked on his first U.S. run during 2015. Signing to Capitol Music Group\, he ventured down to Los Angeles to record with the likes of super producer RedOne [Lady Gaga\, Nicki Minaj] and Rahki [Kendrick Lamar\, Eminem]. \nHis 2016 single\, “Can I Get A Witness\,” puts him on the stand (literally) to speak to his biggest audience yet. Produced by RedOne and Rush\, the track shimmies between a funky bass line and delicate beat as SonReal deftly presents his lyrical case before an unshakable refrain. Meanwhile\, the unforgettable crew from “Everywhere We Go” makes their return on-screen. \n“Even though I was working with a pop producer which I was very much not used to\, I didn’t sacrifice anything\,” he assures. “The song is undeniably me. From the moment we got into the studio\, I told Red that. Some people will ride with you all day\, and some people won’t. We aren’t following anyone. I’m giving you exactly who I am.” \nOn his forthcoming major label full-length debut\, SonReal officially invites everybody into his world. \n“When I started making music\, all I ever wanted to do was make people laugh\, make people cry\, and make people feel something\,” he leaves. “That’s what music did for me. That’s why I try to do different things under the same umbrella. If the listener feels emotion when listening to it\, I have done my job.” \n***\nBlaque Keyz \n \n[Website] [Facebook]
URL:https://royaleboston.com/event/jon-bellion/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/04/Jon-Bellion-admat.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160622T190000
DTEND;TZID=America/New_York:20160622T190000
DTSTAMP:20260417T160504
CREATED:20160328T140019Z
LAST-MODIFIED:20160328T140019Z
UID:10001647-1466622000-1466622000@royaleboston.com
SUMMARY:[SOLD OUT] Gregory Alan Isakov and The Ghost Orchestra
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nThis show is SOLD OUT \n*** \n \n*** \nGregory Alan Isakov and The Ghost Orchestra \n \n[Website] [Facebook] [Twitter] \nBorn in Johannesburg\, South Africa\, and calling Colorado home\, Gregory Alan Isakov has been traveling all his life. Songs that hone a masterful quality tell a story of miles and landscapes\, and the search for a sense of place. His song-craft lends to deep lyrical masterpieces\, with hints of his influences\, Leonard Cohen and Bruce Springsteen. He has been described as “strong\, subtle\, a lyrical genius.” Isakov has just completed an album of his songs played in collaboration with The Colorado Symphony\, scheduled to be released June 10\, 2016. As part of this symphony record release tour\, he will be playing with The Ghost Orchestra\, a symphonic ensemble made up of Colorado’s own\, including members of The Colorado Symphony. \n“[Isakov] churns up his own musical atmosphere\, ruled by the moon and the sea\, at least aesthetically if not always lyrically. That he can do the same thing alone onstage…is remarkable.”\nNO DEPRESSION \n“…Isakov’s presence [is] delicately hypnotic\, proving folk music can be electric and impassioned without that virulent Mumford strum.”\nROLLING STONE \n“…an eloquent lyricist who delivers soul searching ruminations filled with cosmic pondering\, nomadic wisdom and plenty of earthy metaphors. His understated voice has a hushed force akin to that of Jose Gonzalez’s and\, at its best\, the alluring comfort of Paul Simon’s.”\nTHE WASHINGTON POST \n*** \nMandolin Orange \n \n[Website] [Facebook] [Twitter] \nAfter the breakout critical success of Mandolin Orange’s Yep Roc debut\, This Side of Jordan\, you’d expect the relentless onslaught of touring that accompanied it to seep into the writing of the North Carolina duo’s follow-up. You’d expect the sound to reflect long days on the road\, long nights onstage\, unfamiliar cities\, countless miles. You’d expect the classic “road record.”\nBut you’d be wrong. \n“All of these songs are definitely a product of being on the road\,” says multi- instrumentalist/singer Emily Frantz of Mandolin Orange’s gorgeous new album\, Such Jubilee\, “but they’re not about the road.” \n“They’re about home\,” explains songwriter/multi-instrumentalist/singer Andrew Marlin. “Not because we were missing it\, but because when you’re gone so much\, you start realizing what you have and what’s waiting for you. You realize there’s this place to come back to at the end of the journey.” \nThe road has been good to Mandolin Orange since the 2013 release of This Side of Jordan. NPR called the album “effortless and beautiful\,” naming it one of the year’s best folk/Americana releases\, while Magnet dubbed it “magnificent\,” and American Songwriter said it was “honest music\, shot through with coed harmonies\, sweeping fiddle\, mandolin\, acoustic guitar and the sort of unfakeable intimacy that bonds simpatico