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SUMMARY:[SOLD OUT] Bianca Del Rio
DESCRIPTION:This show is SOLD OUT! \nDoors: 7:00 pm / Show: 8:00 pm \nPlease note: this show is 18+ with valid ID.  Patrons under 18 admitted if accompanied by a parent.  Opening acts and set times are subject to change without notice.  All sales are final unless a show is postponed or canceled.  All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue.  Please make sure necessary arrangements are made ahead of time.  All patrons subject to search upon venue entry. \nVIP PACKAGE CLASSIFICATIONS\, DESCRIPTIONS & DISCLAIMERS \n\nTHE GUILTY VIP PACKAGE ($199)\nOne ULTRA-Premium Ticket in Bianca’s “Guilty” Section *\n• Includes a Ticket in the First Row \nExclusive VIP Gift Item Created Especially For Guilty Package Purchasers\nSigning-Off – Each Guilty Guest Will Receive an Autographed\, Limited Edition “Blame It On Bianca” Tour Poster\nOne Exclusive Invite to the Preshow VIP Meet & Greet with Bianca Del Rio!\n• Individual Photo Opportunity with Bianca Del Rio\n• Forget the Lines! Access to the Merchandise Booth for All Your Bianca Del Rio Shopping Needs Before General Public\nEssential Bianca Del Rio VIP Merchandise\n• One Commemorative Bianca Del Rio VIP Laminate & Matching Lanyard\n* Venue seating configurations can vary market-by-market \nTHE INNOCENT VIP PACKAGE ($119)\nOne Premium Ticket in Bianca’s “Innocent” Section (Priority entry / entry prior to GA Ticketholders)\nOne Exclusive Invite to the Preshow VIP Meet & Greet with Bianca Del Rio!\n• Individual Photo Opportunity with Bianca Del Rio\n• Forget the Lines! Access to the Merchandise Booth for All Your Bianca Del Rio Shopping Needs Before General Public\nEssential Bianca Del Rio VIP Merchandise\n• One Commemorative Bianca Del Rio VIP Laminate & Matching Lanyard\n* Venue seating configurations can vary market-by-market \nVIP PACKAGE DISCLAIMER INFORMATION \nAll package purchasers will be contacted via e-mail a few days prior to the event date. Information will sent to the e-mail address provided at the time of purchase. If you do not receive an e-mail a few days prior to the event please contact BiancaDelRioVIP@aegpresents.com. \nAll sales are final. There are no refunds or exchanges under any circumstances. All packages and package contents are non-transferable. VIP merchandise will be distributed at the show\, some exceptions may apply. Package purchases are restricted to U.S. & Canadian addresses only. All preshow VIP programs and times may vary market-by-market and are subject to modification at any time for any reason. Information provided at the time of purchase (name\, address\, e-mail\, etc.) is the same information that will be utilized for individual contact requirements as applicable. The artist\, tour\, promoter\, ticketing company\, venue or any other affiliated parties are not responsible for outdated or inaccurate information provided by the consumer at the time of purchase. Commemorative VIP laminates are for commemorative purposes only. The VIP laminate does not gain or authorize access into the venue\, VIP or any backstage areas. \n*** \n \n  \nWebsite\nFacebook\nTwitter \nBIANCA DEL RIO\, the alter ego of seasoned comic Roy Haylock and season 6 winner of RuPaul’s Drag Race\, is a self-professed “clown in a gown.” This hilariously hateful comic is known for her foul mouth and unapologetic humor\, but her victims hardly have time to feel the sting before she zips on to the next topic. Besides\, Bianca is quick to point out that she’s the biggest joke of all. The NY Times calls her “The Joan Rivers of the Drag World\,” and Joan Rivers herself called Bianca’s humor “So funny! So sharp!” \nBianca’s first stand-up special\, “Rolodex of Hate”\, is available on Vimeo OnDemand\, and her first feature film\, “Hurricane Bianca”\, is available on Netflix. \nHer second stand-up special\, “Not Today Satan”\, will be available on Vimeo OnDemand December 2017. “Hurricane Bianca 2: From Russia with Hate” will be released in 2018.\nBianca is currently touring with her new stand-up comedy show “Blame It On Bianca Del Rio” to sold out audiences all over the world.
URL:https://royaleboston.com/event/bianca-del-rio-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180321T200000
DTEND;TZID=America/New_York:20180321T200000
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CREATED:20171112T150044Z
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SUMMARY:K.Flay
DESCRIPTION:ALT 92.9 presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale NOW \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nK.Flay \n \nWebsite\nFacebook\nTwitter \nSince making her debut in 2010\, K.Flay has spun fearlessly detailed lyrics that show the bright and dark of the world in her head. For her second full-length Every Where Is Some Where\, the L.A.-based alt-pop/hip-hop artist pushed deeper into introspection while adding an element of political commentary. The result is her most deliberate and dynamic work yet\, a thrillingly vital album that channels the frenzy and anxieties of today’s world. \nThe follow-up to her 2016 EP Crush Me—whose lead single “Blood in the Cut” hit the top 5 on Alternative radio—Every Where Is Some Where amps up its defiant spirit with a densely textured yet gritty sound. “After Life as a Dog I was listening to so much late-’90s/early-’00s rock\,” says K.Flay\, aka Kristine Flaherty\, referring to her 2014 full-length debut. “I was absorbing the energy of people like Karen O\, Shirley Manson\, and Emily Haines and feeling totally inspired by it\, so there’s lots more live guitar\, bass\, and drums on this record.” Working with producers like Mike Elizondo (Twenty One Pilots\, Fiona Apple\, Regina Spektor\, Skylar Grey) and Tommy English (BØRNS\, Andrew McMahon in the Wilderness\, Ladyhawke)\, K.Flay deftly infused the album with the same raw intensity she’s revealed in touring with such artists as Passion Pit\, Icona Pop\, Awolnation\, and Theophilus London.\n \nAn inimitable lyricist who names novelist Marilynne Robinson among her inspirations\, K.Flay also brought a literary sensibility to the making of Every Where Is Some Where. The album’s title\, for instance\, aims to “capture the flexibility of meaning\, the way we fashion our own narratives\,” according to Flaherty. “As a songwriter\, that’s my main enterprise—looking at the events in my life and engaging in a constant framing and reframing of those events\,” she says. “Experience is subjective. We get to decide what’s devastating\, what’s beautiful\, and what we do next. In the books of our lives\, we are both protagonist and narrator. And narrators have incredible power.”\n \nOn the lead single from Every Where Is Some Where\, K.Flay explores the power of lucid self-acceptance and delivers one of the album’s most blatantly upbeat tracks. Matching her seamless flow with sing-song melody\, “High Enough” fuses breezy rhythm and gritty guitar lines into a hopeful meditation on keeping clear-headed. “There are so many songs out there about getting fucked up\,” says Flaherty of the song’s inspiration. “I think a part of me was asking the question: ‘What if I’m already high enough? What if I don’t need anything but what I’ve got?’ There are many moments in my life—whether it’s because of a person or a place—that I don’t want to feel altered or high or buzzed. I just want to feel exactly what I’m feeling.”\n \nKaleidoscopic in mood\, Every Where Is Some Where also offers somber moments like “Mean It”—a stunningly vulnerable track built around K.Flay’s outpourings on love and family and lineage. Laced with subtle wisdom (“Remember what you love/So that when the world gets painful/You become your own god”)\, the starkly arranged song emerged from an especially cathartic writing session for Flaherty. “I wrote ‘Mean It’ in my bedroom in L.A.\, pretty late at night…the song just came pouring out\,” she recalls. “I remember I was crying while I wrote it\, which is pretty unusual for me.” “It’s Just a Lot\,” meanwhile\, came to life while Flaherty was “thinking about the world and how it’s so big and beautiful and sad\,” giving way to a blissfully uptempo but sweetly melancholic pop gem.\n \nOn “The President Has a Sex Tape\,” K.Flay’s measured vocal delivery and throbbing bassline brilliantly clash with her barbed lyrics about the state of the world. “Nothing feels sacred anymore—our highest elected official is a reality television star who is incompetent and openly hateful\,” says Flaherty. “The song started out as a lament\, but turned into a rallying cry as we finished it. I hope it can be a weird little anthem for people feeling disillusioned or alienated.” That anthemic quality intensifies on “Black Wave\,” a powerfully frantic track born from the post-election feeling that “we were all on a beach\, looking out at this terrible black wave in the distance\, knowing it was going to swallow us whole\,” as Flaherty explains. Driven by furious rhythms and urgent vocal work\, the song ends up offering a message of resistance and speaks to “facing something immense and menacing and choosing not to cower\, but to rise up.”\n \nIn a certain way\, defiance is at the root of K.Flay’s evolution as a musician. Originally from Illinois\, she “fell into music very haphazardly” at age 19—a decade after her dad taught her to play guitar. “I was in an argument with someone and was challenged to make a song\, which was my entry point to music\,” says Flaherty\, who studied at Stanford University. “From there I started producing and playing house parties on campus\, kind of as a release from the academic life. I liked that music was a window into a world with a lot of unpredictability and chaos; it was almost diametrically opposed to my very regimented day-to-day living.”\n \nUpon graduating\, Flaherty moved to San Francisco and kept up with music\, making her breakthrough with the 2011 mixtape I Stopped Caring in ’96 and landing a deal with a major label. Not long after putting out her 2013 EP What If It Is (featuring a collaboration with Danny Brown)\, K.Flay launched her own label for the release of Life As a Dog. Then in 2016\, she became the first artist signed to Night Street/Interscope Records (an imprint helmed by Imagine Dragons frontman Dan Reynolds)\, releasing Crush Me that August. “I feel like I’ve somersaulted into everything that’s happened since I first started making music\,” says Flaherty. “It’s like I kept slowly turning to the right and ended up doing this for a living\, which is pretty amazing to me.”\n \nIn creating Every Where Is Some Where\, K.Flay hit a new level of complexity and candor in her lyrics\, as encapsulated in the stream-of-consciousness storytelling of tracks like “Champagne.” “Details are everything to me\,” says Flaherty of that gorgeously unhinged song’s lyrical intricacy. “There are only so many ways that humans feel—but infinite ways to describe and embody those feelings.” And in immersing herself in the process of crafting such lyrics\, Flaherty eventually arrived at the realization that “you can understand the fact of your own smallness in this world while still celebrating the very particular singularity of who you are and where you happen to stand.” That moment of truth proved to be an album-defining revelation\, and instilled Every Where Is Some Where with an unlikely sense of hope. “Each song on the record is about creating a different kind of meaning out of a different kind of something\,” Flaherty says. “Even the dark places are places. You’re still somewhere.” \n*** \nEd Balloon \n \nFacebook \nNO SMOKING by ED BALLOON
URL:https://royaleboston.com/event/k-flay/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180403T180000
DTEND;TZID=America/New_York:20180403T180000
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SUMMARY:Between the Buried and Me / The Dear Hunter
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 1/19 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nBetween the Buried and Me \n \nWebsite\nFacebook\nTwitter \nWhat if dreams could be broadcast for the purpose of entertainment? Could you consume the innermost thoughts of another person on screen? If you could\, what does that say about an attention-starved audience? More importantly\, what would become of the dreamer?\nBetween The Buried and Me pose those questions and more on their two-part eighth full-length and introductory offering for Sumerian Records\, Automata. The North Carolina quintet—Tommy Giles Rogers\, Jr. [lead vocals\, keyboards]\, Paul Waggoner [lead and rhythm guitar\, backing and lead vocals]\, Dustie Waring [rhythm and lead guitar]\, Blake Richardson [drums]\, and Dan Briggs [bass\, keyboards]—explore these themes by personally smashing boundaries once again. Automata marks the band’s first proper double LP-spanning concept. Moreover\, they continue to expand their ever-evolving style\, upholding a tradition of progression in the process.\n“We never want to repeat ourselves\,” affirms Paul. “We’re always trying to do something different\, and this album fell right into that sort of pattern. We push ourselves into new places\, while retaining our basic sound. Musically\, we go somewhere that’s fun and challenging. We never know how it’s going to turn out. These are uncharted waters for us. We’ve never written an entire piece and presented it in separate parts like this.”\nTommy agrees\, “This many years into our career\, we want to continue doing things differently.”\nThis approach cemented the group as progressive music’s most unpredictable outlier since its formation in 2000. Among many milestones\, they released 2007’s watershed Colors followed by The Parallax: Hypersleep Dialogues EP in 2011 and The Parallax II: Future Sequence a year later. 2015 saw Coma Ecliptic elevate them to new heights yet again. Not only did it bow at #12 on the Billboard Top 200 (a career high for the band)\, but it also garnered widespread acclaim from Noisey\, Revolver\, Alternative Press\, and The Guardian who welcomed the album with a rare perfect score. In between\, they launched countless sold out headline tours and support runs with the likes of Mastodon.\nNow\, they break more ground with Automata.\n“Lyrically\, I wanted to write something that I treated as a puzzle until it comes together at the end\,” continues Tommy. “For as deep and dark as it is\, there’s a positive outcome\, which we’ve never had. The story follow a protagonist whose dreams are used as entertainment broadcasted by a company called Voice of Trespass. Most of the record takes place within that dream. The character thinks it’s all real.”\n“Even though it takes place in the future\, there are a lot of parallels to modern society\,” adds Paul. “Oftentimes\, we turn athletes\, movie stars\, and musicians into commodities. We forget that they’re real people with problems and issues. They’re society’s escape from reality as we use them for entertainment. Hence\, society plays a role in their downfall\, be it drug dependence\, isolation\, or even suicide. Society perpetuates mental illness with those expectations.”\nAutomata – Part I unveils the first six songs comprising the entire body of work. Stretching near seven minutes\, “Condemned to the Gallows” kicks off this journey. Acoustic guitar builds in epic fashion before sweeping distortion takes hold followed by unpredictable rhythms and a seismic vocal performance which\, as Tommy puts it\, “sets up the whole story.”\nElsewhere\, the trudging eight-minute guitar symphony of “Yellow Eyes” spirals into the melodic bliss of “Millions.”\n“There are a lot of moments where we totally venture away from the traditional formula of what a progressive metal band can do\,” states Dan. “There are all these little moments where we’ve done something we never did before. ‘Millions’ is the perfect example. It’s four-minutes of straight melody—another first.”\nWith Automata Part I\, Part II\, and the myriad of visuals on the horizon\, Between The Buried And Me realize their potential to its fullest—and go one step further.\n“All of our music should build up to the newest record\,” Tommy leaves off. “That’s what happens with Automata. You can take little snippets from our past throughout this album. It sounds like Between The Buried And Me\, but it’s still new. We hope to keep the music industry on its toes. This is part of doing that.” \n*** \nThe Dear Hunter \n \nWebsite\nFacebook\nTwitter \nIt’s been almost a decade since Casey Crescenzo brought The Dear Hunter — both the band and the character of the same name — to life with his 2006 debut full-length\, Act I: The Lake South\, The River North. Although it was evident from his stint as singer of The Receiving End Of Sirens\, the record revealed Crescenzo’s incredibly inventive and ambitious musical flair\, something which has been evolving ever since. The two albums which followed — 2007’s Act II: The Meaning Of\, And All Things Regarding Ms. Leading and 2009’s Act III: Life And Death — cemented the now 32 year-old as a maverick\, idiosyncratic talent whose music\, while fitting a modern aesthetic\, was also from a bygone era. \nAnachronistic and timeless in equal measure\, the narrative of The Dear Hunter existed in both the past and the present\, its detailed plot standing simultaneously as an age-old and new age fable. As that tale progressed\, so did Crescenzo’s art\, his experimental compositions blurring the line between different genres to create a sound that was — and still is — unique to the band. But then\, halfway through the six envisioned Acts of the Dear Hunter narrative\, Crescenzo’s attentions shifted. Between 2010 and 2011\, the band recorded a series of nine four-track EPs known as The Color Spectrum. Later released as a single volume edition\, each EP was a musical interpretation of a color from the visible spectrum\, showcasing the increasingly far-reaching ambitions for Crescenzo’s musical vision and his inventive interpretation of the world around him. Two years later\, the more mellow and straightforward fifth full-length Migrant showcased a different side to the songwriter’s talents\, and last year he composed and recorded his first symphony Amour & Attrition. With such a storied musical repertoire\, its clear Crescenzo is no ordinary musician.