BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Royale Boston - ECPv6.15.16//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 BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20180311T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20181104T060000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/New_York:20161116T200000 DTEND;TZID=America/New_York:20161116T200000 DTSTAMP:20260405T070033 CREATED:20160919T133853Z LAST-MODIFIED:20160919T133853Z UID:10001713-1479326400-1479326400@royaleboston.com SUMMARY:Jim James DESCRIPTION:Bowery Boston presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 9/23 at 10AM! \nNote: ticket price includes a $1 per ticket charity fee that will be donated to My Morning Jacket’s The Waterfall Project fund powered by RPM. Tickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nJim James \n \n[Website] [Facebook] [Twitter] \nDefying categorization\, James’ second solo project\, Eternally Even\, co-produced by Blake Mills (Alabama Shakes) and Jim James\, is a heart-thumping call to action. The timing of its release\, smack in the middle of election season\, is no accident. \n“I wanted to make an album that hopefully speaks to the issues of the day\, many of which\, sadly\, are issues we have been dealing with since the beginning of time.” says James. “Most of what I think about right now is how so many things in the world are SO fucked up- our political system is broken and corrupt…our earth is being destroyed by climate change…people are not treating each other with equality and respect… and I think- are we going to make it? Are we going to figure it out and fix it before it’s too late? Can we ever truly open our hearts and embrace love in all its beautiful forms? I think it’s still possible. I still have hope in humanity. I’m just trying to be a part of the discussion and encourage people to speak out for equality\, to not be afraid to speak out for peace and love. All of us feel afraid at times in these absolutely insane times\, but its important we speak our minds\, cast our votes\, and do not give in to fear and hatred.” \nIn early 2013\, his first solo full length Regions of Light and Sound of God was released and met with widespread critical acclaim. Praised as “truly breathtaking” by Time Out and “magnificent” by Rolling Stone\, the album was followed with a sold-out national headlining tour and appearances on Late Night with Jimmy Fallon\, Jimmy Kimmel Live\, Late Show with David Letterman and Austin City Limits. \n*** \nTwin Limb \n \n[Website] [Facebook] [Twitter] \nTwin Limb is a band from Louisville\, KY formed by Maryliz Bender (drums\, vocals)\, Lacey Guthrie (accordion\, vocals)\, and Kevin Ratterman (sampled sounds\, guitar\, percussion). \nGuthrie’s accordion does some very sinister things\, underpinning the music with a luxurious darkness that connects folk and psychedelia. It’s the same with the vocals\, as Guthrie and Bender wrap their voices one around the other like they’re telling secrets\, creating another bridge between the familiar and the disarming. \nBender keeps the drums simple and purposeful\, often parsing out her beats in short\, sharp bursts with a precision that never feels forced. Ratterman is the final wild card\, using guitars and samples in unexpected ways that feel both post-punk and experimental. Twin Limb’s debut album\, Haplo\, will be released this Fall\, 2016 URL:https://royaleboston.com/event/jim-james-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/2016/09/jim-james-admat-2016.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:20161118T180000 DTEND;TZID=America/New_York:20161118T180000 DTSTAMP:20260405T070033 CREATED:20160712T142921Z LAST-MODIFIED:20160712T142921Z UID:10001689-1479492000-1479492000@royaleboston.com SUMMARY:Caspian DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 7/15 at noon! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nCaspian \n \n[Website] [Facebook] [Twitter] \nOn their new full-length record\, Dust & Disquiet\, Caspian is saying something. “We’re wide awake now\,” we hear in the album’s dead center\, track five’s “Run Dry.” This isn’t the first time Caspian has sung a line of discernible lyrics\, but the clarity—in the tone and thematic sentiment of both the track and the whole record—has never demanded so much attention. \nIn part\, the line is a response to their last record\, 2012’s presciently titled Waking Season—an acknowledgement that even they didn’t know what changes that waking process would mean. In the three years since\, the band suffered the tragic death of founding bassist Chris Friedrich\, and thus felt torn between grief’s desire to hide away from everything and yet knowing immediately that the band needed to continue. But going on meant maintaining a grueling tour schedule\, with the members vacillating between elation and utter exhaustion. “Traveling can create a feeling of separation at times\,” says guitarist and founding member Phil Jamieson. “After a while\, you can forget why you’re out there in the first place. Deciding to do another record after all that was a move to reclaim for ourselves why it is that we do all this: Music is our strongest antidote to feelings of emptiness and disquiet.” \nTo record the album\, Caspian returned to Q Division Studios in Somerville\, Massachusetts\, the stamping grounds where they recorded the highly acclaimed Waking Season (“the Best Post-Rock Album of Year\,” said SPIN Magazine in 2012). They also looked again to the legendary chops of Matt Bayles (Mastodon\, Isis\, MONO\, Minus the Bear) to produce\, mix\, and engineer the record. \n2015 also marks a decade since the band’s inception. Ten years ago\, Caspian played a show as a four-piece band at a small pub in their still-home base of Beverly\, Massachusetts. After months of practicing before their first gig\, never worrying about what it was they were trying to create beyond music that could tell a story\, they arrived at a bombastic sound—guitars from Phil Jamieson and Cal Joss that sounded like a 40-piece orchestra\, stripped-down drums that showed Joe Vickers could literally control chaos\, and a bass sound so big from Chris Friedrich it blew amplifiers almost as often as he changed notes. \nTheir sound only deepened and thickened over the years with the addition of guitarists Erin Burke-Moran and Jonny Ashburn\, and touring-cum-permanent bassist Jani Zubkovs. \nWith a sound this expansive\, lyrics were simply unnecessary. And yet\, 673 shows after their first appearance and on the advent of their fifth studio recording\, Jamieson still says\, “I view us as storytellers and musicians equally.” \nThat focus on narrative has continued across all of their albums\, as otherwise the band would risk becoming a parody of themselves and the post-rock genre they’ve always acquiesced to with crossed fingers behind their backs. “We can do soundscapes\, reverb-drenched drones\, and songs based around a repeating melody that build and build for 12 minutes until we are blue in the face\,” Jamieson says. “It is trying to convey a story through song structure\, use of melody\, and dynamics that has been the driving motivation from day one for this band.” \nThere has always been a fluidity to the arcs in Caspian records\, where words like story and narrative held a loftier\, mythic place in the movement to each album. We’re invited to enter and exit on our own terms\, using the music as a railing to help us wander the dark hallways of our mind. The declarative title of You Are the Conductor (2005) announced that the music would take the listener on a journey\, but where things went would be determined by the mood and circumstance of the listener. Each subsequent record refined and pushed the sounds into more surprising territory\, showing the band’s ability to craft structures that the listener could inhabit—The Four Trees (2007) with its skyward glance\, Tertia (2010) with its fists in the dirt\, and Waking Season (2012) looking for the human in the machine. Raw emotion was always present\, but it remained aloof\, undefined. You felt it\, but the feeling would dissipate just when you thought you could name what it was you were feeling. \nBut with Dust & Disquiet\, the story has changed. \nAs much as grief wishes to be private\, the passing of bassist Chris Friedrich left an indelible mark on the band\, and it’s impossible not to see stark traces of this tragedy across the album. The whole of the record transcends their personal grief\, but as Jamieson says\, “It is and always will be\, now\, an underlying core to everything the band creates.” \nThey are forever marked by loss\, but not defined by it. \nAs such\, Dust & Disquiet showcases a maturation of the quiet/loud dynamic that Caspian has been exploring since their debut EP\, You Are the Conductor. Now\, that dynamic extends beyond a matter of volume\, suggesting a more figurative exploration of polarities such as dark/light\, dry/wet\, and tired/awake. And these elements are not limited to one elongated track\, but rather stretch out over an ambitious and yet patient album that opens with horns and a string quartet (“Separation No. 2”)\, riffs on the wilder\, steel-eyed side of country (“Rioseco”) and classical (“Aeternum Vale”)\, all the while staying true to its epic brand of build-and-release rock (“Arcs of Command\,” “Dust & Disquiet”). \nOn a first listen\, then\, a track like “Run Dry” might seem surprising for a band that\, for the past ten years\, has relied on their textured and explosive style of instrumental music to tell their story. And while this acoustic ballad is noticeable simply due to its unique sonic profile among the band’s catalog\, there is a sobering quality that holds the listener in place. We are brought into their present moment\, and we remain there indefinitely\, even if the song only lasts less than five minutes. It may sound calm\, but there is tension in the song’s desert air stillness. In the end\, the track becomes a piece of an album that is the widest expression of the kind of connective work Caspian has been up to since the beginning. \nIt’s for this reason that the diversity of Dust & Disquiet—from the horns and string quartet that open and close the record to the primal honesty evident in tracks such as “Echo and Abyss” and “Darkfield”—bluntly assures they need no parlor tricks in order to keep their particular brand of instrumental music fresh. “The record has a genuine sincerity to it\,” Jamieson says\, “because we are still using the creative act as a weapon to combat feelings of emptiness and isolation. It is still a mechanism used toward connection to one’s self and to other people in an age of increasing separation.” \nAnd that work is palpable throughout Dust & Disquiet. Images come into focus—the physical world and the world of imagination are one. Most of life is set up to break that connection\, but Caspian is wide awake now\, and they are expressly in the business of reconnecting. \nDust & Disquiet was released on September 25\, 2015 on Triple Crown Records\, Big Scary Monsters (Europe)\, Hobbledehoy Records (Australia). \n*** \nThe Appleseed Cast \n \n[Facebook] \nThe Appleseed Cast has been a band since 1997.\nLawrence\, KS URL:https://royaleboston.com/event/caspian/ 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/2016/07/caspian-admat-2016.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:20161123T220000 DTEND;TZID=America/New_York:20161123T220000 DTSTAMP:20260405T070033 CREATED:20161102T165436Z LAST-MODIFIED:20161102T165436Z UID:10002437-1479938400-1479938400@royaleboston.com SUMMARY:Chus & Ceballos DESCRIPTION:21+ URL:https://royaleboston.com/event/chus-ceballos/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts,Nightclub ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/11/1123-Chus-Ceballos.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:20161124T200000 DTEND;TZID=America/New_York:20161124T230000 DTSTAMP:20260405T070033 CREATED:20161110T192055Z LAST-MODIFIED:20161110T192055Z UID:10002441-1480017600-1480028400@royaleboston.com SUMMARY:Glykeria w/ Kostas Karafotis DESCRIPTION:21+ URL:https://royaleboston.com/event/glykeria-w-kostas-karafotis/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts,Nightclub ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/11/1124-Glykeria-Greek-Event.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:20161127T200000 DTEND;TZID=America/New_York:20161127T200000 DTSTAMP:20260405T070033 CREATED:20160818T134019Z LAST-MODIFIED:20160818T134019Z UID:10002419-1480276800-1480276800@royaleboston.com SUMMARY:strfkr DESCRIPTION:Bowery Boston presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 8/19 at noon! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nstrfkr \n \n[Website] [Facebook] [Twitter] \nSince the release of their 2008 debut album\, STRFKR have relentlessly toured across the globe\, delivering to their fans a guaranteed non-stop dance party. \nWith three proper albums and another to come in 2016\, the band has a wealth of dance party hits at their disposal and their career-spanning live set is a sweat drenched laser soaked affair highlighted by their home made light show. \nSTRFKR began as a vehicle for Josh Hodges songwriting but quickly transformed into a full-fledged band with members Shawn Glassford and Keil Corcoran. \n*** \nGigamesh \n \n[Website] [Facebook] [Twitter] \nGigamesh is the stage name of Matt Masurka\, an American multi-platinum selling music producer and DJ. His numerous remixes and two EPs have earned him a swiftly building reputation as one of the most versatile and consistent names in indie-dance music. \nHailing from Minneapolis\, Minnesota\, it’s no surprise Gigamesh has developed a keen taste for funk\, disco and pop. The sound is immediately recognizable in much of his music\, however he maintains a flexible aesthetic. Gigamesh is an ardent fan of minimalist concert music\, film scores\, classic rock\, italo disco\, French house\, Miami bass\, and genre-bending electronic music. These elements have all combined to forge his all-inclusive approach to music appreciation and creation. \nGigamesh first gained exposure on music blogs for bootleg reworks of pop hits from Michael Jackson\, New Order\, The Clash\, Stardust and dozens more. He went on to produce a #6 Billboard Single (also iTunes 2010 Pop Single Of The Year) and very well-received remixes for Foster The People\, Two Door Cinema Club\, Katy B\, Theophilus London\, Citizens\, Grouplove and more. Now a multi-platinum selling producer and frequent member of The Hype Machine’s popular chart #1 spot\, Gigamesh has firmly established himself as a respected trendsetter in modern dance music. \nIn October 2011\, Gigamesh released his debut self-titled EP on Our Label International\, which received wide acclaim in the disco and indie-dance community. Following his debut\, Gigamesh began to develop a close relationship with French record label Kitsuné resulting in an invitation to perform on their highly-anticipated U.S. Club Night tour and the release of the “All My Life” EP by Kitsuné in May of 2012. In support of this EP Gigamesh has been touring the globe\, including Asia\, Australia\, North America\, and UK/Europe. \nGigamesh continues to gain recognition as one of the top producers of modern dance music going in to 2013. With no time to waste\, Gigamesh is starting off the year by releasing a new single\, ‘Enjoy.’ ‘Enjoy’ features a remix by Oliver and will be out on NYC’s fresh house label – Nurvous Records (Feb. 12th). \n*** \nPsychic Twin \n \n[Website] [Facebook] [Twitter] \nTwo and a half years ago\, Erin Fein began to pen a series of songs that would become the music of Psychic Twin. These songs emerged as intensely personal\, nervously rhythmic\, and indebted to the ’80s new-wave of her youth. While recording by herself\, doubling her vocals and singing ghostly counter-melodies\, she was overcome with the surreal but persistent feeling that she was writing and recording with her twin. “In an ideal situation\,” she says\, “there would have been two of me singing and playing the music.” \nFein’s new material joins propulsive electronica and shimmering synth-rock atmosphere. Lush synthesizer washes and incisive keyboard lines fade in and out over subtly persistent beats that begin simply\, but reveal their complexity as songs take shape. The music is anchored by the bright melodicism inherent in Fein’s songwriting\, as verses and choruses shift and expand over the course of a song. Psychic Twin makes pop music that is romantic and mysterious; infused with an ineffable longing for escape\, for the unattainable\, like the impossible desire to make music with one’s own double. URL:https://royaleboston.com/event/strfkr/ 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/2016/08/cararobbins-strfkr-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:20161128T190000 DTEND;TZID=America/New_York:20161128T190000 DTSTAMP:20260405T070033 CREATED:20160620T141456Z LAST-MODIFIED:20160620T141456Z UID:10002396-1480359600-1480359600@royaleboston.com SUMMARY:Andra Day DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 6/24 at 10AM! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nAndra Day \n \n[Website] [Facebook] [Twitter] \nAndra Day has been gifted with a brassy yet alluring voice that is as powerful as it is expressive — described as “possessed by the ghost of Billie Holiday\,” boasting flawless jazz chops that she can apply to her varied musical influences with equal ease. Day’s new album\, Cheers To The Fall\, is all about resilience through struggle\, exemplified by “Rise Up\,” which Andra describes as a relationship songs of sorts. “I look at all of us as brothers and sisters and a body working together.” She says. “‘Rise Up’ is saying one piece isn’t better than the other\, and when one part is struggling\, I’m going to help and lift you up. I will rise up with you.” \n*** \n ChloexHalle \n \n[Website] [Facebook] [Twitter] \nChloe and Halle have been singing and\nacting since they were 2 and 3 years old.\nYou may have seen them in “The Fighting\nTemptations”\, “Meet the Browns”\, and “House\nof Payne”. They’ve had the pleasure to\nwork with people such as\, Beyonce’\, Tyler\nPerry\, Angela Bassett\, Keri Hilson\, and many\nmore! Chloe and Halle’s goal is to impact\npeople\, young and old\, with their music. URL:https://royaleboston.com/event/andra-day/ 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/2016/06/andra-day-admat-w-support.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:20161129T190000 DTEND;TZID=America/New_York:20161129T190000 DTSTAMP:20260405T070033 CREATED:20160717T060040Z LAST-MODIFIED:20160717T060040Z UID:10001693-1480446000-1480446000@royaleboston.com SUMMARY:Michael Kiwanuka DESCRIPTION:92.5 The River presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale NOW! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nMichael Kiwanuka \n \n[Website] [Facebook] [Twitter] \n“This album is led by emotion. So making melodies that capture you was my priority. I was just asking one question\, does it move you?” \nSoulful and raw\, Londoner Michael Kiwanuka’s critically-acclaimed debut album ‘Home Again’ (April 2012) staked his claim on the list of great British singer-songwriters. As a body of work\, Home Again was a genre-defying nod to the heritage names of soul\, and reinforced the real strength of young British music talent. \nHaving taken a deep breath and relaxed into his musical approach\, Kiwanuka is back\, and has delivered his eagerly anticipated second album – and it packs a powerful punch. If his last album was about returning home again\, this is about leaving it behind and stepping out – and finding himself outside his comfort zone. Love & Hate is an outward-looking\, drenched with emotional density and rich\, soulful production at the helm. \nTwo years in the making\, the British Ugandan Londoner has worked with new talent and created a canvas which sees his vulnerability take centre stage. While previous comparisons have been made to the sensual jazzy folk-soul of Terry Callier or Otis Redding\, in reality\, this simmering\, blues-inflected pop-soul offering\, this masterpiece\, takes the foundation of those artists and ignites the genre with new energy and thrill. \nIt’s no surprise that Kiwanuka cites the elaborate\, expressive music of Marvin Gaye\, Isaac Hayes and John Lennon as influences\, and when he speaks of what he loves about his heroes\, (“The melancholy and the sheer honesty of Gaye. He doesn’t hide behind his lyrics”) he could so easily be describing himself. \nKiwanuka describes himself as being “obsessed” with the guitar growing up (and tells a great story about how seeing a documentary on Jimi Hendrix as a teen\, and realising he was black\, opened up something in him). Now\, after countless accolades following his debut and providing support Adele on her 2011 live tour\, he’s showing us exactly what he’s learned. \n“The confessional aspect is cathartic for me. You accept it\, once it’s done\, it’s out there. That’s the therapeutic nature of it. Now\, I’m living in a way where I’m not apologising. My first album I was just worried about everything.” \nMusically\, this uncompromising fluency of expression means he is as exciting as he’s ever sounded. That\, alongside a fresh ear for production\, thanks to two new producers\, elevated his sound from his debut offering. One of which was a young London-based producer called Inflo\, who he co-wrote the lead single\, ‘Black Man In A White World’ with\, and the other\, the mighty Brian Joseph Burton\, aka Danger Mouse who was intrigued by Michael’s previous work and asked to work with him. The American producer and songwriter who is best known for his work producing for Gnarls Barkley\, Gorillaz and the Black Keys\, was ultimately recruited for his aptitude for applying heritage music in a fresh way\, and was exactly was Kiwanuka was looking for. It was this new approach being directed by Danger Mouse that allowed Kiwanuka to really revisit himself again. \n“The first album was way more technical.” He says. “It was like\, ‘OK\, we need exactly the right drum sound and an old mic\, and the perfect guitar sound’. I love that stuff and I always will\, but Brian changed my perspective on it. I realised it the music wasn’t just about deconstructing the instruments\, it was to feel.” \nIt was this team and fresh outlook that re-ignited Kiwanuka’s creative energy after a period of self-doubt\, and much of the album was written across London\, and out of his comfort zone of LA. He says\, “I wanted to give up making music after my first album\, but this made me realise that I just needed a new approach to really reflect who I am now.” \nLove & Hate is a confident expression of Kiwanuka taking things at his own pace\, which at times\, brings you to a standstill. One such track is ‘Black Man in A White World’\, perhaps Kiwanuka’s most remarkable moment. Inspired by the old southern blues of American blues singer Son House\, he takes us with him as he discusses his worldview. The song deals with his issues of race\, diasporic identity and anxiety\, and is a captivating moment of sonic vulnerability and power. The clipped bass claps punctuate each word and as he sings\, “I’m a black man in a white world/I’m in love but I’m still sad/I found peace but I’m not glad” and with that\, we get a sense of his duality. \nTalking about it\, he explains\, “That song is about all the sadness and frustrations of childhood\, of being one of very few black kids in Muswell Hill\, and never feeling like fitting in. It’s about not feeling like I could be a rock star\, of always being categorised as jazz\, of attending the Royal Academy of Music and seeing no black people on the course\, and thinking just how much I was a black man in a white world. ” \nIt is the ability to allow his pain to rise to the surface where Kiwanuka really excels. On ‘Cold Little Heart’\, the slow build of tension as he asks the heart wrenching question\, “Did you ever want it?” takes us to his raw pain over gentle piano lines and soft hums\, as he reinforces that we are all vulnerable in love. It’s a theme he takes further on ‘Final Frame’ where he takes us to the point after committing to a relationship\, delving into what happens next. \nHe explores his spiritual relationship with God on ‘Father’s Child’ as he gently sings\, “I’ve been searching for miles and miles/Looking for someone to walk with me”. He likens the ad-libs to “speaking in tongues” and takes images from his childhood at church. “that song is about purpose really\, its about walking with someone. And those ad-libs feel like tongues\, lyrics that pour out from the heart before the brain has had time to process them.” \nOn where he finds himself now\, he says\, “A lot of this album was grappling with the insecurities that I’d learned. The first album was grappling with faith. Here\, I’m not so worried about that – I’ve accepted that it comes and goes\, and now\, I’m left with myself.” \nHonest\, unabashed\, and ambitious\, this is Kiwanuka emerging from the emotional cocoon of his first album\, and ready to secure his position as one of our most exciting homegrown talents. It’s a new world since his debut\, and it seems that it’s his for the taking. \n*** \nCloves \n \n[Website] [Facebook] [Twitter] \nMelbourne\, Australia\nScandinavian Soothing Metal URL:https://royaleboston.com/event/michael-kiwanuka/ 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/2016/07/Michael-Kiwanuka-ADMAT-FALL-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:20161130T190000 DTEND;TZID=America/New_York:20161130T190000 DTSTAMP:20260405T070033 CREATED:20160823T050034Z LAST-MODIFIED:20160823T050034Z UID:10002423-1480532400-1480532400@royaleboston.com SUMMARY:[SOLD OUT] Animals As Leaders DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is All Ages. \nSOLD OUT \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nAnimals As Leaders \n \n[Website] [Facebook] [Twitter] \nANIMALS AS LEADERS is an American Progressive band based out of Los Angeles\, CA. The group is composed of guitarists Tosin Abasi and Javier Reyes along with drummer Matt Garstka. Their unique musical style incorporates influences from metal\, jazz\, electronic\, latin\, classical\, and fusion. In 2009 AAL released their self-titled debut album on Prosthetic Records which quickly launched them into being a trend-setting group in their genre worldwide. Since then the band has released two more albums\, Weightless (Prosthetic Records\, 2011) and The Joy of Motion (Sumerian Records\, 2014) which debuted at #23 in the Billboard Top 200.\nAAL has been featured in various media publications throughout the world including Guitar World\, Total Guitar\, Modern Drummer\, Rolling Stone\, LA Weekly\, and many more. They have received signature endorsements from major companies (Ibanez Guitars\, ESP Guitars\, Tama Drums) and have managed to play alongside some of the greatest guitar legends such as Steve Vai\, Joe Satriani\, Guthrie Govan and many more.\nNow in 2016 Animals As Leaders continues to explore its musical endeavors with its highly anticipated fourth album to be released on Sumerian Records this year. \n*** \nIntervals \n \n[Website] [Facebook] [Twitter] \nAaron Marshall a.k.a Intervals\nToronto\, Ontario\, Canada \n*** \nPlini \n \n[Website] [Facebook] [Twitter] \nSydney\, Australia URL:https://royaleboston.com/event/animals-as-leaders/ 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/2016/08/animals-as-leaders-admat-2016.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:20161201T200000 DTEND;TZID=America/New_York:20161201T200000 DTSTAMP:20260405T070033 CREATED:20160818T122358Z LAST-MODIFIED:20160818T122358Z UID:10002417-1480622400-1480622400@royaleboston.com SUMMARY:Turkuaz & The New Mastersounds DESCRIPTION:Bowery Boston presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale now! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nTurkuaz \n \n[Website] [Facebook] [Twitter] \nTurkuaz is a 9-piece “Powerfunk” outfit from Brooklyn\, NY\, whose modern take on the classic funk sound has established them as leaders in the funk revolution that’s currently taking place in the genre. Blending elements of Pop\, R&B\, and Soul with their distinct aggressive funk core\, Turkuaz sounds like the musical love child of Sly & the Family Stone and Talking Heads. \nWith the release of their new album Digitonium\, Turkuaz’s sound is more accessible than ever and poised to break out to a more mainstream audience. With a playful feel that evokes the best of 80s dance music\, Turkuaz’s tightly arranged songs are built on thick grooves\, driven by powerhouse rhythm and horn sections\, as well as four distinct vocalists. \nThe group’s constant coast-to-coast touring since 2012 has earned them a passionate and dedicated national fan base that’s consistently growing. A dance band at their roots\, Turkuaz’s live shows are high-energy\, floor-shaking\, visually appealing events filled with colorful clothing and choreographed dance moves that always leave attendees wanting more. \nTurkuaz’s crossover appeal has never been more evident—from a recent video performance going viral and receiving over 2 million Facebook views\, to their music providing the soundtrack to New York Knicks games at Madison Square Garden\, to constant rotation on Sirius XM Radio\, Turkuaz is\, as Relix Magazine says\, “on the verge.” \n*** \nThe New Mastersounds \n \n[Website] [Facebook] [Twitter] \nFor their landmark tenth studio album\, The New Mastersounds trace the New Orleans side of their funky family tree back to their roots. Made for Pleasure\, due out October 2\, 2015 from revered independent label\, Royal Potato Family\, was recorded at The Living Room\, a converted wood-frame church directly across the Mississippi River from downtown New Orleans. The British foursome’s latest collection of infectious grooves is steeped in those storied waters and the rich musical history they’ve carried. \nFor the occasion\, The New Mastersounds – guitarist Eddie Roberts\, drummer Simon Allen\, bassist Pete Shand\, and keyboardist Joe Tatton – invited several guests to join them in the studio. Longtime compatriot Mike Dillon recorded with the band for the first time\, while former American Idol semi-finalist and Native American activist Charly Lowry leant her powerfully soulful vocals to three tracks. Tenor saxophonist Joe Cohen and trumpeter Mike Olmos\, both members of Roberts’ Stateside band\, the West Coast Sounds\, also joined the sessions. A late addition was Denver-based reggae singer Spellbinder\, who added his distinctive vocals to an unexpected cover of Iggy Azalea’s hit “Fancy.” \nThe title Made for Pleasure – which is taken from the organ-driven\, Meters-influenced opening track – captures both the band’s guiding mantra and the raucously seedy underbelly of the Big Easy. “That’s very much the ethos of the band\,” Roberts explains. “We make music for our own pleasure and for other people’s pleasure. It’s about sharing energy with an audience\, whether it be live or listening at home.” \nThat energy was in flux when the band reunited in the studio for a week last January. Roberts\, usually the Mastersounds’ chief songwriter and musical director\, found himself suffering an unusual bout of writer’s block. Far from resulting in a less-inspired album\, however\, the affliction led to the rest of the band contributing ideas and developing them live in the studio\, leading to their most collaborative effort to date. \n“It was a very interesting and exciting week\,” recalls Allen. “As it unfolded we wrote and developed a whole load of new things\, some of them going in directions that we’ve not gone in before. It was scary initially\, then exciting\, and then very satisfying at the end when we realized we had a really great record.” \nThat collaborative spirit extended to the recording itself; The Living Room’s 3\,500 square-foot space allowed all of the musicians\, including the horn players\, to record live together in the same space. That was especially unusual in the case of the horns\, which have traditionally been overdubbed on New Mastersounds albums. “In the past the guest horns haven’t really influenced the writing process of what we’re doing\,” Allen says. “But on this record they were with us while we were jamming in the studio\, so grooves and tunes that might not have gone anywhere suddenly came to life because they were coming up with top-line melodies to make sense of our grooves.” \nOne such tune is “High & Wide\,” a brisk\, up-tempo tune that evokes the punchy\, buoyant horn- driven funk of classic American R&B. The horns are also a key element on “Let’s Do Another\,” a cinematic tune reminiscent of both Headhunters-style funk-jazz and vintage action films – an impending gunfight or car chase looms heavily over the track. \nMike Dillon also contributes vibraphone and tabla to the latter tune\, one of three appearances he makes on the album. While he’s performed live with The New Mastersounds frequently over the years as their paths have crossed on the festival circuit\, this is the first time their chemistry has been captured in the studio. The versatile percussionist\, a member of Critters Buggin\, Les Claypool’s Fancy Band and Garage A Trois\, also contributes congas to the classic soul-jazz sound of “Cigar Time” (penned by Roberts during a single cigar break) and percussion to the relentlessly anthemic “Enough is Enough\,” featuring Lowry’s impassioned vocals. \nRoberts initially encountered Lowry during a gig with Everyone Orchestra in the vicinity of her North Carolina home. The guitarist was immediately blown away by her knockout voice and her dedication to the Native American cause. “She’s so natural and she’s got things to say\,” Roberts enthuses. “She’s an amazing being and I was excited to work with her.” She also sings on “Just Gotta Run” and the upbeat\, gospel-inflected “Joy.” \nSpellbinder came into the picture after the recording session was completed\, when Roberts happened upon him “toasting” – the reggae equivalent of hip-hop freestyling – in a Denver bar. “I loved his voice and they were very conscious lyrics\,” Roberts recalls. “So I went up to him after he’d finished and asked him what he was doing on Sunday. I was going in to mix the album that weekend\, so I asked him to lay some lyrics down. I hadn’t told the rest of the band\, so when I finished the mixing I told them I had a surprise for them.” \nThe surprise was an urgent vocal performance over the top of the band’s first recorded excursion into reggae\, a bold cover of “Fancy” by unlikely Australian rap sensation Iggy Azalea that had been suggested by Roberts’ 18-year-old daughter. The song follows a similar dip into pop hits on the Mastersounds’ previous album\, Therapy\, a cover of Bruno Mars’ “Treasure.” \nThe album’s other cover stems from closer to home: “Sitting On My Knees” is a dose of classic British mod psychedelia by the Dave Pike Set\, which becomes a showcase for Roberts’ ferocious guitar playing. Also inspired by the homeland if “Just Gotta Run\,” a nod toward the Northern Soul scene of the ‘70s and ‘80s. \nThe New Mastersounds themselves have become as widespread as their influences since their founding nearly twenty years ago. Only Allen remains in their native city of Leeds; the band now has members living in such far-flung locales as Denver\, Colorado and the Balearic Islands off the coast of Barcelona. They’ve also become collaborators with many of those influences\, working with such idols and peers as Lou Donaldson\, Corinne Bailey Rae\, Grace Potter\, Karl Denson\, Melvin Sparks\, Fred Wesley\, Pee Wee Ellis\, Maceo Parker\, Zigaboo Modeliste\, Art Neville and Ernest Ranglin. URL:https://royaleboston.com/event/turkuaz-the-new-mastersounds/ 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/2016/08/14047304_10153825786170872_7143278297110694336_o.