musicians like Gillian Welch and David Rawlings.” The record earned them performances everywhere from the iconic Newport Folk Festival to Pickathon\, as well as tours with Willie Watson\, Gregory Alan Isakov\, The Wood Brothers\, and more. \nFor the Such Jubilee sessions\, Marlin and Frantz set up facing each other with just a vocal and instrumental mic each in Asheville’s Echo Mountain studio. It proved to be the perfect setup to capture the undeniable chemistry of their live performances. \nOn “Settled Down\,” Marlin looks at what it takes to find that nearly-telepathic level of comfort in a relationship\, singing\, “Moments\, just fleeting times with little wings of gold / remind us of how real we find true love in every sign of getting older.” “Daylight” looks for peace in long- term companionship and trust\, “That Wrecking Ball” meditates on the sometimes ravaging passage of time\, and album closer “Of Which There Is No Like” is a delicate\, wistful duet about coming home. \nNot all of the songs are purely introspective\, though. “Jump Mountain Blues” brings to life a haunting Native American legend from the rural Virginia town where Marlin spent weekends growing up\, “Rounder” is written in the cowboy tradition and can be heard as a statement against capital punishment\, and the ambitious “Blue Ruin” was penned in response to the horrific violence at Sandy Hook. \nIt’s a weighty moment on an album that doesn’t shy away from grappling with difficult topics: intimacy\, death\, distance\, regret. Such Jubilee is a record about home\, both the place and the idea. Some days it’s a safe\, warm\, loving refuge from the world outside. Other days it’s cold and empty and too quiet. Either way\, it’s always waiting for you at the end of the road.
URL:https://royaleboston.com/event/gregory-alan-isakov-and-the-ghost-orchestra/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/03/gregory-alan-isakov-Admat_Ghost2.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160623T190000
DTEND;TZID=America/New_York:20160623T190000
DTSTAMP:20260417T160504
CREATED:20160327T160027Z
LAST-MODIFIED:20160327T160027Z
UID:10001646-1466708400-1466708400@royaleboston.com
SUMMARY:Allen Stone
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 4/1 at noon! \n*** \n \n*** \nAllen Stone \n[Website] [Facebook] [Twitter] On his third full-length album\, soul artist Allen Stone proves himself deeply devoted to making uncompromisingly soulful music that transcends all pop convention. Made in collaboration with Swedish soul singer/songwriter/phenom Magnus Tingsek\, Radius captures the warm energy of that creative connection and transports the listener to a higher and more exalted plane. Now embarking even higher ATO Records will be releasing Radius Deluxe on March 25th\, which will include a second disc of 7 bonus tracks that didn’t make the original record release. \n“I couldn’t be happier to return to ATO\,” Stone exclaimed. “They are a label that works tirelessly for their artists. Their team is made up of genuine music lovers whose concern is creating timeless art not bolstering their 401k’s.” \nRadius marks the follow-up to the Chewelah\, Washington-bred 28-year-old’s self-released and self-titled 2011 sophomore effort that climbed to the top 10 on Billboard’s Heatseekers chart. As the New York Times recently said Stone’s lyrics “promise honest sentiments\, grooves built with physical instruments and a gospel-rooted determination to uplift … glimmers of Al Green\, Bill Withers\, Curtis Mayfield\, George Clinton\, Prince and a bit of Sting.” \nAlong with immersing himself in a songwriting approach that involved unflinching examination of “some very dark and negative moments in my life\,” Stone shaped the sound and feel of Radius by pushing himself to “get past the boundaries of what I felt comfortable with\, so that I could progress into a whole new level of creativity.” Despite that sometimes-daunting process\, Radius wholly reveals Stone’s easy grace in blending everything from edgy soul-pop and earthy folk-rock to throwback R&B and Parliament-inspired funk. \nCulled from several dozen songs penned through a year and a half of constant writing and refining\, Radius Deluxe bears a title that reflects both its scope and intimacy. \n“The radius is that line extending from the center of the circle to its exterior\,” says Stone. “And in a lot of ways this album is about getting out things deep inside—whether it’s love or insecurity or joy or frustration about things going on today.” \nWhen it comes to the new bonus tracks Stone added\, “I am very excited for “Bed I Made” to finally be released to the public. It’s a song that has long been a favorite of my audience and I’m glad that they will finally have a studio version.” \nRadius first began to come to life back in the fall of 2013\, when Stone headed to Sweden to join in a writing session with Tingsek. “His musicality is so outside-the-box\, and it really stretched me as an artist\,” says Stone\, who’d tapped Tingsek as one of his opening acts for an 85-date headlining tour in 2012. “We just kept on throwing a wrench into the works and tried to create something that’s the complete antithesis of what you’d expect from pop music.” \nAfter recording the bulk of the album in Sweden\, Stone rounded out Radius’s production at his own studio in the woods of northeast Washington and in L.A.