\nNow\, six years and two albums after The Dear Hunter released Act III: Life And Death\, Crescenzo has returned to the narrative of the anti-hero who shares the band’s name\, applying all of the knowledge and experience of the last ten years to this new chapter. Picking up where the story left off — with the eponymous protagonist assuming the identity of his late brother and returning home — Act IV: Rebirth In Reprise is an album that explores the complex notions of who and what we are\, and which attempts to answer its own questions through the wanderings and wonderings of the album’s protagonist. Yet as the plot and the music weave their way through these fifteen songs\, it’s clear that they transcend the boundaries of the Dear Hunter story. This is as much about a return in real life as it is the fictional story.\n“Revisiting something that was six years removed from my life\,” explains Crescenzo\, “and going back to doing these records was actually a suggestion of my manager and friend Mike Marquis. We got talking about the title of the record and it really just made sense\, both within this story — which is about this character returning to a familiar place as a different person — but also in terms of the music\, which was returning to a familiar place as a different person for myself. So it was the perfect middle ground of describing conceptually\, and as far as the plot goes\, a story\, but also a very perfect paralleling between my personal life and the story of the record — that revitalization and rejuvenating that comes from revisiting something with a newfound perspective.”\nThe result is the band’s most orchestral and multi-layered set of songs to date. Both nuanced and euphoric — sometimes at the same time — their very essence breathes life back into a story that has been on pause for over half a decade\, reigniting the lives of the characters with heart and aplomb. That’s something Crescenzo insists could only have happened by taking a break from the world with The Color Spectrum and Migrant. The distance that making those records afforded Crescenzo means that of all the albums The Dear Hunter has made\, Act IV’s soundtrack to its main character’s physical and philosophical journey is also the closest Crescenzo has come to realizing the true musical vision inside his head.\n“I was trying to do it on Act I\, Act II and Act III\,” he says with a slight sigh of fake exasperation\, “but I could never get to the point where I was just in a room with an orchestra playing these parts\, because I didn’t know how to do it. It was this thing that I always wanted to incorporate into what I did before\, I always wanted this and I was always upset that I didn’t get it. This time\, I could apply this knowledge that I actually possess into this music. It was one of the most exciting experiences of my life because the orchestra is such an integral part of that album from start to finish\, as far as weaving in and out of the music and gluing it all together.”\nThat’s certainly an understatement. Aside from a couple of brief pauses\, Act IV is almost one continuous piece of music. Whether it’s the gracefully powerful lilt of “At The End Of The Earth”\, the frantic\, almost King Crimson-esque 9 minute epic surge of “A Night On The Town” or the angular guitars of “King Of Swords (Reversed)” — which Crescenzo says drew inspiration from unlikely sources such as ELO\, Talking Heads and Michael Jackson — it all creates a sense of dramatic momentum to parallel all the physical and metaphysical action that takes place across this record’s ambitious 64 minutes. Initially written and recorded at Crescenzo’s self-built studio in Port Angeles\, Washington (where he now lives) with the rest of the band\, once their parts were done\, Crescenzo then set about finishing the rest of it himself.\n“I tracked most of my guitar and then I finished writing the scores for the orchestra\, so before I even got in to doing vocals\, my girlfriend\, my dog and I drove down to California and tracked the orchestra.”\nPlayed by the community-based Awesöme Orchestra collective at Berkeley’s Fantasy Studios\, it means the album truly is the culmination of everything that preceded it. As such\, even though it’s part of a fictional narrative\, it doubles up as the band’s most autobiographical album to date. That might seem like a paradoxical concept\, but to listen to Crescenzo explain it\, and it makes perfect sense. As Crescenzo points out\, “There were always these big pillars of the story that I wanted to tell as far as broad strokes. It’s always had Point A and Point B on a grand scale\, but I like to grow as a human being\, a songwriter\, a lyricist\, and I didn’t want to bind myself to the outlook and my feelings and my personal headspace at 22\, when I started writing this\, knowing that it would be years and years and years before I’d ever get to the sixth part. I didn’t want to control the creativity of the 32 year-old me at 22. I left a lot of wiggle room so I could pull on the new experiences I’d have as an adult and through the years it would take to finish it. So a lot of the detail is told from the last six years of my life going into Act IV.”\nAs such\, the personal growth that Crescenzo experienced in his own life shaped those moments. For a start\, he wanted the band — completed by Nick Crescenzo (drums\, percussion)\, Robert Parr (guitar\, keyboards)\, Nick Sollecito (bass)\, Maxwell Tousseau (guitar\, keyboards) and Andrew Brown (keyboards) — to have more input into the development of the songs. Secondly\, he found his attitude towards the people who initially inspired the characters had changed over time — and so had the characters as a result.\n“Looking back on the way that it started\,” Crescenzo remembers\, “the story was rooted in such an intensely bitter place I was able to demonize whoever I wanted through the fiction of it. What’s really interesting is that\, just by coincidence\, in this story and in these characters who have been somewhat demonized in my mind relating to real life people\, there are these moments somewhat of redemption for these characters. It was like I knew I wasn’t going to want to make that record until I was in a personal place where I had sort of gotten past the initial bitterness and the grudge I’m incapable of not holding. If I had written it all as younger man\, I think it would have been bitterness from the beginning to the end\, and there would have been no room for my growth or the growth of whatever character I’m putting in there.”\nThere are still two more Acts planned\, as well as a graphic novel in the works\, but for now\, the life of the Dear Hunter — both the character and the band — is fully consumed by this newest part of the story. It’s been a long time in the waiting\, but that’s precisely why the pieces have all fallen so perfectly into place. “Honestly\,” Crescenzo chuckles\, “just the act of making this record after so long\, and making the record I said I was going to make and not damning the younger version of me to having lied\, is very cathartic. And when it was done\, I had no idea what to do with myself. All of a sudden\, I was finished with this thing I didn’t even know if I would get to. I was blindsided by the finality of it.”\nOne listen\, and you probably will be\, too. \n*** \nLeprous \n \nFacebook\nTwitter
URL:https://royaleboston.com/event/buried-dear-hunter/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:The Black Angels with special guest Black Lips
DESCRIPTION:Bowery Boston presents \nThe Birds and The Bees Tour \nDoors: 7:30 pm / Show: 8:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 1/19 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nThe Black Angels \n \nWebsite\nFacebook\nTwitter \nDeath Song is the first full-length release in four years from The Black Angels – Austin’s five-piece psych rock masters – and their debut for Partisan Records.  \nWritten and recorded in large part during the recent election cycle\, the music on Death Song serves as part protest\, part emotional catharsis in a climate dominated by division\, anxiety and unease. “Currency\,” a strong contender for the heaviest song the band has ever put to wax\, meditates on the governing role the monetary system plays in our lives\, while slow-building psychedelic earworm “Half Believing” questions the nature and confusing realities of devotion. \nRecorded between Seattle and Austin\, Death Songfeatures production from Phil Ek (Father John Misty\, Fleet Foxes\, The Shins). The 11-track collection offers a sharply honed elaboration on their signature sound – menacing fuzz guitar and cutting wordplay\, steeped in a murky hallucinatory dream.  \nThe band will tour extensively behind Death Song\, including a headline set at one of the first-ever shows at new NYC venue Brooklyn Steel on May 2nd. Full itinerary below for “The Death March Tour”\, which begins in Nashville. The band will be supported by A Place to Bury Strangers. \nSince forming in Austin in 2004\, The Black Angels have become standard-bearers for modern psych-rock\, and the New York Times has said they “play psychedelic rock as if the 1960s never ended\, and they are absolute masters of it”. The band has toured with Queens of the Stone Age\, Brian Jonestown Massacre\, the Black Keys + more\, and played festivals such as Glastonbury\, Fuji Rock\, Primavera\, Harvest Fest\, Coachella and Bonnaroo. Two of the band members co-founded Levitation Festival (formerly Austin Psych Fest) in 2008\, which has since grown into one of the best-reviewed and expertly-curated festivals in the country (returning in 2018). \n*** \nBlack Lips \n \nWebsite\nFacebook\nTwitter \nThe story of the Black Lips began in Dunwoody\, Georgia\, a quiet\, conservative suburb of Atlanta\, in the year 1999. Born of a mutual love of Link Wray\, The Stooges\, and The Ramones\, and sealed through a shared dedication to defiance\, the band formed after childhood friends Jared Swilley and Cole Alexander were kicked out of Dunwoody High for separate\, yet equally bad\, behavior. The former classmates took their love of\nmusic and restless energy and channeled it into their newly found free time\, and joined by\nfriends Ben Eberbaugh and Joe Bradley\, the Black Lips started playing shows around Atlanta\, at house parties and bars. They spent this time honing their sound – garage rock infused with blues\, psychedelia\, and punk\, plus a healthy dose of reckless abandon – and released their first 7-inch\, “Ain’t Coming Back\,” in 2002 on Die Slaughterhouse records (named in homage to the flophouse den they called home). Shortly before the band was set to head out on their first ever national tour\, Eberbaugh was tragically killed by a drunk driver. Devastated but determined to carry on in Eberbaugh’s honor\, the Black Lips hit the road as a trio just a few days later.\nIt’s been 15 years\, but that passionate dedication to touring has never left the\nband. The Black Lips have released eight full-length albums since that first tour\, and have\ntraveled the country and the world extensively\, making a name for themselves as an electrifying\, must-see live act. It helps that the same mischievous spirit that helped speed up their exit from the educational system is still very much alive\, thriving in its new environment on stage\, resplendent with punk rock theatrics and miscellaneous bodily fluids\, amongst other things. The band’s energy and unique “flower punk” sound helped them build a rabid fan base\, and after releasing their first two albums through Bomp!\, they put out the critically celebrated Let It Bloom on In The Red records. This record garnered the Black Lips features in Spin and Rolling Stone\, and they were soon signed to Vice Records\, subsequently releasing Los Valientos Del Mundo Nuevo\, an ambitious album recorded live at a bar in Tijuana\, Mexico\, in February of 2007.\nIn their decade-long tenure with Vice\, the Black Lips have evolved from wildly crooning over fuzzy\, raucous music at house shows full of kids to wildly crooning over fuzzy\, raucous music at international festivals in front of thousands of fans. They have toured consistently\, with their zeal for travel taking them all over the world\, and not without some international adventure: In 2009 the Black Lips went on their first (and last) tour of India\, playing shows in Bangalore and Mumbai before chaos struck in Chennai after the band ditched their toned-down presence in favor of classic Black Lips capers\, including some not so well received Lips-locking.  After the same sex smooching and\nalso Alexander baring his butt to the rowdy crowd\, the tour’s sponsors pulled out and the band was nearly jailed\, their passports confiscated by the disgruntled promoters. According to Swilley: “The first few shows\, we were being really reserved because we didn’t want to offend anyone\, but they kept telling us to do what we wanted…I guess “do whatever you want” didn’t include kissing each other\, and I think Cole mooned the crowd\, which is a huge no-no. We had to physically wrestle our passports back from the promoters. It was the scariest 15 hours of my life\, but we got out of there.” The band ended up taking a 200 mile cab ride to the next province and hopped a flight to Berlin\, narrowly escaping Indian prison.\nUndeterred\, the band jumped at the chance to become the first Western punk band to tour another notoriously conservative continent\, the Middle East\, just a few years later. Why?  “It was important for a number of reasons\,” Swilley says of the tour. “We’ve always wanted to push boundaries of where we go. Plus\, a lot of people told us we couldn’t do it\, and anytime someone tells us we can’t do something\, then we kind of have to. We have O.D.D\, oppositional defiance disorder.” This time\, their shows went off without a hitch\, and Black Lips played shows for crowds in Jordan\, Cyprus\, Egypt\, Lebanon\, Iraqi Kurdistan\, and the United Arab Emirates in 2011 in support of that year’s release of their record Arabia Mountain\, produced by Mark Ronson. The title was\nactually a reference to a mountain in Georgia\, but that didn’t stop the Lips from playing\nthe record all over the Middle East\, to enthused fans and without causing any further international incidents. “Everyone was really nervous about us going there\, but it really went off without a hitch\,” adds Swilley. The band also hasn’t abandoned plans to become the first rock band to play on all seven continents\, hoping to hit their last remaining one\, Antarctica in the near future\, and disregarding Metallica’s claim of this achievement: “Just when we were securing the funding\, Metallica sniped us. They took a boat\,\nprobably a gold plated Versace boat\, down there. But they actually didn’t play on land\, and they didn’t play with amps\, so technically they haven’t played Antarctica. Metallica hasn’t beat us yet.”\nFor their ninth studio album\, the Black Lips have teamed up with Sean Lennon\,\nwho got on board to produce Satan’s graffiti or god’s art? in 2016. The Black Lips had formerly worked with Lennon on Arabia Mountain\, where Lennon played theramin on several tracks. The band moved up to Lennon’s studio compound on a remote farm in upstate New York\, and spent several months living and breathing the new record. This removal from the outside world\, plus the return of beloved early guitarist Jack Hines and the exciting addition of new members Oakley Munson on drums and Zumi Rosow (the first female Black Lip) on saxophone\, infused the project with a focused\, intoxicating liveliness\, similar to the spirit that had brought the Black Lips to life in the first place\, way back in 1999. Only this time\, the band is drawing from nearly two decades of experience and musicianship\, and the newness is tethered by familiarity: Munson is a longtime friend of the band\, and Rosow has been playing live with the Black Lips for several years now. There’s even a dash of kismet: unbeknownst to the band\, after being off the grid for some time\, Munson had just recently moved to a cabin a short distance away from Lennon’s compound\, and the first time his phone ever rang after he plugged into the wall\, Alexander was on the other end\, asking him to play.\nAll of this excitement and immersion created the perfect storm for the Black Lips’\nmost musically evolved album to date. “It was a really beautiful experience. We were very far from civilization\, and we were all living at the studio. We weren’t going home to our own beds every night; that was our whole world\, 100% of the time\,” says Swilley of the experience. “Making this record was the most wonderful few months of my life. It\nwas by far my favorite time recording an album so far…It was just magic.” The Black Lips were joined by Saul Adamczewski of Fat White Family\, who helped co-produce the record with Lennon\, plus another rather magical guest: Yoko Ono. “She’s very cosmic\,” Swilley says of the celebrated artist and musician\, who makes an appearance on a few of the tracks. The final product is urgent and thoughtful\, reflecting the growth the Black\nLips have experienced since bursting onto the scene (once or twice quite literally on fire)\,\nbut it’s also true to their original blistering\, careening take on rock n’ roll: fuzzy\, dirty\, and rife with three and four part harmonies. Satan’s graffiti or god’s art? proves that while they may have grown up a bit and changed a few things around\, the Black Lips are still as creatively unhinged and exhilarating as ever.\nSatan’s graffiti or god’s art? is out May 5th on Vice Records.