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:20161202T183000 DTEND;TZID=America/New_York:20161202T183000 DTSTAMP:20260405T070033 CREATED:20160719T171248Z LAST-MODIFIED:20160719T171248Z UID:10002405-1480703400-1480703400@royaleboston.com SUMMARY:BRAVO US TOUR DESCRIPTION:BRAVO is an iconic rock-and-roll band founded in 1983 in Moscow\, Russia by the songwriter and guitarist\, Evgeny Havtan. At a time when the Soviet Union was still cut off from the West\, the band drew inspiration from 1950’s American rock-and-roll music and 1960s British innovation. Pairing infectious rhythms with a “hipster” look\, the band’s lyrics carry a message of love and hope\, the band’s career spans over 30 years and 14 albums. BRAVO’s first major US tour is a not-to-be-missed chance to hear brand new songs and all-time favorites like “The Orange Tie” (Oranjeviy Galstuk)\, “The Old Hotel” ( Stariy Otel’)\, “The Moscow Beat” (Moskovskiy Bit) and other hits! \n21+ URL:https://royaleboston.com/event/bravo-us-tour/ 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/2016/07/BRAVO_600x900_v3.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:20161210T180000 DTEND;TZID=America/New_York:20161210T180000 DTSTAMP:20260405T070033 CREATED:20160808T140054Z LAST-MODIFIED:20160808T140054Z UID:10001702-1481392800-1481392800@royaleboston.com SUMMARY:Kevin Devine & The Goddamn Band DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is All Ages.\nTickets on sale Fri. 8/12 at noon! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nKevin Devine & The Goddamn Band \n \n[Website] [Facebook] [Twitter] \nKevin Devine is an independent singer/songwriter from Brooklyn\, NY. He plays alone\, with his Goddamn Band\, and as a member of Bad Books. \n*** \nPinegrove \n \n[Website] [Facebook] [Twitter] \nMore than any other single artist\, Pinegrove was the driving force behind the return of teen pop in the late ’90s. \n*** \nPetal \n \n[Website] [Facebook] [Twitter] \nScranton\, PA.\nRun For Cover Records URL:https://royaleboston.com/event/kevin-devine-the-goddamn-band/ 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/2016/08/kevin-localized-poster.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:20161211T190000 DTEND;TZID=America/New_York:20161211T190000 DTSTAMP:20260405T070033 CREATED:20160911T035919Z LAST-MODIFIED:20160911T035919Z UID:10001711-1481482800-1481482800@royaleboston.com SUMMARY:Dragonette DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 9/16 at 10AM! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nDragonette \n \n[Website] [Facebook] [Twitter] \nIt’s been two years since Toronto-based leftfield popsters Dragonette put out a full-length album – an eternity in Pop years. Though they’ve hardly been idle in that time. \nThe touring around 2012 LP “Bodyparts\,” coupled with their smash collaborations with French DJ Martin Solveig\, saw them almost constantly continent-hopping\, sometimes swinging from Paris to Manila in a single weekend. They did tours of the US with Major Lazer\, Miike Snow and the Presets\, played to a packed mid-day tent at Coachella\, graced festival stages on five continents\, and saw more of their native Canada than they had in their now decade-long history as a band. \nAfter a bit of depressurization\, the band hit the studio\, not only working on new material for themselves\, but also collaborating with top-flight electronic music producers from across the planet. Though many of these have not yet been released\, their work with Dutch Producer Mike Mago\, “Outlines\,” hit the Top 20 in over 10 countries\, including scoring them their first UK Top 10 hit. Their work with US beatmaster Big Data has been synched 10 times in its 5 weeks in public\, most notably in the high-profile trailer for the upcoming Entourage Movie. One of two collaborations with Swedish hitmakers Galantis\, “Peanut Butter Jelly\,” is burning up the US radio charts as we write this\, and looks to be their most successful pairing of all. \nAll this work with other people has provided fresh fuel for the Dragonette mothership. They’re currently putting the finishing touches on their as-yet-untitled fourth album\, and “Let The Night Fall” is the first taste of that work. An anthem to overnight euphoria informed by their appearances at numerous dance festivals\, the song segues perfectly from their work with Dance Music’s brightest lights into Dragonette’s more complex world. \n*** \nGibbz \n \n[Website] [Facebook] [Twitter] \nGIBBZ is a renaissance man. After a childhood spent acting in C-­list horror movies and ballroom dancing\, he received a “degree” from Berklee College of Music. There he focused on music production\, aiding in his future full time position as an audio engineer. \nAfter 5 years on the road and in studios with international touring acts\, he realized being an engineer is a thankless\, miserable existence. Luckily\, his path had led him to working for a crew that went onto form the Lowtemp record label\, including Gramatik and Exmag. \nThey convinced him that it’s OK to drink copious amounts of alcohol and make everyone within a 30 ft radius uncomfortable. Out of this drunken\, obnoxious\, offensive mess of a man\, GIBBZ was born. GIBBZ can now be found singing and dancing to his own brand of electro pop\, recently touring with the likes of Cherub\, Ghost Beach and The Floozies. URL:https://royaleboston.com/event/dragonette/ 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/2016/09/Dragonette-2015-by-Mackenzie-Duncan.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:20161212T190000 DTEND;TZID=America/New_York:20161212T190000 DTSTAMP:20260405T070033 CREATED:20160829T144623Z LAST-MODIFIED:20160829T144623Z UID:10002424-1481569200-1481569200@royaleboston.com SUMMARY:Damien Escobar DESCRIPTION:Bowery Boston & T Presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale NOW!  \nNote: This is a General Admission SEATED show. Seats are available on a first come\, first serve basis. \nNote: VIP & Greet Packages available! Pricing/info below. \nGA: $45 – Includes one General Admission Seating Ticket\nVIP: $65 – Includes one General Admission Seating Ticket and early entry to venue\nGA Meet & Greet: $95 – Includes one General Admission Seating Ticket\, one post-show Meet & Greet\nVIP Meet & Greet: $115 – Includes one General Admission Seating Ticket\, one post-show Meet & Greet\, and early entry to the venue \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nDamien Escobar \n \n[Website] [Facebook] [Twitter] \nEasy come\, easy go; was the lesson two-time Emmy Award winning violinist\, Damien Escobar learned when he and his brother walked away from a multi-million dollar brand that took ten years to build. The now 27-year-old’s claim to fame came early on in his teens when he\, alongside his brother\, appeared on “America’s Got Talent” as Nuttin’ but Stringz. Two urban kids from Jamaica\, Queens\, playing a blend of hip hop and classical melodies with a violin was somewhat surprising to viewers\, and unique to say the very least; and the duo quickly shot to stardom– appearing in commercials and movies\, touring\, and even adding a platinum selling album to their accolades. But growing creative differences eventually became too much for the pair to bear\, and the success of Nuttin’ but Stringz came to an end– shattering the name and reputation Damien worked hard to establish\, and forcing him to rebuild from rock bottom. \nAfter the fall\, Damien is reveling in the climb. Since re-launching his career\, Escobar boasts of 200K downloads from his first R&B mixtape\, “Sensual Melodies”; and has more than a few notable solo headliner performances under his belt including: CBS Upfront Presentation\, Food & Wine Magazine’s Best New Chef Awards\, Indy Car Championship Awards\, Major League Baseball Annual Golf Fundraiser Event\, Angela Simmons “Electric Daze” Fashion Show\, Russell Simmons’ Hip Hop Inaugural Ball\, and corporate concerts for FRIDAYS\, Walmart\, Target\, and more. \nEscobar\, once a self-proclaimed retired violinist\, is now on everyone’s radar; and has even obtained online success with viral videos picked up by media giants such as WorldStarHipHop.com\, Huffington post\, and Allhiphop.com. A recent feature in PEOPLE Magazine elevated Escobar to new heights in his solo career; highlighting his movement of giving back to others by doing random acts of kindness.The star even found his way back on national television\, accepting an invitation to appear as a performer in WEtv’s “David Tutera’s: Unveiled”. And since then invitations to appear on television haven’t ceased; landing Escobar in the interviewee chair at FoxNews and NBC\, with other appearances lined up for the remainder of 2014. \nAs a veteran\, knowing the ups and downs of the industry\, Escobar has committed to centering his career around the loyal fans he refers to as “good people\,” who constantly remind him of why he got back into music. His appreciation for the support system he feels sustains him\, spawned his Pop-Up Performance campaign. Armed with a giant speaker\, a mic\, and his violin\, Escobar set out to surprise unsuspecting New Yorkers with a pop-up concert experience. The response to his documented journey was overwhelmingly positive\, and resulted in Damien announcing a five city pop-up performance tour. \nCurrently\, Escobar is appreciating his journey as a fresh new artist\, with the release of his high-energy\, inspirational single “Freedom” which debuted on CNN.com. He is scheduled to go on tour in Mid-May\, and can be seen on “The Katie Couric Show” on May 28th. The artist has also tapped into the book industry\, penning his first children’s book entitled “The Sound of Strings.” He will begin his book tour at the start of the new school year. \nIn 2010 Nuttin’ But Stringz disbanded and Damien Escobar emerged as a solo artist out to make a name for himself. Humble in his dealings but confident in his craft\, Damien makes it no secret that he’s determined to gain recognition for being the “dopest” violinist to crossover into mainstream music. In an industry not overpopulated by instrumentalist\, the urban-rock violinist is looking to change the game. He’s a pioneer with a plan\, and the future of music rest in his hands. URL:https://royaleboston.com/event/damien-escobar/ 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/2016/08/Damien-Escobar.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:20161213T183000 DTEND;TZID=America/New_York:20161213T183000 DTSTAMP:20260405T070033 CREATED:20160928T150241Z LAST-MODIFIED:20160928T150241Z UID:10002426-1481653800-1481653800@royaleboston.com SUMMARY:Basement DESCRIPTION:“Something In The Way” Presented by Run For Cover Records & Fred Perry \nDoors: 6:30 pm / Show: 7:30 pm \nThis event is All Ages.\nTickets on sale Fri. 9/30 at noon! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nBasement \n \n[Website] [Facebook] [Twitter] \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. \n*** \nCitizen \n \n[Website] [Facebook] [Twitter] \nAlmost two years to the date of the release of their breakthrough album\, Citizen return with their highly anticipated follow-up full-length\, Everybody is Going to Heaven. Haunting these ten songs is a foreboding\, dark atmosphere masterfully crafted by producer Will Yip\, and an immediate\, intense energy is palpable from even the first grimy seconds of the opener\, “Cement.” As with every one of Citizen’s releases\, Mat Kerekes’ signature vocal delivery here is a trademark feature\, demonstrating the emotional tension that boils over on this release. As cathartic as ever\, he duels between a soft croon and a haunting scream\, confronting his demons on tracks like “My Favorite Color” echoing the tormented refrain\, “my heart still beats for nothing”. And while most of the record is an intense and noisy onslaught\, songs like “Heaviside” and “Yellow Love” act as armistices\, each aching in reverb-drenched consonance. Everybody is Going to Heaven is a turning point for Citizen: once regarded as newcomers with undeniable potential\, the band shows here that they have matured both abruptly and uniquely\, with no end to their upward trajectory in sight. \n*** \nTurnover \n \n[Website] [Facebook] [Twitter] \nVirginia Beach’s Turnover has never been a band afraid of telling the truth. The emotional honesty poured out over a number of anthemic releases has been a proven formula of success for the band\, but on their sophomore LP Peripheral Vision\, the band treads into deeper water. Working again with Magnolia producer Will Yip (Title Fight\, Circa Survive)\, Turnover’s latest record shows a band maturing to create their best effort: an ethereal\, reverb-drenched soundscape blending elements of hazy dream pop and the delicate emo rock of yesteryear. Songs like “Hello Euphoria” and “Like Slow Disappearing” highlight the new calmer\, more subdued approach to songwriting\, matched by Austin Getz’s somber\, confessional lyrics that echo throughout songs as if his words were haunting every measure. Peripheral Vision solidifies the idea that Turnover is a band with its finger on the pulse of its generation: growing and learning with every release\, but never failing to provide a relatable\, cathartic experience for anyone listening. \n*** \nHorse Jumper of Love \n \n[Website] [Facebook] [Twitter]\nHorse Jumper of Love by Horse Jumper of Love \nBoston\, MA\nJamie & Dimitri & Jöhn URL:https://royaleboston.com/event/basement-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/2016/09/basement-admat-2016wsupport.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:20161215T200000 DTEND;TZID=America/New_York:20161215T200000 DTSTAMP:20260405T070033 CREATED:20161025T155915Z LAST-MODIFIED:20161025T155915Z UID:10001727-1481832000-1481832000@royaleboston.com SUMMARY:Break Science Live Band DESCRIPTION:Bowery Boston presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 11/4 at noon! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nBreak Science Live Band \n \n[Website] [Facebook] [Twitter] \nRaised and influenced by the rhythm and culture of New York City\, Adam Deitch and Borahm Lee fuse generations of the city’s rich musical legacy with their own deep-rooted connection to hip-hop heritage. Merging their production styles seamlessly\, the duo creates a refreshingly original take on electronic music. The live show transcends expectations with Lee’s seasoned trip-hop/dub/jazz vibes on keyboards and Ableton Live and Deitch’s thunderous breakbeat style on drums. \nThis past summer\, Break Science electrified the festival circuit with packed dates across the country\, including huge plays at Spring Awakening\, Detroit Movement\, BUKU\, and Summer Camp. Lee and Deitch also brought their captivating style to Electric Forest\, Bounce\, Camp Bisco\, Hornings Hideout\, Electric Zoo\, Summer Meltdown\, and KahBang festivals\, as well as joining Lotus at Red Rocks Amphitheater in Colorado. \nOn October 2nd\, the duo released their much-anticipated new album\, Seven Bridges. The first single\, “Who Got It”\, features a collaboration with hip-hop legend REDMAN and meshes the classic sounds of hip-hop with cutting edge electronic production. \n*** \nExmag \n \n[Website] [Facebook] [Twitter] \nExmag is for the people! URL:https://royaleboston.com/event/break-science-live-band/ 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/2016/10/BrSci_Boston_Poster_WEB.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:20161229T200000 DTEND;TZID=America/New_York:20161229T200000 DTSTAMP:20260405T070033 CREATED:20160913T133610Z LAST-MODIFIED:20160913T133610Z UID:10001710-1483041600-1483041600@royaleboston.com SUMMARY:Kurt Vile and the Violators DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale NOW! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nKurt Vile and the Violators \n \n[Website] [Facebook] [Twitter] \nHaving been the subject and willing conspirator of many intentional lies planted in Sonic Youth bios over the years\, I know first hand the way album lore can bend reality to its truth. After the infamous Byron Coley originated the SY “Trilogy” myth in the Murray Street bio\, we had no choice but to fulfill those expectations with Sonic Nurse. “Why did you decide to make a trilogy?” was always the first question asked in interviews around that time. \nBut this is Kurt Vile’s bio\, and I wont do that to him. Anyway\, Kurt does his own myth making; a boy/man with an old soul voice in the age of digital everything becoming something else\, which is why this focused\, brilliantly clear and seemingly candid record is a breath of fresh air. Recorded and mixed in a number of locations\, including Los Angeles and Joshua Tree\, b’lieve i’m goin down… is a handshake across the country\, east to west coast\, thru the dustbowl history (“valley of ashes”) of woody honest strait forward talk guthrie\, and a cali canyon dead still nite floating in a nearly waterless landscape. The record is all air\, weightless\, bodyless\, but grounded in convincing authenticity\, in the best version of singer songwriter upcycling. In Kurt’s words\, “I wanted to get back into the habit of writing a sad song on my couch\, with nobody waiting on me. I really wanted it to sound like it’s on my couch — not in a lo-fi way\, just more unguarded and vulnerable.” \nFor a record that plays like a cohesive acoustic experience\, its musicality marks Kurt’s departure from an electric guitar experience to include a range of instrumentation with a large group of players. From the banjo he plays on “I’m an Outlaw” to the piano and lapsteel on “Life Like This\,” and the myriad other instruments on other songs\, including farfisa\, resonator\, arps\, horns and synth\, one never thinks about what exactly yr listening to as it all serves the song.