-based sessions with producers like Benny Cassette (Kanye West) and Malay (a co-producer on Frank Ocean’s channel ORANGE). \nLike many of his own musical heroes—Stevie Wonder chief among them—Stone pulls off the near-magical feat of channeling a weight-of-the-world sensitivity into his songs while still radiating hope and promise. And though that depth of consciousness feels transmitted from a more golden era\, Radius continually hones in on issues both timeless and of-the-moment\, with Stone’s breezily poetic lyrics touching on topics ranging from rampant materialism (on the tenderly string-accented\, harmony-soaked “American Privilege”) and the toxic takeover of technology in art (on the gutsy and groove-heavy “Fake Future”). \n“That song’s mainly about how technology’s infiltrating music in a way that’s making it less and less human and taking all the heart out of it\,” Stone says of the latter track\, a soul-pop powerhouse peppered with playfully cutting lines like “Rock stars pushing buttons/Few actually play/City wasn’t ever built on lights and Special K.” And as evidenced by Radius’s lush yet raw sonic landscape—wherein the only hint of synth comes from a Moog analog synthesizer—Stone stayed true to his pledge to “keep fakeness completely out of this record” and rely entirely on live instrumentation. \nEqually introspective and outwardly searching\, Radius also finds Stone exploring intensely personal matters\, such as depression on the stark and lovely\, acoustic-guitar-woven ballad “Circle” (“That one was written at a pretty dark time for me\,” Stone points out. “It’s about how depression can put you into a kind of circle\, where you’re just trying to find a way out but it keeps on leading you back inside”). Showing his skill at crafting a killer love song as well\, Stone looks at heartbreak and regret on the aching\, electric-piano-infused “I Know That I Wasn’t Right\,” slips into hopeless romanticism on the dreamy R&B pastiche “Barbwire\,” and unleashes some starry-eyed affection on the dance floor-ready “Symmetrical”. And in tracks like the ultra-catchy album-opener “Perfect World” and the fiery\, horn-laced “Freedom\,” Radius unfolds into epically joyful anthems that show the full range and power of Stone’s vocals. \nStone started working those vocals as a kid\, thanks largely to his parents’ influence. “My father was a minister so I spent about half my childhood in church\, watching my mom and dad sing together and lead the congregation in song\,” he recalls. By the time he was 11 he’d picked up a guitar and written his first song\, and soon began self-recording demo tapes to pass along to classmates. Although Stone enrolled in Bible College after high school\, he quickly dropped out to move to Seattle and kick start his music career. “I had an ’87 Buick and I’d drive up and down the west coast\, playing any gig I could get just to try to put my music out there\,” he says. \nAt age 22\, Stone self-released his debut album\, 2010’s Last To Speak. But it was his self-titled follow-up (on which he joined forces with former Miles Davis keyboardist Deron Johnson) that ended up earning him serious recognition. Along with entering the top five on iTunes’ R&B/Soul chart after its digital release\, Allen Stone prompted him to score appearances on such late-night talk shows like Conan. And upon partnering with ATO Records for a physical release of his self-titled album in 2012\, Stone soon turned up on the likes of the Late Show with David Letterman and landed a gig as the opening act for soul legend Al Green. In the midst of the buzz\, he also took up a grueling touring schedule\, tearing through nearly 600 shows in just two years. \nFor Stone\, all that time onstage went a long way in preparing him for the many creative breakthroughs he’s made on Radius. \n“I think you really grow as a musician when you’re playing right in front of people\, and for me constantly growing and progressing and getting better is really the most important thing\,” he says. Ruminating on the emotional undertones of his new album’s title and noting that\, “the center of me is my heart\,” Stone says he also hopes that Radius will