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DTSTART;TZID=America/New_York:20161210T180000
DTEND;TZID=America/New_York:20161210T180000
DTSTAMP:20260405T080126
CREATED:20160808T140054Z
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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
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DTSTART;TZID=America/New_York:20161211T190000
DTEND;TZID=America/New_York:20161211T190000
DTSTAMP:20260405T080126
CREATED:20160911T035919Z
LAST-MODIFIED:20160911T035919Z
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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
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DTSTART;TZID=America/New_York:20161212T190000
DTEND;TZID=America/New_York:20161212T190000
DTSTAMP:20260405T080126
CREATED:20160829T144623Z
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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
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DTSTART;TZID=America/New_York:20161213T183000
DTEND;TZID=America/New_York:20161213T183000
DTSTAMP:20260405T080126
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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
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DTSTART;TZID=America/New_York:20161215T200000
DTEND;TZID=America/New_York:20161215T200000
DTSTAMP:20260405T080126
CREATED:20161025T155915Z
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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
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DTSTART;TZID=America/New_York:20161229T200000
DTEND;TZID=America/New_York:20161229T200000
DTSTAMP:20260405T080126
CREATED:20160913T133610Z
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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
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DTSTART;TZID=America/New_York:20170120T183000
DTEND;TZID=America/New_York:20170120T183000
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CREATED:20160818T134750Z
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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
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DTSTART;TZID=America/New_York:20170211T190000
DTEND;TZID=America/New_York:20170211T190000
DTSTAMP:20260405T080126
CREATED:20161216T001732Z
LAST-MODIFIED:20161216T001732Z
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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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170212T200000
DTEND;TZID=America/New_York:20170212T200000
DTSTAMP:20260405T080126
CREATED:20161003T212441Z
LAST-MODIFIED:20161003T212441Z
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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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170216T200000
DTEND;TZID=America/New_York:20170216T200000
DTSTAMP:20260405T080126
CREATED:20161115T175055Z
LAST-MODIFIED:20161115T175055Z
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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
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DTSTART;TZID=America/New_York:20170218T173000
DTEND;TZID=America/New_York:20170218T173000
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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
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GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170219T180000
DTEND;TZID=America/New_York:20170219T220000
DTSTAMP:20260405T080126
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170220T190000
DTEND;TZID=America/New_York:20170220T190000
DTSTAMP:20260405T080126
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170224T180000
DTEND;TZID=America/New_York:20170224T180000
DTSTAMP:20260405T080126
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:20260405T080126
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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170311T180000
DTEND;TZID=America/New_York:20170311T213000
DTSTAMP:20260405T080126
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
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DTSTART;TZID=America/New_York:20170312T190000
DTEND;TZID=America/New_York:20170312T190000
DTSTAMP:20260405T080126
CREATED:20170119T190636Z
LAST-MODIFIED:20170119T190636Z
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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
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DTSTART;TZID=America/New_York:20170313T190000
DTEND;TZID=America/New_York:20170313T190000
DTSTAMP:20260405T080126
CREATED:20170124T160927Z
LAST-MODIFIED:20170124T160927Z
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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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170317T180000
DTEND;TZID=America/New_York:20170317T180000
DTSTAMP:20260405T080126
CREATED:20170116T195250Z
LAST-MODIFIED:20170116T195250Z
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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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170323T190000
DTEND;TZID=America/New_York:20170323T190000
DTSTAMP:20260405T080126
CREATED:20161116T175405Z
LAST-MODIFIED:20161116T175405Z
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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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170324T180000
DTEND;TZID=America/New_York:20170324T213000
DTSTAMP:20260405T080126
CREATED:20170309T191804Z
LAST-MODIFIED:20170309T191804Z
UID:10001765-1490378400-1490391000@royaleboston.com
SUMMARY:Jessi Live Concert!
DESCRIPTION:Korean R&B/Rapper \n18+ \nVIP: 617-733-0505
URL:https://royaleboston.com/event/jessi-live-concert/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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END:VEVENT
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DTSTART;TZID=America/New_York:20170325T190000
DTEND;TZID=America/New_York:20170325T190000
DTSTAMP:20260405T080126
CREATED:20170210T153933Z
LAST-MODIFIED:20170210T153933Z
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SUMMARY:Zveri Concert
DESCRIPTION:Party Time Boston Presents.. \n21+ \n7:00pm Doors\n8:00pm Show
URL:https://royaleboston.com/event/zveri-concert/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
GEO:42.3499959;-71.0656288
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170326T190000
DTEND;TZID=America/New_York:20170326T190000
DTSTAMP:20260405T080126
CREATED:20170110T183438Z
LAST-MODIFIED:20170110T183438Z
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SUMMARY:Minus the Bear
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. 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*** \nMinus the Bear \n \n[Website] [Facebook] [Twitter] \nOver the course of their 15-year career\, Minus the Bear have carved out their own unique musical world. This isn’t to say they’re impervious to outside influence. They’ve borrowed components from a wide swath of genres—the brainy clangor of New York’s proto-punk scene\, the cerebral buzz of IDM\, the poptimist evaluation of hip-hop and R&B\, and the grandiose visions of prog rock—but always managed to defy classification. Throughout the first decade of their existence\, every new album offered a new musical approach\, as seen in the idiosyncratic fretboard gymnastics of Highly Refined Pirates\, the glitchy loops of Menos el Oso\, or the modernized Fripp-inspired wizardry of Planet of Ice. By the time the band entered our current decade\, their knack for reinvention yielded to an emphasis on refinement. Albums like OMNI and Infinity Overhead searched for a middle ground where their myriad of stylistic approaches could all work within the context of a single record. \nOn their sixth album VOIDS\, Minus the Bear started with a blank slate\, and inadvertently found themselves applying the same starting-from-scratch strategies that fueled their initial creative process. “There was a lot of change and uncertainty\,” says guitarist David Knudson. “I think the general vibe of emptiness\, replacement\, lacking\, and longing to fill in the gaps was very present in everyones’ minds.” Change was everywhere. Keyboardist/vocalist Alex Rose took on a more prominent role in composition and handled lead vocal duties on songs like “Call the Cops\,” “Tame Beasts\,” and “Robotic Heart\,” drummer Kiefer Matthias joined the fold\, producer Sam Bell lent a fresh set of ears in the studio\, and the band returned to their original label home at Suicide Squeeze Records. Minus the Bear were no longer swept along by the momentum that had driven them for the last fifteen years. Instead\, they reached a point where they could recalibrate and redefine who they were as a musical entity. The resulting album VOIDS retains many of the band’s signature qualities—the hedonistic tales of nighttime escapism and candid vignettes of adulthood\, the savvy up-tempo beats\, the layered and nuanced instrumentation—while simultaneously reminding us of the musical wanderlust that initially put them on the map. \nAlbum opener “Last Kiss” immediately establishes the band’s renewed fervor. An appropriately dizzying guitar line plunges into a propulsive groove before the chorus unfolds into a multi-tiered pop chorus. From there the album flows into “Give & Take”\, a tightly wound exercise in syncopation that recalls the celebratory pulse of early Bear classics like “Fine + 2 Pts” while exploring new textures and timbres. “Invisible” is