The heart of the record is “Stand Inside.” The music is quiet and the melody\, like a hymn\, folds in on itself\, and embraces full strength in a sexy\, floating forcelessness that slowly gathers into a wave that doesn’t go where you think it will or rather gives in to itself and celebrates a man willing to be defined by a woman and his love for her as witness to each other’s lives… Don’t stand by my side\, stand inside gives up roleplaying for true exposure and vulnerability. \nIt’s a weird\, accepting\, mature record\, acknowledging the inherent immaturity of being a person whether father\, husband\, partner\, adult\, musician\, not perfect\, but compelling for its understanding … that’s life though so sad to say… I love this record\, \nb’lieve i’m goin down. \nKim Gordon \n*** \nWoods \n \n[Website] [Facebook] [Twitter] \n“Woods have always been experts at distilling life epiphanies into compact chunks of psychedelic folk that exists just outside of any sort of tangible time or place. Maybe those epiphanies were buried under cassette manipulation or drum-and-drone freakouts\, or maybe they were cloaked in Jeremy Earl’s lilting falsetto\, but over the course of an impressive eight albums\, Woods refined and drilled down their sound into City Sun Eater in the River of Light\, their ninth LP and second recorded in a proper studio. It’s a dense record of rippling guitar\, lush horns\, and seductive\, bustling anxiety about the state of the world. It’s still the Woods you recognize\, only now they’re dabbling in zonked out Ethiopian jazz\, pulling influence from the low key simmer of Brown Rice\, and tapping into the weird dichotomy of making a home in a claustrophobic city that feels full of possibility even as it closes in on you. City Sun Eater in the River of Light is concise\, powerful\, anxious—barreling headlong into an uncertain\, constantly shifting new world.” -Sam Hockley-Smith \n*** \nNathan Bowles \n \n[Website] [Facebook] [Twitter] \nNathan Bowles is a multi-instrumentalist musician and teacher living in the Piedmont of North Carolina. His work\, both as an accomplished solo artist and as a sought-after ensemble player\, explores the rugged country between the poles of Appalachian old-time traditions and ecstatic\, minimalist drone. Although his recent solo recordings prominently feature his virtuosic banjo\, Bowles is also widely recognized as a masterful and versatile drummer\, and he considers himself first and foremost a percussionist\, with banjo as a natural extension of his percussive practice. \nHe and his bandmates in the popular and critically acclaimed old-time group the Black Twig Pickers steep themselves in local traditions of Appalachian folk music and dance\, very much a vital part of cultural life in their region of Virginia. As a member of the long-running improvisational drone outfit Pelt\, Bowles focuses on the various sonic possibilities inherent in struck and bowed percussion—metal\, wood\, skin\, or otherwise. When playing by his lonesome under his birthname\, he prefers either minimal and hyper-nuanced percussive drone or tranced-out solo clawhammer banjo. He currently records and tours as part of Steve Gunn’s band\, the Outliners. Bowles has also recorded\, collaborated\, and performed with\, Jack Rose\, Hiss Golden Messenger\, Black Dirt Oak\, Scott Verrastro\, Pigeons\, Spiral Joy Band\, and others. \nOn his exquisite third solo album\, Whole & Cloven\, Nathan again augments his mesmeric clawhammer banjo pieces with piano\, percussion\, and vocals. Instead of the programmatic place-based narratives of its predecessor Nansemond (PoB-16)\, Whole & Cloven offers a stoic meditation on absence\, loss\, and fragmentation\, populating those experiential gaps—the weighty interstices and places in-between—with stillness and wonder. Straddling Appalachian string band music and avant-garde composition but beholden to neither idiom\, Nathan proves himself heir to deconstructivist tradition-bearers like Henry Flynt and Jack Rose. URL:https://royaleboston.com/event/kurt-vile-and-the-violators/ 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/2016/09/kvile.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:20170120T183000 DTEND;TZID=America/New_York:20170120T183000 DTSTAMP:20260405T070033 CREATED:20160818T134750Z LAST-MODIFIED:20160818T134750Z UID:10002420-1484937000-1484937000@royaleboston.com SUMMARY:POSTPONED - Wax Tailor DESCRIPTION:This show has been postponed\, new date TBD. All previously purchased tickets will be honored for the new date once that date is determined. Refunds are available at the point of purchase upon request. URL:https://royaleboston.com/event/wax-tailor/ 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/2016/08/wax-tailor-admat-2016-2.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:20170211T190000 DTEND;TZID=America/New_York:20170211T190000 DTSTAMP:20260405T070033 CREATED:20161216T001732Z LAST-MODIFIED:20161216T001732Z UID:10001739-1486839600-1486839600@royaleboston.com SUMMARY:[SOLD OUT] William Singe & Alex Aiono DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:45 pm \nThis event is All Ages. \nTHIS SHOW IS SOLD OUT. \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nWilliam Singe \n \n[Website] [Facebook] [Twitter] \nSydney\, Australia based singer\, songwriter and producer. \n*** \nAlex Aiono \n \n[Website] [Facebook] [Twitter] \nI’m obsessed with all kinds of music\, daring adventures\, and my iPhone:) I love being on stage\, making videos on the Internet\, and geeking out in the studio. I’m into Bruno Mars\, Kanye\, Jon Bellion\, David Guetta\, Vampire Weekend\, John Legend\, underground mixtapes and even some of the songs my mom plays in the car (cool mom alert!). \nI don’t just stick to singing—I play guitar\, piano\, drums\, bass\, ukulele\, and anything else that I can get my hands on for five minutes! Gotta keep things interesting\, right? I am in every part of my music: the lyrics\, the tracks\, the arrangements and melodies. I’ve also had some awesome moments writing songs with Grammy writers/producers like John Legend\, Billy Mann and Babyface\, among others! (Slightly nerve-racking…um…yeah.) \nI write words that are mine: my story\, quirky\, and straightforward\, NEVER someone else’s script. I want to write and sing about my life now. I’m blessed with a supportive family (have THREE awesome sisters!)\, and while we’ve had some not-so-fun times\, we always stick together. Through it all\, I get to be here with you! \nI’ve been on the road with some amazingly talented artists including R5\, Bridgit Mendler\, Austin Mahone\, and The Wanted. I’ve also had a great time expanding my musical skills to acting. You can watch me on Awesomeness TV’s “Royal Crush” web-series! \nSo tell me about yourselves! It doesn’t just need to be that life is perfect\, but it just has to be real so I can learn from you guys and we can do this together! So important for me that we keep a convo going\, so hit me up on Twitter\, Facebook\, or my site! \nI wouldn’t be anywhere with my music without fans like you. You guys mean the world to me. Thanks for your love and inspiration. \nAlways\,\nAlex URL:https://royaleboston.com/event/william-singe/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/png:https://royaleboston.com/wp-content/uploads/2016/12/Changes-Tour.png 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:20170212T200000 DTEND;TZID=America/New_York:20170212T200000 DTSTAMP:20260405T070033 CREATED:20161003T212441Z LAST-MODIFIED:20161003T212441Z UID:10002428-1486929600-1486929600@royaleboston.com SUMMARY:Drive-By Truckers DESCRIPTION:Bowery Boston presents \nRESCHEDULED FROM THU. FEBRUARY 9TH. ALL PREVIOUSLY PURCHASED TICKETS HONORED. \nPlease note: Kyle Craft will no longer be on this show. \nDoors: 8:00 pm / Drive-By Truckers: 9:00 pm\nSet times subject to change. \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nDrive-By Truckers \n \n[Website] [Facebook] [Twitter] \nDrive-By Truckers have always been outspoken\, telling a distinctly American story via craft\, character\, and concept\, all backed by sonic ambition and social conscience. Founded in 1996 by singer/songwriter/guitarists Mike Cooley and Patterson Hood\, the band have long held a progressive fire in their belly but with AMERICAN BAND\, they have made the most explicitly political album in their extraordinary canon. A powerful and legitimately provocative work\, hard edged and finely honed\, the album is the sound of a truly American Band – a Southern American band – speaking on matters that matter. DBT made the choice to direct the Way We Live Now head on\, employing realism rather than subtext or symbolism to purge its makers’ own anger\, discontent\, and frustration with societal disintegration and the urban/rural divide that has partitioned the country for close to a half-century. Master songwriters both\, Hood and Cooley wisely avoid overt polemics to explore such pressing issues as race\, income inequality\, the NRA\, deregulation\, police brutality\, Islamophobia\, and the plague of suicides and opioid abuse. As a result\, songs like “What It Means” and the tub-thumping “Kinky Hypocrites” are intensely human music from a rock ‘n’ roll band yearning for community and collective action. Fueled by a just spirit of moral indignation and righteous rage\, AMERICAN BAND is protest music fit for the stadiums\, designed to raise issues and ire as the nation careens towards its most momentous election in a generation. \n“I don’t want there to be any doubt as to which side of this discussion we fall on\,” Hood says. “I don’t want there to be any misunderstanding of where we stand. If you don’t like it\, you can leave. It’s okay. We’re not trying to be everybody’s favorite band\, we’re going to be who we are and do what we do and anyone who’s with us\, we’d love to have them join in.” \nMike Cooley is somewhat more direct. “I wanted this to be a no bones about it\, in your face political album\,” he says. “I wanted to piss off the assholes.” \nAMERICAN BAND’s considerable force can in part be credited to the sheer musical strength of the current Drive-By Truckers line-up\, with Hood and Cooley joined by bassist Matt Patton\, keyboardist/multi-instrumentalist Jay Gonzalez\, and drummer Brad Morgan – together\, the longest-lasting iteration in the band’s two-decade history. AMERICAN BAND follows ENGLISH OCEANS and 2015’s IT’S GREAT TO BE ALIVE!\, marking the first time DBT have made three consecutive LPs with the same hard-traveling crew. \n“This is the longest period of stability in our band’s history\,” says Hood. “I think we finally hit the magic formula. It’s made everything more fun than it’s ever been\, making records and playing shows.” \nDrive-By Truckers might have maintained constancy but Hood embraced change by moving his family to Portland\, OR in July 2015\, a physical shift which he says “opened the floodgates” to a batch of deeply felt\, strikingly emotional new songs. Having recorded the bulk of their canon in Athens\, GA\, the band was also eager to reinvent their own surroundings. Memphis was considered but when DBT’s November 2015 tour wrapped in Nashville\, the band decided to spend a few days at the legendary Sound Emporium getting a head start on the new record. \nNever ones to screw around in the studio\, DBT cranked out nine new songs in just three 14-hour shifts\, as ever with producer/engineer David Barbe at the helm. Coming in directly from the road put a head of steam behind the band\, allowing them to lay it all out live on the floor\, tracking songs like “Once They Banned Imagine” in little more than a single take. \n“We realized we had most of the record\,” Hood says\, “so we went back after the holidays for four more days\, but ended up finishing it in three. We tend to usually take about two weeks to make a record so this was really quick.” \n“That was a lot of fun\,” the Alabama-based Cooley says\, “and a shorter drive for me.” \nSpeed was of the essence\, as DBT was determined to get their record out at the height of the 2016 election season. By their very nature\, Drive-By Truckers has always been an inherently political act\, “but this is the first time it’s been out there on the surface\,” Cooley says\, “No bones about it.” \n“I’ve always considered our band to be political\,” Hood says. “I’ve studied and followed politics since I was a small kid. I got in trouble in third grade for a paper I wrote about Watergate – the teacher sent a note home to my parents saying I was voicing opinions about our president that she didn’t appreciate. That’s the one time I got in trouble at school where my parents sided with me.” \n“SOUTHERN ROCK OPERA was a pretty political record\,” Cooley says. “But we hadn’t had our first black president yet. We hadn’t sat in the bleachers and watched the backlash\, which\, as acquainted as we are with racism\, went beyond what anyone imagined it would be.” \nPolitical matters reared their head on 2014’s ENGLISH OCEANS\, most explicitly on Cooley’s “Made Up English Oceans\,” detailing the life and crimes of late Republican black ops master Lee Atwater. Hood further sharpened his own skills by penning an op-ed for the New York Times condemning the Confederate Flag and its vile role in Southern culture. \n“That was a major learning experience\,” he says. “Working with an editor\, how to streamline what I’m trying to say\, how to find the most powerful part and get rid of some of the excess. It was really grueling but I was eager to take it on and learn as much as I could from it.” \nHood delivered a finished draft to the Old Gray Lady and within moments\, wrote the ferocious “Darkened Flags On The Cusp Of Dawn” on a borrowed guitar – his own gear in a moving van on its way to his family’s new home in Portland. The song\, like so much of the album\, is a direct response to 2014’s police shootings of unarmed African-Americans\, a moment both Hood and Cooley see as the catalyst for their blunt new approach. Long haunted by the police shooting of a mentally ill neighbor in his former hometown of Athens\, GA\, Hood wrote “What It Means” in the heat of Ferguson\, Staten Island\, and the subsequent emergence of the Black Lives Matter movement. \n“It was all in my head and just kind of bubbling at the surface\,” Hood says. “I think we knew early on that was the direction this record was going to go in.” \nHood’s friend and collaborator for more than half their lives\, Cooley was a on similar trip\, reading\, writing\, and pondering the very same issues that rend the country in two. \n“We have conversations about all this stuff\,” he says\, “but not necessarily in terms of planning an album or anything. Then we go home\, he writes a song\, I write a song\, and they’re both basically about the same thing.” \n“We tend to