URL:https://royaleboston.com/event/black-angels-black-lips/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180405T183000
DTEND;TZID=America/New_York:20180405T183000
DTSTAMP:20260408T002941
CREATED:20180207T193020Z
LAST-MODIFIED:20180207T193020Z
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SUMMARY:[SOLD OUT] James Bay
DESCRIPTION:SOLD OUT \nPlease note: tickets are NON-TRANSFERABLE. The original purchaser of the tickets must pick up their tickets at will call night of show with valid ID and will be required to enter the venue immediately. No exceptions will be made. \nBowery Boston presents James Bay \nDoors: 6:30 pm / Show: 8:00 pm \nPlease note: bags or backpacks larger than a purse are prohibited. \n*** \n \n*** \nJames Bay \n \nWebsite\nFacebook\nTwitter \nJames Bay is the definition of a modern day rock star.  Following the release of his debut album Chaos And The Calm\, featuring—“Hold Back The River” and “Let It Go”— BAY was nominated for “Best Rock Album\,” Best Rock Song\,” and “Best New Artist” at the 2016 Grammy Awards. In the UK\, the record became the “Biggest New Artist Album Release” that year and has been certified Gold in the United States\, Germany\, Australia\, Switzerland\, platinum in Canada\, Ireland\, Netherlands\, Sweden\, double platinum in the UK and has sold nearly 3.5 million albums in global consumption\, and 2.7 billion streams worldwide. Receiving the BRIT’s Critics Choice award in 2015\, BAY has gone on to receive a win for “Best Male Solo Artist” at the BRITS\, International Newcomer at the ECHO Awards\, “Best New Act” & “Best Solo Artist” at the Q Awards\, “Most Performed Work” at the Ivor Novello Awards and was nominated for “Best New” & “Best PUSH” at the MTV EMA’s and a MTV VMA for “Best New Act.” On the other side of the globe\, he has received a nod for “Best International Artist” at the ARIA Awards in Australia. In addition to selling out shows and performing at festivals across the globe\, BAY lent a new version of his song “Running” for the 2016 Sports Relief charity\,  is an advocate for the international non-profit Wateraid\, designed his own signature line for Topman\, and Epiphone created the Limited Edition James Bay Signature “1966 Century” Guitar in his name. \n*** \nDavid Ryan Harris \n \nFacebook \nDavid Ryan Harris. “Sounds like a law firm\, tastes like analog tape\,” says the soul singer/songwriter and guitarist. “I heard music\, melodies and stories in my head as a child. It never went away and I hope it never does\,” he says.  \nBorn in Chicago and raised in Atlanta\, David was drawn to the blues after hearing songs by Son House\, Robert Johnson and others. Growing up at a time when Prince\, Parliament-Funkadelic\, Stevie Wonder and other musicians were stretching the boundaries of popular music\, he began to understand that music could not and should not be limited by our often narrow views of what it should be.  \nIn 1991\, David co-founded Follow For Now\, a band that combined all of the influences that had been shaping his musical vision: Bad Brains meets Stevie Wonder and Public Enemy in Memphis. While the band had a short life\, it was David’s launching pad\, as it allowed him to taste the fruits of such a strange mess of musical ingredients. He signed to Columbia Records in 1997\, released a self-titled record and began to spread his wings as an artist\, writer and producer. In 2000\, he signed to Elektra with the band Brand New Immortals. Shortly after releasing an album\, the label folded and the band followed suit. \nToday\, David Ryan Harris calls Los Angeles home\, but is internationally recognized for playing guitar and singing in John Mayer’s band from 2004-2012. He has also had the pleasure of writing with\, playing with and/or producing artists from Dave Matthews\, Cassandra Wilson\, Derek Trucks\, Santana\, Marc Broussard\, and Guy Sebastian. Most recently\, he produced and co-wrote six songs on Indie.Arie’s album\, Songversation.  \nSince his major label days\, David has independently released many singles and solo albums\, including the wildly popular 2007 LP\, The Bittersweet. On October 23\, 2015\, he released his fourth full-length album\, Lightyears\, which includes co-writes with Derek Trucks\, Susan Tedeschi\, Tyler Lyle and Joe Gil among others. The LP also features guest appearances by John Mayer\, Indie.Arie and Nikka Costa. “Lightyears is me sending up a flare into the darkness from where I live\,” says David. It’s a soulful look into my life. My past and how it informs my present. My sense of hope\, my sense of humor.”
URL:https://royaleboston.com/event/james-bay/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180413T180000
DTEND;TZID=America/New_York:20180413T213000
DTSTAMP:20260408T002941
CREATED:20180130T170041Z
LAST-MODIFIED:20180130T170041Z
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SUMMARY:Thirdstory
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is open to ALL AGES. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 2/2 at noon! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nThirdstory \n \nWebsite\nFacebook\nTwitter \nThirdstory is the stage name of soulful NYC-based group Ben Lusher\, Richard Saunders\, and Elliott Skinner. The chameleonic singers proved their genre-bending talent by stepping behind Grammy Award-winning recording artist Chance the Rapperon his 2017 tour – appearing alongside the superstar during performances on Saturday NightLive\, Late Night with Stephen Colbert\, and NPR’s Tiny Desk. \nReleasing an abundance of awing acoustic covers since 2015\, Thirdstory has cultivated a strong grassroots following\, including over 100\,000 YouTube subscribers. In 2017 they released their debut EP\, Searching – a showcase of the band’s bone-chilling harmonies and awe-inspiring vocal palates. Thirdstory’s debut LP – an 11 song album executive-produced by Malay (credits include Frank Ocean’s Channel ORANGE & Blonde) that blends pop songwriting and powerful vocals with both electronic and live instrumentation – is anticipated for a Spring 2018 release.
URL:https://royaleboston.com/event/thirdstory/
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:20180414T180000
DTEND;TZID=America/New_York:20180414T213000
DTSTAMP:20260408T002941
CREATED:20180110T195634Z
LAST-MODIFIED:20180110T195634Z
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SUMMARY:[SOLD OUT] Rainbow Kitten Surprise
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited. \nTHIS SHOW IS SOLD OUT.  \n*** \n \n*** \nRainbow Kitten Surprise \n \nWebsite\nFacebook\nTwitter \nRainbow Kitten Surprise and all five of its members hail from the mountains of Boone\, North Carolina. With chilling harmonies\, dynamic instrumentation\, and introspective lyrics\, their genre-defying sound takes influence from artists like Modest Mouse and Kings of Leon as much as Frank Ocean and Schoolboy Q.  Independently\, they have over 75 million streams across digital platforms\, and notched over 45 sold out shows on their first U.S. headline tour.  Their engaging and distinct live performances have led to stand out sets at festivals such as Bonnaroo\, Firefly\, Shaky Knees\, Hangout\, Sasquatch\, and Austin City Limits among others.  The band worked with GRAMMY award-winning producer Jay Joyce (Cage The Elephant\, Sleeper Agent) on their Elektra debut\, How to: Friend\, Love\, Freefall\, available everywhere on April 6th. \n*** \nCaamp \n \nWebsite\nFacebook\nTwitter \nEvan plays the banjo\, Taylor plays the guitar and together they slam stages as the power duo Caamp. The childhood friends have been writing songs since 2012 and began performing as Caamp in 2015. In March of 2016\, the duo released their self-titled debut record that has since put them on the map. Caamp is known for their heartfelt sound\, and authentic live shows that leave their loyal crowds with hearts pounding. Taylor and Evan are two good gentlemen\, writing good music\, and plan on… Caamping til’ they croak!
URL:https://royaleboston.com/event/rainbow-kitten-surprise/
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:20180416T190000
DTEND;TZID=America/New_York:20180416T190000
DTSTAMP:20260408T002941
CREATED:20180123T162434Z
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SUMMARY:Stars
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Sat. 1/27 at NOON! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nRoyale is general admission standing room only. Tickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office (Cambridge\, MA) Wednesdays-Saturdays 12-7PM. \nSTARS has partnered with PLUS1 so that $1 from every ticket goes towards providing indigenous women and their children a safe and supportive environment through the Native Women’s Shelter of Montreal. \n*** \n \n*** \nStars \n \nWebsite\nFacebook\nTwitter \nSTARS have made their career telling the tales we keep in the darkest\, and most hopeful parts of our souls. Delivering the hard and soft edges of life and love as only this band can\, they returned with two new tracks Privilege and We Called It Love. \nFrom the reflective beauty of Amy Millan’s vocal in Privilege “never got what you want\, never got it” to Torquil Campbell’s contemplative and contrary\, “I don’t believe that people change…but I’ve changed” on We Called It Love\, Stars return time and again to comfort and reassure us that within the experience of failure and fucking up is the path to a life well lived. \nA collective band statement notes\, “We’re back! We have a new album. It was recorded in Montreal and Connecticut with the great producer\, Peter Katis. We love him and thank him for being there for us. It’s our first with our friends at Last Gang. We made this record for ourselves\, for our kids\, and for you. And we are so happy and grateful that you’re still listening to our music.” \nWith approaching 20 years as a band and a storied album catalogue spanning 2001’s Nightsongs\, the romantic upheaval of 2003’s Heart and 2004’s Set Yourself On Fire\, 2007’s In Our Bedroom After the War\, the downcast elegies of 2010’s The Five Ghosts\, the rejuvenation of 2012’s The North and sub-base\, dance club infused No One Is Lost in 2014\, Stars continue to prove themselves some of the finest musical storytellers in the country\, moving through life with their fans. \nStars now returns with their 8th full-length release “There Is No Love In Fluorescent Light”\, out Friday\, October 15 via Last Gang Records worldwide. \n*** \nDan Mangan \n \nWebsite\nFacebook\nTwitter \nDan Mangan is a two-time JUNO award winning & two-time Polaris Music Prize listed musician and songwriter. He lives in Vancouver\, British Columbia with his wife and sons. With Jesse Zubot\, he scored Hector And The Search For Happiness\, a feature film starring Simon Pegg. \nMangan has toured extensively in North America\, Europe and Australia. He released his fourth LP\, Club Meds\, in 2015 to much critical acclaim\, under the moniker “Dan Mangan + Blacksmith” (Blacksmith referring to long-time collaborators). \nIn June 2016\, Mangan released Unmake\, an EP featuring five songs including a cover of Robyn’s “Hang With Me” with two songs off Club Meds reworked\, including “Forgetery” featuring Tegan Quin\, and new songs “Whistleblower” and “Race To The Bottom.”
URL:https://royaleboston.com/event/stars/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180417T190000
DTEND;TZID=America/New_York:20180417T190000
DTSTAMP:20260408T002941
CREATED:20171211T154401Z
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SUMMARY:Ministry
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 7:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale NOW \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nMinistry \n \nWebsite\nFacebook\nTwitter \nMinistry’s Al Joursengen\, the acclaimed pioneer of industrial music\, doesn’t muck around\, doesn’t sugar-coat\, doesn’t pull punches.  He’s highly opinionated\, exceptionally well read and articulate on subjects ranging from politics to alien conspiracies to American history to his beloved Chicago Blackhawks/Bulls/White Sox/Bears.  He is an avid follower of NASA scientist David S. McKay\, ancient civilizations scholar Zecharia Sitchin\, astrophysicist Neil deGrasse Tyson\, and Scottish writer/archaeologist/scientist Graham Hancock.  During a layover at the Las Vegas airport this past summer\, Jourgensen spotted U.S. Congressman Adam Schiff\, introduced himself\, and took full advantage of the encounter to let the Congressman know of his views on tax reform and the possible perils of redistribution of wealth\, the current obstruction of the “Russia-gate” investigation by the House Intelligence Committee lead by Republican Chair Devin Nunes\, and to inquire about the status of the possible impeachment of the President\, on not only obstruction and collusion charges\, but for treason. \nYou see\, Al Jourgensen is angry\, really angry about what’s going on in America – sexual abuse and the disrespect of women in our society\, the waning respect for the U.S. Constitution\, the growing acceptance of one’s opinions replacing facts\, the decline of the our leaders’ sense of morals\, ethics and personal responsibility to the country and to their constituents\, and the mad man in the White House. Yeah\, Al is angry\, and that takes us straight to Ministry’s upcoming album AmeriKKKant. \nBefore all of that\, the industrial machine that is Ministry has manufactured immense amounts of sound during its 30+ years of musical artistry. Initially coming into existence in 1981\, Ministry was to be the lifetime passion project of front runner and founder Al Jourgensen. Often associated with ideas and imagery that are easily recognized today\, in part because of Jourgensen’s insanely dreaded hair\, pitch black attire\, vampiric glasses\, and exquisite top hat\, the band has become incredibly symbolic. But like any creature cursed with the gift of creativity\, “Uncle Al” has shed his skin several times over the decades. The development of Ministry and all of Al Jourgensen projects has been purely organic\, which is a huge reason why the masses following his projects are so vast.  \nOften referred to as one of the founders of Industrial Music\, the true outlook of Ministry as well as Jourgensen’s other projects\, is far more fluid than just one specific genre. Surgical Meth Machine\, Revolting Cocks\, and anything Al “Fucking” Jourgensen has produced all explore different realms of sound and thought.  \n    In the year 1981 in Chicago Illinois\, Ministry was initially born. With an original line up of Al Jourgensen doing lead vocals\, guitar\, programming and overall production\, Stephen George on drums\, Robert Roberts on keyboards and backing vocals\, and John Davis also on keyboards and backing vocals. New sounds were constantly being developed in the 80’s especially as technology improved. At first the band had a very catchy\, synth-pop sound. They began by releasing four 12” singles on Wax Track! Records starting in 1981\, and released their first LP “With Sympathy” in 1983 via Arista Records.  \nAs time progressed however\, so did Ministry\, and they quickly developed a harsher\, and even more stylized industrial sound that they soon became infamous for. In the mid to late 80’s the band gained a progressively greater following as it released albums Twitch (1986)\,  The Land of Rape and Honey (1988)\, and The Mind Is A Terrible Thing To Taste (1989). The darker\, heavier sound that Ministry had developed into was often a direct reflection upon modern concepts\, society\, and politics. It was also during this time that Al Jourgensen himself reached one of his many peaks of creativity and branched off into what would be one of his many side-projects: Revolting Cocks. He also began producing a vast amount of other music by artists similar to his realm in one way or another such as Nivek Ogre/Skinny Puppy\, The Reverend Horton Heat\, Nine Inch Nails\, Smashing Pumpkins\, Cheap Trick and Red Hot Chili Peppers. With the release of Psalm 69: The Way to Succeed and The Way to Suck Eggs (1992)\, Ministry hit an all time high in the mainstream musical realm and even received a Grammy nomination. Filth Pig was released in 1994 and by then Ministry had not only grown a solid fanbase\, but a solid reputation as well.  \nFamous for a hellaciously unique talent and sound\, pure heinous insanity while on tour\, and endless energy filled performances at countless festivals\, Ministry had developed a cult following and would go on to release several more records throughout the years before eventually taking a hiatus. On December 23rd\, 2012 then guitarist Mike Scaccia suffered a heart attack and passed away. It was not long after this that Jourgensen took what was to be an indefinite leave from doing anything Ministry related as he could not bare to continue without Scaccia. It wasn’t until recently that Jourgensen decided that if the circumstances were right\, he would consider reawakening Ministry to release something new to the world.  \nNow\, in 2017 Ministry has reunited\, revamped its line-up\, signed to Nuclear Blast Records\, recently returned from a full world tour\, and is now preparing to release their 14th studio album\, AmeriKKKant\, on March 9th 2018. Society and Politics have taken a turn for the insane and frightening in the United States and across the globe\, leaving much inspiration and frustration for Ministry to draw from. Jourgensen remembers his shock while witnessing everyone and everything around him during the recent election process\, and awoke on the morning of November 9th 2016 proclaiming: “We are making a fuckin’ album – right now.” \nAmeriKKKant\, like all Ministry projects\, is an organic reflection of not just the band’s talent and sounds\, but of the society in which we all live and breathe. Jourgensen says “I’ve spoken my piece on the societal conditions that would elect such a blithering idiot. It’s not an anti-Trump album\, it’s like a- ‘did you pay attention in School? Does anybody have any intellectual curiosity anymore?’- album. [It’s] basically just holding up a mirror to ourselves and saying: ‘Look at this\, is this what you really want to be?’”  \nWith a new line up\, incredibly full sound\, and some might say a return to the roots of Ministry\, the band is prepared to release a record that is socially relevant and sonically effective. Fans can look forward to a hearty future for not just Ministry\, but Surgical Meth Machine\, and Revolting Cocks as well. There is simply too much insanity in this world for Jourgensen not to speak his mind and keep our senses alive with his vast array of decibels and visuals: “I’m afraid for the stupidity of not embracing nonsense. I think nonsense is a great escape from the rigors of being in life’s hamster wheel.” \n*** \nChelsea Wolfe \n \nWebsite\nFacebook\nTwitter \n“What I want is to open up. I want to know what’s inside me. I want everybody to open up. I’m like an imbecile with a can opener in his hand\, wondering where to begin—to open up the earth. I know that underneath the mess everything is marvelous. I’m sure of it.”\n– Henry Miller \nDigging beneath the mess of the world to find the beauty underneath is perhaps the most consistent theme in Chelsea Wolfe’s expansive discography—a theme that ties together her ceaseless explorations in unorthodox textures\, haunting melodies\, and mining the grandeur embedded within ugliness and pain. With her sixth official album Hiss Spun\, Wolfe adopts Miller’s quest to become empowered by embracing the mess of the self\, to control the tumult of the soul in hopes of reigning in the chaos of the world around us. “I wanted to write some sort of escapist music; songs that were just about being in your body\, and getting free\,” Wolfe says of the album before extrapolating on the broader scope of her new collection of songs. “You’re just bombarded with constant bad news\, people getting fucked over and killed for shitty reasons or for no reason at all\, and it seems like the world has been in tears for months\, and then you remember it’s been fucked for a long time\, it’s been fucked since the beginning. It’s overwhelming and I have to write about it.” \nHiss Spun was recorded by Kurt Ballou in Salem\, Massachusetts at the tail end of winter 2017 against a backdrop of deathly quiet snow-blanketed streets and the hissing radiators of warm interiors. While past albums operated on the intimacy of stripped-down folk music (The Grime and the Glow\, Unknown Rooms)\, or the throbbing pulse of supplemental electronics (Pain Is Beauty\, Abyss)\, Wolfe’s latest offering wrings its exquisiteness out of a palette of groaning bass\, pounding drums\, and crunching distortion. It’s an album that inadvertently drew part of its aura from the cold white of the New England winter\, though the flesh-and-bone of the material was culled from upheavals in Wolfe’s personal life\, and coming to terms with years of vulnerability\, anger\, self-destruction\, and dark family history. Aside from adding low-end heft with gratuitous slabs of fuzz bass\, longtime collaborator Ben Chisholm contributed harrowing swaths of sound collages from sources surrounding the artist and her band in recent years—the rumble of street construction at a tour stop in Prague\, the howl of a coyote outside Wolfe’s rural house in California\, the scrape of machinery on the floor of a warehouse at a down-and-out friend’s workplace. Music is rendered out of dissonance—bomb blasts from the Enola Gay\, the shriek of primates\, the fluttering pages of a Walt Whitman book are manipulated and seamlessly integrated into the feral and forlorn songs of Hiss Spun. \nThe album opens with the sickening bang of “Spun”\, where a lurching bottom-heavy riff provided by Chisholm and Troy Van Leeuwen (Queens of the Stone Age\, Failure) serves as a foundation to a sultry mantra of fever-dream longing and desire. The first third of Hiss Spun—whether it’s the ominous twang and cataclysmic dynamics of “16 Psyche”\, the icy keyboard lines\, restless pulse and harrowing bellows of Aaron Turner (Old Man Gloom\, SUMAC) on “Vex”\, or the patient repetition and devastating choruses of “The Culling—all carry the weight of desperation\, lost love\, and withdrawal. Wolfe’s introspection and existential dread turns outwards to the crumbling world around us with “Particle Flux”\, an examination of the casualties of war set against an aural sea of static. White noise is a constant thread through Hiss Spun\, with Wolfe finding solace in the knowledge that radio static is the sound of the universe expanding outwards from the Big Bang—a reminder that even dissonance has ties to creation. The electronic thump of “Offering” serves as an ode to the Salton Sea and the encroaching calamities stemming from climate change. The obsession with white noise and global destruction carries over into “Static Hum”\, where the merciless percussive battery of Wolfe’s former bandmate and current drummer Jess Gowrie helps deliver the dire weight of a sonnet dedicated to a “burning planet.” By the time the album closes with “Scrape”\, Wolfe has come full circle and turned her examinations back inward\, reflecting over her own mortality with arguably the most commanding vocal performance in her entire oeuvre. \n“The album is cyclical\, like me and my moods\,” Wolfe says of Hiss Spun. “Cycles\, obsession\, spinning\, centrifugal force—all with gut feelings as the center of the self.” And it’s an album that Wolfe sees as a kind of exorcism. “I’m at odds with myself… I got tired of trying to disappear. The record became very personal in that way. I wanted to open up more\, but also create my own reality.” Every Chelsea Wolfe album is cathartic\, but never before has both the artist and her audience so desperately needed this kind of emotional purging. Sargent House is proud to release Hiss Spun to the world on September 22nd\, 2017. \n– Brian Cook\, 2017 \n*** \nThe God Bombs \n \nWebsite\nFacebook \nJustin Symbol has joined forces with Edrick Subervi and Jabbath Roa to form The God Bombs. On debut EP ‘Hex’ (March 2018) the trio forges a bold new sound that combines elements of electronic\, alternative metal\, hip hop and punk. Industrial beats collide with haunting analog synths and 90s alt rock attitude to create a compelling soundtrack for the new Dark Age.
URL:https://royaleboston.com/event/ministry/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180422T200000
DTEND;TZID=America/New_York:20180422T200000
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SUMMARY:The Darkness
DESCRIPTION:Bowery Boston presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 9/29 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \nThe Darkness \n \nWebsite\nFacebook\nTwitter \n2003 gave birth to one of the most extraordinary and best loved rock bands. The Darkness released their debut album Permission To Land to overnight success\, topping the UK charts\, going 5x Platinum and selling over 1.5 milion copies in the UK alone. It spawned a series of hit singles including “I Believe In A Thing Called Love\,” “Growing On Me\,” “Get Your Hands Off My Woman” and “Love Is Only A Feeling.” The album clocked up a series of awards including three BRIT Awards\, two Kerrang Awards and an Ivor Novello for Songwriters Of The Year\, amongst many others. \nThe Darkness played a number of landmark shows\, including a headline set at the 2004 Reading and Leeds Festivals\, as part of a whirlwind career of global touring as international sensations. The band then built upon the success of their debut with their 2005 follow up One Way Ticket To Hell… And Back\, which produced the Top 10 hit “One Way Ticket.” \nIn 2006 Justin Hawkins left the band\, checking into rehab and The Darkness fell apart. Following successful treatment\, the band reformed in 2011 touring Europe and South America in 2012 with Lady Gaga. The band released their comeback album Hot Cakes that year and Last Of Our Kind in 2015. \nIn 2016 “I Believe In A Thing Called Love” was featured in a wildly popular Apple Music commercial starring Taylor Swift. \nThe Darkness have now returned in 2017 with Pinewood Smile\, delivering some of the most sharp-witted\, infectious\, humorous and downright brilliant songs of their career.\nAhead of the album’s announcement\, The Darkness toured Europe in support of Guns N’ Roses. \nAddressing Pinewood Smile and The Darkness’ undoubted relevance in 2017\, Justin Hawkins asks\, somewhat rhetorically of the world at large\, “Why should anybody care? Because if you don’t\, we’re fucked!! History will remember us as the apathetic generation who negligently ushered in a dreadful dystopian age that may or may not come to be known as The Rise of the Arseclowns. We cannot allow this to continue! You may not give a shit about Brexit or Trump\, but PLEASE… give a shit about The Darkness otherwise the last bastion of cultural sensibility will fall and our airwaves will be polluted by meaningless pop purveyed by arseholes and morons… Oh wait!” \n*** \nDiarrhea Planet \n \nWebsite\nFacebook\nTwitter \nThe gravitational pull of Diarrhea Planet is strong; once you get caught in the orbit of its stadium-sized riffs and blistering solos\, it’s hard to escape. The Nashville six-piece has been melting faces since its debut 7” Aloha first started making waves outside the leafy campus of Belmont University\, where its members first met. What started as a dorm room dick joke between two friends bored by the music-business ladder-climbing of their classmates has grown into one of the biggest—and loudest—rock acts to come out of Nashville since their big bros and labelmates in JEFF The Brotherhood. As they toured the country behind their critically acclaimed 2013 LP I’m Rich Beyond Your Wildest Dreams\, the likes of Billboard\, Rolling Stone\, SPIN\, and even BuzzFeed have taken notice. Ignore them at your own peril. \nOn their latest LP for Infinity Cat Recordings\, Turn to Gold\, the Planet boys worked with Vance Powell\, the Grammy-winning engineer and Jack White confidant. Powell used his expertise in recording live sound to capture some of the energy of the Diarrhea Planet live experience—they tracked the main guitar and drum tracks live\, in the same room\, for a record that’s both massive and frenetic. It’s easily the most sophisticated and complex music they’ve ever made\, but still carries the joyous irreverence that minted thousands of RAWK fans across the country. \nThe band’s rhythm section\, which features drummer Ian Bush (a.k.a. Tuff Gus) and bassist Mike Boyle\, is the bedrock on which the foundation is built\, but what makes Diarrhea Planet explode is the raw power of its four guitars. Not one note is wasted\, and each ax slinger plays a role; Jordan Smith writes soaring power pop singalong hooks; Brent Toler brings a classic rock sensibility and chunky\, fuzzy riffs; Emmett Miller’s wields classical training and a wizard-like five-finger pick-less technique for mind-bending\, finger-tapping solos; and Evan Bird is the glue that holds them all together\, capable of playing any part (or instrument) as needed. \nDiarrhea Planet is a nationally touring band\, playing a punishing schedule of more than 200 shows a year. But they cut their teeth in the clubs and house shows of the Nashville DIY scene\, built by the likes of JEFF\, Heavy Cream\, Natural Child\, Pujol\, and shaped in legendary spaces like the old police precinct that would come to be known as Glenn Danzig’s House. As they’ve graduated from living rooms to clubs to festivals\, the energy has remained constant—just ask the ladies in the mosh pit or the crowdsurfing dads you’re sure to find at any Diarrhea Planet show. They’re carrying the torch for the past\, present and future of rock\, and you’d be wise to take notice—everyone else sure has.
URL:https://royaleboston.com/event/the-darkness/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180424T190000
DTEND;TZID=America/New_York:20180424T190000
DTSTAMP:20260408T002941
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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. Please note\, backpacks are not permitted.\nTickets on sale Fri. 1/26 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. 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*** \nThe Coathangers \n \n[Website] [Facebook] [Twitter] \nAn all-female garage punk band with an irreverent\, fun-loving attitude\, the Coathangers play purposefully simple\, hooky tunes that borrow from vintage girl group sounds and contemporary teen pop acts as much as the old-school punk and new wave outfits that inform their sound. Hailing from Atlanta\, Georgia\, the Coathangers were formed in 2006 by guitarist and singer Julia Kugel (aka Crook Kid Coathanger)\, bassist and singer Meredith Franco (aka Minnie Coathanger)\, keyboardist and singer Candice Jones (aka Bebe Coathanger)\, and drummer and singer Stephanie Luke (aka Rusty Coathanger) — Kugel and Franco were working together in a dress shop that specialized in wedding gowns and prom dresses; Jones and Luke were earning their living as bartenders. While they could barely play their instruments\, they were eager to take the stage\, and after playing their first show at a house party\, the Coathangers soon made their proper stage debut opening for the Hiss\, and their sense of fun soon won over hometown audiences. \nThey also became friends with fellow Atlanta band the Black Lips\, who gave the Coathangers opening slots that helped them gain an even larger audience. In 2007\, infamous Atlanta punk label Die Slaughterhaus Records teamed up with New York’s Rob’s House Records to issue the band’s self-titled debut album\, and the Coathangers were playing out as often as their schedules would permit\, frequently gigging throughout Georgia and venturing out on short tours. Their second album\, 2009’s Scramble\, was released by Suicide Squeeze Records\, and by the time they put out 2011’s Larceny & Old Lace\, they were playing throughout the country and even toured Europe opening for the Thermals. In 2013\, the Coathangers hit Europe again opening for …And You Will Know Us by the Trail of Dead\, but by the end of the year\, they were reduced to a trio when Candice Jones left the group. Undaunted\, the Coathangers pressed on as a three-piece as they recorded album number four\, Suck My Shirt\, which was released in the spring of 2014. In 2016\, the Coathangers returned with their fifth album\, the well-received Nosebleed Weekend. The Parasite EP followed in the summer of 2017 on Suicide Squeeze Records. ~ Mark Deming\, Rovi
URL:https://royaleboston.com/event/minus-the-bear-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTEND;TZID=America/New_York:20180425T190000
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SUMMARY:Kate Nash
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 2/9 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nKate Nash \n \nWebsite\nFacebook\nTwitter \n*** \nMiya Folick \n \nWebsite\nFacebook\nTwitter \nI’m from Santa Ana\, California and grew up going to a Jodo Shinshu Buddhist church in Orange County. I played basketball for 9 years and hated it the entire time. \nI went to NYU\, but stopped going to class and would spend all day walking around the city by myself. So I left and moved home and spent the rest of that semester learning how to play guitar from a person I went to high school with. \nI play music because forming thoughts into sounds blends emotional and rational thought in a way that turns me on. I met my band on Tinder.