arguably the catchiest song of the band’s career\, with Jake Snider’s vocal melodies and Knudson’s imaginative guitar work battling for the strongest hooks. “What About the Boat?” reminds us of the “math-rock” tag that followed the band in their early years\, with understated instrumentation disguising an odd-time beat. “Erase\,” recalls the merging of forlorn indie pop and electronica that the band dabbled with on their early EPs\, but demonstrates the Bear’s ongoing melodic sophistication and tonal exploration. By the time the band reaches album closer “Lighthouse\,” they’ve traversed so much sonic territory that the only appropriate tactic left at their disposal is a climactic crescendo\, driven at its peak by Cory Murchy’s thunderous bass. Not since Planet of Ice’s “Lotus” has the Bear achieved such an epic finale. All in all\, it’s an album that reminds us of everything that made us fall in love with Minus the Bear in the first place\, and a big part of that appeal is the sense that the band is heading into uncharted territories. \nSuicide Squeeze Records is proud to release VOIDS to the world on March 3\, 2017 on CD\, LP\, and cassette. Nick Steinhardt designed the artwork and layout for all formats. The first pressing of the album is available on 5\,000 copies of splatter colored vinyl and 5\,000 copies of 180 gram black vinyl. The LP jacket features PMS inks\, a die-cut cover with a printed inner sleeve and contains a download code. The cassette version is limited to 500 copies and includes a download code as well. \n*** \nBeach Slang \n \n[Website] [Facebook] [Twitter] \nBeach Slang are a band who have garnered a lot of attention considering that they’ve only released two 7-inches\, 2014’s Cheap Thrills On A Dead End Street and its companion Who Would Ever Want Something So Broken? Refreshingly this Philadelphia-based act have built their hype the old-fashioned way\, without any gimmicks or marketing teams\, which makes sense when you consider that frontman and writer James Alex cut his teeth in the Pennsylvania pop-punk act Weston while drummer JP Flexner and bassist Ed McNulty also play in buzzed about projects such as Ex-Friends and Crybaby. However there’s something indefinable about Beach Slang’s music that evokes the spirit of punk and juxtaposes it into something that’s as brutally honest as it is infectiously catchy. \n“When this whole thing started it was like\, ‘Alright\, i’m going to get to hear my sappy little songs played loud and interact with other human beings again\,’ the admittedly shy Alex says looking back on Beach Slang’s existence. “Then one day this really sweet explosion happened and Beach Slang became a thing that mattered to people.” As anyone who has seen Beach Slang live can attest\, it matters to people a lot including the group’s peers like Cursive who hand-selected Beach Slang to open for them on their upcoming headlining tour. “I used to skate with this really sweet girl who would refer to the way I spoke as ‘beach slang’ and I’ve never shaken that off\,” Alex continues. “The really soft parts of your childhood\, I suppose\, have a way of sticking around. I like that.” \nThat feeling of youth and vulnerability also lie at the core of Beach Slang’s music\, which is part punk\, part pop and all catharsis. It references the ghosts of The Replacements but keeps one foot firmly rooted in the present. It’s fun and it’s serious. It’s sad but it isn’t. It’s Beach Slang. Enjoy it and look out for the band’s debut full-length later this year because they’re still just getting started. \n*** \nBayonne \n \n[Website] [Facebook] [Twitter] \nRoger Sellers is a lot of things. He’s a minimalist composer with a knack for making hypnotic\, enveloping songs from a few repeated musical phrases. He’s a gifted musician who is mostly self-taught\, having abandoned formal study because it was draining the life from his work. He’s a self-described disciple of Phil Collins. What he is not\, however — despite multiple press reports to the contrary — is a DJ. \n“I started developing a decent following in Austin\,” he says\, “but most of the time when I would play\, the press would say something like ‘Local DJ Roger Sellers\,’ or ‘Roger Sellers is playing a late-night DJ set.’ I think it was maybe because my live set involves a table full of gear\, a drum set and headphones\, but the average person probably knows more about DJing than I do.’” To combat the misunderstanding\, Sellers printed up stickers reading\, “Roger Sellers is Not a DJ\,” and eventually adopted the alias Bayonne\, changing his name without altering his approach. \nAnd it’s a good thing: Primitives\, Sellers’ debut as Bayonne\, is a rich\, complex work\, the kind with no clear rock parallel. In its winding\, maze-like structures are hints of both Steve Reich and Owen Pallett\, each instrument working a single melodic pattern over and over and over\, as Sellers threads his soft\, reedy voice between them. On songs like “Appeals\,” the effect is hypnotic: notes from a piano crash down like spilled marbles from a bucket\, as Sellers’ ringing-bell vocals swing back and forth between them. The end result is spellbinding music\, meticulously-crafted songs where each tiny piece locks into another\, and hundreds of them joined together create a breathtaking whole — like dots in a Seurat\, or tiny bones in a dinosaur skeleton. \nSellers’ journey to Bayonne began when he was two years old\, situated in front of Eric Clapton Unplugged at his home in TK. “I’d just watch it over and over again\,” he laughs. “I would get paint cans and bang on them\, trying to imitate what I saw in the video. My parents got me a drum set when I was 6 years old and I became obsessed. I wanted to be Phil Collins for so many years as a child. He was my hero. I feel like you can hear that a lot in Primitives\, that big drum sound\, because so much of the way I play was learned from Phil Collins.” Though Sellers studied classical piano as a child and music theory in college\, rather than developing his skill\, he found both to be deadening. “It became homework\,” he says. “It made me come home and not want to write. That’s not at all how I’d thought about music — it had always been something fun — almost like a kind of therapy. It was an escape\, not a chore.” \nInstead\, Sellers struck out on his own\, buying a looper and slowly amassing a stockpile of tiny melodies. “I found out that I could make these songs really spontaneously and have this really good idea without having to get into the studio to capture it right away. Most of these songs came out of me just fucking around\, hooking up keyboards and experimenting.” The experiments cohered into music that is beautiful and densely layered. The composition of the individual musical phrases may have been spontaneous\, but assembling them to create Primitives was anything but. Instead\, Sellers constructed the songs from a collection of loops he’d built up over the course of six years. Some of those patterns were created on stage at his shows\, where Sellers threads melodies together in real time\, augmenting them with live drums and vocals. Others were written during downtime\, improvising at home. Once he had the basic melodies\, he had to figure out how they went together\, and how to layer them meticulously to make songs that were rich in deep detail but still immediately engaging. \nYou can hear all of that in “Spectrolite”; taut apostrophes of guitar enter first\, pinpricks of barely-there sound that blink like Christmas lights. Bone-dry snare enters next\, but the guitars keep echoing their same hypnotic phrase; it’s followed by grumbling bass and\, finally\, Sellers’ airy\, high-arcing voice; each piece follows their charted course again and again\, but as the song goes on\, it gets more engrossing — it gives the effect of slipping slowly into warm water. “That one came from an older loop that I had\,” Sellers explains. “It was about a stone that my girlfriend at the time had brought me back from Australia\, a spectrolite stone. We had some things happen between us during that time\, so that stone meant a lot to me. I had it with me the entire time I made the record. It’s a song about forgiveness\, and keeping those people who matter most to you close around you\, and caring for those that you love.” In “Waves\,” surging piano replicates the sound of the ocean\, lapping slowly forward and back. Giant tribal drums enter\, filling the blank space\, giving the song a soft\, calming\, see-sawing rhythm. “That’s a song I basically wrote by performing it live\,” Sellers says. “That’s one of my favorite songs that I’ve written because of the simplicity of it\,” he explains. “You feel like you’re in the ocean or something.” But as the song goes on\, it skews darker. “I know that there’s something else\, something else\, something else\,” Sellers sings\, “And I know that you’d be there for me.” As the song goes on\, the object of his affection drifts away\, like a boat toward the skyline. Like all of Sellers’s songs\, it centers carefully constructed music around the soft\, glowing core of the human heart. \n“That’s all of it — emotion\,” Sellers says. “I want the music to carry people in some way\, and I want them to feel what I’m feeling. I want my music to be an emotive expression.” On Primitives\, Sellers creates music that’s nuanced\, layered\, complicated and soothing — easy to get lost in\, impossible to ignore.