come to the same conclusions separately but together\,” Hood says. “We don’t really discuss it until we have a bunch of songs. We’ve always been astounded at how much common ground our songs have\, record after record. SOUTHERN ROCK OPERA is the only time we discussed a game plan for what we were going to write\, the only time. It’s kind of uncanny. Truly a beautiful thing.” \nFurther creative inspiration came from a pair of American milestone pieces of art\, Ta-Nehisi Coates’ National Book Award-winning Between The World and Me and Kendrick Lamar’s TO PIMP A BUTTERFLY\, “in my opinion\, the greatest musical work of our current time\,” says Hood. \n“It’s an inspiring album and one that made me question myself\,” he says. “I’m a white guy from the South\, do I have the right to be singing about this stuff? What can I do? The only conclusion I could come up with was maybe white guys\, with Southern accents\, who look like rednecks\, need to say Black Lives Matter too. It’s a start\, a tiny start\, but a step in the right direction is better than no step at all.” \n“I couldn’t not do it\,” says Cooley. “I’ve got to speak about this stuff\, somehow or another. And I’m going to speak about it from a middle aged Southern white working class evangelical background male point of view.” \nMuch like Lamar’s GRAMMY® Award-winning song cycle\, AMERICAN BAND serves as a stark\, tightly focused snapshot of today’s America\, an exemplary illustration of rock ‘n’ roll as a vehicle for social commentary and clear-eyed reportage. “Guns of Umpqua” captures Hood’s reaction to the 2015 shooting at Roseburg\, OR’s Umpqua Community College while Cooley’s breakneck “Ramon Casiano” is a topical folk rocker telling the little known tale of former National Rife Association leader Harlon Carter and the murder of 15-year-old Ramon Casiano. Known as “Mr. NRA\,” Carter transformed the organization from its original role as a sportsmen and conservationist group into what Cooley correctly declares “a right wing\, white supremacist gun cult.” A Southern-rooted band opening their album with such a song makes for a singularly powerful statement\, the NRA’s monolithic control of the debate demanding opposing artists to be as overt and vocal on the issue as possible. \n“The NRA needs to be turned into a political turd in a swimming pool\,” Cooley says\, “so all these fuckers will start paddling away. \n“What I’m trying to do is point straight to the white supremacist core of gun culture\,” Cooley concludes. “That’s what it is and that’s where its roots are. When gun culture thinks about all the threats they need to be armed against\, what color are they?” \nOf course the personal can also be politic\, represented here by Hood’s deeply felt “Baggage.” Penned the night of Robin Williams’ death\, the song sees Hood examining his own demons and long bout with depression\, “the worst I’ve had as an older adult\,” he says. “I was kind of blindsided by it. There had always been a tangible thing that I could point to as to what was wrong\, but this time I was grasping for something and not quite finding it.” \nAMERICAN BAND is surprisingly optimistic thanks to Hood’s “absolutely” improved mental health as well as Drive-By Truckers’ passion for the issues behind the material. The band intend to hit the road harder than ever in support of AMERICAN BAND\, bringing their songs to the people as they have always done\, only this time with the country’s very future at stake. Fortunately for America\, Drive-By Truckers are\, as a Great Man once said\, fired up\, ready to go. \n“I feel like Cooley and I both nailed what were going for on every song on this record\,” Hood says. “I don’t think there’s a wasted line or word on this record. There’s nothing I would change\, that’s for sure. I think we got this one right.” \n“I’m sure there will be people saying ‘I wish they’d keep the politics out of it\,’” Cooley says\, “but one of the characteristics among the people and institutions we are taking to task in these songs is their self-appointed status as the exclusive authority on what American is. What is American enough and who the real Americans are. Putting AMERICAN BAND right out front is our way of reclaiming the right to define our American identity on our own terms\, and show that it’s out of love of country that we draw our inspiration. URL:https://royaleboston.com/event/drive-by-truckers/ 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/2016/10/drive-by-truckers-admat-2017v2.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20170216T200000 DTEND;TZID=America/New_York:20170216T200000 DTSTAMP:20260405T070033 CREATED:20161115T175055Z LAST-MODIFIED:20161115T175055Z UID:10002443-1487275200-1487275200@royaleboston.com SUMMARY:Lee Fields & The Expressions DESCRIPTION:Bowery Boston presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 11/18 at 10AM! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nLee Fields & The Expressions \n \n[Website] [Facebook] [Twitter] \n“I feel that every human being’s purpose is to do what their inner voice says to do\,” says Lee Fields. “And my inner voice\, my driving force\, wants me to put out music and keeping making better records.” \nApologies to the late\, great James Brown\, but you’d be hard pressed to find another singer who’s ever worked as hard as Fields\, a man who’s been making soul and funk anthems since 1969. \nSince that time\, Fields has toured the world with musical legends like Kool and the Gang\, Sammy Gordon and the Hip-Huggers\, O.V Wright\, Darrell Banks\, and Little Royal. Recorded with French house DJ/producer Martin Solveig. And somehow found a newer\, younger audience and become more prolific as the years transpire. \n“In a curious case of musical evolution\, the older Fields becomes\, the closer he gets to perfecting the sound of soul that he grew up with as a young man\,” noted NPR music writer Oliver Wang (and that was back in 2009).. Now Fields returns with his most triumphant and honest record yet\, Special Night\, recorded with The Expressions and released on Brooklyn’s Big Crown Records. \nSpecial Night follows the the critical success of his Truth & Soul recordings My World\, Faithful Man and 2014’s Emma Jean — the last one American Songwriter hailing as “more than just a stroll down memory lane … it’s the sound of a man who understands his musical strengths and plays to them with class\, authority and soul searching intensity.” \nYou’ll hear Fields flexing those strengths on Special Night. There’s some JB-style funk on there. And hints of Stax\, Chess\, Fame and Motown. \nBut this is not a throwback. Possessing a voice that’s equally raucous and tender\, Fields crafts a truly honest\, soulful work. “This is a record about what people do in real life\,” says the singer. For one example\, he cites the yearning “Work to Do\,” which entails a “a guy going to counseling\, drinking too much\, apologizing to the old lady and trying to keep family together\, doing the manly thing.” \nAdds Fields: “When I record\, I make every song like I actually mean it. I mean every word I say. On Special Night I’m talking to my lady — literally\, expressing the way I feel. You can tell if a song is real or not. And every moment I’m recording\, those moments are real.” \nMeanwhile\, album standout “Make This World” works both as militaristic funk and a cautionary tale about the health of the planet. “The world was designed to last indefinitely\,” says Fields. \n“And we’re the only living species on Earth who can alter that process. I’m hoping that song has a chain reaction\, helps somebody put into action whatever contribution they can to change what the world is going through.” \nFields and his six-piece band will tour in the fall\, where he notes the audiences seem tgrowing and changing. “I’m seeing a younger crowd\,” he notes. “And that’s a blessing.” \nAs for his late success? Fields regrets nothing. “I was already talking to myself in the beginning of my career about the end of my career\,” he says. “I was a little naive\, so I told myself\, ‘Think about the future in every song you make. Make things you can live with. Everything you do has consequences.’ And today\, I live like I’ve always lived.” \nA credo that continues with Special Night. “All the songs on that record have special meaning\,” he says. “I hope people take a good listen to it and find the magic.” \n*** \nThe Shacks \n \n[Website] [Facebook] \nThe Shacks — equal parts Max Shrager and Shannon Wise singing in her soft whispered voice — sound like they’re playing alone with nobody watching. This dreamy\, voyeuristic sound was born in a Queens\, NY studio in 2014. And while they describe themselves as a rock band\, don’t expect the conventional kind. \nThe story goes that Max brought Shannon to the studio. Max was playing guitar on a track produced by Leon Michels — the producer and co-founder of Big Crown Records — and Michels needed a vocalist. They put Shannon in the booth to try it out. It was her first time ever recording. Then\, in one take\, the song “Strange Boy” had a singer who completed the vibe. The Shacks were born. \nThere are elements of doo-wop and early\, pre-Elvis rock in their musicianship. Combine that with a deeply personal songwriting approach and it’s a familiar-yet-fresh sound. Like The Five Keys met Neil Young and cut a record with Brigitte Bardot — but in English. \nHere’s the thing: Max and Shannon are barely in their twenties. Most of their musical influences are from before they were born. It’s contradictions like this that signify something intriguing is happening with The Shacks. \nMax and Shannon met while going to the same NYC high school. By that time\, Max was already a musical wunderkind. \nRaised in Princeton\, NJ\, at fourteen Max emailed Gabe Roth of Daptone Records with a rough\, home-recorded demo. By seventeen\, he had penned the lead single\, “Sinner\,” on Naomi Shelton and the Gospel Queens’ 2014 Cold World LP. \nShannon comes from a strong musical pedigree. Her father\, a producer\, ran a Manhattan recording studio\, and her mother is a singer-songwriter. Artists and bands of all stripes passed through her life growing up. While her history isn’t yet as extensive as Max’s\, she’s writing it right now. Her infectious\, eclectic voice and songwriting skills are testaments to her remarkable natural talent. \nTheir first record together\, entitled Haze and forthcoming on Big Crown Records\, is jointly produced by Shrager and Michels. Each song sounds both like an exploration and reflection of the relationship between Shannon and Max. You can hear a kind of invigorating creativity between them — songs written for and about each other\, trying to express the inexpressible aspects of youth and love. \n“We just want people to get excited about real music again\,” says Max. “When we record we try to capture what’s happening — in our lives\, things between us\, something in the studio that day\, just something honest. Not something pieced together and hyperreal.” \nIn a modern culture where most music is manufactured and artificial\, Max Shrager and Shannon Wise want to introduce their generation to a more honest kind of music. A kind that’s written from life and made with integrity and value. And all this before either of them can rent a car. URL:https://royaleboston.com/event/lee-fields-the-expressions/ 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/2016/11/Lee_Fields_13.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:20170218T173000 DTEND;TZID=America/New_York:20170218T173000 DTSTAMP:20260405T070033 CREATED:20161024T143714Z LAST-MODIFIED:20161024T143714Z UID:10001723-1487439000-1487439000@royaleboston.com SUMMARY:MAYHEM performing De Mysteriis Dom Sathanas in its entirety DESCRIPTION:Bowery Boston & Grayskull Booking present\nMAYHEM performing De Mysteriis Dom Sathanas in its entirety \nDoors: 5:30 pm / Show: 6:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 10/28 at 10AM! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nMayhem \n \n[Website] [Facebook] [Twitter] \nMayhem are a Norwegian black metal band formed in 1984 in Oslo long regarded as one of the pioneers of the Norwegian black metal scene. Mayhem’s career has been highly controversial\, primarily due to their violent stage performances\, the 1991 suicide of vocalist Per Yngve Ohlin (“Dead”) and 1993 murder of guitarist Øystein Aarseth (“Euronymous”) by former member Varg Vikernes (“Count Grishnackh”)\, also of Burzum.\nThe group released a demo and an EP that were highly influential\, and amassed a loyal following through sporadic and notorious live performances\, attracting further attention through their ties to the string of Norwegian church burnings and the prominent incidents of violence surrounding them. They disbanded after Aarseth’s murder\, shortly before the release of their debut album\, De Mysteriis Dom Sathanas\, regarded as a classic of the black metal genre. Surviving former members Jan Axel Blomberg (“Hellhammer”)\, Jørn Stubberud (“Necrobutcher”) and Sven Erik Kristiansen (“Maniac”) reformed two years later with Rune Eriksen (“Blasphemer”) replacing Aarseth. Attila Csihar since replaced Kristiansen.\nThe band’s music strongly influenced the black metal genre and was instrumental in moving the wider metal scene away from the prevailing trend for speed metal. Their post-Aarseth material is characterised by increased experimentation. Mayhem’s most recent album\, Ordo Ad Chao\, received the Spellemannprisen award for Best Metal Album in 2007. \n*** \nInquisition \n \n[Website] [Facebook] \nThe band Inquisition was formed in 1988 in Cali\, Colombia by Dagon. The band started as a thrash metal act\, and in 1994 evolved into raw black metal. \nIn 1996\, Dagon left Colombia and moved back to the United States to continue Inquisition and search for a new drummer. That same year Dagon met Incubus\, who joined the band on drums and the creation of their debut full length album began. This line-up has remained stable for more than fifteen years and is now seen as the classic Inquisition line-up. \nINQUISITION style of black metal involves slow\, deep and dark riffing combined with sudden tempo changes to faster sections based around blast beats and high-speed riffing; at times adding melodic solos. The classic Inquisition sound incorporates a combination of early era thrash metal-influenced riffing with darker and more chaotic black metal\, primarily involving fast\, tremolo picked minor-key guitar riffs\, thus creating the trademark “Inquisition sound”. \n*** \nBlack Anvil \n \n[Website] [Facebook] \nThe New York Black Metal act have been blowing minds and eardrums since forming in 2007\, but Black Anvil’s third full-length\, aptly titled Hail Death is their most epic and fully realized album to date. It’s one of those rare releases that not only stays true to the band’s roots but manages to transcend them in a way that works all of their seemingly disparate influences into an amalgam of heavy music that’s as original as it is earth-shaking. \n“When we started this band seven years ago we didn’t have any guidelines but we knew it had to be something different\,” explains bassist/vocalist Paul Delaney who—alongside drummer Raeph\, guitarists Gary Bennett and\, recent addition Sos—are Black Anvil. Details about the band’s early days aren’t easy to find but that’s sort of the point. “We’re from New York and that speaks for itself\,” Delaney explains\, adding that he started singing out of necessity\, a process that required years of effort. “This band is 100% about the music and that’s what we want to focus on and it took a lot of work to get to this point.” \nWhat is known is that the band released their debut Time Insults The Mind in 2008 and followed that up with Triumvirate in 2010 and although they weren’t planning on being a touring act\, they literally couldn’t refuse when black metal legends such as Marduk and Watain all offered to take the act out on tour. That said\, Black Anvil have always forged their own path by chopping down the metaphorical trees with their mighty riffs. “Were not influenced by other bands\,” Delaney explains\, “the only thing I’m influenced by is the fact that I want to be different from them.” It’s true\, although the album contains many of the genres stylistic hallmarks\, Hail Death truly defies categorization. \nIn order to capture the fury this time around the band recorded with J. Robbins of Jawbox\, who although best known for recording punk and post-hardcore acts\, perfectly understood Black Anvil’s creative vision. “He’s got a really good style of making records and I knew he would understand that we wanted to make this sound live and organic as opposed to tight and compressed\,” Delaney explains\, citing Kiss’ Destroyer and Metallica’s Master Of Puppets as inspiration. “I wanted it to be a little more rock n’ roll sounding because I felt the songs were a little bigger and structured\,” he elaborates. “It tells a story from beginning to end and the recording reflects that.” \nThat said Hail Death wasn’t an easy album to make and the band members’ personal turmoil is reflected in every frenzied moment of the album. “I went through a lot of stuff over the past year and it caused me to move and spend a year of my life in solitude\,” Delaney says\, explaining that for twelve months he would just sit in his room and pour all of his energy and inner turmoil into these songs. “This is our journey\,” Delaney explains. “I can honestly say that this is probably the most important thing I’ve ever done in my life\, even if it never sees the light of day for some reason I’m insanely proud of it.” \nThat sort of introspective energy is present all over Hail Death from the epic nine-minute long opener “Still Reborn” to the palm-muted perfection of “Next Level Black.” “Any band should be proudest of their latest album and I think we made a huge jump forward with this one because we had more time and didn’t feel rushed or limited in any way\,” says Delaney. A perfect example of this is the song “My Hate Is Pure” which starts with a gently picked intro before it explodes into double-bass driven ecstasy followed by a tempo-shifting climax that listeners won’t expect. This dichotomy between brutality and melodicism lies at the core of Black Anvil’s sound and is what’s helped them develop such a rabid following worldwide. \nAs anyone who has seen Black Anvil live already knows\, the band’s live shows are a full-on barrage of the senses and Hail Death also captures that kinetic energy. “We really wanted to capture our live sound on this record which is one of the reasons we went with J. Robbins\,” Raeph explains. “We didn’t want it to sound perfect\, we wanted it to sound like us.” Delaney concurs adding\, “We bring it live and I feel confident saying that.” From the guitar tones to the visuals to the band members’ stage presence\, Black Anvil don’t mess around when it comes to what happens onstage. \n“We are black metal but we also aren’t interested in doing what hundreds of bands have done before. We’re interested in doing our own thing and this album is the most self-realized expression of that to date\,” Delaney summarizes. Ultimately Hail Death is an album that speaks for itself in the sense that it’s both a mission statement and a battle cry. If the Four Horsemen of the Apocalypse ever descend on the planet\, this is the perfect soundtrack to the bloody aftermath. URL:https://royaleboston.com/event/mayhem-performing-de-mysteriis-dom-sathanas-in-its-entirety/ 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/2016/10/mayhem-admat-2017.