URL:https://royaleboston.com/event/kate-nash/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180426T190000
DTEND;TZID=America/New_York:20180426T190000
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CREATED:20170710T152512Z
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SUMMARY:Echosmith
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is all ages. \nRescheduled from 11/10/17. All previously purchased tickets will be honored. Tickets on sale now! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \nEchosmith \n \nWebsite\nFacebook\nTwitter \nOur dreams drive us. They’re why we build cities\, create art\, and pursue love. \nIn 2013\, teenage siblings from Southern California\, ECHOSMITH\, brought a lifelong dream to fruition with the release of their debut album Talking Dreams. As soon as they could hold instruments\, they began playing music together as kids. They traded the living room for Farmers Markets and open mic nights\, while quietly honing their songwriting chops. Those chops were on full-display in the breakout single “Cool Kids\,” which became a runaway success. Supporting Talking Dreams\, they performed around the globe and enchanted audiences everywhere. As those adventures unfolded\, they grew up\, both as people and musicians\, and that growth shines through their 2017 sophomore album\, Inside A Dream [Warner Bros. Records]. \n“We describe our new album as dreamy pop\,” explains frontwoman Sydney. “These songs explore different aspects of our lives—love\, adventure\, heartache\, and living out our dreams. On our first record\, we were simply dreaming of the future\, and we’re inside of that dream now. We’ve lived so much life in a short period of time. I was 15 when we recorded Talking Dreams\, and now I’m 20. This amazing journey of connecting with fans and different cultures all over the world completely changed our lives.” \nDriven by Sydney Sierota\, Noah Sierota [bass\, percussion\, backing vocals]\, Graham Sierota [drums]\, and Jamie Sierota [guitar]\, Talking Dreams earned a prestigious RIAA gold certification\, yielding the double-platinum breakout smash “Cool Kids\,” which notched a quarter-of-a-billion Spotify streams\, and the platinum-certified “Bright.” They took over radio airwaves and performed across television everywhere from Ellen to The Tonight Show Starring Jimmy Fallon twice. Meanwhile\, tastemaker praise came courtesy of Elle\, Rolling Stone\, Nylon\, and more. Simultaneously\, Sydney stood out as a positive cultural force\, whether acting as a brand ambassador for Coach\, designing a line for Hollister\, or dueting on stage with Taylor Swift. \nAlong the way\, the band faced a major change together. After bringing their dream to life\, co-founder\, guitarist\, and big brother Jamie left ECHOSMITH\, transitioning focus to his wife and newborn baby. \n“We had to come to grips with the fact that Jamie left the band\, so we had to find ourselves as a trio instead of a quartet\,” admits Noah. “The process helped us recognize what we really wanted to do musically.” \n“At that point\, we never had another musician on stage with us\,” says the frontwoman. “That literally forced us on a journey of having to discover this sound. We still had electric guitars\, but they weren’t the center of the music anymore. The keyboards\, pads\, percussion\, and vocals became the focal point. We began recording and writing constantly at the same time. We wanted to write as honestly as possible. There were no narratives; it was all life experiences and truth.” \nIn order to bring that vision to life\, the group utilized vintage synths\, keys\, and drum machines\, carefully emphasizing each detail and “making sure we loved every single note and sound.” As a result\, Inside A Dream is awash in shimmering synths\, airy guitars\, and heavenly vocals. Its eleven anthems wouldn’t be out of place blasting from an eighties transistor radio during an episode Stranger Things or booming across massive North American festival grounds as the sun sets for a headline gig. \n“Inside a dream is the culmination of a year-and-a-half of tirelessly working to define who we are\,” continues Noah. “We not only grew as musicians but as people. The stories we’ve told on this album are our stories that we’re living right now.” \nNoah’s finger-picked acoustic guitar on “Goodbye” entwines with Sydney’s breathy delivery before bouncing into a danceable refrain colored by island-style keys and heavy bass. It also represents another evolution. \n“This song was written out of pure frustration with another person who couldn’t make up his mind\,” reveals Sydney. “That indecision was affecting us\, so the message is\, ‘Good luck finding yourself. Goodbye. I have to move on with my life regardless of your opinion.’ It’s a bit darker for us\, but I think a lot of people can relate to that.” \nCo-written with an old family friend Leah Haywood\, opener “Get Into My Car” gleefully nods to new wave influences like The Cure and Joy Division with its cinematic lyricism\, shiny keyboards\, and lush refrain\, “Get into my car. Get into my life. Get into my heart. You know what I like.” \n“It talks about how sometimes you have negative voices in your head\, but then you find that person who makes them go away\,” she says. “That’s totally happening in my relationship.” \nFor “Crazy Love\,” they teamed up with a longtime inspiration\, OneRepublic’s Ryan Tedder\, to make a love song about “what it feels like to be in the crazy exciting love where you get to dance together and do things you see in the movies.” \nThe arena-size drums of “Future Me” propel the equivalent of the grade school exercise of writing a letter to your future self. “Everyone Cries” tackles the craziness of the world head-on.\nAt the heart of the record\, ECHOSMITH cling to the message that drove them from the start which is their mission statement “to spread hope and love through music to the whole world.” \n“Music is one of the few things that can unite people\,” concludes Noah. “We hope that’s something we can be a part of.” \n“We’ve really gotten to understand the depth of that mission statement\,” Sydney leaves off. “We were so blessed for ‘Cool Kids’ to blow up and see the world. We got to realize the depth of spreading love\, how important it actually is\, and the lack of love in the world. Our message has stayed the same\, but we understand it more. We go deeper. Life is hard\, but you can find the joy no matter what. That’s what we’re here to show people.” \nIn the end\, Inside A Dream has the power to motivate millions to follow their own dreams as ECHOSMITH did. \n*** \nThe Score \n \nWebsite\nFacebook\nTwitter \n*** \nJena Rose \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/echosmith/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180428T190000
DTEND;TZID=America/New_York:20180428T220000
DTSTAMP:20260408T002941
CREATED:20180105T164015Z
LAST-MODIFIED:20180105T164015Z
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SUMMARY:20th Anniversary Show - Russian Pop Star: Ruki VVerh
DESCRIPTION:21+
URL:https://royaleboston.com/event/20th-anniversary-show-russian-pop-star-ruki-vverh/
LOCATION:279 Tremont Street\, Boston\, 02116\, United States
CATEGORIES:Concerts,Special Events
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DTSTART;TZID=America/New_York:20180430T200000
DTEND;TZID=America/New_York:20180430T200000
DTSTAMP:20260408T002941
CREATED:20180120T163402Z
LAST-MODIFIED:20180120T163402Z
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SUMMARY:Unknown Mortal Orchestra
DESCRIPTION:Bowery Boston presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 1/26 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n***\nUnknown Moral Orchestra \n \nWebsite\nFacebook\nTwitter \nThe threads of our past never unravel\, they hover like invisible webs\, occasionally glistening due to a sly angle of the sun. On Multi-Love\, Unknown Mortal Orchestra frontman and multi-instrumentalist Ruban Nielson reflects on relationships: airy\, humid longing\, loss\, the geometry of desire that occurs when three people align. Where Nielson addressed the pain of being alone on II\, Multi-Love takes on the complications of being together. \nMulti-Love adds dimensions to the band’s already kaleidoscopic approach\, with Nielson exploring a newfound appreciation for synthesizers. The new songs channel with the spirit of psych innovators without ignoring the last 40 years of music\, forming a flowing\, cohesive whole that reflects restless creativity. Cosmic escapes and disco rhythms speak to developing new vocabulary\, while Nielson’s vocals reach powerful new heights. “It felt good to be rebelling against the typical view of what an artists is today\, a curator\,” he says. “It’s more about being someone who makes things happen in concrete ways. Building old synthesizers and bringing them back to life\, creating sounds that aren’t quite like anyone else’s. I think that’s much more subversive.” \nWhile legions of artists show fidelity to the roots of psychedelia\, Unknown Mortal Orchestra shares the rare quality that makes the genre’s touchstones so vital\, constant exploration \n***\nMakeness \n \nWebsite\nFacebook\nTwitter \nIt’s the contrasts which stand out in Makeness’ (aka Kyle Molleson) music. Crafting tracks which make a virtue of disparate influences\, Kyle manages to pull off something difficult: making tirelessly-crafted songs which sound loose-limbed and to-the-point. He comes from a Leeds-born scene which\, counting Adult Jazz and Glad Hand amongst its numbers\, haven’t pegged themselves to one musical discipline. That network of like-minded friends\, and the restless ethos cultivated between them\, continues to shape the music Kyle makes on his own.  \nHis debut album\, Loud Patterns\, is the fullest example of this yet. On the one hand\, it’s noticeably indebted to house and techno; there are 4/4 rhythms\, and a no-nonsense directness which nods to the likes of Omar-S and Theo Parrish. On the other hand\, those dancefloor structures are a vehicle for a wider spectrum of sounds. Channeling avant-garde experimentalism and an outsider’s interest in pop\, he embraces the distance between those two poles. \nSpending his earliest years on a remote island in Scotland’s Outer Hebrides\, he was surrounded by Highlands folk music and his dad’s bagpipe bands. Later moving to Dorset\, he spent the majority of his time growing up in England’s South West. It was there that Kyle started a band with some school friends\, which – with a manager and recording sessions in London under their belt – made it halfway to recording an album. \nBut it was in Leeds where he made his most important connections. Moving there for university\, his school friend and regular collaborator Tom Howe had also moved to nearby York. Finding himself in a flat with Harry Burgess\, he was the link between that pair – making a connection that would soon become Adult Jazz. Meanwhile\, he helped to form Glad Hand (then-called Fun Adults) with friends-of-friends drawn from the same circle. \nAt this point\, Kyle’s interests in guitar and folk music started to expand outward. He discovered the music of Caribou\, whose 2013 ‘Swim’ charted a trajectory similar to the one he was following; the sweet spot it found – between left-of-centre pop and club-minded music – struck a chord with the different spheres Kyle was increasingly drawn to himself. At the same time\, Flying Lotus’ output was another big eye-opener; his music\, as well as Teebs and other signees to the Brainfeeder stable\, pointed to psychedelic\, unconventional possibilities for building rhythms. \nCosmic Slop\, an underground institution in Leeds\, was another touchstone. Based on the fringe of the city centre\, it’s a community-oriented party that was started to raise money for their education charity. It boasts a hand-built\, peerless sound system\, a near-pitch black dance floor and a music policy that ranges from Dilla instrumentals to Detroit house. He recalls\, “That place was definitely an awakening in terms of dance music.” \nThe student enclaves of Headingley and Hyde Park\, where he and almost all his friends were based\, was an area that lent itself to being creative. Populated by never-ending terraces of cheap student houses\, the close-quarters living made for easygoing connections and rehearsals. Plus\, the house parties that constantly took place – in the area’s plentiful supply of scuzzy basements – meant opportunities to playing for rowdy\, appreciative crowds. \nEach summer\, he would return to the Outer Hebrides with his extended band mates in tow. His dad built his own studio there\, so they would make the journey to all spend a couple of weeks writing and recording. It became an important hub\, with both Adult Jazz and Glad Hand releasing debut albums from sessions that took place there. \nHaving moved to London in 2015\, which is when he started working on his solo material\, the studio still remains an important finishing-stop for his music. He returned to the Highlands to put the finishing touches to Loud Patterns. Putting the album through the studio’s mixing desk\, he also spent time tinkering with the finer details. “They’ve just got lots of old\, broken bits of gear\,” he says. “At one point\, we had two car batteries and we were holding it up to get the spring reverb to work.” \nThe music on the album\, written and recorded with this record in mind\, manages to deftly flit between his different interests. Coarse\, discordant squeels repeatedly pierce the opening title track\, softened by the chorus’ sweetly-sung vocals. Elsewhere\, ‘Who Am I To Follow Love’ sketches a goofy-pop aesthetic – with wobbly synth-notes and clattering percussion – as backdrop for endearing vocal harmonies. And in ‘Rough Moss’\, there’s a proper\, face-melting club banger. With driving\, non-stop drums and a squirming bassline\, it’s the bedrock for cacophonies of noise: distorted\, strummed guitar chords\, laser-beam synths and blasts of hiss. \nThe album arrives after a series of releases that have established his particular\, in-between approach to dance-minded music. He put out two EPs on Manchester-based imprint Handsome Dad\, a one-off single with Adult Jazz\, the self-released ‘Temple Works’ EP and a limited-edition white label for Nic Tasker’s much-feted Whities imprint. The album is set to come via Secretly Canadian\, a longstanding giant of independent music. Their genre-spanning output is the perfect home for Kyle’s difficult-to-define approach.
URL:https://royaleboston.com/event/unknown-mortal-orchestra/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:[SOLD OUT] Brian Fallon & The Howling Weather
DESCRIPTION:This show is now SOLD OUT. \nBowery Boston presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is All Ages. Please note: bags or backpacks larger than a purse are prohibited. \n*** \n \n*** \nBrian Fallon & The Howling Weather \n \nWebsite\nFacebook\nTwitter \nBrian Fallon first rose to commercial and critical acclaim as the singer/songwriter/guitarist of The Gaslight Anthem\, in addition to other beloved acts including The Horrible Crowes and Molly & The Zombies.  \nFallon released his first solo record\, Painkillers\, in 2016. The album received widespread critical applause\, with Entertainment Weekly acclaiming Fallon as “a first-rate songwriter with a dozen tunes that wax philosophical about love and the human condition – the dude’s like a modern day Nietzsche with a sleeve tattoo.” “Painkillers suggests (Fallon) really was holding his best songs back\,” noted MOJO while Kerrang! declared it “a straight-up fantastic return to Brian’s rock ‘n’ roll roots.” “(Fallon’s) version of the American Dream is tied not to anything abstract or political\, but to songwriters like Bruce Springsteen\, Tom Petty\, and Roy Orbison\,” wrote Consequence of Sound\, “and in some ways Fallon’s version is even more effective than those of his forebears.” “It feels a little like a new morning\,” raved Rolling Stone. “For a guy whose songs have always traded in the pains and pleasures of nostalgia\, the Fallon of Painkillers seems to have arrived at a newfound\, forward-looking clarity.”\nBrian Fallon will release a new solo album in 2018 on Island Records. \n*** \nCaitlin Rose \n \nWebsite\nFacebook\nTwitter \nNashville’s own\, Caitlin Rose doesn’t like to categorize her music\, but what she creates is beyond easy classification. Her lyrics – visceral\, illustrative\, witty\, and wry – paired with timeless and tireless melody\, easily put her in a category alongside some of the most revered songwriters of our time. “The Stand-In” released in 2013 on ATO records seamlessly melds pedal steel guitar with restless pop beats\, creating lush instrumentals that build on the more spare construction of its precursor\, “Own Side Now” (2010\, ATO Records). Both albums have received praises from the likes of The Guardian for Rose’s undeniable strong suit\, her talent for storytelling through song. “For me the intention behind any song is writing a good one\,” Rose says “and to create something worthy enough to share with other people” Rose’s songs\, however\, are way beyond worthy. They’re downright necessary. She’ll be hitting the road in 2018 in advance of her forthcoming album\, slated for a mid-year release via ATO Records.