URL:https://royaleboston.com/event/minus-the-bear/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170327T190000
DTEND;TZID=America/New_York:20170327T190000
DTSTAMP:20260405T080126
CREATED:20170127T192406Z
LAST-MODIFIED:20170127T192406Z
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SUMMARY:Bebe Rexha
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 All Ages.\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*** \nBebe Rexha \n \n[Website] [Facebook] [Twitter] \nEvery dream requires a hustle. Long before she became an inescapable pop presence and one of the industry’s most in-demand songwriters\, Bebe Rexha began quietly hustling hard towards a career in music during her childhood in Brooklyn\, NY.\n“I never wanted to take the easy way\, and I was always willing to hustle\,” she declares. “I started grinding and writing songs back in high school. I was the girl that didn’t go to prom or my graduation\, because I was too busy working with producers and making music. I’d feel at home singing over hip-hop beats and rolling with the boys. It’s where I still have the most fun\, and it’s where my personality comes through.”\nFollowing years of dedication and diligence\, that grind paid off big time in 2013 after she penned “The Monster” in a Harlem studio. The single eventually became a worldwide hit for Eminem and Rihanna—going RIAA quadruple-platinum stateside. Bebe would write and feature on Cash Cash’s “Take Me Home\,” an idea she envisioned back in her bedroom in New York. Relocating to Los Angeles\, she’d go on to co-write and sing on Pitbull’s “This Is Not A Drill” in addition to writing Tinashe’s “All Hands On Deck.” Her 2015 debut EP\, I Don’t Wanna Grow Up [Warner Bros. Records] \, boasted the singles “I Can’t Stop Drinking About You” and “I’m Gonna Show You Crazy\,” which racked up over 52 million Spotify streams in only six months. That same year\, she co-wrote and carried instantly recognizable hooks for the double-platinum “Hey Mama” by David Guetta\, Nicki Minaj\, and Afrojack as well as G-Eazy’s 2016 Billboard Hot 100 platinum smash “Me\, Myself\, & I.”\nTo date\, she’s accumulated over 10 million overall single sales\, 800 million Spotify streams\, 1 billion combined YouTube/VEVO views\, and reached a radio audience of 7 billion in addition to earning praise from the likes of USA Today\, Billboard\, MTV and more. On the road\, she has toured supporting Nick Jonas and scorched the stage of the 2015 Vans Warped Tour\, emerging as one of its biggest breakout acts.\nHowever\, everything set the stage for her 2016 single “No Broken Hearts” [featuring Nicki Minaj]. The unshakable and undeniable anthem introduces her forthcoming full-length album with a bang. Produced by Grammy Award®-nominated production team The Invisible Men\, the track sees her robust\, raw\, and real voice take the spotlight. Over a slick\, smooth\, and sultry bounce\, Bebe delivers a massive refrain freestyled in the vocal booth and punctuated by a fiery verse from Minaj.\n“I had been heartbroken three times that week\,” she admits. “I went to the studio\, and I was crying my eyes out. As soon as I walked to the mic\, it came to me. We captured the first take right when I heard the song. There’s nothing mathematical to my writing. It’s feeling. I turned sadness into an anthem for not letting anything or anyone slow you down. Everybody goes through some sort of pain. It’s good for people to hear that. Nicki was perfect\, because she’s a New York chick who identifies with this. Life’s too short\, so let’s enjoy it.”\nThat spirit courses through her inimitable and irresistible sound. Merging booming production\, cinematic storytelling\, and a powerhouse voice\, she nods to influences as diverse as Michael Jackson\, Lauryn Hill\, Tracy Chapman\, The Cranberries\, and Kanye West. Drawing on her Albanian heritage and youth in New York City\, she stirs up a musical melting pot of her own.\n“I feel like I’m just starting to show who I am\,” she continues. “I’m going even further though. I’m embracing my roots and the artists I love. At the same time\, I want to tell stories. The new music is more about empowerment. You work on yourself\, and you focus on your happiness. That’s the message. I’m saying what I want to say. Life isn’t easy. We’re all going through something. I hope people know they’re not alone when they hear my songs.” \n*** \nDaniel Skye \n \n[Website] [Facebook] [Twitter] \nI am a 16 year old singer/songwriter. \n*** \nSpencer Ludwig \n \n[Website] [Facebook] [Twitter] \n> \nA trumpeter\, singer\, producer\, and dancer who rocks alligator shoes with smoking style and panache\, Spencer Ludwig brings any party to life. Chances are\, you’ve heard his lyrical lead trumpet soaring through the music of multiplatinum-selling indie pop act Capital Cities. Not only did the Los Angeles-born\, half-Filipino vocalist-instrumentalist perform on their full-length debut In a Tidal Wave of Mystery\, but he also crisscrossed the globe with the band\, opening Katy Perry’s Prismatic World Tour and tearing up the stage at Coachella\, Bonnaroo\, and more. Following a whirlwind two years in the group\, he returned to Los Angeles in December 2014 and commenced writing solo material that showcased both his trumpet talents and dynamic\, diverse vocals. On his 2016 solo debut for Warner Bros. Records\, he merges jazz virtuosity and pop style for a sound that simmers and swaggers with soul.
URL:https://royaleboston.com/event/bebe-rexha/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20170401T180000
DTEND;TZID=America/New_York:20170401T180000
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CREATED:20161115T173730Z
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SUMMARY:SOLD OUT - The Menzingers
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.\nThis show is SOLD OUT. \n*** \n \n*** \nThe Menzingers \n \n[Website] [Facebook] [Twitter] \nThe Menzingers will release their eagerly awaited fifth full-length After the Party on February 3\, 2017. The album arrives as the follow-up to the Philadelphia-based band’s widely acclaimed Rented World. Pre-orders for After The Party are available here. \nProduced by Will Yip (Title Fight\, Balance & Composure\, Pianos Become the Teeth)\, After the Party taps into the Menzingers’ everyman romanticism to reflect on getting older but not quite growing up. Throughout the album\, singer/guitarists Greg Barnett and Tom May\, bassist Eric Keen\, and drummer Joe Godino offset that deeply nuanced songwriting with anthemic harmonies\, furious power chords\, and larger-than-life melodies. \n“We spent our 20s living in a rowdy kind of way\, and now we’re at a point where it seems like everyone in our lives is moving in different directions\,” says May of the inspiration behind After the Party. Adds Barnett: “We’re turning 30 now\, and there’s this idea that that’s when real life comes on. In a way this album is us saying\, ‘We don’t have to grow up or get boring—we can keep on having a good time doing what we love.’” “Bad Catholics” follows the release of After the Party’s lead single “Lookers\,” which premiered on Noisey in August. \nThe Menzingers formed as teenagers in their hometown of Scranton in 2006\, then later relocated to Philadelphia. The band made their Epitaph debut with 2012’s On The Impossible Past\, which was voted Album of the Year by Absolute Punk and Punk News. Released in 2014\, Rented World was praised as “packed with clever songwriting” by The New York Times and “a colossal fist-pumper” by Stereogum. \n*** \nJeff Rosenstock \n \n[Website] [Facebook] [Twitter] \nIt’s almost midnight on a Saturday in the summer\, and I live in New York City. I’m still in my 30s and I don’t have to get up early tomorrow. By anyone’s standards\, I should be heading out for the night; dancing\, drinking\, meeting up with old friends\, making new friends\, making mistakes\, and feeling young in a city that allows you to remain young despite your age growing higher. I should be out there living. \nInstead\, I just put a load of laundry in the machine in my building’s basement. I’m wearing a pair of green shorts and I feel like an asshole in them. I have knobby knees and shorts don’t look good on me. I am wearing a light green t­shirt and the whole outfit makes me vaguely feel like a middle­aged man dressed up for his first day of kindergarten. I am going nowhere tonight\, and I suspect this may apply in the long term as well. \nThis seems like the perfect time to write about Jeff Rosenstock. \nBecause no one I’ve ever met creates art that encapsulates this state of mind more than Jeff. It’s music that’s catchier than any other music\, music you can scream along to in a joyous frenzy. But simultaneously\, if you really listen to the lyrics you’re shouting\, they can speak to a loneliness and desperation so profound it’s soul crushing. I’ve lost myself in joy to Jeff’s songs and I’ve sat alone depressed to Jeff’s songs\, and I’ve felt both those things to the same song\, sometimes on back to back listens. \nNobody can take the exhilaration and possibilities of life and balance them with the depression of a laundry room on a Saturday night like Jeff Rosenstock. His music can be like a funeral taking place inside a bouncy house\, or like a kids’ birthday party taking place inside a morgue. I say that with the utmost sincerity and the intent to offer only the highest of praise. \nIf you’re reading this\, you probably know the legend of Jeff Rosenstock by now. The Arrogant Sons of Bitches had Long Island’s attention\, and then mutated into Bomb the Music Industry\, a collection of musicians that were among the first to just give their music away\, that spray painted t­shirts for fans\, that did everything in a way that was financially ill­advised and built a cult unlike any other in the process. Sometimes their shows had a dozen musicians on stage\, sometimes it was Jeff and an ipod. No matter what\, there was always one thing that remained the same – this band had as much integrity as Fugazi with none of the pretension but with all the emotion but with a lot more fun and also I have to reiterate