ultimately help listeners shed new light on their own struggles. “There’ve been times in my life when records were my saving grace and really helped me to figure out who I am\, and I’d love for my music to have that kind of impact on a kid who’s looking for his or her own place in this life\,” he says. “Because I absolutely believe that if you’re going to stand at a microphone and say something\, you need to recognize that as a privilege. You’ve got to be incredibly careful about it\, and really put all your heart into the message that you’re sending out into the world.” \n*** \nGreat Caesar \n \n[Website] [Facebook] [Twitter] \nIn the dead of winter\, the grand summer homes of the Hamptons sit vacant and silent\, their yards piling high with snow behind the perfectly manicured hedges that line the quiet streets… or so you might expect. But\, if you paid a visit to Southampton\, NY last winter\, you may have noticed that one house in particular was neither vacant nor silent\, but rather spilling over with raucous music and joyful listeners. A knock on the door would have welcomed you into the winter retreat of Great Caesar\, the six-piece\, Brooklyn-based band bringing together chamber rock and indie soul in a singularly anthemic and captivating blend. Don’t fret if you missed those wild winter nights\, though. They were just the warm-up. Now\, with a new EP (titled ‘Jackson’s Big Sky’ after that Southampton house) and extensive US tour dates on the way\, Great Caesar is ready to bring their one-of-a-kind sound directly to you. \nThe band’s roots stretch back to Connecticut\, where frontman/guitarist/singer John-Michael Parker teamed with bassist Adam Glaser\, trumpeter Tom Sikes\, and guitarist Mike Farrell while they were all still in high school. They built a local following exploring a variety of sounds\, and added drummer Thomas Stephens and vocalist Niki Morrissette after relocating to New York City.  \n“I went to Yale\, and we had a guy at NYU\, a guy at UConn\, and another at Williams\, so we started going all over playing shows at each other’s schools\,” explains Parker. “We recorded a few songs at a little studio and printed a bunch of copies of that first CD. We weren’t thinking about the music industry or anything at the time — we were just doing it for fun\, and to make something for ourselves.” \nThat all changed when a filmmaker approached the band with an ambitious concept for a video for their song “Don’t Ask Me Why” centered around themes of social justice and drawing parallels between the civil rights movement of the 1960’s and the modern fight for gender and sexual equality.  \n“When we lost our initial source of funding\, we decided to do it ourselves and raised $50\,000 on Kickstarter\,” says Parker\, who tapped Beirut/Modest Mouse producer Griffin Rodriguez to helm the recording of the song along with three additional tracks that would make up their self-titled EP. “It was a three-week shoot and it took four or five months to actually release it\, but we somehow managed to get connected to Upworthy\, and when the video went out\, it got more than 100\,000 views in its first week.” \nMTV raved that it “proves love conquers all\,” while Relix said it “challenges viewers to take a stand for equality” and named Great Caesar a band “on the verge.” The video garnered attention from influencers and tastemakers as varied as Russell Simmons and Deepak Chopra to Arsenio Hall and Superbowl champion/LGBT advocate Brendon Ayanbadejo\, and it earned the band an invitation to perform and speak at TEDxHollywood\, Summit Series\, and The Feast. \nWith excitement around the group growing\, Great Caesar left Brooklyn behind for two months in early 2015 to hunker down in Southampton and focus on new music and their first tour to SXSW. On two different weekends\, they invited a few dozen friends and fans from the city to come live in the house with them and listen to the new tunes. The morning after one of those winter showcases\, they filmed a live performance using empty cans and kitchenware for percussion that landed them on a featured post from NPR as a standout performance in the Tiny Desk Concert contest. Living together in such close quarters proved to be an invaluable experience for the band\, both for personal bonding and for their creative output\, which was partly inspired by a life-changing visit to the Marion Correctional Institution in Ohio. \n“None of us knew what to expect\, but we ended up having this incredibly powerful experience\,” says Parker of the performance\, which they routed into a national tour last fall. “First\, we got to be a part of a spoken word session that a few of the guys were doing\, where we’d play a little bit and they’d share their poetry. It was honest\, vulnerable\, and