URL:https://royaleboston.com/event/brian-fallon-howling-weather/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180502T190000
DTEND;TZID=America/New_York:20180502T190000
DTSTAMP:20260408T002941
CREATED:20171116T174727Z
LAST-MODIFIED:20171116T174727Z
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SUMMARY:[SOLD OUT] Tom Misch
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited. \nTHIS SHOW IS SOLD OUT! \n*** \n \n*** \nTom Misch \n \nWebsite\nFacebook\nTwitter \n“Apparently\, I have a sound\, and people can hear it\,” Tom Misch claims modestly. For someone with a cohesive and sprawling body of mellow beats behind him\, he seems mildly bewildered that this is the case. “I try so many genres that it’s hard sometimes to pinpoint. I guess my sound is uplifting\, soulful\, funky — and happy more than it is sad.” It’s a perfect description of his debut album\, due in 2018\, which brings together low-slung hip-hop beats\, glittering disco\, and noodling jazz instrumentation in a way only Misch can.  \nIf Misch seems surprised\, it’s because his fanbase has developed naturally. He never set out with any grand plan when he began making beats\, and uploading roughly three tracks a week to Soundcloud at 16. “I prefer a more organic approach to making music\, but also to building a fanbase\,” he reflects. “I don’t want a big push on my music as I don’t want to be as big as possible.” And yet\, he’s rapidly become one of the U.K.’s most exciting emerging new artists\, gaining 1.1 million monthly listeners on Spotify and playing a sold-out tour of the U.K.\, U.S. and Europe in 2016. Collaborating with a clutch of fellow trailblazers like Novelist\, Loyle Carner\, and Zak Abel\, he’s accumulated a total of 75 million streams across all platforms to date — and it all started in his bedroom.   \nMisch’s earliest introduction to music came via his artistic family\, including his psychiatrist father\, a passionate violinist\, who would take him to concerts and the opera as a child. He sang in a choir at school\, and picked up the violin himself at the age of four. When one of his older sisters took up guitar and later abandoned it\, nine-year-old Misch inherited the instrument\, and taught himself to play Red Hot Chilli Peppers and Nirvana songs. Today\, he also plays bass\, banjo\, and a smattering of keys.   \nIt was one of his sister’s boyfriends who introduced him to the music of J Dilla at 15\, and from then on\, Misch was hooked. He took up Music Technology at school the following year\, and began learning how to create his own “really chilled out\, boom-bap kind of ‘90s hip-hop” on Logic Pro. “When I wasn’t at school\, I’d be making beats\,” he says. “It was just what I did.” As he began sharing his tunes on Soundcloud\, he found the response was overwhelming. “You put songs out and you build a fanbase — it’s kind of addictive.”   \nA collaboration with his sister Laura\, on the jazz-inflected “Follow\,” was a major turning point for both siblings after it was uploaded to influencer YouTube channel Majestic Casual. The track features Laura on sax and Tom on beats and vocals\, intertwined to mesmeric effect. “That was the point where I was like\, okay\, maybe I could do this as a career\,” Misch reflects. “Suddenly it had 100\,000 plays.” Shortly afterward\, Soulection co-founder Joe Kay commented on one of Misch’s productions on Soundcloud\, asking the teenage prodigy to guest on his radio show.   \nSoon afterward\, in 2014\, Misch contributed to Soulection’s White Label series\, weaving together obscure jazz samples\, guitar\, and vocals to create the perfect summer listen (including the dreamy fan favourite “The Journey”). His Beat Tape series collected the best of his hip-hop instrumentals\, the 5 Day Mischon project featured collaborations with grime MC Novelist and singer-songwriter Zak Abel\, and his 2016 Reverie EP brought the official release of Misch’s most sophisticated songs to date. As well as soulful singers Carmody and Jordan Rakei\, he struck up a collaborative relationship with fellow south Londoner Loyle Carner\, whose mellow bars flow over Misch’s productions like a breeze on a hot day.   \nBoth artists form part of the much-hyped scene of singer-songwriters emerging from south east London\, including King Krule and Cosmo Pyke. Each has a DIY mindset and a brooding\, poetic approach to lyricism that weaves them loosely together. “There’s definitely a certain sound\,” reflects Misch. “Everyone’s music in south London is really chilled. It reflects the vibe of this part of London — it’s laid back.”  \nMisch has lived in south London all his life\, and he loves it so much that his new single\, “South of the River\,” is dedicated to it. “I much prefer the general vibe of south London\,” he says. “I love this area\, Peckham\, Dulwich\, Forest Hill. Singing that line —  You should come south of the river — it just felt really good.” With its string arrangements mirroring disco synth stabs and a funky bassline\, it’s an irresistible bop that nods clearly to Misch’s danceable new direction.   \nOne of the biggest influences on Misch’s sound has long been jazz. With a degree in jazz guitar\, Misch is an avid listener of Robert Glasper\, Roy Hargrove\, Cory Henry\, and jazz-influenced songwriters like D’Angelo and Erykah Badu. “It’s kind of a warm feeling\, when you hear a certain chord progression\,” he explains.   \nIn the making of his debut album\, he’s also been drawing on inspiration from disco\, house\, and techno\, discovered through the portal of producers like Kaytranada and Motor City Drum Ensemble. The euphoric feel of 1970s and ‘80s disco (think Earth Wind and Fire or Gwen McCrae)\, and the thump of nightclubs like Fabric or Corsica\, inspired him to bring more movement into his songs. “I want people to dance at my live shows\, I want to bring more energy\,” he says. “When you’re in a club and you can feel the bass…I want people to have that experience.”  \n*** \nGabriel Garzón Montano \n \nWebsite\nFacebook\nTwitter \nOn his debut LP\, Jardín\, Gabriel Garzón-Montano sings of the struggles and uncertainties of the many-layered game that is America today\, from the specific doubt and double consciousness of the first-generation hustle\, to the universal challenges of love\, legacy\, and exploring the maze of one’s own mind. A child of immigrant parents – a child of Brooklyn\, NY – Garzón-Montano’s aesthetic is an extension of his French-Colombian heritage\, a pastiche of Bach sonatas\, cumbia records\, and the machine gun funk that echoes to this day from behind half-rolled tints up and down Nostrand Ave. His mother\, a member of the Philip Glass ensemble in the 1990’s\, instilled within him a painstaking attention to detail that remains a hallmark of his process. “My mother is the reason I love music\,” he says. Her rigorous classical instruction served as his creative engine as he honed his skills over the course of years in the lab\, copping Stevie’s changes\, studying Prince’s lyrics\, and absorbing the beat theses of Timbaland\, Dilla\, and Pete Rock. \nJardín comes on the heels of three intense years of touring\, writing and recording. Soon after the 2014 release of his debut EP\, Bishouné: Alma del Huila\, Gabriel was invited out on the road by rock legend Lenny Kravitz\, as direct support on 23 concerts across Europe. The day after playing Wembley Arena\, he received a call notifying him that his song “6 8″ would be sampled by Drake on his full-length If You’re Reading This\, It’s Too Late. The months following these cosigns Garzón-Montano was featured at Bonnaroo\, Lollapalooza\, and Austin City Limits\, and on back-to-back tours with English indie-rockers Glass Animals and Stones Throw label mate Mayer Hawthorne. \nIn 2016\, he returned to Waterfront Studios in Hudson\, NY\, to record Jardín with his mentor\, analog guru Henry Hirsch. A capable multi-instrumentalist\, Gabriel tracked drums\, bass\, guitar\, piano\, and synthesizers direct to 2” tape\, adding percussion\, digital programming\, and several layers of his own vocals to create a lush sonic environment that recalls a contemporary\, streetwise Journey Through the Secret Life of Plants. “I wanted to make music that would remind people how beautiful life is – how delicate their hearts are\,” says Garzón-Montano. “A garden is full of life\, and growth\, and beauty. I named the album Jardín hoping for it to create a space for healing when people put it on. I’ve always wanted to make music that is healing\, comforting\, and funky.” This intention is\, perhaps\, what has always attracted listeners to his music. Fans of Bishouné will find familiar ground in the organic sounds and impressionist narratives of Jardín: the Moog-heavy “Fruitflies” reads as a lyrical epilogue to “Keep on Running\,” while “The Game” brings the folkloric percussion of “Me Alone” home from Cartagena to Crown Heights. The enduring choruses of “Sour Mango\,” “Crawl\,” and “My Balloon” exhibit a melodic and compositional craftsmanship reminiscent of the fan favorite “Everything is Everything\,” confirming Garzón-Montano’s innate pop sensibilities\, and his indisputable knack for fusing a wide range of classic influences and cutting-edge ideas to create a sound all his own.
URL:https://royaleboston.com/event/tom-misch/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180503T190000
DTEND;TZID=America/New_York:20180503T190000
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SUMMARY:Hop Along
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale now! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n***\n \n***\nHop Along \n \nWebsite\nFacebook\nTwitter \nHop Along has had multiple lives.  First conceptualized as a freak-folk solo act by Frances Quinlan\, it progressed towards a fuller sound with the addition of Mark Quinlan on drums\, Tyler Long on bass and Joe Reinhart (Algernon Cadwallader\, Dogs on Acid) on guitar.  Emerging as one of music’s most unique songwriters\, the captivating vignettes Frances has weaved tell vivid stories of desperation and weary awakening.  Her powerful voice is a spellbinding entity all it’s own\, celebratory and raw\, and one that can’t be shaken away. \nTheir new album\, Painted Shut\, (out on May 5\, 2015 via Saddle Creek) is their 2nd full-length (preceded by Get Disowned in 2012).  However\, this release marks their first time creating as a full-formed entity\, arranging everything as a group.  It was co-produced\, recorded and mixed by John Agnello (Kurt Vile\, Dinosaur Jr.\, Sonic Youth\, etc.) in the great cities of Philadelphia and Brooklyn\, and incidentally finished in the shortest span of time the band has ever made anything. \nLike their debut\, Painted Shut is a series of accounts\, a procession of fleeting and repeating characters.  However\, it diverges from its predecessor in its close-up\, controlled approach (most of the album features the band recording live)\, and more focused portraiture.  Whereas Get Disowned calls forth a dreamy collage of protagonists in a tone that’s often anthemic and surreal\, Painted Shut is a grounded\, less merciful image of many struggling adults (and children) in a severe landscape. \nOften depicted in Painted Shut are the two lives of legendary (though generally unknown) musicians\, Buddy Bolden and Jackson C. Frank\, who were plagued with mental illness until their penniless deaths.  Included are accounts of more everyday poverty\, abuse\, greed; and banal\, sub-par behavior.  Society is unveiled as a structure that\, in reality\, was most certainly not built with everyone in mind.  Clearly this is difficult subject matter.  Yet the songs themselves move unencumbered and easily\, forming angular pop anti-anthems\, at times jubilant as well as irreverent.  Somehow\, they are not sad songs.  There is joy\, in the abandon of Frances’ unforgettable voice\, in the exulting choruses.  One wakes to a sky that is a bright\, ageless blue.  It’s morning and so clear outside that multitudes of lives can be seen\, in focus despite the distance.  All of this is viewed through a window sealed with cracked paint that cannot be opened on either side.  That is how we must often view the lives of others\, especially when it comes to people who have lived and gone from this world.  That’s another story. \n***\nSaintseneca \n \nWebsite\nFacebook\nTwitter \nAt the intriguing intersection of metaphysics and rock and roll\, you will find the new Saintseneca album Such Things. While the thematic concerns of the record address the very nature of human consciousness\, the decidedly hook-centric sound serves as a delightfully visceral counterpoint\, infusing the band’s unique melding of folk\, punk and epic rock with a very earthly sense of groove. At its core\, Such Things is entirely accessible and undeniably powerful\, unquestionably Saintseneca’s most cohesive\, catchy output\, and a work that cements the band’s singer songwriter Zac Little’s status as one of modern indie music’s most thoughtful and talented artists. \nBolstering the more streamlined “pop” compositions is a raucous and fuzzed out sonic palette that beautifully accentuates the record’s power of engagement.“When we were getting ready to record with Mike (Mogis of Bright Eyes)\, I told him I wanted the songs to be filtered through sixties psychedelic pop\,” Little explains. “Not like a throwback record\, because I didn’t write those type of songs. What we wanted were modern songs that sounded like a band had gone back in time to record them.” \nSince its origin in 2007 as an teenage bluegrass outfit in Appalachian Ohio\, then its growth to a large\, multi-instrumental live rock and folk collective whose onstage experiments would find their way to tape on 2011’s Last\, and then the more traditional approach of writing and recording in making Dark Arc\, Saintseneca has largely been Little’s machine. A meticulous\, tireless craftsman\, he began writing for Such Things by demoing songs composed of anywhere from two to one-hundred-and-fifty tracks\, which he then shared with his bandmates to serve as reference points for their own invented parts. \n“Even though it might seem like this singular vision\, at the core my creative strategy for the band is one that inherently involves other people. I think the best work I’ll make involves working that way. Ultimately\, by involving other people that are really talented and that I admire\, we’ll come up with something that will transcend what any individual would be capable of. To me that’s the ultimate creative goal; to have that element of spontaneity and the culmination of multiple minds.”
URL:https://royaleboston.com/event/hop-along/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180504T210000
DTEND;TZID=America/New_York:20180504T210000
DTSTAMP:20260408T002941
CREATED:20180329T040131Z
LAST-MODIFIED:20180329T040131Z
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SUMMARY:Neo Soul Presents: AfterJourney+BooM Huang The DMOB 2018 "West To West" US Tour
DESCRIPTION:18+ \nDoors at 8pm.
URL:https://royaleboston.com/event/neo-soul-presents-afterjourneyboom-huang-dmob-2018-west-west-us-tour/
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:20180506T204500
DTEND;TZID=America/New_York:20180506T204500
DTSTAMP:20260408T002941
CREATED:20180316T030054Z
LAST-MODIFIED:20180316T030054Z
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SUMMARY:Giorgos Mazonakis Live! North American Tour 2018
DESCRIPTION:21+ \, Doors @ 7:30PM \nValid US Government State IDs or Passports required for entry. No copies allowed.