none of the pretension. To me it seems like Bomb was like Fugazi if the members of Fugazi had been willing to let down their guards and laugh at fart jokes. Again\, this is meant as high praise. I really like Fugazi and am not trying to talk shit\, it’s just an apt metaphor. \nWhen Bomb ended\, Jeff was left standing in a lonely spotlight and we all wondered if he’d be ok. Instead of even giving us time to find out\, he put out We Cool? and showed us all what growing up looks like. Growing up fucking sucks\, but it’s not for melodramatic reasons. It sucks because your joints start hurting and you know you probably aren’t gonna get some of the things done that you’ve always promised yourself you’re gonna get done and you still have a lot of guilt about dumb shit you pulled when you were like 19. We Cool? showed us that Jeff Rosenstock’s version of growing up wasn’t going to betray Bomb or its fans or the things people loved about them\, it was going to put a magnifying glass on his own impulses and insecurities as an individual in a way that was both shockingly frank and impossibly catchy. \nJeff’s music\, if you ask me\, is for people who really and truly feel like they could change the world\, if only they could muster up the strength to leave the fucking house. It’s for people who get into group situations and have every instinct inside their heads scream that the world is a fucked up and terrifying place and they should crumble up into a corner and wait to die\, but who instead dance like idiots because what the fuck else is there to do? It’s music that makes me feel like maybe\, just maybe\, if I do things the right way I can help make the world a better place\, while co­existing with the knowledge that I don’t fucking matter and there’s no reason not to give up\, except maybe I shouldn’t because what if deep down people are actually beautiful\, giving\, and kind? \nIt’s music that makes me lose myself like I used to when I was 13 and first discovered the joy of punk rock\, but it’s also music that makes me think way too fucking hard about why the world is how it is and if I might be someone with enough heart to throw a few punches in the effort to make shit just a tiny bit better for others for one fucking second of one fucking day. \nIt’s simple punk rock. It’s also complicated and beautiful and working class and perfect. \nIs the above a little cheesy? Sure. But I think it’s true and I think it’s all worth saying. Because having become friends with Jeff over the past few years\, I can say the following with great certainty – he actually is what he says he is. And because of that\, all the above applies. His integrity is untouchable. We all need to take a second and appreciate how much time this guy has wasted finding all ages venues. How much money he has passed on to retain his credibility as an artist. If other artists – myself chief among them – conducted themselves with an ounce of the integrity Jeff approaches all areas of art and life with\, the world would be a better place. \nI know this might sound silly to people who don’t get it – they might say “It’s just punk rock\, calm down.” – but fuck those people\, we all know Jeff is a musical genius. If he wanted to go ghost write songs for Taylor Mars and Bruno Swift\, I bet he could make millions of dollars doing so. Music is easy for him. He could write empty songs and hand them off to hollow artists and we all know he’d kill it and he wouldn’t have to deal with shaking down shady promoters for a few hundred bucks or driving overnight to get to the next venue or stressing about paying bills or any of it. He continues to not do any of that easy shit and that’s because he’s not bullshitting about doing things not just the right way\, but in a way that’s more idealistic than reality actually allows for. He does that for us. \nThe guy is a genius poet while simultaneously being the definition of a fucking goon from Long Island. There is nothing not to love. The album you are about to listen to\, WORRY.\, only furthers and exceeds the myth of Jeff Rosenstock\, he who is mythical for being the most normal dude from a boring place any of us have ever met; mythical for sticking to his guns when all logic points in the other direction; mythical for writing melodies that stick in our brains and lyrics that rip our guts out; mythical most of all for being not mythical at all. He’s just Jeff. It’s not that complicated. But in a world where everything is driven by branding and image and hidden agendas\, being not that complicated makes him perhaps the most complicated artist I know. \nEnjoy this album. Enjoy it as a whole. The second half is going to blow your mind with its ambitiousness – in my opinion the second half of this album will be viewed over time as a triumph and high water mark of a cool ass career. And the singles – “Wave Goodnight to Me” is untouchable. “Blast Damage Days” will make you feel ok about the fact that the world seems to be built on a foundation of quicksand. \nAnd when you’re done listening\, don’t forget – you probably can’t change the world\, but you’re kind of a dick if you don’t at least try. Jeff’s been falling on the sword for the rest of us for years and it’s on all of us to at least go down swinging. \nSincerely\, \nChris Gethard \nPS – John DeDomenici ain’t bad either. \n*** \nRozwell Kid \n \n[Website] [Facebook] [Twitter] \nRozwell Kid is the rock and roll brainchild of frontman Jordan Hudkins. Born and raised in West Virginia\, Hudkins’ landlocked upbringing imbues the band and their tunes with a restless energy. He manages to avoid the sun-tanned decadence of some of his noise pop counterparts while keeping the tunes charged with the insouciant attitude of his LA post-grunge inspirations. The band draws from a variety of musical influences ranging from 90s punk to Weezer to the Broadway musicals that Hudkins listened to as a kid. Good Graphics\, the Kid’s fourth release\, continues their stumble into adulthood. The album explores everything from the struggles of growing up (”Baby‘s First Sideburns”) to the simplicity of everyday pleasures (”Hummus Vacuum”)\, celebrating the absurdity of life rather than being weighed down by it. Welcome to the darker side of fun.
URL:https://royaleboston.com/event/the-menzingers/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170402T190000
DTEND;TZID=America/New_York:20170402T190000
DTSTAMP:20260405T080126
CREATED:20161109T234102Z
LAST-MODIFIED:20161109T234102Z
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SUMMARY:SOLD OUT - King Gizzard and the Lizard Wizard
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*** \n*** \nKing Gizzard and the Lizard Wizard \n \n[Website] [Facebook] [Twitter] \n“Nonagon infinity opens the door\,” sings Stu Mackenzie\, frontman of Australian psych-rockers King Gizzard & The Lizard Wizard. It turns out\, though\, that once the door’s open\, it never closes. That’s because the Melbourne septet has ingeniously crafted what may be the world’s first infinitely looping LP. Each of the nine\, complex\, blistering tracks on ‘Nonagon Infinity’ seamlessly flows into the next\, with the final song linking straight back into the top of the opener like a sonic mobius strip. It’s exactly the kind of ambitious vision that prompted Rolling Stone to dub the band “one of the most compelling collectives of art-rock experimentalists in recent years.” But far from a simple conceptual experiment\, the album is both an exhilarating shot of adrenaline and a remarkable feat of craftsmanship\, the result of painstaking planning and an eye for detail years in the making. \nThe roots of ‘Nonagon Infinity’ stretch back to 2014\, when King Gizzard recorded their critically acclaimed album “I’m In Your Mind Fuzz\,” which was hailed by Pitchfork as “dense\, intricately crafted\, and most importantly\, powerful.” \n“We actually wanted to do this with ‘Mind Fuzz\,’ but it just didn’t work\,” explains Mackenzie. “We ended up writing songs that needed to be on that record but didn’t connect to the others\, so we had to abandon the idea\, but the seeds were sown.” \nTo an outsider\, it may have seemed like the band had completely given up on the concept\, as the ever-prolific group quickly followed ‘Mind Fuzz’ with two more records in 2015\, ‘Quarters’—described by The Guardian as “the neon intersection of DIY psych and 1960s beach pop”—and the stripped-down ‘Paper Mache Dream Balloon\,’ which earned praise from NPR to Stereogum. The truth\, though\, was that King Gizzard was honing in on the ‘Nonagon Infinity’ material the whole time\, test-driving various tracks in their explosive live shows to prep for the monumental task of stitching them all together into one searing\, multi-movement epic. \n“We really wanted to focus on things that felt good live\,” says Mackenzie. “We’d grab a little riff here or a little groove there\, and we’d jam on them and form songs out of them\, which was the opposite of ‘Paper Mache\,’ where we were making songs in an acoustic\, classic-songwriting kind of way. I wanted to have an album where all these riffs and grooves just kept coming in and out the whole time\, so a song wasn’t just a song\, it was part of a loop\, part of this whole experience where it feels like it doesn’t end and doesn’t need to end.” \nRecorded at Daptone Studios in Brooklyn\, the final result is an intricate and immersive listening experience. Lyrical refrains and musical motifs establish themselves and then submerge beneath the chaos\, only to resurface unexpectedly later like familiar companions on a labyrinthine journey. Motorhead-grade riffs give way to King Crimson and Yes-levels of prog complexity\, as songs churn through unusual time signatures and shifting rhythms with blunt force\, laying waste to everything in their path. \n“I wanted it to feel like a horror or sci-fi movie\,” explains Mackenzie of the album’s dark overtones. “The lyrics came as a stream of consciousness\, all of these elements just falling out of my head as it was happening.” \n“Big Fig Wasp” references a particularly macabre insect that must kill itself in order to perpetuate the species\, while “Gamma Knife\,” with its 11/8-time drum solo\, is named for a surgical tool that burns cuts into the skin\, and “People-Vultures” plays like a sinister film soundtrack. Album opener “Robot Stop” pulls more directly from the band’s recent experiences\, inspired in part by their relentless work ethic and tour schedule\, which has included festival performances at Bonnaroo\, Glastonbury\, Montreux Jazz & Roskilde as well as countless sold out dates in rooms across the USA\, UK\, Europe and Australia. \n“That song’s about feeling overworked\, like a bit of a robot that’s just going to crash and die or something\,” he says with a laugh. “But you get yourself up and do it again and you robot on and you’re alright. It was one of the early ones we wrote for the record\, and I think when that song came together\, everybody started to feel like were going to actually be able to pull off this never-ending album idea.” \nTo say they pulled it off would be an understatement. The record is a force to be reckoned with on par with the road trains Mackenzie references in the album’s final track. \n“In the Australian desert\, in the outback\, there are what’s called road trains\, which are these massive trucks pulling heaps of carriages that can end up being 50 meters long\,” he explains. “They drive on the road really\, really fast\, and they’re deadly\, with these bars in the front to kill kangaroos and anything else in their path.” \n‘Nonagon Infinity’ has opened the door for King Gizzard & The Lizard Wizard\, and they’re barreling ahead with more momentum than ever before now. Much like those road trains\, with a band this good\, the safest place to be is onboard. \nKing Gizzard & The Lizard Wizard are: \nStu Mackenzie – Guitar\, lead vocals \nJoe Walker – Guitar\, vocals \nEric Moore – Drums \nAmbrose Kenny-Smith – Harmonica\, vocals \nLucas Skinner – Bass \nCook Craig – Guitar \nMichael Cavanagh – Drums \n*** \nORB \n \n[Website] [Facebook] \nBirth by ORB \nPlaying dark\, sonically massive guitar-based rock that’s heavy without sounding excessively metallic\, ORB (not to be confused with the influential electronic group the Orb) hail from Geelong\, Victoria\, Australia. The group was founded by guitarist and lead singer Zak Olsen\, guitarist and bassist Daff Gravolin\, and drummer Jamie Harmer. The three musicians lived not far from one another\, and with some extra time on their hands\, they began jamming regularly. Inspired by their youthful enthusiasm for hard rock and early metal bands ORB started as an exercise in fuzz and alternate tunings with a drive to challenge the style they were used to playing in other projects. \nTheir first full-length album\, Birth\, was released in July 2016 by Flightless & Anti-Fade in Australia and by Castle Face in the United States and Canada. \n*** \nStonefield \n \n[Website] [Facebook] [Twitter] \nIt all started in a shed. \nMore specifically\, it started in a shed on a family hobby farm in a tiny rural township in Victoria\, Australia. \nThe four Findlay sisters\, who’d go on to become the earthen psych-rock opal that is Stonefield\, had been granted their wish of a drum kit by their parents\, whose Zappa\, Hendrix and Zeppelin records had long been the shared soundtrack of the household. Amy – the oldest Findlay\, though at that time just 15 – took a particular shine to the kit and soon began lessons\, her practice sessions echoing out across the family’s acreage. It wasn’t long\, however\, before her sisters were drawn back into the shelter as\, one by one\, they found their own instruments to wrangle with. Hannah\, then 13\, started on guitar. Sarah\, 12\, took on the keyboard. Holly\, just seven years old\, listened in on her sisters practising and\, perhaps hearing that something was missing\, asked her father for a bass. \nNow the question is: listen to Stonefield and try to figure out what else the Findlays could possibly be doing. \nStonefield’s first song ‘Foreign Lover’ was recorded for a project Amy was working on as part of her tertiary studies. When they arrived home from the studio that day\, the siblings’ mother suggested they enter the track in triple j’s Australia-wide unsigned band competition\, Unearthed High. The deadline for entries was that night. They weren’t convinced they had a chance\, but decided to give it a shot. \nSoon enough\, ‘Foreign Lover’ was all over triple j\, followed shortly by infectious rock stomper ‘Through The Clover\,’ the song they were given the opportunity to record as part of the competition’s first prize. Stonefield was invited to showcase at the inaugural One Movement music and arts conference in Perth\, which resulted in [renowned band booker] Martin Elbourne\, inviting the band to play the 2011 Glastonbury Festival on the spot. \nOver the next two years\, the girls wrote and released their second EP Bad Reality. They released their debut self-titled album in October 2013. It entered the AIR charts at #6 and the ARIA charts at #21. The three singles released from the album\, including Put Your Curse On Me\, received immense support from triple j\, and the Southern Cross Network\, including MMM. \nThe album was well received by both the industry and general public. Such was the demand that Stonefield embarked on a national tour\, spanning 22 dates and 5 states. The second single Love You Deserve\, took up a life entirely of its own\, and the band set out on yet another tour. \nBy this time\, the international market had caught wind of the incendiary band from rock journo heaven\, and the girls headed to the UK during May to play showcases\, as well as Dot to Dot festivals across the UK. In November 2013\, Stonefield won the inaugural Age Music Victoria Award for Best Regional Act. \nAfter a huge amount of touring the country last year\, 2015 kicked off with the band being awarded ‘APRA Rock Work Of the Year’ for their song ‘Love you Deserve’. Stonefield have secured the support slot for one of their idol bands Fleetwood Mac’ later this year. Finally at home the girls have spent this year working on their second album; produced by Australian music legend ‘Kram’ from Spiderbait. The first taste ‘Golden Dream’ is an exciting glimpse of the new music to come.
URL:https://royaleboston.com/event/king-gizzard-and-the-lizard-wizard/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170414T180000
DTEND;TZID=America/New_York:20170414T180000
DTSTAMP:20260405T080126
CREATED:20161024T035954Z
LAST-MODIFIED:20161024T035954Z
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SUMMARY:[SOLD OUT] Tinariwen
DESCRIPTION:Bowery Boston and World Music/CRASHarts present \nDoors: 6:00 pm / Show: 6:45 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \nTHIS SHOW IS SOLD OUT! \n*** \n \n*** \n Tinariwen  \n \n[Website] [Facebook] [Twitter] \nThe new album by Tinariwen could well have been called Exile on Main Street. But other people have already thought of that. It also could have been called A la recherché du pays perdu (‘Remembrance of a lost country’). Except that would have been a tad Proustian for musicians who grew up pretty much between a rock and a sand dune\, in the midst of their goat herds and camel caravans. But the idea is apt. As is the painful paradox\, if you consider that while Tinariwen were busy criss-crossing the globe on their recent triumphant tours (160 concerts played in the past three years)\, expanding their audience on all five continents\, becoming one of the latest musical phenomena of truly universal calibre\, the frontiers that encircle their desert home were closing down and double-locking\, forcing them into exile to record this their 8th album. \nOver the past five years\, their beloved homeland in the Adrar des Ifoghas\, a Saharan mountain range that straddles the border between north-eastern Mali and southern Algeria has\, in effect\, been transformed into a conflict zone\, a place where nobody can venture without putting themselves in danger and where war lords devoted either to jihad or trafficking (sometimes both at the same time)\, have put any activity that contradicts their beliefs or escapes their control in jeopardy. Even though the 12 songs on this new record evoke those cherished deserts of home\, they were recorded a long way away from them. And\, as a result of this separation\, at a time when the political\, military and humanitarian situation in the region has never been so critical\, the feelings and the emotions that the band managed to capture on record have never been so vivid. \nIn October 2014\, making use of a few days off in the middle of a long American tour\, the band stopped off at Rancho de la Luna studios in California’s Joshua Tree National Park. The place has become the favoured refuge of the stoner rock tribe. Josh Homme and his Queens of the Stone Age were the first to make it their hive\, and since then\, whether in use by P J Harvey or the Foo Fighters\, Iggy Pop or the Arctic Monkeys\, neither the mixing console nor the kitchen ovens have had a moment to cool down. For Tinariwen\, the geographical location of the studios – lost in the middle of that horizontal desert\, that mineral immensity\, where Man is reminded of his own insignificance in ways that can only\, in the end\, either kill him or sublimate him – proved to be particularly propitious in terms of creativity. \nAnd the human climate was just as favourable. As session followed session\, musicians who know the place well dropped by to add their own touch to that pre-industrial boogie which comes from a world where only the essential and metaphysical passions of space and time have any meaning. Such was the case of Matt Sweeny\, guitarist of fine pedigree (Johnny Cash\, Bonnie Prince Billy and Cat Power) and an avowed fan of the band. Kurt Vile\, ex-member of the duo War On Drugs\, now spearheading a noisy indi-folk combo\, also took part in the debate. As did Alan Johannes\, multi-instrumentalist\, sound engineer and producer of the first few albums by Queens of the Stone Age\, a band with whom Mark Lanegan\, the other guest on the album\, has also been a singer. From their angle\, one might have expected all these