really skillful. When the time came for our show\, over 100 inmates filed into the chapel\, and we just dove right in. As soon as we finished the first song\, ‘Still Love\,’ everyone jumped to their feet and gave us a standing ovation\, which sort of shocked us. But then they jumped up and cheered for every song after that\, too\, and by the end of the set\, we had this very emotional\, visceral experience of the power of music and performance. It was an important moment for our band to see the impact we can have on folks\, and to feel the impact an audience can have on us\, even when we’re least expecting it.” \nTwo songs Parker penned while reflecting on the band’s experience at Marion—the warm and soulful lead single “Hey Mama” and the harmony-rich\, chamber-folk track “Jolene”—are early indications of the band’s remarkable growth and maturity in the short time since their last release. Recorded at the iconic Bear Creek studio outside Seattle with producer Ryan Hadlock (The Lumineers\, Vance Joy)\, the tracks showcase sophisticated arrangements full of dreamy guitars\, lush horns\, and infectious melodies.  \nThese tracks\, though\, are only a part of this new beginning for Great Caesar. ‘Jackson’s Big Sky’ is out now\, soon to be followed by a US tour\, and more videos are already in the works. And who knows\, maybe they’ll play another snowy house show or two while they’re at it. The band may have found their sound in the dead of winter\, but everything Great Caesar touches is heating up.
URL:https://royaleboston.com/event/allen-stone-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/03/ALLENSTONE_BERNHOFT_ADMAT_COLOR-localized-20162.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160625T183000
DTEND;TZID=America/New_York:20160625T183000
DTSTAMP:20260417T160504
CREATED:20160503T223706Z
LAST-MODIFIED:20160503T223706Z
UID:10002354-1466879400-1466879400@royaleboston.com
SUMMARY:The English Beat / Soul Asylum
DESCRIPTION:Doors: 6:30 pm / Show: 7:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 5/6 at noon! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nThe English Beat \n[Website] [Facebook] [Twitter] \nThe English Beat is a band with an energetic mix of musical styles and a sound like no other. The band’s unique sound has allowed it to endure for nearly three decades and appeal to fans\, young and\nold\, all over the world.  \nWhen The English Beat (known simply as The Beat in their native England) rushed on to the music scene in 1979\, it was a time of massive social and political unrest and economic and musical upheaval. This set the stage for a period of unbridled musical creativity\, and thanks in large part to the Punk movement and it’s DIY approach to making music\, artists like The Beat were able to speak out and speak their mind on the news of the day\, as in “Stand Down Margaret”\, things that mattered to them and the youth culture\, as in “Get A Job”\, and universal matters of the heart and soul\, as in their classic hits “I Confess” and “Save It For Later”. \nThe original band consisted of singer-songwriter Dave Wakeling on vocals and guitar\, Andy Cox on guitar\, David Steele on bass\, and Everett Morton on drums – later additions Ranking Roger (toasting)\nand foundational First Wave Ska legend Saxa (saxophone) completed the outfit. The band crossed over fluidly between soul\, reggae\, pop and punk\, and from these disparate pieces they created an infectious dance rhythm. \nThe Beat first came to prominence as founding members of the British Two Tone Ska movement\, with their classic first album “Just Can’t Stop It” fitting squarely in that genre. Along with their\ncontemporaries The Specials\, The Selecter\, and Madness\, the band became an overnight sensation and one of the most popular and influential bands of that movement. \nHowever\, band leader Dave Wakeling never felt constrained by the movement. Dave has always viewed ska as a springboard\, not a straight jacket. Indeed\, the band’s sound continued to evolve over\ntheir first three studio albums\, through the General Public era (a band formed by Dave with Ranking Roger\, the toaster from The Beat)\, and has continued it’s evolution with the forthcoming English Beat album “Here We Go Love”\, a PledgeMusic crowd-funded album set for release in 2016\, the band’s first new album since 1982’s “Special Beat Service”. \nConsummate showman that he is\, Dave Wakeling has continued to keep The Beat alive and strong. Dave continues to tour the world as The English Beat with an amazing all-star ska backing band playing all the hits of The Beat\, General Public\, and songs from his new album “Here We Go Love”. \nYou just can’t stop The English Beat! \n*** \nSoul Asylum \n \n[Website] [Facebook] [Twitter] \n“A friend asked