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20170219T180000 DTEND;TZID=America/New_York:20170219T220000 DTSTAMP:20260405T070033 CREATED:20170111T194720Z LAST-MODIFIED:20170111T194720Z UID:10002456-1487527200-1487541600@royaleboston.com SUMMARY:Michalis Hatzigiannis w/ Vicky Karatzoglou DESCRIPTION:18+ \nGreek Music Live Presents… \nVIP: 617-733-0505 URL:https://royaleboston.com/event/michalis-hatzigiannis-w-vicky-karatzoglou/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts,Special Events ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/01/219-Greek-Event-Michalis.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:20170220T190000 DTEND;TZID=America/New_York:20170220T190000 DTSTAMP:20260405T070033 CREATED:20161107T190742Z LAST-MODIFIED:20161107T190742Z UID:10002439-1487617200-1487617200@royaleboston.com SUMMARY:SOLD OUT - Japandroids DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nSOLD OUT \n*** \nJapandroids \n \n[Website] [Facebook] [Twitter] \nAfter playing the last of their 200 shows in more than 40 countries in support of their critically acclaimed 2012 album Celebration Rock\, Japandroids took a much needed break to rest and recover after their last show in November of 2013. The band would not play again for three years. This month\, they made their triumphant return to the stage\, playing intimate shows in Vancouver\, LA\, Toronto\, London and NYC\, in which they treated fans to their favorites from Celebration Rock and Post-Nothing\, and previewed a handful of new\, unreleased songs. And today\, the band has announced their much anticipated third album\, Near To The Wild Heart Of Life\, out worldwide on Anti- this January 27\, 2017.\nNear To The Wild Heart Of Life\, was written clandestinely throughout 2014 and 2015 in Vancouver\, Toronto\, New Orleans\, and Mexico City. It was (mostly) recorded by Jesse Gander (who had previously recorded both Post-Nothing and Celebration Rock) at Rain City Recorders in Vancouver\, BC (September-November\, 2015). One song\, True Love And A Free Life Of Free Will\, was recorded by Damian Taylor during an exploratory recording session at Golden Ratio in Montreal\, QC (February\, 2015). The album was mixed by Peter Katis at Tarquin Studios in Bridgeport\, CT (May\, 2016) and mastered by Greg Calbi at Sterling Sound in New York\, NY (July\, 2016). \nLike Post-Nothing and Celebration Rock\, the album is 8 songs. This is because 8 songs is the standard template for a great rock n roll album: Raw Power by The Stooges\, Born To Run by Bruce Springsteen\, Marquee Moon by Television\, IV by Led Zeppelin\, Horses by Patti Smith\, Paranoid by Black Sabbath\, Remain In Light by Talking Heads\, Master Of Puppets by Metallica\, etc. \nLike Post-Nothing and Celebration Rock\, the album was sequenced specifically for the LP. On Near To The Wild Heart Of Life\, side A (songs 1-4) and side B (songs 5-7) each follow their own loose narrative. Taken together as one\, they form an even looser narrative\, with the final song on side B (song 8) acting as an epilogue. \n*** \nCraig Finn & the Uptown Controllers \n \n[Website] [Facebook] [Twitter] \nPerhaps best known as the singer of the Hold Steady\, Craig Finn is a Minnesota-bred singer\, songwriter\, and guitarist based out of New York City. Combining literary influences like Jack Kerouac and John Berryman with the musical influences of Bruce Springsteen and fellow Minnesotan Paul Westerberg\, Finn’s highly descriptive lyrical style has a focus on narrative\, crafting whole worlds for the people in his songs to exist within. In 1994\, the singer put this style to work with the indie rock band Lifter Puller\, refining his craft over the course of their three albums before the band called it quits in 2000. After the band dissolved\, Finn relocated from the Twin Cities to New York\, where he would collaborate with producer Mr. Projectile on the short-lived project the Brokerdealer in 2001 before eventually reuniting with Lifter Puller bassist Tad Kubler to form the Hold Steady in 2004. While the band’s whiskey-fueled bar rock sound was a departure from the angular\, synth-filled sounds of Lifter Puller\, Finn’s lyrically dense storytelling style remained intact\, making the Hold Steady the thinking man’s bar band. After five albums with the band\, the singer and songwriter tried his hand at a solo album during some downtime from his main project\, and in 2012 released Clear Heart Full Eyes through Vagrant Records. In 2015\, Finn dropped his second solo album; Faith in the Future\, released by Partisan Records\, was drawn from a set of songs inspired by themes of loss and survival that Finn wrote in the wake of his mother’s death. ~ Gregory Heaney\, Rovi URL:https://royaleboston.com/event/japandroids/ 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/2016/11/Japandroids-Album-Cover-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:20170224T180000 DTEND;TZID=America/New_York:20170224T180000 DTSTAMP:20260405T070033 CREATED:20161207T150000Z LAST-MODIFIED:20161207T150000Z UID:10002453-1487959200-1487959200@royaleboston.com SUMMARY:SOLD OUT - JAM’N 94.5 presents Kehlani DESCRIPTION:JAM’N 94.5 presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \nTHIS SHOW IS SOLD OUT! \nA second show has been added on 2/25 due to overwhelming demand! Tickets for the 2/25 show available HERE. \n*** \n \n*** \nKehlani \n \n[Website] [Facebook] [Twitter] \nKehlani tells it like it is. Whether in conversation or on stage\, the Oakland-born R&B singer and songwriter gives the straight truth about her life\, pain\, passion\, love\, triumph\, and everything in between with collected calm and confidence. It’s that type of honesty that makes her music resonate with the depth of classic Motown and a vividly confessional lyricism reminiscent of Neo Soul. At the same time\, her 2015 mixtape\, You Should Be Here\, tells a story that distinctly belongs to her. \nIt all starts on the East Bay… \nBorn a unique blend of ethnicities including African American\, Caucasian\, Native American\, Spanish\, and Filipino Native American Kehlani will casually tell you “You’re lucky if you make it out of Oakland.” However\, in her case\, talent usurped luck. Months after her birth\, Kehlani lost her father\, never properly meeting him. Mired in drug addiction\, her mom shuffled her to an aunt. She initially found solace in dance—ballet in particular—but a knee injury sidelined her what might’ve been a budding career as ballerina. \n“That’s when I started singing\,” she recalls. “When I was living with my aunt\, she played me all of these powerful women and love songs. It was that Neo Soul-R&B\, and I couldn’t get enough of it. It felt right to sing from the moment I began.” \nIn eighth grade\, she became a member of the group Poplyfe produced by D’wayne Wiggins of Tony! Toni! Toné! fame. With Kehlani front and center\, Poplyfe ended up becoming a finalist on America’s Got Talent—even performing with her idol Stevie Wonder during the final round. They didn’t win the competition\, but she made an invaluable ally in Nick Cannon. A few industry pitfalls and detours derailed her musical momentum for six months until she decided to pick up the mic again. Without a home\, she moved from couch to couch until Cannon got back in touch wanting to help however he could. Kehlani wanted one thing: studio time. \nKehlani’s 2014 mixtape\, Cloud 19\, introduced her to the world. Immediately\, tastemakers and audiences alike wholeheartedly embraced her. Complex showcased the songstress in a piece entitled “How R&B Saved 2014\,” Pitchfork dubbed the mixtape one of the “Overlooked mixtapes of 2014\,” Vice proclaimed her an “R&B Artist on the Verge of Blowing Up\,” BuzzFeed pegged her at #4 on their “41 SXSW 2015 Artists You Need In Your Life\,” and she ended up being one of SXSW’s “Top 5 Most Tweeted Artists.” \nIn late April she shared You Should Be Here with the world\, which earned Kehlani her very first GRAMMY nomination at the 58th GRAMMY Awards for “Best Urban Contemporary Album.” Upon its release Billboard immediately called this project “The year’s first great R&B album”. Amongst their great review\, You Should Be Here has seen quite a bit of success on the charts. Aside from being the top R&B debut of the week\, it also came in at #1 on the iTunes R&B/Soul chart and #2 on both the Overall R&B Albums and Current R&B Albums chart. \nSigning to Atlantic Records in early 2015 and releasing You Should Be Here\, Kehlani possesses the power to make an impact because she’s so unwaveringly honest.\n“I am one-hundred percent music\,” she’ll assure.\nThat’s because it’s the truth. \n*** \nElla Mai \n \n[Website] [Facebook] [Twitter] \nLondon\, United Kingdom \n*** \nJahkoy \n \n[Website] [Facebook] [Twitter] \nLike all the most exciting new talents\, 21-year-old Toronto-born JAHKOY seemed to appear from nowhere. Shared speculatively on his Soundcloud last June\, the shimmering funk of debut single Still In Love – the first song he recorded after he moved to LA alone aged 20 – now sits at over one million plays on all platforms. Same with the skipping electro-throb of follow-up Hold Your Hand\, the string of those songs presenting a new artist in absolute control of his craft while already looking to manipulate it into new and exciting shapes. Both songs have received plays and shout outs on Beats 1\, most notably from Zane Lowe\, Drake and JAHKOY’s childhood hero\, Pharrell. In fact\, it’s telling that from a young age JAHKOY was drawn to a constant shape-shifter and experimentalist like Pharrell. “I loved the fact he was in his own lane\,” he explains. “There was stuff that was going on but he was creating new stuff. He didn’t fit in and he stepped over the boundaries of music and made what he has today.” A brief pause. “It’s something I want to do with my music.” \nBefore he could pinpoint his own musical inspirations\, there was a childhood household bustling with early influences\, mainly covering 90s R&B and hip-hop. “A lot of New Edition\, Total\, Notorious BIG\, Lil Kim\,” he says with a smile. While school didn’t offer him a musical education as such\, there were mandatory violin lessons to train his ear. “Because it’s the only instrument I know how to play I feel like it’s pretty easy\,” he shrugs. By the age of 11 music had started to go from something he listened to to something he created\, and buoyed by the expanding Toronto music scene he started (secretly) writing early lyrics in the form of poetry. Steadily these turned into raps\, which in turn became his debut releases under the name Raheem. “At the time I was doing music everyone was rapping\,” he says. “It started becoming more of a common thing and then it was too common. I put out three projects before changing my name.” While proud of the critically acclaimed mix-tapes\, he’s also aware that they were a stepping stone: “That was more my learning process to get to where I am now.” \nJAHKOY\, the artist\, was inspired by a perfect storm of circumstances\, mainly built around UK dance duo Disclosure and\, well\, good old-fashioned love. “Disclosure came to Toronto in 2014 and I had just dropped a project as Raheem that same day\,” he explains. “I went to the Disclosure show\, but I was going to see Vic Mensa\, who opened for them. So he killed it and then the headliners came on and they completely ripped it. I had no idea what kind of music they made or anything but their name. I was blown away by it. More because it was instrumental so I figured it would be dope if somebody sang or rapped over those kind of beats. So I started doing just that and then it turned into singing.” His passion for singing was also bolstered by falling in love\, the title of his forthcoming debut album\, Temptations\, inspired by his first date. \nIn amongst the musical re-awakenings and the young love\, JAHKOY also knew he needed to leave Canada to make his dreams a reality. “I left Toronto for Atlanta\,” he says. “I just needed to get out of Canada. So I spent some time there\, but eventually felt like there wasn’t what I needed in Atlanta. I needed to explore what was out there and so I went to LA and I grinded it out.” In fact\, he didn’t tell anyone he was going to LA\, just packed up his stuff and left.. While a move to LA sounds glitzy on paper\, in reality it was a leap into the unknown. “When I got to LA there was just one person I knew. I’d met him online. He was actually a fan of my early music\, so I knew he was really down to support the movement\,” he explains. “So I was staying on his couch for a while and getting a chance to meet people. The internet is a big world and there were some people who I knew were in LA that I hadn’t met before\, but I was willing to because I was there. So I linked up with a few people and I worked in a few studios and it went from there.” It was during those early sessions that he created Still In Love\, a song that re-shaped his journey.Steadily his name started to reach other producers\, most notably the likes of No ID\, Pop & Oak\, James Fauntleroy and DJ Dahi\, with a deal eventually signed with Def Jam. \nOften the inspirations behind JAHKOY’s songs are used purely as the foundation to careen off into glorious new areas. So Hold Your Hand was inspired by The Beatles’ I Want To Hold Your Hand\, this sense of carefree early love morphing into a day-glow mix of filtered guitars\, shuffling beats and JAHKOY’s airy delivery. \nAsked where he’d like to be in five years’ time\, JAHKOY says it’s something he’s been thinking about a lot recently. Rather than emulate a specific career\, he’s focused on making his music meaningful to as many people as possible. Once again\, there’s this sense of following your own path and doing what you need to do in the best way you can\, regardless of what else is happening around you. “I want to be influential to the music world\,” he states\, and you believe him. “That’s really it. I want to be able to bring that light to music. \n*** \nNoodles \n \n[Website] [Facebook] [Twitter] \nA name to know and an artist to watch in Electronic music\, Noodles continues to shine as a rising star in the DJ/Producer ranks and has taken his fans on quite a wild and exciting ride this past year. Noodles is well known as the go-to remixer for some of the biggest names in music and 2015 allowed him to further expand his library of collaborations while working on official projects for artists spanning the gamete of the industry\, from David Guetta to Pitbull. His work was also featured in the widely successful 2015 blockbuster motion picture “Furious 7” and can also be found on the official movie soundtrack. \nAside from working on his original releases as well as remixing for the biggest acts in music\, Noodles has continued to grow his radio audience reach to impressive lengths. He can be heard by over 2.5 million listeners per week through his massive radio network which includes mixes every weekend on Miami’s #1 station HITS 97.3\, his internationally syndicated show “The Radio Remix”\, his signature “Noodle’s Nation” show on DASH radio\, as well as weekly appearances on SiriusXM. Turn on a radio just about anywhere and you are sure to hear a mix or remix that Noodles is responsible for. \nNoodles brings the show during his high energy live performances! His sound can be described as a genre mashing experience rooted in big room electronic music with hip-hop\, trap and reggae influences\, which is the perfect combination to get any crowd moving. \nRemix King\, Super Producer\, and Radio Ruler- Noodles is a name to know and a star to watch in 2016. URL:https://royaleboston.com/event/kehlani/ 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/2017/01/kehlani-admat-2017.