contributions to result in something pretty heavy\, with those American guitars coming into to reinforce the ishumar (name of the musical style of which Tinariwen precursors) guitars of Ibrahim\, Abdallah Hassan and Elaga. In effect\, lovers of those sensual yet abrasive riffs that are the band’s signature won’t be disappointed. But neither will those who love the funky\, danceable side of Tinariwen\, which comes through loud and clear courtesy of bassist Eyadou and percussionist Sarid\, a veritable rhythm machine in the mould of Sly and Robbie. All that potential has been wonderfully honed by the album’s mixing engineer Andrew Schepps\, who has previously worked with the Red Hot Chilli Peppers\, Johny Cash\, and Jay Z. \nThat happy encounter between Tamasheks and rockers was already in evidence back in 2011\, with the involvement of Wilco and TV On The Radio on the album Tassili\, which was recorded in the depths of the Sahara. It was as if those musicians\, coming from their world of high tech\, leisure and entertainment\, sought to reinvigorate the way they do things by working with artists who have been forced by necessity to reduce everything to its essence\, and who bear a different destiny. In that sense\, Ibrahim and his tribe restore meaning to an activity which has been partially drained all existential significance. In a cultural environment that has been overtaken by the petty and the superficial\, the members of Tinariwen fascinate because they incarnate a salutary break and come across as the ultimate heroes in the midst of an army of fleshless puppets. \nHaving said that\, in M’Hamid El Ghizlane they’re heroes for real\, so much so that the youth of the area know how to sing their songs in the same way that people in other parts of the world know how to sing the Stones or Led Zep . It was there\, in that oasis in southern Morocco\, close by the Algerian frontier\, that the band set up their tents for three weeks in March 2016 to record this 8th album\, accompanied now and then by the local musical youth in question\, or by a local Ganga outfit (a group of Berber ‘gnawa’ trance musicians). The album is called Elwan (‘The Elephants’)\, not Exile On Main Street\, though it fits nicely into that ‘road record’ category nonetheless. \nThere are road records just like there are road movies. In American cinema\, a road movie always unfolds the same way. Characters travel from one place to another in search of some truth\, of a future might offer them some kind of revelation. But they always end up reconnecting with their own past\, their origins. Of course\, it’s an impossible return\, because that past\, those founding origins have been irrevocably erased. It’s the same for this record\, so musically powerful and yet poignant in human terms: every song evokes a land that can no longer be found\, a lost world\, with all that this implies in terms of emotional range\, from nostalgia for a joyous past to the tragic recent loss of a territory\, and of the dream that it nourished. The emotional ‘bite’ of that loss imbues some of the songs by Ibrahim\, such as Imidiwan n-akal-in (Friends from my country)\, Hayati (My life) or Ténéré Takhal (What’s Happened to the Desert). It’s in that last song that the famous elephants of the album title make their appearance\, an animal metaphor to describe those ‘beasts’\, whether militias or multinational consortiums\, who have trampled everything in their path: kindness\, respect\, solidarity\, ancestral traditions and the values essential to life in the desert\, where both the human and ecological equilibriums are extremely fragile. \nBut the songs written by Abdallah\, such as Sastanaqqam (I Question You)\, or those penned by Hassan\, the deeply disturbing Ittus (Our Goal)\, also evoke a similar sense of helplessness and disempowerment. The same goes for Nannuflay (Fulfilled)\, written by Eyadou\, one of the ‘kids’ in the band; it’s a song echoes that sense of absolute crisis. Having said that\, between the weariness of the old fighters of the Touareg rebellion of the 1990s (Ibrahim\, Hassan\, Abdallah) and the dynamism of a youth that’s still emerging (Eyadou\, Elaga\, Sarid\, Sadam)\, you get a wonderfully symbiotic mix. The meeting of two such disparate generations in one band is relatively rare in today’s musical world. In Tinariwen\, it’s a meeting that celebrates\, even more powerfully might otherwise be the case\, the capacity of music to make experiences as intense and cruel as exile beautiful and\, in some ways\, even attractive\, experiences that would surely end up destroying those who lived them\, if this form of aesthetic relief didn’t exist. \nFrancis Dordor\nTranslated by Andy Morgan \n*** \nDengue Fever \n \n[Website] [Facebook] [Twitter] \n“Before it was partly Cambodian and partly indie rock\,” explains Williams of the band’s evolution. “Now it’s 100 percent both.” \nPlunging headlong into their second decade as a band\, DENGUE FEVER’s new album\, The Deepest Lake\, their fifth full-length of all-new material\, comes at a critical juncture in the band’s career. In 2013\, after forming their own label Tuk Tuk Records\, the band crossed over into a brave new world as both artist and record label owner’s. Today they find themselves able to wear two hats – as creative musicians with no boundaries as well as label owners who make their own decisions on where\, when and how to fabricate their career. \nThe net result is the aforementioned\, The Deepest Lake\, a record with more musical diversions than the Mekong River itself. Released in January 27\, 2015 – US/Canada & February 2\, 2015 in the rest of the world\, the ten tracks on The Deepest Lake will satiate longtime fans as well as newcomers looking for something altogether different. Widely recognized for their trademark blend of 60’s Cambodian pop and psychedelic rock\, Dengue Fever’s latest release expands their musical palette to include Khmer rap\, Latin grooves\, Afro percussion\, layered Stax-like horns and more. \nFrom the keyboard and percussion heavy opening track\, “Tokay”\, lead singer Chhom Nimol’s unmistakable bird-like Khmer vocals lead the band on a evolutionary musical journey on The Deepest Lake. Be it the John Doe & Exene boy/girl vocals on “Rom Say Sok” that gets your indie grooves on or the six plus minute psychedelic jam on “Cardboard Castles”\, it’s pretty evident that this is a band looking to take chances and not play it safe. By following their instincts on this record and letting many of the final tracks come out of extended jams when demo’ing the album\, the band played to their musical strengths. No longer was there a need to ‘find’ a song\, the songs on The Deepest Lake came to them. \nThe band’s newly established independence as both label owner and artist marks yet another chapter in the continual evolution of a group unlike many other bands in the Los Angeles music scene. It all began in 2002 when Dengue Fever formed and released their eponymous debut (2003). Packed chock full of ‘lost’ Khmer covers\, the band paid homage to Khmer rock\, a hybrid of Vietnam War era surf\, psych and classic rock performed by Cambodian giants like Ros Sereysothea\, Pan Ron and Sinn Sisamouth. \nThe band’s critically acclaimed sophomore follow-up\, Escape from Dragon House (2005) found them writing and performing original material in earnest. Amazon.com named Dragon House the #1 international release for 2005\, and Mojo magazine named it in their Top 10 World Music releases of 2006. \nIn 2008\, their third release Venus on Earth became the band’s best selling album. It garnered praise from both critics and fans the world over. In fact\, Venus on Earth found support from iconic musicians such as Peter Gabriel\, Metallica’s Kirk Hammett and Ray Davies who each made mention of the band in the press. \nDENGUE FEVER’s fourth release\, Cannibal Courtship (Fantasy Records/Concord Music Group)\, was released in April 2011 and found the band expanding beyond their usual comfort zone and experimenting with new vocal harmonies and sounds. \nThe roots of the band began in the late 1990’s with a 6-month trek through Southeast Asia by Keyboardist Ethan Holtzman. Returning to Los Angeles with a suitcase crammed full of Cambodian cassette tapes\, Holtzman and his brother Zac – who had discovered the same music through a friend working at a record store in San Francisco – reunited. The brothers soon bonded over their love of vintage Cambodian rock and in 2002 founded the band with saxophonist\, David Ralicke (Beck/Brazzaville); drummer\, Paul Dreux Smith; and bassist\, Senon Williams (Radar Brothers). Shortly thereafter the members were on hot pursuit for the ideal Cambodian chanteuse to complete their outfit. After a short period of musical courtship that began at a Cambodian nightclub in Long Beach\, CA.\, Nimol joined the band when she realized the band shared a genuine passion for the music and culture of her homeland. \nIt’s that cross pollination of Khmer rock\, garage rock\, psychedelic rock and the British Invasion sound that has pushed the band to heights they could only dream of in 2002. DENGUE FEVER has performed in front of thousands of fans at such noted music festivals as WOMAD (UK\, AUS\, NZ)\, WOMEX (Spain)\, Melbourne Festival (AUS)\, Glastonbury (UK)\, Bumerbshoot\, (USA)\, Transmusicales (France)\, Roskilde (Denmark)\, Electric Picnic (Ireland)\, Peace and Love (Sweden)\, Treasure Island (USA) among many others. Their songs have appeared in films such as City of Ghosts\, Jim Jarmusch’s Broken Flowers\, The Hangover 2\, the Showtime series Weeds\, the HBO’s hit series True Blood (who named an entire episode after one of their songs) and featured the band’s music\, CBS’ series CSI: Las Vegas and numerous independent documentaries. \nWith band profiles in the New York Times\, Los Angeles Times\, Mojo\, Uncut\, Magnet\, Wired\, NPR’s “Fresh Air”\, Radio Australia\, KCRW’s “Morning Becomes Eclectic” and “World Café Live”\, the time is truly ripe for at least another decade of breaking down more musical barriers. The Deepest Lake is the first\, glorious musical step in that new direction.