me what kind of records I want to make\, and my answer was that I always want to make a record that I want to hear that’s not already in my record collection\,” says Dave Pirner. “I think we got that on this one.” \nPirner is referring to Change of Fortune\, Soul Asylum’s eleventh studio album\, and its first for Entertainment One Music (eOne Music). The dozen-song set embodies the band’s trademark balance of rocking abandon\, infectious melodic craft and raw-nerved emotional depth\, boasting a compelling set of new Pirner compositions while showcasing the strength and versatility of Soul Asylum’s current lineup\, which teams founding singer/guitarist Pirner with guitarist Justin Sharbono\, bassist Winston Roye and drummer Michael Bland. \nThree and half decades down the road from the band’s indie-punk origins\, Change of Fortune — co-produced by the band and longtime studio collaborator John Fields — is classic Soul Asylum\, with such musically and lyrically pointed new tunes as first single “Supersonic\,” “Can’t Help It\,” “Doomsday\,” “Make It Real\,” and the title track packing a familiar sonic and emotional punch\, while carrying a hard-won sense of survival and perseverance that honors Soul Asylum’s storied history while pointing towards the future. \n“It’s more honest than any record I’ve made in a very long time\, just because there was no one looking over my shoulder and editing me\, which was very liberating for me\,” says Pirner. “It sounds like the vision that I had in mind a really long time ago. When I listen to it\, I think\, ‘That sounds like Soul Asylum\,’ and that’s as good as it gets for me.”  \nChange of Fortune — which features an appropriately arresting cover image by world-renowned wildlife photographer TK — marks the recording debut of the current Soul Asylum lineup\, which has racked up a considerable amount of roadwork and honed its combustible musical chemistry since Sharbono and Roye joined in 2012. Drummer and multi-talented right-hand man Bland joined Soul Asylum in 2005 with an extensive resume that includes work with fellow Minneapolitans Prince and Paul Westerberg. \n“I would say\, without reservation\, that my band is probably the best band on the planet\,” Pirner asserts\, adding\, “That always gets me in trouble\, but it’s not because of me; it’s because of Michael and Winston and Justin. It’s incomprehensible to me that the elements have fallen into place the way they have\, but it’s driving me nuts how much I love this band.” \nSoul Asylum has been inspiring that level of passion since 1981\, when the band\, initially known as Loud Fast Rules\, formed in Minneapolis. The band’s raucous live sets and early releases on the hometown indie label Twin/Tone — including the albums Say What You Will\, Made to Be Broken and While You Were Out — earned it a loyal fan base and widespread critical acclaim. \nSoul Asylum’s indie success led to the band entering the major-label mainstream with 1988’s Hang Time and its 1990 follow-up And the Horse They Rode In On\, and achieving a platinum-level commercial breakthrough with 1992’s Grave Dancers Union and 1995’s Let Your Dim Light Shine. Grave Dancers Union featured the international hits “Runaway Train\,” which won a 1994 Grammy as Best Rock Song\, and “Black Gold\,” while Let Your Dim Light Shine spawned the hit “Misery.” The band went on hiatus after 1998’s Candy from a Stranger\, during which time Pirner released his first solo effort\, Faces & Names. Soul Asylum returned to action in 2006 with The Silver Lining and released Delayed Reaction six years later. \n“When I was a kid\, I wanted to be in a band\, and I decided that’s what I was gonna do\, and that hasn’t changed\,” Pirner notes. “This whole thing is an act of faith\, and the worse the music business gets\, the more of an act of faith it becomes. But I don’t give a f—\, I’m gonna keep doing this until the day I die. We’re always struggling to figure out how we’re gonna make this work\, but I’m not going to waver.  \n“People who feel disenfranchised tend to identify with Soul Asylum\,” Pirner observes. “I’ll look out at the crowd and see people singing along with my songs of frustration and insecurity\, and the irony is not lost on me. There’s a part of me that’s never gonna fit in\, but I love being around people who love music\, and I’m very loyal to the idea of whatever Soul Asylum is. The future is bright\, everything is good\, and if there’s something in this record that can make people feel like things are gonna be OK\, then it’s mission accomplished.”
URL:https://royaleboston.com/event/the-english-beat-soul-asylum/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/05/soul-asylum-english-beat-admat.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
END:VCALENDAR