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20170225T180000 DTEND;TZID=America/New_York:20170225T213000 DTSTAMP:20260405T070033 CREATED:20170126T000603Z LAST-MODIFIED:20170126T000603Z UID:10001746-1488045600-1488058200@royaleboston.com SUMMARY:SOLD OUT - Kehlani DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \nSOLD OUT \n*** \n \n*** \nKehlani \n \n[Website] [Facebook] [Twitter] \nKehlani tells it like it is. Whether in conversation or on stage\, the Oakland-born R&B singer and songwriter gives the straight truth about her life\, pain\, passion\, love\, triumph\, and everything in between with collected calm and confidence. It’s that type of honesty that makes her music resonate with the depth of classic Motown and a vividly confessional lyricism reminiscent of Neo Soul. At the same time\, her 2015 mixtape\, You Should Be Here\, tells a story that distinctly belongs to her. \nIt all starts on the East Bay… \nBorn a unique blend of ethnicities including African American\, Caucasian\, Native American\, Spanish\, and Filipino Native American Kehlani will casually tell you “You’re lucky if you make it out of Oakland.” However\, in her case\, talent usurped luck. Months after her birth\, Kehlani lost her father\, never properly meeting him. Mired in drug addiction\, her mom shuffled her to an aunt. She initially found solace in dance—ballet in particular—but a knee injury sidelined her what might’ve been a budding career as ballerina. \n“That’s when I started singing\,” she recalls. “When I was living with my aunt\, she played me all of these powerful women and love songs. It was that Neo Soul-R&B\, and I couldn’t get enough of it. It felt right to sing from the moment I began.” \nIn eighth grade\, she became a member of the group Poplyfe produced by D’wayne Wiggins of Tony! Toni! Toné! fame. With Kehlani front and center\, Poplyfe ended up becoming a finalist on America’s Got Talent—even performing with her idol Stevie Wonder during the final round. They didn’t win the competition\, but she made an invaluable ally in Nick Cannon. A few industry pitfalls and detours derailed her musical momentum for six months until she decided to pick up the mic again. Without a home\, she moved from couch to couch until Cannon got back in touch wanting to help however he could. Kehlani wanted one thing: studio time. \nKehlani’s 2014 mixtape\, Cloud 19\, introduced her to the world. Immediately\, tastemakers and audiences alike wholeheartedly embraced her. Complex showcased the songstress in a piece entitled “How R&B Saved 2014\,” Pitchfork dubbed the mixtape one of the “Overlooked mixtapes of 2014\,” Vice proclaimed her an “R&B Artist on the Verge of Blowing Up\,” BuzzFeed pegged her at #4 on their “41 SXSW 2015 Artists You Need In Your Life\,” and she ended up being one of SXSW’s “Top 5 Most Tweeted Artists.” \nIn late April she shared You Should Be Here with the world\, which earned Kehlani her very first GRAMMY nomination at the 58th GRAMMY Awards for “Best Urban Contemporary Album.” Upon its release Billboard immediately called this project “The year’s first great R&B album”. Amongst their great review\, You Should Be Here has seen quite a bit of success on the charts. Aside from being the top R&B debut of the week\, it also came in at #1 on the iTunes R&B/Soul chart and #2 on both the Overall R&B Albums and Current R&B Albums chart. \nSigning to Atlantic Records in early 2015 and releasing You Should Be Here\, Kehlani possesses the power to make an impact because she’s so unwaveringly honest.\n“I am one-hundred percent music\,” she’ll assure.\nThat’s because it’s the truth. \n*** \nElla Mai \n \n[Website] [Facebook] [Twitter] \nLondon\, United Kingdom \n*** \nJahkoy \n \n[Website] [Facebook] [Twitter] \nLike all the most exciting new talents\, 21-year-old Toronto-born JAHKOY seemed to appear from nowhere. Shared speculatively on his Soundcloud last June\, the shimmering funk of debut single Still In Love – the first song he recorded after he moved to LA alone aged 20 – now sits at over one million plays on all platforms. Same with the skipping electro-throb of follow-up Hold Your Hand\, the string of those songs presenting a new artist in absolute control of his craft while already looking to manipulate it into new and exciting shapes. Both songs have received plays and shout outs on Beats 1\, most notably from Zane Lowe\, Drake and JAHKOY’s childhood hero\, Pharrell. In fact\, it’s telling that from a young age JAHKOY was drawn to a constant shape-shifter and experimentalist like Pharrell. “I loved the fact he was in his own lane\,” he explains. “There was stuff that was going on but he was creating new stuff. He didn’t fit in and he stepped over the boundaries of music and made what he has today.” A brief pause. “It’s something I want to do with my music.” \nBefore he could pinpoint his own musical inspirations\, there was a childhood household bustling with early influences\, mainly covering 90s R&B and hip-hop. “A lot of New Edition\, Total\, Notorious BIG\, Lil Kim\,” he says with a smile. While school didn’t offer him a musical education as such\, there were mandatory violin lessons to train his ear. “Because it’s the only instrument I know how to play I feel like it’s pretty easy\,” he shrugs. By the age of 11 music had started to go from something he listened to to something he created\, and buoyed by the expanding Toronto music scene he started (secretly) writing early lyrics in the form of poetry. Steadily these turned into raps\, which in turn became his debut releases under the name Raheem. “At the time I was doing music everyone was rapping\,” he says. “It started becoming more of a common thing and then it was too common. I put out three projects before changing my name.” While proud of the critically acclaimed mix-tapes\, he’s also aware that they were a stepping stone: “That was more my learning process to get to where I am now.” \nJAHKOY\, the artist\, was inspired by a perfect storm of circumstances\, mainly built around UK dance duo Disclosure and\, well\, good old-fashioned love. “Disclosure came to Toronto in 2014 and I had just dropped a project as Raheem that same day\,” he explains. “I went to the Disclosure show\, but I was going to see Vic Mensa\, who opened for them. So he killed it and then the headliners came on and they completely ripped it. I had no idea what kind of music they made or anything but their name. I was blown away by it. More because it was instrumental so I figured it would be dope if somebody sang or rapped over those kind of beats. So I started doing just that and then it turned into singing.” His passion for singing was also bolstered by falling in love\, the title of his forthcoming debut album\, Temptations\, inspired by his first date. \nIn amongst the musical re-awakenings and the young love\, JAHKOY also knew he needed to leave Canada to make his dreams a reality. “I left Toronto for Atlanta\,” he says. “I just needed to get out of Canada. So I spent some time there\, but eventually felt like there wasn’t what I needed in Atlanta. I needed to explore what was out there and so I went to LA and I grinded it out.” In fact\, he didn’t tell anyone he was going to LA\, just packed up his stuff and left.. While a move to LA sounds glitzy on paper\, in reality it was a leap into the unknown. “When I got to LA there was just one person I knew. I’d met him online. He was actually a fan of my early music\, so I knew he was really down to support the movement\,” he explains. “So I was staying on his couch for a while and getting a chance to meet people. The internet is a big world and there were some people who I knew were in LA that I hadn’t met before\, but I was willing to because I was there. So I linked up with a few people and I worked in a few studios and it went from there.” It was during those early sessions that he created Still In Love\, a song that re-shaped his journey.Steadily his name started to reach other producers\, most notably the likes of No ID\, Pop & Oak\, James Fauntleroy and DJ Dahi\, with a deal eventually signed with Def Jam. \nOften the inspirations behind JAHKOY’s songs are used purely as the foundation to careen off into glorious new areas. So Hold Your Hand was inspired by The Beatles’ I Want To Hold Your Hand\, this sense of carefree early love morphing into a day-glow mix of filtered guitars\, shuffling beats and JAHKOY’s airy delivery. \nAsked where he’d like to be in five years’ time\, JAHKOY says it’s something he’s been thinking about a lot recently. Rather than emulate a specific career\, he’s focused on making his music meaningful to as many people as possible. Once again\, there’s this sense of following your own path and doing what you need to do in the best way you can\, regardless of what else is happening around you. “I want to be influential to the music world\,” he states\, and you believe him. “That’s really it. I want to be able to bring that light to music. \n*** \nNoodles \n \n[Website] [Facebook] [Twitter] \nA name to know and an artist to watch in Electronic music\, Noodles continues to shine as a rising star in the DJ/Producer ranks and has taken his fans on quite a wild and exciting ride this past year. Noodles is well known as the go-to remixer for some of the biggest names in music and 2015 allowed him to further expand his library of collaborations while working on official projects for artists spanning the gamete of the industry\, from David Guetta to Pitbull. His work was also featured in the widely successful 2015 blockbuster motion picture “Furious 7” and can also be found on the official movie soundtrack. \nAside from working on his original releases as well as remixing for the biggest acts in music\, Noodles has continued to grow his radio audience reach to impressive lengths. He can be heard by over 2.5 million listeners per week through his massive radio network which includes mixes every weekend on Miami’s #1 station HITS 97.3\, his internationally syndicated show “The Radio Remix”\, his signature “Noodle’s Nation” show on DASH radio\, as well as weekly appearances on SiriusXM. Turn on a radio just about anywhere and you are sure to hear a mix or remix that Noodles is responsible for. \nNoodles brings the show during his high energy live performances! His sound can be described as a genre mashing experience rooted in big room electronic music with hip-hop\, trap and reggae influences\, which is the perfect combination to get any crowd moving. \nRemix King\, Super Producer\, and Radio Ruler- Noodles is a name to know and a star to watch in 2016. URL:https://royaleboston.com/event/kehlani-second-show-added/ 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/2017/01/kehlani-admat-2017v5.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:20170311T180000 DTEND;TZID=America/New_York:20170311T213000 DTSTAMP:20260405T070033 CREATED:20170109T100029Z LAST-MODIFIED:20170109T100029Z UID:10001744-1489255200-1489267800@royaleboston.com SUMMARY:Haywyre & The Opiuo Band DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 1/13 at 10AM! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nHaywyre \n \n[Website] [Facebook] [Twitter] \nHaywyre consists of Martin Vogt\, who has been studying piano since the age of six. His interest in the production of various genres of electronic music and piano instrumentals began growing when he lived in Austria; there\, he was exposed to jazz and hip-hop for the first time. Shortly after moving back to the U.S. in 2008\, Haywyre was created. Now\, his mission can be defined by providing his listeners with music that presents variety\, originality\, and ideas stemming from his jazz and classical knowledge base. The most general description to Martin’s sound can be described as memorable melodies and (jazz / classically influenced) chord progressions in the context of progressive electronic music. Synthetic and organic elements combine in works inspired by artists such as Noisia\, Flying Lotus\, KOAN Sound\, Hans Zimmer\, Clint Mansell\, Austin Peralta\, and Abdullah Ibrahim. His main compositional tool is the piano; countless nights are spent drafting harmonic and melodic outlines by improvising. For live performances\, Haywyre also includes his akai mpk 88 to perform the melodies while triggering the stems to the rest of the pieces. His guitar work can also be heard in many tracks (and sometimes other instruments\, such as the Duduk\, as well). So far\, he has mastered every release himself (except the Draw The Line EP). \n*** \nThe Opiuo Band \n \n[Website] [Facebook] [Twitter] \nFor New Zealand native Opiuo\, making music has been an undeniable passion that encapsulates his every moment. His incredibly original\, against the grain style is often referred to simply as “funkadelic bass music”\, a term he supports wholeheartedly. The producer who now calls Australia home first gained international recognition in 2010 with his single “Robo Booty” from his debut album “Slurp and Giggle”\, which was a finalist for Best Dance/Electro Release at the Australian Independent Music Awards that year. His music has since reached the #1 position on the iTunes\, Hype Machine\, Beatport & Addictech charts. Racking up 5 million plays on his Soundcloud page\, Opiuo swept the 2013 UK Glitch-Hop Awards with 5 wins. His latest full-length album “Meraki” was a finalist for the Best Electronica Album at the New Zealand Music Awards 2014. \nOpiuo’s unique take on electronic music has captured the attention of music lovers around the entire globe\, with sets at Coachella (USA)\, Glastonbury (UK)\, Shambhala (Canada)\, Lightning In A Bottle (USA)\, Boomtown Fair (UK) as well as headlining tours across Australia\, New Zealand\, N. America\, Europe\, Asia\, Israel and India. He’s shared the stage with some of music’s elite including Bassnectar\, Moby\, Pete Tong\, Bonobo\, & The Glitch Mob to name a few. Whether he’s equipped with his solo setup of various drum machines and synths\, or performing 100% live as The Opiuo Band\, his explosive live shows never disappoint. \nAs a remixer Opiuo’s credits span far & wide\, from Gwen Stefani to Kimbra\, Pretty Lights to Infected Mushroom\, KOAN Sound to Shapeshifter and many more. With such a grand scope its no wonder Opiuo’s musical meanderings are heard the world over. \n*** \nFreddy Todd \n \n[Website] [Facebook] [Twitter] \nWords will inevitably fail to properly describe Freddy Todd. Genre-busting could be an understatement. You can’t pin him down with lexicon like lazer-bass and glitch-funk; these phrases fall way short of capturing the expressiveness\, fearlessness\, and space-traveling qualities of his music. Hearing his music is akin to being abducted by an extra-terrestrial cruise liner where everyone is tripping on space acid. And if you are lucky enough to witness him produce\, you’ll see that he fittingly looks just like the captain of said space cruiser\, both hands intently gripping his electronics like the instrument panel on the flight deck. \nLet’s bring this back to earth real quick. His motown\, soul\, blues\, jazz\, funk\, hiphop (and techno for that matter) roots are a given\, being born just outside of Detroit in Southfield\, MI in 1990. Freddy moved out of his parents house immediately upon turning 18 lusting for the world and the creative juices it has to offer\, living briefly in Ferndale\, MI at first\, then to the outskirts of a rougher part of the city of Detroit near 7 mile and Lahser for two years to live with his then-band “Tone Poets”\, producing for Scrummage hip-hop queen “Breezee One”\, and wrapping up his second full length studio LP on Simplify Recordings\, followed by a year in Chicago. After living in the midwest until the age of 22\, his sights were set on the golden west. Moving cross-country and living two years in the Bay Area\, living in both the hood of West Oakland followed by the Oakland Hills while writing and releasing the “Golden Tremendous” album and starting his next EP. After soaking up the Cali vibes\, he returned across country for some more wholesome less-congested living in the blue ridge smokey mountains of Asheville\, NC to be closer to family\, where he currently resides. \nFreddy Todd is truly a master of his craft not only in the studio but on stages across the globe. Without any pre-recorded sets\, Freddy has the skills and the audacity to perform on the fly mixes of 100% original material tailored to his specific audience\, mood\, and venue each night\, be it a theater in northern California\, a club in the back alleys of Detroit\, or an outdoor festival in the bush off the eastern coast of Australia (occasionally on special nights with his live drummer forming the FT Live Band/Duo). His earth shattering\, meticulously programmed beats & rhythms\, his lazer crunk\, funky psychedelic bass & sound design\, and his brain tingling\, intelligently soul-soaked synths\, melodies\, & field-recorded samples are sure to shake your consciousness as they blast through airwaves out of top notch sound systems across the universe while Freddy serenades you with 100% live & improvised get-your-booty-on-the-floor analog Moog synthesizers & keytar\, loop triggering\, and occasional drums & percussive elements. Be careful where you don’t look. URL:https://royaleboston.com/event/haywyre-the-opiuo-band/ 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/2017/01/haywyre-opiuo-band-admat-2017.