URL:https://royaleboston.com/event/giorgos-mazonakis-live-north-american-tour-2018/
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:20180512T180000
DTEND;TZID=America/New_York:20180512T213000
DTSTAMP:20260408T002941
CREATED:20180205T170035Z
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SUMMARY:Marian Hill
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 2/9 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nAlbum Bundle: Every pair of online tickets purchased for the 2018 tour includes a standard physical CD copy of the forthcoming Marian Hill album. Instructions on how to redeem your copy will be sent via email on release day (yet to be determined). \nPLUS1: Marian Hill has partnered with PLUS1 so that $1 from every ticket goes to support Planned Parenthood\, the ACLU and the NRDC. \n*** \n \n*** \nMarian Hill \n \nWebsite\nFacebook\nTwitter \nAct One\, the debut full-length from songwriting duo Marian Hill\, was written and produced in its entirety by Jeremy Lloyd (music/lyrics/production) and Samantha Gongol (music/lyrics/vocals). The multi-talented duo\, who have been collaborating in one form or another since high school\, have shifted the classic paradigm of a woman on a stage and a man with a piano to a woman on a mic and a man with a laptop — and the results are seductive and vivid. Tempting paradox with a blend of blues and bass\, acoustic and digital\, classic and modern\, Marian Hill have arrived. \nTwo years ago Sam and Jeremy wrote and recorded “Whisky” over spring break in Jeremy’s parents’ basement. When they released it for free on SoundCloud later that summer it was the only song they’d written for the project\, and in a little over a year’s time they had recorded their first EP in a bedroom\, amassed millions of plays on various platforms\, sold out shows across the country and featured in high profile commercials. They signed to Republic Records in early 2015\, released the Sway EP\, and settled in to write and record their debut album over the course of the following year with a plan to push their unique sound to its fullest potential. \nFor the first 50 seconds of “Down” you might think you’re at a supper club in the 1920s\, but when the bass drops out of nowhere you couldn’t be anywhere but 2016. Act One then takes you on a journey through the complexities of modern relationships\, with each song inhabiting a specific and charged relationship lyrically\, melodically\, and sonically. “I Know Why” constantly transforms and reinvents itself as the vocals grapple with a secret while “Mistaken” is the hardest of sax trap with a classic songwriting backbone. “Same Thing” is the saddest part of the album\, a haunting ballad depicting serene resignation of a doomed relationship\, but castanets rise from the ashes as “I Want You” closes out the night in a pure moment of optimistic electricity\, a glance across a crowded room that changes everything. \nMarian Hill’s one of a kind sound is present throughout — blues harmonies blend with sparse hip hop drums\, horns blast under classic vocal melodies\, and soloistic vocal chops sit side by side with clear\, intimate lyrics. You’ve never heard this before\, yet it’s surprisingly familiar. And it’s only the beginning. \n*** \nMichl \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/marian-hill-3/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180513T190000
DTEND;TZID=America/New_York:20180513T190000
DTSTAMP:20260408T002941
CREATED:20180122T183604Z
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SUMMARY:[SOLD OUT] Shakey Graves
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited. \nTHIS SHOW IS NOW SOLD OUT! \n*** \n \n*** \nShakey Graves \n \nWebsite\nFacebook\nTwitter \nBack in December 2017\, Shakey Graves proclaimed on his Twitter page\, “Next album. New sound. Sell your suspenders.” The tweet was tongue-in-cheek\, but Alejandro Rose-Garcia\, the Austin native who’s been plying his trade as Shakey Graves since 2007\, was making a dead-serious point about his latest album\, Can’t Wake Up (Dualtone\, out May 4). This ambitious\, audacious work heralds an artistic metamorphosis for the 30-year-old veteran\, whose risk-taking in painting outside the lines has been rewarded tenfold. “This record is the most I’ve ever intentionally worked on a project\, musically speaking\, in terms of the scope of it and how much thought went into it\,” he says. “It’s a dense album; there’s a lot of information going on.” \nThat is not a hyperbolic boast. From one moment to the next\, Can’t Wake Up veers from the inevitable to the revelatory\, its thirteen songs teeming with jarring musical and thematic collisions and thrillingly seamless intersections\, gnarly psychological hornswoggles and ecstatic resolutions. Central to the prevailing sense of disorientation are the lead vocals\, none of which is purely solo. Instead\, each lead performance is shadowed by a queasy harmony or slightly out-of-sync unison part\, giving the sense—especially on headphones—that these voices are emanating from inside the listener’s head. \nNewfound inspirations the Beatles and Harry Nilsson (“I could only deny the inevitable for so long\,” he says of his belated immersion in the sacred texts) cohered around Rose-Garcia’s longtime touchstones\, including Elliott Smith\, Beck circa One Foot in the Grave\, Broken Social Scene\, Built to Spill and other indie bands of the 1990s and early oughts. \n“I’ve never worked like this before\, but I went into the record with the idea of having a thesis statement of what I wanted to get across\,” Rose-Garcia explains. “And the place that I got at was that I wanted it to be vaguely Wizard of Oz-themed\, and I wanted it to be hectic and a little uncomfortable\, like what I refer to as the Big Five Disney cartoons: Pinocchio\, Fantasia\, Snow White\, Dumbo and Bambi. All those movies are terrifying—some of the most stressful movies I’ve ever seen. So I started with this Wizard of Oz thing—’Tin Man’ that has obvious allusions to that—and the idea of black-and-white to color.” \nThe creative process was paralleled by the conception and execution of the striking\, hallucinatory cover art. “I built an elaborate miniature diorama in my house and used plexiglass plates\, paint and train set buildings to create a forced-perspective illusion and photographed it\,” Rose-Garcia explains. “The goal was to have the cover and the process to mirror the album in a way\, and I am thrilled with how it turned out.” \nCan’t Wake up is Alejandro/Shakey’s second official studio-album project—more official\, in any case\, than the several mostly solo odds-and-ends collections he’s been putting out through Bandcamp since his very first release\, Roll the Bones\, in 2011. It was his previous Dualtone album\, 2014’s And the War Came\, and centerpiece song “Dearly Departed” that lifted Shakey from hard-core cultdom to the elevated status of bona fide career artist. \nUp to now\, he’s been categorized as an Americana singer/songwriter\, thanks to his traditionally rooted songs\, fluent acoustic-guitar picking\, Texas roots and the aforementioned cowboy hat. Indeed\, Shakey was named Best Emerging Artist award at the 2015 Americana Music Awards. But that tag will undoubtedly be dismissed as restrictive and irrelevant once this righteously radical new album gets digested by critics and discerning listeners. Because Can’t Wake Up is an extreme example of what happens when a kid from an artistic family is encouraged to use his imagination from early childhood onward. \n“Not that I hadn’t made stuff that I really wanted to\, but with this record\, I just wanted to go back to building stuff\,” Rose-Garcia points out\, referencing a lifetime of doing just that. “So the creative process of building this record started out with me in a bathrobe in my house just doing what comes naturally\, and then finding pieces of what I want to write about everywhere.” \nThe figurative term “musical journey” is overused these days\, but Can’t Wake Up is largely the result of a series of literal musical pilgrimages that took Rose-Garcia and his collaborators—drummer Christopher Boosahda\, guitarist Patrick O’Connor\, bass player Jonathan Shaw and honorary bandmember Rayland Baxter—to several far-flung locales. “We went to Levon Helm’s barn/studio in Woodstock\, Kevin Costner’s ranch on the Roaring Fork River outside of Aspen\, the Belmont Hotel in Dallas\, and one final trip to Echolab Studios in Denton. In each of these expeditions\, we would ship our gear in\, live on-site for 10 days and let the backdrop and local characters really bleed into the experience. The patchwork quilt of it all really feels like the last few years of my life leading up to the birth of this record. This was a new process for me\, and a game-changing one.” \nA ton of personal experience went into the material\, stretching all the way back to the five years straight out of high school Rose-Garcia spent in L.A.\, taking a shot at starting an acting career and taking emotional lumps as his childhood fantasy of Hollywood was replaced by the bitter reality of rejection and monotony. “Dining Alone\,” in which the album hits emotional rock-bottom\, ruefully recounts that experience. “Same old shoes on the same old feet/One-track mind\, one-way street\,” he sings\, the juxtaposition of soaring melodiousness and near-despair echoing Harry Nilsson at his most existentially isolated. “Nothing’s going to change for the same old me/Eat\, sleep\, do it again.” \n“Big Bad Wolf\,” likewise\, comes off like a slice of autobiography\, with its references to the “silver screen” and football (he eventually landed a recurring role in the TV series Friday Night Lights\, but only after returning to Texas). The title suggests both his preoccupation with animated fairy tales and his unquenchable hunger to create. A similar sense of striving permeates “Kids These Days\,” as Rose-Garcia sings\, “Everybody tries…to be somebody/somebody’s wet dream prom king\,” amid overdriven power chords. “Mansion Door\,” by contrast\, shimmers with hopefulness\, lifted by rippling guitars\, Beatlesque psychedelic vocal flourishes\, Jiminy Cricket-like whistling and images of “My one and only lonely star” twinkling in the heavens. \nAt the same time\, “Mansion Door” establishes the overarching theme of Can’t Wake Up\, which is further played out in songs like “Counting Sheep\,” “Foot of Your Bed” (which can be heard as an ardent love ballad or the creepy reverie of a stalker) and “Tin Man\,” stoking this song cycle to the sweat-soaked turbulence of a fever dream. \nAccording to Rose-Garcia\, the album also functions as a private dialogue with certain listeners. “I get a lot of really intense\, very sweet fan mail from people who have either kept themselves from committing suicide by listening to my music or have lost one of their loved ones to suicide\, but my tunes were a bright spot for them\,” he says. “I got one from a girl not too long ago at a concert who said\, ‘My boyfriend finally succumbed to depression\, but for a while there\, your music was something we’d gather around that would make him feel sane.’ So to a certain degree\, this is a ‘Don’t kill yourself’ record. I really wanted to get deep inside that kind of gloomy\, hectic craziness—the dream analogy of not being able to wake up or not knowing who you are. Or\, in ‘Dining Alone\,’ being mired in monotony. And a lot of the ‘you’ on the record isn’t a girl or a boy; it’s the person listening to the record. I’m singing into the ear of somebody who might need it. If heard some of these songs when I really needed them\, I feel like they would hit the nail on the head.” \nNot every song is suffused in seriousness. “We wrote ‘Aibohphobia’ in the mountains as a group\,” Rose-Garcia recalls. “We were trying to work on more serious material\, but we had all had a little bit of LSD and started writing that song. Most of the lyric is a palindrome\, including ‘Aibohphobia\,’ which is actually a joke term for the irrational fear of palindromes. Even the last sentence of the song is one long palindrome. We got the hugest kick out of playing that song for each other.” \nHe sees the distinctions as well as the parallels between the two artistic endeavors he’s pursued. “Music\, to a degree\, values individuals being themselves\, in that good music tends to be rooted in honesty as opposed to a disguise\,” he notes. “It can be storytelling\, but it’s usually pretty direct. Whereas acting is about being unrecognizable as yourself. So in a sense\, the two modes are opposite. But on the other hand\, I use an alias when I make music\, because I like the storytelling aspect of having an alias or a band name—it just adds another shade of paint.” \nRose-Garcia has been encouraged to go for it by Dualtone\, which has given him a standing offer to release any album he feels warrants a wider release. “They’ve been really wonderful in a lot of ways\,” he marvels\, “but especially in the sense of trusting me and being very supportive of my putting out DIY stuff in between. Because that’s what this record is—a bigger version of DIY. That’s why I make stuff; I would do it if no one was watching me. The inherent pleasure I get out of creating anything isn’t for other people’s ears any more so than my own.” \nIn a sense\, the album is a microcosm of Rose-Garcia obsessively artistic existence and its ever-expanding horizons. “The beautiful lesson of all this is having to trust yourself\, to be willing to start something that you don’t know the outcome of\,” he reflects. “Or to lean toward something just because it feels right\, even though it may not be what you originally put down on paper. Those are the kind of stories in this record. They’re not so much about specific people\, or even myself per se. They’re different shades of every person’s life.” \n—Bud Scoppa\nJanuary 2018 \n*** \nAnd The Kids \n \nWebsite\nFacebook \nGrowing up\, often the safest haven to plot your dreams and get a handle on your identity is within the confines of trusted friendships. For the musicians in the critically acclaimed band And The Kids\, these bonds have been a life raft. \nBut as friendships evolve from adolescence to young adulthood\, sometimes the lines between friends\, lovers and all that comes in between can grow murky. On the Northampton\, MA-based band’s latest\, Friends Share Lovers\, And The Kids examines blurred boundaries in close-knit relationships. \n“The friends we grew up with were troublemakers\, lost souls\, dropouts\, and mother figures\,” says And The Kids guitarist and vocalist Hannah Mohan. “The title references the incestuousness of friend groups and how things get messy.” \nAnd The Kids channel existential crises into pop euphoria. With this sleight of hand\, the quartet manages to conjure chunky indie rock\, blissful new wave\, chamber folk\, jarring avant-garde\, and brawny classic rock. Mohan navigates this expansive creativity with aplomb. Effortlessly she swoops heavenly for high tones\, digs deep for swaggering rock n’ roll low tones\, and manages to mash up sweet sass with new wave bliss for a vocal feel that masks sage wisdom beneath sweet innocence. In addition to Mohan\, And The Kids is Rebecca Lasaponaro on drums\, Megan Miller on synthesizers and percussion\, and bassist Taliana Katz. \nThe quartet’s beginnings couldn’t be better scripted: Mohan and Lasaponaro met in band class in seventh grade. A few years later\, the duo dropped out of school and found themselves at a learning center that provided them with a free rehearsal space. There they practiced everyday\, inspired by such diverse artists as Modest Mouse\, Rilo Kiley\, The Doors\, and The Police\, among others.
URL:https://royaleboston.com/event/shakey-graves-3/
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:20180518T180000
DTEND;TZID=America/New_York:20180518T213000
DTSTAMP:20260408T002941
CREATED:20180110T222206Z
LAST-MODIFIED:20180110T222206Z
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SUMMARY:[SOLD OUT] Yacht Rock Revue
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited. \nThis show is now SOLD OUT! \n*** \n \n*** \nYacht Rock Revue \n \nWebsite\nFacebook\nTwitter \nThe Yacht Rock Revue is the greatest show on Surf and the finest tribute to ’70s light rock to ever perform anywhere. Ever. Their spot-on renditions of Hall & Oates\, Michael McDonald\, Steely Dan\, and the rest of the Time-LifeInfomercial Catalog have enthralled fans across the United States. It goes without saying they have taken their act to the high seas\, performing showcase sets on music cruises with Weezer\, Kid Rock\, Train\, Zac Brown Band\, Sister Hazel\, and fitness guru Jillian Michaels. \nBy blurring the lines between a tribute\, an original act\, and a comedic troupe\, the Yacht Rock Revue has forged a unique niche market and a special bond with their fans. The band attacks each song as if it were their own\, and the energy exchanged between the band and the crowd has more in common with a stadium U2 show than that of a typical bar band.\nThe band has won accolades ranging from “Best Place to Get Drunk With Your Dad” to “Best Overall Music Act in Atlanta” to “Best Place to Start an Extramarital Affair\,” and has been name-dropped by the New York Times\, Pitchfork\, the Guardian UK\,Spin\, TimeOut New York\, Billboard\, MTV.com\, and (probably) your mom at her last cocktail party. \nSpeaking of name-dropping\, members of the band have played on-stage with members of Weezer\, Billy Joel\, Walter Egan\, .38 Special\, John Mayer\, Zac Brown Band\, Little River Band\, Sheryl Crow\, Noel Gallagher\, Starbuck\, Sarah McLachlan\, Don Henley\, Lynyrd Skynyrd\, Neil Finn\, Jellyfish\, Devo\, Nine Inch Nails\, Joan Jett\, Wet Willie\, Bon Jovi\, Skid Row\, and the Saturday Night Live Band. (None of those were a joke.)
URL:https://royaleboston.com/event/yacht-rock-revue-3/
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:20180519T180000
DTEND;TZID=America/New_York:20180519T213000
DTSTAMP:20260408T002941
CREATED:20180110T202808Z
LAST-MODIFIED:20180110T202808Z
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SUMMARY:[SOLD OUT] ALT 92.9 presents Bishop Briggs
DESCRIPTION:Presented by ALT 92.9 \nDoors: 6:00 pm / Show: 7:00 pm \nThis show is now SOLD OUT! \nPlease note: this show is open to all ages. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nBishop Briggs \n \nWebsite\nFacebook\nTwitter \nBriggs was born in London to Scottish parents from Bishopbriggs\, Scotland\, which inspired her professional name. At age four\, she moved to Tokyo with her parents. She sang in public for the first time at a Tokyo karaoke bar\, and immediately realized she wanted to continue performing throughout her life. Growing up with the city’s karaoke bar traditions and hearing music from Motown musicians to The Beatles at home also influenced her to pursue music. She started writing her own songs at age seven\, which she would perform for her family. She moved to Hong Kong at age 10\, where she lived until she was 18. After graduating from Hong Kong International School she moved to Los Angeles\, California. \nAfter moving to Los Angeles\, Briggs started her career by playing in any venue she could\, often for crowds as small as three people. Shortly after a 2015 performance in a local bar that gained the attention of former A&R representative George Robertson\, Briggs recorded her first single “Wild Horses” under the name Bishop. The song was produced by Mark Jackson and Ian Brendon Scott. Many users found Briggs via Shazam when seeing an Acura commercial which features the song. \nIn January 2016\, Briggs released the single “River” and changed her recording name to Bishop Briggs to avoid confusion with a heavy metal band of the same name. The song was a commercial success. Shortly after its release\, the song quickly made it to number 1 on Hype Machine’s Popular charts and reached number 2 on Spotify’s Global Viral 50. It also received an Honorable Mention on Shazam’s predicted Songs of the Summer 2016\, which was featured in Billboard. As of May 2016\, “River” was steadily climbing the Shazam Future Hits charts. “River” has so far peaked in the top 10 on the Rock Airplay and the Alternative Songs chart. \nIn May 2016\, she released her third single\, “The Way I Do”. It was also announced that she would open for Coldplay in the fall of 2016 on nine of their tour dates. Briggs made her television debut on August 1\, 2016\, performing “River” on The Tonight Show Starring Jimmy Fallon. She released her fourth single\, “Pray (Empty Gun)” on August 12\, 2016. \n*** \nForeign Air \n \nWebsite\nFacebook\nTwitter \nSince the arrival of their debut single “Free Animal\,” alt-pop duo Foreign Air has enjoyed a meteoric rise as one the more recent buzziest new acts\, with Pigeons & Planes dubbing them one of “20 Artist About To Blow”\, cracking Spotify’s Viral Top 20 Chart\, and earning spins from Beats 1’s Zane Lowe\, KCRW\, and SiriusXM Alt Nation. The pair ended 2016 with the release of their four-track EP “For The Light” which has surpassed over 13 million streams on Spotify.   \n Foreign Air has spent the better part of 2017 on the road captivating audiences with their energetic live show supporting the likes of  Phantogram\, Bleachers as well as a string of summer festivals.  The pair is currently bunkered in the studio recording songs for their forthcoming debut album.
URL:https://royaleboston.com/event/bishop-briggs/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180520T190000
DTEND;TZID=America/New_York:20180520T190000
DTSTAMP:20260408T002941
CREATED:20180311T130011Z
LAST-MODIFIED:20180311T130011Z
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SUMMARY:[SOLD OUT] NAV
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nSOLD OUT \nEvery pair of online tickets comes with one (1) Download of Nav’s forthcoming album. You will receive an additional email with instructions on how to redeem your album. US/Canadian residents only. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nNAV \n \nWebsite\nFacebook\nTwitter \n*** \n88glam \n \nWebsite\nFacebook \n88GLAM is a new rap duo comprised of Toronto natives Derek Wise and 88 Camino.