URL:https://royaleboston.com/event/tinariwen/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170415T180000
DTEND;TZID=America/New_York:20170415T213000
DTSTAMP:20260405T080126
CREATED:20170130T123431Z
LAST-MODIFIED:20170130T123431Z
UID:10001748-1492279200-1492291800@royaleboston.com
SUMMARY:Betty Who
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is ALL AGES.\nTickets on sale Fri. 2/3 at 10AM! \nRoyale is general admission standing room only. 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 (Cambridge\, MA) Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n***
URL:https://royaleboston.com/event/betty-who-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/01/betty-who-admat-2017.jpg
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170419T190000
DTEND;TZID=America/New_York:20170419T190000
DTSTAMP:20260405T080126
CREATED:20170205T224804Z
LAST-MODIFIED:20170205T224804Z
UID:10001754-1492628400-1492628400@royaleboston.com
SUMMARY:Me First and the Gimme Gimmes
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. X/XX 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*** \nMe First and the Gimme Gimmes \n \n[Website] [Facebook] [Twitter] \nAre We Not Men? We Are Diva! by Me First and the Gimme Gimmes \nIn that mythical era known as the 90’s\, five brave young men emerged from the legendary halls of some of the mightiest bands on Fat Wreck Chords with a single mission: make all the rest of these dildo punk bands covering popular songs obsolete. They crowned themselves Me First and the Gimme Gimmes and the world rejoiced. Now\, seven records\, scores of singles and nearly a thousand years later\, having tackled every genre under the sun\, the bold young knaves known colloquially as the Gimmes have ridden their success hard\, and decayed into desiccated\, old divas. Yet\, the diva\, she is immortal. And thus\, imbued with the old-world\, Mystic Pizza-esque swagger of Cher\, the modern pop-art sensibility of Lady Gaga and the enthusiasm-for-drug-consumption of Whitney Houston\, Me First and the Gimme Gimmes have returned from their beauty rest\, busting out of their sequined gowns\, and throwing vases at their assistants in order to present you with their latest opus\, entitled Are We Not Men? We Are Diva!\, slated to be released on May 13\, 2014 on none other than Fat Wreck Chords. And you’d best believe\, whether because of their tantrums or their virtuosity\, once you hear these fat ladies sing\, there’s not gonna be a dry eye in the house.\nFor the uninitiated\, Me First and the Gimme Gimmes consist of Lagwagon frontman Joey Cape on the guitar\, Shiflett brother (and Foo Fighter) Chris Shiflett on the other guitar\, Lagwagon drummer and Fat Wreck utility superhero Dave Raun on the skins\, and are rounded out by Fat Wreck-head-honcho/NOFX main-dude Fat Mike\, and incomparable crooner Spike Slawson. Together\, Me First and the Gimme Gimmes—an outfit that has always operated more like a beer-hall Pussycat Dolls than a regular mortal band—contain so much hot air\, so much pomp\, so much attitude\, that it’s a wonder that these guys can still manage to pull their five individual tour buses into the same parking lot\, put their differences aside and belt out the ballads without clawing each other’s eyes out. But they do\, for the love of the fans\, the music\, and of course\, the applause.\nIn the past\, The Gimmes have tackled such disparate genres as Motown\, country\, show tunes and even Japanese pop (sung in real live Japanese!) but none of that enabled them to truly soar as high above the eagles as they desired\, feeling the wind of other\, lesser bands beneath their wings. So this time\, the Fat (Wreck) Five decided to take on the un-take-on-able and hit us with cuts from the likes of Celine (gasp!) Christina (Sigh!) and Paula Abdul (oh no you di’int!) among others. And as Spike’s baritone somehow manages to make Whitney Houston’s (Dolly Parton-penned) Theme Song To The Bodyguard EVEN MORE EPIC\, you will be moved to tears. You will find joy. You will shake in your very skin as the music of these divas gently takes you by the hand and shows you how to love again. AND! You’ll buy tickets to see ‘em on tour.\nBecause that’s right folks! Nothing says ‘diva’ like coming to your town to bask in the torrential\, gushing blasts of your love\, and the Gimmes will be hitting the entire world in support of Are We Not Men? We Are Diva!\, except maybe Mike\, who’s such a diva that he’s got substitutes on hand! So grab those flowers off of your grandma’s grave and head out now\, to check out Me First and the Gimme Gimmes on wax and in your town\, before these five outrageous harpies either kill each other or wind up as a Vegas destination act\, bloated\, high on pills and… uh\, nevermind that last part. Just go see em\, eh? It’s a helluva time. \n*** \nMasked Intruder \n \n[Website] [Facebook] [Twitter] \nThe best pop-punk band you hope never gets out of prison. \nPears \n \n[Website] [Facebook] [Twitter] \nGreen Star by PEARS \nThe story of PEARS is not exactly an incredibly long one: The hardcore punk band came together just over a year ago\, in early 2014\, after its members had kicked around the New Orleans punk scene for long enough before finally wising up and realizing they were meant for each other. However\, it is a story that is remarkably fast-paced: The band’s first demo\, …In Diapers\, was released days after their first practice. The band’s 10-song debut album\, the absolutely electrifying Go To Prison\, was written over the course of 14 hours and recorded a mere five weeks after the band formed. Really\, there’s no way PEARS should be as good as they are—something frontman Zach Quinn fully realizes. “The big secret is that me and a couple of the guys were in a band called the Lollies for a few years\,” Quinn says. “That band broke up\, we took some time away from each other and then just tried to do it right this time. I guess we really kind of lucked out. We didn’t make the same mistakes—the same mistakes being really too fuckin’ drunk to do anything.”\nOf course\, coming out of the NOLA scene\, it’s tough to be anything but debaucherous. “The city is so decadent\, it’s a great place to be a piece of shit\,” Quinn says. “There’s plenty of punk rock. Not a lot of it is very good\, but everybody’s having fun.” It’s that anything-goes attitude that informs Go To Prison\, an album that straddles the line between in-your-face hardcore and sugar-sweet traditional pop-punk that’s surprisingly lighthearted. It’s evident in their logo (some might call it an homage to Fear; “I haven’t heard from Lee Ving’s lawyers yet\,” chuckles Quinn)\, all the musical easter eggs scattered throughout the record (including references to Descendents and Suicidal Tendencies)\, plus an absolutely ripping cover of the Ramones’ “Judy Is A Punk” that is one whole second shorter than the original (a feat we didn’t even think possible). But just because the album comes off as humorous at times doesn’t mean PEARS don’t take themselves seriously. “I definitely take what we do very seriously\, but it doesn’t mean it ain’t funny\,” Quinn explains. “Humor is an aspect of everything. People without a sense of humor are either dead or lying. There’s humor in everything if you know where to look.” Take\, for example\, the band name. “The name ‘PEARS’ came from this really terrible mushroom trip I had\,” he admits. “I ate way too many mushrooms and things just got really bizarre. Pears and bananas became archetypes for everything that is good and pure and everything that is terrible and shitty—pears are the terrible and shitty things. After that bad trip\, pears became slang between me and my friends for bullshit: ‘That shit’s pears.’ I suggested the band name\, and everybody thought that was dumb\, but I talked ‘em into it.” The band were lucky enough to befriend Off With Their Heads frontman Ryan Young\, who loved the band so much he put out Go To Prison on vinyl on his own label\, Anxious And Angry\, last year. Since then\, PEARS have been on the road nonstop\, supporting the likes of the Dwarves\, the Queers\, Teenage Bottlerocket and Strung Out\, all leading to the re-release of Go To Prison on Fat Wreck Chords on July 24th. That’s no excuse to stop working\, though: While their first album might finally be hitting a record store near you this July\, the band will be back in the studio recording its follow-up with none other than Fat Mike in the producer’s chair. (“I never thought anything like that would ever happen\,” Quinn says of Mike’s interest in his band. “I remember buying The Decline when I was 12—it’s really weird that I have anydegree of separation from that.”) While 2015 might be the busiest year of PEARS’ short existence thus far\, it’s clear 2016 has potential to be even bigger.\n“Honestly\, what we have done up to now\, I hadn’t even dreamed of\,” Quinn admits. “I’m not gonna stop climbing. I wanna see how insane this can get. We’ve always said the last thing we’ll do as a band is play North Korea. Then we’ll be done. That’s the ultimate goal—even if we sneak in and play to nobody. I don’t care. I can’t wait to see what I get to do.”