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20170312T190000 DTEND;TZID=America/New_York:20170312T190000 DTSTAMP:20260405T070033 CREATED:20170119T190636Z LAST-MODIFIED:20170119T190636Z UID:10002461-1489345200-1489345200@royaleboston.com SUMMARY:Devendra Banhart DESCRIPTION:Show moved from The Sinclair to Royale due to overwhelming demand! \nBowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale now! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nDevendra Banhart \n \n[Website] [Facebook] [Twitter] \nDevendra Obi Banhart (born May 30\, 1981) is a Venezuelan American singer-songwriter and visual artist. Banhart was born in Houston\, Texas and was raised by his mother in Venezuela\, until he moved to California as a teenager. He began to study at the San Francisco Art Institute in 1998\, but dropped out to perform music in Europe\, San Francisco and Los Angeles. Banhart released his debut album in 2002\, continuing to record his material on the Young God and XL labels\, as well as other work on compilations and collaborations. URL:https://royaleboston.com/event/devendra-banhart/ 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/2017/01/Devendra-Banhart-admat-2017v4.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:20170313T190000 DTEND;TZID=America/New_York:20170313T190000 DTSTAMP:20260405T070033 CREATED:20170124T160927Z LAST-MODIFIED:20170124T160927Z UID:10002464-1489431600-1489431600@royaleboston.com SUMMARY:The Protomen\, MC Frontalot & Bit Brigade DESCRIPTION:18+ \nLeague Podcast & Rock On! Concerts Presents…. URL:https://royaleboston.com/event/the-protomen-mc-frontalot-bit-brigade/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts,Special Events ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/01/313-Protomen-Concert.jpeg 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:20170317T180000 DTEND;TZID=America/New_York:20170317T180000 DTSTAMP:20260405T070033 CREATED:20170116T195250Z LAST-MODIFIED:20170116T195250Z UID:10002459-1489773600-1489773600@royaleboston.com SUMMARY:House of Pain DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is 21 and over. \nTickets on sale Fri. 1/20 at noon! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n***\nSt. Patrick’s Day 2017\nHouse of Pain \n \n[Facebook] [Twitter] \nOn the heels of their widely heralded reunion show at KROQ’s ‘Epicenter 2010’\, EVERLAST and DANNY BOY have decided to get the band back together in celebration of their 20th anniversary. That’s right\, HOUSE OF PAIN is back\, more focused than ever and extremely excited to kick-off a worldwide reunion tour in 2011. \nIt’s hard to believe that the rowdy Irish Americans got started way back in 1991\, but for the past 20 years the group has maintained a high profile – topping the Billboard charts as a group and with solo efforts. It was a turn of a new decade when HOUSE OF PAIN changed the face of hip-hop with their self-titled debut album\, going multi-platinum and launching one of the most memorable songs in hip-hop history with “Jump Around”. Now it’s the start of another new decade and HOUSE OF PAIN is ready to do it all over again; the group aims to bring their fiery live show to fans all over the world\, reclaim the throne as hip-hop’s best and celebrate what has allowed their successes over the past 20 years – the fans. \n“It’s been 20 years and we are very excited to go out there and do this again\,” comments Everlast. “The catalyst was definitely the KROQ Epicenter show this past summer. We had already been working together on the La Coka Nostra record and did an event with [UFC President] Dana White but it really came down to seeing the crazy response from the crowd in LA when we went into ‘Jump Around’. After that\, we went home thinking about it and now is the time to act on it. Every show is going to be like an anniversary party. It’s going to be crazy.” \nSince HOUSE OF PAIN disbanded back in 1996\, the members have kept their star power and went on to huge successes. EVERLAST has maintained an incredibly successful solo career that includes a triple platinum album\, multiple Top 10 hits (including the #1 smash hit “What It’s Like”) and a Grammy for the song “Put Your Lights On” which was recorded with Carlos Santana. Danny Boy changed focus from music to art and launched an extremely successful art company\, multiple clothing lines and ultimately brought the reunion about by forming the group LA COKA NOSTRA that featured the original lineup from HOUSE OF PAIN alongside rappers Slaine and Ill Bill. \nAfter experiencing all of the solo success\, it becomes obvious that HOUSE OF PAIN isn’t a group reforming to cash in on current musical trends. HOUSE OF PAIN is reforming because of the passion that they have for their music. They are back to celebrate with their fans across the 20 years that have spawned tremendous success and undying anthems of rebellious teenagers everywhere. They are back to show young fans everywhere just how raucous and dirty hip-hop can be – to prove that it doesn’t matter your age\, race\, religion or whether you’re into hip-hop\, rock or metal. HOUSE OF PAIN has crafted a 20-year legacy that speaks to fans from all walks of life. \nSo get out of your seat and “Jump Around.” \n*** \nSlaine \n \n[Website]\n[Facebook] [Twitter] \nIf you believe Life is hard yet one of the best gifts anyone can be granted\, you’ll understand the journey of Slaine. The hard knocks and struggle of this Boston native may sound like good tidbits for a novel\, television or mini-series. Hailing from the Dorchester area with deep connections in South Boston\, Slaine’s life was patterned somewhat of a gypsy moving around often. Despite not having a normal home foundation\, Slaine aspired like other starry eyed kids to become a force in the entertainment industry. Mapping out his plan to obtain his goals\, Slaine packed his bags and moved to New York City and enrolled in the School of Visual Arts. After only seven months\, an unfortunate altercation between Slaine and a school employee resulted in his expulsion at the school. \nThe incident was a major setback for Slaine that suspended his dream of becoming a filmmaker. Although dismayed and discouraged\, Slaine prevailed over his setback and proceeded towards his pursuit into the entertainment industry via another way…music. His love for hip-hop was discovered at the early age of nine. “I started writing rhymes when I was nine years old\, I use to record on my boom box with a pair of headphones plugged into the microphone jack. I felt they were just words on a page because I didn’t have an outlet to perform them.” Determined and focused\, Slaine spent his nights as a club promoter to survive in the hard lonely streets of New York City. At the same time\, he began recording and being managed by hip-hop legend MC Shan. While recording a demo in a studio operated by the Lordz of Brooklyn\, SLAINE was introduced to Danny Boy O’Connor of House of Pain. \nThe introduction lead into him being signed to a production deal with DJ Lethal of House of Pain which led to the mix tape release ‘The White Man is the Devil: Volume 1’ and the formation of Special Teamz with Boston rap legends Edo G and Jaysaun. Special Teamz dropped a self-titled street CD after that\, which garnered critical acclaim and allowed the group to tour in Europe. In a very short time\, SLAINE had gone from living in poverty with a drug habit to traveling the world and working with hip-hop icons such as DJ Premier\, Ill Bill\, House of Pain\, Cypress Hill\, The Alchemist\, and a host of other talented artists. He also became part of the collective LA COKA NOSTRA\, alongside Ill Bill and all three members of House of Pain – Everlast\, DJ Lethal\, and Danny Boy. La Coka Nostra’s debut album\, “A Brand You Can Trust” debuted at #84 on the Billboard Top 200 and #6 on the Rap charts\, sending a message to the masses that the group’s brand of gritty hip-hop was exactly what fans of the genre had been waiting for. \nSlaine’s name continued to grow far past his hometown of Boston due to the exposure he has received in publications such as The Source\, XXL\, The New York Times\, The Boston Herald\, and has performed sold out shows across the globe. SLAINE has been nominated for a Boston Music Award and received 4 trophies at The Mass Industry Committee’s hip-hop awards including one for Best Lyricist. \nAs his music career expanded\, a personal battle with drugs became a focal point that reared its ugly head. After overdoses\, hospital visits and a whirlwind of drugs and violence\, SLAINE finally checked into rehab. Instantly\, he found himself with homeless drug addicts and realized he was no different than any of them. “Everybody had a story to tell. That was where the idea and the hunger for “The White Man is the Devil” was born. “The White Man” is a cocaine reference\, not a declaration of self hate.” \nSince conquering his addiction\, Slaine’s was presented with new and exciting possibilities…Acting. A chance of a lifetime presented itself through an unexpected ally\, hometown hero and Academy Award winner Ben Affleck. SLAINE made his acting debut with his portrayal of Bubba Rogowski in Affleck’s return to screenwriting and directorial debut “Gone Baby Gone”. The film was critically acclaimed and led to Slaine being offered a larger role as a bank robber in the blockbuster “The Town” featuring Ben Affleck\, Jeremy Renner (The Hurt Locker)\, and Jon Hamm (Mad Men). He is also been in films\, “The Crack Down” and “Bad Blood” and in the upcoming movie “Cogan’s Trade” with Brad Pitt\, Ray Liotta and James Gandolfini. \nWhile Slaine’s acting career has allowed him to blaze new paths\, his venomous lyrical attack burns hotter than ever on his debut solo album\, “A World With No Skies 2.0”\, which drops on August 16th \, 2011 through Suburban Noize Records. With hard hitting lyrical content\, and vicious delivery\, “A World with No Skies 2.0” instantly takes hip-hop back to its grimy roots on the streets. To execute his dark musical vision\, Slaine enlisted the help of his La Coka Nostra brothers Everlast and ILL BILL\, as well as Cypress Hill’s B-Real and Vinnie Paz of Jedi Mind Tricks to create a dark hip-hop album that hits squarely in the jaw. “Even though I started my career as a solo artist by hustling my ‘The White Man is the Devil’ mixtapes\, I think people are more familiar with me from Special Teamz and La Coka Nostra\,” commented Slaine. “With this album I set out to create a soundscape that brings you into my world as an individual which is a bad place to be. It is hard\, dark and aggressive from the beats to the lyrics\, and a deeply personal trip through my life and the things that made me who I am today. A ‘World with No Skies’ is a look into my psyche and a vision of my dreams\, nightmares\, and realities.” \nDespite his ups and downs throughout his career\, Slaine’s living his life to the fullest. “I love making music that means something to me\, I am grateful for all the experiences that I have had—good and bad. I am lucky to be alive\, but my past also made me who I am today.” URL:https://royaleboston.com/event/house-of-pain-2/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/png:https://royaleboston.com/wp-content/uploads/2017/01/HOP-2017.03.17-ADMAT-1.png 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:20170323T190000 DTEND;TZID=America/New_York:20170323T190000 DTSTAMP:20260405T070033 CREATED:20161116T175405Z LAST-MODIFIED:20161116T175405Z UID:10002445-1490295600-1490295600@royaleboston.com SUMMARY:The Knocks: Feel Good Feel Great DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Thu. 11/17 at 1PM! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nThe Knocks \n \n[Website] [Facebook] [Twitter] \nThe Knocks are a New York story through and through. They met as 19-year-old college students\, late one night in a studio at the New School. Ben Ruttner\, known as “B-Roc\,” DJed clubs as a PM day job\, and James Patterson\, known as “JPatt\,” played the organ at a church outside the city. \nWorking out of their bedrooms\, The Knocks remixed Jay-Z’s entire American Gangster album in two days\, calling it American G-Funk. With remixes for Katy Perry and Passion Pit soon following\, the Knocks were declared one of the “20 hottest producers in music” by NME and quickly became synonymous with a certain warm\, retro-future\, disco-kissed touch. Future stars like Ellie Goulding and Icona Pop took note of the Knocks\, asking them to produce for their own projects. \nThey put our their first big hit in 2010 with the filter-house party anthem “Dancing With the DJ”\, and toured the UK with Sleigh Bells and DJ Shadow. Opening for Ellie Goulding on her US debut tour in 2011 and playing the main stage at Ultra in 2012\, B-Roc and JPatt were a bridge between the indie dance world and the mainstream market. \nThey recently hit a touchstone with “Classic\,” a seductive track that whips up the sun-drenched sense of endless celebration. Fetty Wap jumped on for a guest verse\, as befits the way the Knocks style synthesizes anything with energy: hip-hop\, soul\, house\, disco and pop. Their new album 55 is a resolutely DIY dance album that pulses with the heart of the city. It opens with none other than Cam’ron\, Wyclef Jean comes out of nowhere\, Carly Rae Jepsen takes a house diva turn\, and Alex Newell aims his high range like a trigger in SPIN’s Best-101-of-2015 pick “Collect My Love”. It’s an album laced with disco magic and hiphop flow; it’s built for a crowd\, but first it has to pass a bar that’s internal. “Would I spin this?” the Knocks still ask each other\, every time they cut a track. They’ll be spinning this one for years. \n*** \nBipolar Sunshine \n \n[Website] [Facebook] [Twitter] \nBipolar Sunshine is based on a surreal world where anything is possible\, the stranger the better as long as its done with an artistic approach. A Home for the defeated romantic\, the passionately curious but in the mist of all still can see the bright side to every- thing. \n*** \nGilligan Moss \n \n[Website] [Facebook] [Twitter] \nYou could say that Gilligan Moss originally formed in the early 90s in an unassuming pre-school in downtown Chicago. Comprised of Evan and Ben\, the two have used this deep-rooted friendship to form a psychic bond to explore a new vision for what it means for pop music to live in the club. The duo from Chicago\, has a distinct style that fills the cracks between several genres — they are drawn to strange melodies\, polyrhythmic percussion\, and driving\nbasslines. Their goal is to make music that could soundtrack an Ewok dance party as easily as it could a solitary walk home.\nThe project began with Evan\, who anonymously started posting his music to Soundcloud in 2013. His first single “Choreograph” caught a wave of blog buzz\, eventually hitting #1 on the Hype Machine charts. On the success of this single and a remix for Glass Animals’ “Gooey\,” he took to writing a batch of tunes and the resulting Ceremonial EP was released in August 2015 via AMF Records\, an imprint of Virgin EMI.\nWhen asked to go on the road in support of Glass Animals in late 2015\, he asked Ben to join him for the live rig. Once tour came to a close\, they began writing together\, rekindling the spark that formed all those years ago in pre- school. They have done remixes for the likes of Sia\, Banks\, Tegan & Sara and their second EP is expected in mid-2017. For the past few months\, the duo has been camped out in the woods in upstate New York\, perfecting the perfect dance party for the squirrels and birds that surround their studio. URL:https://royaleboston.com/event/the-knocks-feel-good-feel-great/ 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/2016/11/KNOCKS-FG-FG-TOUR-admat-11x17WSUPPORT.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