URL:https://royaleboston.com/event/first-gimme-gimmes/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170420T200000
DTEND;TZID=America/New_York:20170420T200000
DTSTAMP:20260405T080126
CREATED:20170123T203931Z
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SUMMARY:Cashmere Cat
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. 2/3 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*** \nCashmere Cat \n \n[Website] [Facebook] [Twitter] \nThe cat isn’t entirely out of the bag yet…but he’s getting there. Cashmere Cat has been happy to remain mostly behind the scenes\, up to this point\, focusing his efforts more on his collaborative work with some of the top names in pop\, R&B and hip-hop rather than toot his own meow. But even that board work has threatened to make him a household name\, at least among the kinds of households that obsessively scan Yeezy album credits. As Fader wrote\, “The introverted producer—who’s lent beats to Kanye West\, Ariana Grande\, and Tinashe—is pop’s new not-so-secret weapon.” \nHe’s about to get even less clandestine\, with his first full-length album under his own nom deplume. It’s too soon for Cashmere Cat to reveal just which vocalists he’s enlisted for his feature debut\, although you could make a good guessing game would naturally include some of the marquee names who’ve previously enlisted his producing efforts. But there’s already a significant cachet of fans who would sign up for pre-orders with or without featured artists. Cashmere Cat is a destination producer-DJ-writer-maestro. \nThe artist formerly known as Magnus August Høiberg previously released a pair of allinstrumental EPs on cult labels Lucky Me (Hudson Mohawke\, Lunice\, TNGHT) and Pelican Fly (Sinjin Hawke\, Lido)\, which were acclaimed for vast dynamic soundscapes that transcended any tropes associated with his dance music roots. Bringing in some big-name collaborators for his debut album was a welcome relief from his previous X-treme auteurism. “I was used to making music on my own\, having to deal with my own thoughts and my own computer\, and that was it\,” he says. “Now there’s a spectrum of artists and emotions and places and times involved\, and it’s a lot bigger than what I’m used to. But I don’t mind. It feels better. I prefer to have other people involved in my songs. It got boring and lonely to do music by myself. It’s kind of like playing a videogame alone. It can be awesome\, but you can also feel like a loser\, if you’re playing a game and it’s ‘Yeah! I fucking killed this game! And\, I’m sitting alone\, and I’ve also not had sex for three months.’” Collaborative game on! \nHe took inspiration for his own full-length album debut from the work he did on Kanye West’s most recent album. “I feel like the music I did for him set the standard for what I want to do with my own music\,” he says. “I’m the biggest Kanye fan in the world\, and when they premiered ‘Wolves\,’ it was one of the most exciting days of my life.” So exciting that Cashmere Cat instagrammed a photo of himself in his lawyer’s office\, prostrate on the floor in grateful awe. “‘Wolves’ is really one of my favorite Kanye songs\, and I can’t tell if it’s because I produced it or it’s because it’s actually good. But the way that record came out set the standard for what I want my own music to sound like. It was a new sound for me\, and it made me feel like I can do really beautiful\, weird music that sonically still fits within everything I’ve done\, without it being just banging rap songs or even big-feeling pop music.” \nAny of this would have seemed like a pipe dream not that many years ago\, when Høiberg was a fledgling DJ in his native Norway and began doing remixes for famous artists like Miguel and Lana Del Rey…many of them not officially authorized. His skills attracted an American audience that eventually grew to include multiplatinum super-producer Benny Blanco\, a mentor who encouraged him to come to New York and took him under his wing. Their sensibilities meshed\, with Blanco “bringing me in because he believed that the weirder shit I was doing could work in a more poppy sense.” At the beginning of 2014\, the man now known as Cashmere Cat had his first solo production credit on Ludacris’ “Party Girls\,” which also featured Wiz Khalifa and Jeremih. With Blanco\, Cashmere Cat moved further away still from slamming hip-hop into quirky pop with their co-production of Ryn Weaver’s “Octahate.” With Stargate\, he worked on Charli XCX’s “Break the Rules” and Tinashe’s “All Hands on Deck.” Ariana Grande not only used him on record but took him out on her tour as the opening act. Even when he was working on hiphop records\, a critic at Resident Advisor found the production style he was developing to be “elegant and pristine\,” His own two solo EPs (2012’s Mirror Maru and 2014’s Wedding Bells) also won the hearts of reviewers at outlets like Pitchfork\, which enthused:. “Blending technical sensibility with pop playfulness\, his debut EP communicates a fully realized artistic persona.” \nThey haven’t heard anything yet. When the new album comes out in late 2016\, — on Blanco’s Friends Keep Secrets label\, in conjunction with Interscope — “a lot of my old sound will still be in there\,” he promises\, “but I think I’m influenced by a lot of different music that I wasn’t before— like\, I’ve been listening to a lot of Arca” (the Venezuelan producer/DJ who’s worked with Bjork). “I hope and believe that I’m doing something that’s worthy of an album and not just something that will bang in the club.” \nIs he ready for a greater limelight? Cashmere Cat’s shyness was such that\, even after his name became known\, his gender was less so. “When I would play a show\, there would be a picture of me DJ-ing with my head down and my hair in front of my face\, and I would kind of look like a really weird-looking girl. And the music sounded really soft\, too\, so people would just automatically assume it was by a girl. But I don’t mind if people think there’s something feminine about it.” He eventually added to the mystique by covering up his face with his hand in photos. “When people would come up with cameras\, because I’m awkward and shy\, I would just start automatically covering my face. It wasn’t really an aesthetic choice and it’s not necessarily trying to be mysterious. And then it became a thing.” Such a thing\, in fact\, that now\, when he’s approached by fans for selfies\, “people put their hands in front of their faces to do the picture\, too! But I’m not as scared anymore. There are pictures of me now where you can see the contours of my weird Norwegian face. I think that’s also part of me finding out what I actually want to do. I’m revealing more of myself.” \nThat includes doing interviews\, something he literally shied away from for a while. “I feel like I have stuff to talk about now\, whereas before it was ‘Yes\, I’m in my bedroom in Norway\, and I’m trying to send beats over email to the guy who knows the guy who works at Roc Nation.’” No shortage of stories now: With a full dance card extending to having some of the world’s hottest artists eager to appear on his record\, the cat no longer has his tongue. Even when it’s the biggest names in pop doing the literal singing\, Cashmere Cat has found his voice. \n*** \nNina Las Vegas \n \n[Website] [Facebook] [Twitter]
URL:https://royaleboston.com/event/cashmere-cat/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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