URL:https://royaleboston.com/event/nav/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180522T190000
DTEND;TZID=America/New_York:20180522T190000
DTSTAMP:20260408T002941
CREATED:20180120T193650Z
LAST-MODIFIED:20180120T193650Z
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SUMMARY:Jukebox The Ghost
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale NOW! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \n \n***\nJukebox the Ghost \n \nWebsite\nFacebook\nTwitter \nJukebox the Ghost’s latest record\, Off To The Races is a giddy\, vibrant collection of Jukebox the Ghost’s most bombastic\, colorful songs to date. Though it’s the fifth studio outing from this long-running trio of piano pop wizards\, it plays like an energetic debut album: Just as eager to please as it is eager to surprise you. Every generation has a band that puts a fresh twist on piano-rock\, and Jukebox the Ghost’s latest studio offering serves as a memorably vivid and kaleidoscopic step forward for the genre. \nOff To The Races is their fifth studio outing\, mostly recorded at Studio G in Brooklyn and engineered\, produced and mixed by Chris Cubeta and Gary Atturio (two exceptions: “Everybody’s Lonely” was produced by CJ Baran and Peter Thomas and “Fred Astaire” was produced by Chris Wallace). Longtime fans will hear little bits of past Jukebox the Ghost embedded in the record blanketed in a fresh\, more colorful sonic palette. The flamboyance and quirkiness of Let Live and Let Ghosts (2008)\, the retro sensibility of Everything Under the Sun (2010)\, the concise modern pop smarts of their recent self-titled album (2014) and Safe Travels (2012) and the raw live energy of their live album Long Way Home (2016) are all on full display if you listen closely. \nThe album is the result of a three-year songwriting and recording process\, culled from dozens of demos that the band brought to the table. Recording in their home base of Brooklyn enabled them to do more outside-the-computer sonic experimentation and live performance than past records have afforded. “In ‘Boring’ we sent Tommy’s backing harmonies through a distorting rotary speaker which created this totally weird underwater sound\,” explained Jesse Kristin. “And for ‘See You Soon’ we ran an electronic tabla machine through an amplifier and then I played drums along with it. That’s the sort of thing I think we wouldn’t have spent the time to do on our other records.”  \nJukebox the Ghost formed in college in 2006 and has been a steadily growing cult favorite and a globally touring band ever since. Composed of Ben Thornewill (piano/vocals)\, Tommy Siegel (guitar/bass/vocals) and Jesse Kristin (drums/vocals)\, they have played over 1\,000 shows across the country and around the world over the course of their career. In addition to countless headlining tours\, they have also toured as openers alongside Ingrid Michaelson\, Ben Folds\, Guster\, Motion City Soundtrack\, A Great Big World and Jack’s Mannequin\, among others. In addition to festivals like Lollapalooza\, Outside Lands\, Bonnaroo\, and Bottlerock\, Jukebox the Ghost has also performed on The Late Show with David Letterman and Conan. Their 2018 national headlining tour will take them to their largest headlining venues to date across April and May. \n***\nThe Greeting Committee \n \nWebsite\nFacebook\nTwitter \nFormed in 2014\, The Greeting Committee consists of vocalist Addie Sartino\, guitarist Brandon Yangmi\, bassist Pierce Turcotte\, and drummer Austin Fraser\, half of which are still in high school. The band quickly emerged into the music scene after catching the attention of Lazlo Geiger\, a radio personality from 96.5 The Buzz (KRBZ Kansas City). \nThe Greeting Committee’s debut EP\, titled ‘It’s Not All That Bad\,’ captivated the hearts of listeners with its intelligent musicality and meaningful lyrics. “If you want smart\, credible music with a raw energy that inspires\, you just found it\,” says Geiger. The EP was re-released through Harvest Records in October of 2015\, leading The Greeting Committee to land tours with bands such as KITTEN\, Saint Motel\, and The Mowgli’s\, as well as festivals such as Mo Pop in Detroit and the 25th anniversary Lollapalooza in Chicago. \n“We’re working to create a collaborative environment with our surroundings\,” explains Sartino\, “To us\, The Greeting Committee is an art project influenced by the listeners. The music is merely the soundtrack to something much greater.” After recording in Capitol Studio B in August 2016\, the band plans to release new music in the near future.
URL:https://royaleboston.com/event/jukebox-the-ghost/
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:20180523T190000
DTEND;TZID=America/New_York:20180523T190000
DTSTAMP:20260408T002941
CREATED:20180221T150015Z
LAST-MODIFIED:20180221T150015Z
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SUMMARY:Parquet Courts
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale NOW! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nParquet Courts \n \nWebsite\nTwitter \nParquet Courts began their 2014 release Content Nausea with the repeated refrain\, “everyday it starts – anxiety!” And while that track left off at just its start\, Human Performance dives in\, picking apart the anxieties of modern life with the band’s most innovative and emotional collection of songs to date. Not that that’s the whole story. \n“The final product of this album is Exhibit A that we made it through the shit\, solved the problem\, had the chuckle\, took the piss\, made up with the other guy\, and got home in one piece\,” laughs bassist Sean Yeaton. \nWhereas other Parquets Courts albums were recorded in a matter of days or weeks\, for Human Performance the band took an entire year; it’s the first LP that finds all four band members contributing songs. \nHuman Performance brings expansive sonic experimentation and shining melodic introspection onto matters of the heart\, matters of humanity\, of identity. “I told you I loved you\, did I even deserve it when you returned it?” singer/guitarist Andrew Savage wonders on the title track. It’s also their most pop-oriented collection yet\, coming only months after the release of the largely instrumental Monastic Living EP; a record that was actually made at the same time. \n“In a way\, Monastic Living was like a palate cleanser for us as a band\,” explains singer/guitarist Austin Brown\, who produced the entire record\, and mixed it in Austin at Jim Eno’s Public Hi-Fi\, “maybe a return to our roots of improvising together\, and being a bit more free\, and seeing what kind of new sounds we could make.” \nThe recording sessions started at Justin Pizzoferrato’s Sonelab in Western Massachusetts. Some of it was also made with Tom Schick and Jeff Tweedy at The Loft\, Wilco’s visionary studio in Chicago\, but the majority of Human Performance was made at Dreamland Studios\, a massive upstate NY pentecostal church where records have been made by The Breeders\, Dinosaur Jr\, and the B-52s (including “Love Shack”). They spent three weeks straight there\, writing by day and recording with Pizzoferrato by night. \nThe result is a record with a palpable sense of fragility. “The process of writing and recording Human Performance\, for me\, was a fairly uncomfortable confrontation with my emotions\,” Savage says. “Emotions I don’t think I’ve fully explored in my life\, artistic or otherwise.” \nHuman Performance is fittingly laced with as much static as softness\, with tight-wound percussion pushing along meandering\, wistful melodies. There are dazed and disoriented earworms\, echoing group chants\, downtempo ballads with wired riffs. Lovers leave\, existential confusion replaces them\, weeks pass\, the J train rolls by. \nThe record leads with “Dust”\, a 4-minute opener that takes the mundane daily duty of sweeping the floor and turns it into a frantic\, obsessive call for action. “Dust is everywhere … Sweep!” they drolly repeat\, before their cyclic back beat gives way to explosive\, everyday city sound of car horns. \nSavage says “Human Performance” is his most personal song on the record\, a solemn musing on love drifting away\, a picture-perfect memory of the beginning of things and a hazier recollection of the ending. “It didn’t feel right to be shouting\, barking\,” he says\, reflecting on his tendency to really sing for this first time on this album. “I think a lot of people are attracted to a sort of cerebral side of Parquet Courts\, in the lyricism. There has always been the emotional side of our band\, which I think has always been an important balance\, but Human Performance marks a point where the scales have tipped. I began to question my humanity\, and if it was always as sincere as I thought\, or if it was a performance. I felt like a malfunctioning apparatus. Like a machine programmed to be human showing signs of defect.” \nAcross six years\, four full-length albums\, and two EPs\, Parquet Courts have always littered their lyric sheets with question marks\, interrogating the outside world to varying degrees. Light Up Gold considered peanuts versus Swedish Fish\, an introduction of their sharp\, young wit and language of mundane\, everyday NYC imagery. Sunbathing Animal channeled that language into noisy punk philosophy\, raising wide-view questions about agency versus captivity\, choice versus freewill. Content Nausea wondered about anxiety and emotional deterioration under the age of big data\, in an aptly self-aware way: “And am I under some spell? And do my thoughts belong to me? Or just some slogan I ingested to save time?” And with Human Performance—their fifth album and second for Rough Trade—the question marks get turned on themselves more than ever. \n“There is a lot of darkness\, and general anguish being worked out on this record\,” Brown adds. “But it ends kind of peacefully\, kind of accepting that you can’t do much about it.” \n*** \nGoat Girl \n \nFacebook \nFrom the very beginning Goat Girl were always threatening to turn into a special band. Songs that use subtlety as their main ingredient while remaining disarmingly fierce at every turn. Lyrics that mean everything despite being written down in the most simplistic and non-aggressive way possible… they are an anomaly in the UK music scene as 2016 draws to a draggy close: four people playing guitars\, bass and drums who have the ability to make you feel //alive// again. \nThe best music always comes out of nowhere\, and Ellie\, Lottie\, Naima and Rosie seem as surprised as anybody to find themselves in their current position. “A year ago me and Ellie were playing this cult open mic night in south London run by someone who used to be in Hawkwind\,” says Naima. “Then we met Lottie in the street outside a house party\, then we met Rosie in the audience at The Windmill in Brixton\, and then we became Goat Girl.” \nNamed in reference to the questionable Bill Hicks comedy sketch Goat Boy (“It’s disgusting\,” says Lottie\, although she’s quick to add: “But I like his social commentary\, and the satirical element to what he did\,”) the band are fresh out of their respective London colleges and a million miles away from everything else ‘new’ you’ll hear right now. \nGoat Girl currently have upwards of 20 completed songs\, each one a caustic commentary on the England they’ve grown up in. Next month they finally get around to releasing two of them on Rough Trade: ‘Scum’\, quoted at the top of this article\, is as full-on and dead-eyed as British rock music gets\, while ‘Country Sleaze’ is a brooding two-chord time capsule that sounds like it’s been beamed over from a Seattle divebar in 1989. Both tracks were recorded purposefully quickly in a no-nonsense north London studio a few weeks ago with fast-rising producer Margo Broom. \n“There’s teenage angst in them\,” says Ellie. “But I think that was inevitable\, growing up in London over the last ten years.” All four members of Goat Girl are under 20\, but their relative youth isn’t what makes them stand out. Rather\, they feel so compelling because of they way they expertly pick through the holes of so-called millennial culture\, not to mention the way the media and government are messing with the minds and future plans of an entire generation. They’re truth-tellers\, and this is surely the reason why so many people have been leaving Goat Girl gigs open-mouthed recently. \n“I just like watching people\,” says Lottie\, the band’s principal lyricist and lead singer. “I think it’s nice to make lyrics obscure\, so people can’t really understand them. People like dark themes\, don’t they? Especially today.” \nUnassuming in person\, Lottie’s brilliant words undoubtedly propel Goat Girl. But as a band they’re very much a democracy\, with each member as integral as the last. Just check out guitarist Ellie’s unconventional playing on fan-favourite and future anti-anthem ‘Burn The Stakes’\, as well as the way drummer Rosie and bassist Naima gel on the droning\, soul-spluttering ‘You’re The Man’\, which is also their catchiest track to date. \nGoat Girl’s raw brand of classic garage pop subversion has proved irresistible to those in the know so far\, which is why despite barely playing any shows in public before this summer\, nearly every day in the first quarter of 2016 a fresh face from the music industry would randomly appear at the band’s dark and damp rehearsal space in south London\, contract in hand\, desperately trying to sign them. \n“It was kind of annoying\, we just really wanted to write songs at that point!” says Lottie\, adding that ultimately\, being afforded the time to grow as a band was why Goat Girl decided to go with Rough Trade. “We signed on the same day as the Brexit result\,” says Rosie. The irony was lost on nobody. \nAs a unit\, Goat Girl say they’re torn on politics. Lottie’s lyrics explicitly deal with issues most other acts in 2016 seem scared to even skirt around\, but the band are also acutely aware of how easy it is to become a cliché\, to be labelled and put in a box. \n“We’re in a weird position\,” says Lottie. “With anything in music that’s succeeding\, money is gonna be thrown at it. And because of that you’re running the risk of destroying what it is that makes you special in the first place. But right now\, today\, it’s just nice to relate to people – to feel like we’re a part of a growing community.” \nAs rare as they are refreshing\, the band’s plan from here is simple: get ‘Country Sleaze’ and ‘Scum’ out into the world ASAP\, hit the road\, and record a debut album that has\, as Naima puts it\, “spirit\, strength and simplicity” at its heart. Savvy and effortlessly inventive\, Goat Girl are London in 2016 – and suddenly London feels real again.
URL:https://royaleboston.com/event/parquet-courts/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180528T204500
DTEND;TZID=America/New_York:20180528T204500
DTSTAMP:20260408T002941
CREATED:20180522T152305Z
LAST-MODIFIED:20180522T152305Z
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SUMMARY:Mihalis Hatzigiannis
DESCRIPTION:21+ \nValid US Government ID or International Passport Required for Entry.
URL:https://royaleboston.com/event/mihalis-hatzigiannis/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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DTSTART;TZID=America/New_York:20180608T180000
DTEND;TZID=America/New_York:20180608T213000
DTSTAMP:20260408T002941
CREATED:20180226T150040Z
LAST-MODIFIED:20180226T150040Z
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SUMMARY:Gomez - Bring It On 20th Anniversary Tour
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 6:30 pm \nTickets on sale NOW! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nGomez \n \nWebsite\nFacebook\nTwitter \n“No other record captures that period so perfectly\,” says Elbow’s Guy Garvey. “The concerns of the songs. The stories\, the experimental sounds. It was so brave for a band to record themselves at that time: it allowed a direct and undiluted account of the band as aspirational\, big-hearted friends in love with making music and each other. It dared us to record ourselves. But they did it first. It’s the most deserving recipient of the Mercury Prize in its history: a breathlessly ambitious and lovingly crafted masterpiece. It should be called Bring It ‘The Fuck’ On.” \nTo commemorate the 20th anniversary of Gomez’s Mercury Music Prize winning debut album\, Bring It On will be re-mastered and reissued as a super-deluxe 4CD with an accompanying remastered double LP release. The 4CD 20th Anniversary edition of Bring It On contains the original\, classic album remastered by Frank Arkwright @ Abbey Road studios and 35 previously unreleased tracks including 25 demos (recorded between January 1996 and August 1997) – 13 of which are appearing on an official Gomez release for the first time. \nThe band will be playing the album in its entirety on their forthcoming UK & Ireland tour (April/May 2018) plus Australian and US dates \nTwenty years on\, the debut album by Gomez sounds not of its time\, but ahead of its time. You can hear its echoes in so much of the music that followed it: not just in Elbow\, but in any artist who heard Bring it On and realised the possibilities of combining indie and roots music with lo-fidelity electronics: a modern experimental sensibility with a love of the past. Bring It On was an album that synthesised styles in a way that seemed remarkable then\, and now sounds utterly unforced and contemporary. Where so many of its contemporaries sound completely of their time\, Bring It On sounds as if it could have come out to equal acclaim at any point over the past 20 years. It’s a record that thoroughly merits its expanded 20th anniversary edition. \nBring it On sounds as if it’s been made by kids who’ve been exploring the outer expanses of Spotify\, scouring it for unlikely sources\, rather than four lads in a Southport garage\, and the fella they met at university. Though\, in a way\, Bring It On is the pre-streaming version of that very process\, bringing together all the five members’ tastes\, without ever allowing one style to dominate. You can hear their love of so much different music: Tom Waits\, Tim Buckley\, Prince\, Talking Heads\, Johnny Cash\, Portishead\, The Chemical Brothers\, Led Zeppelin\, Neil Young\, jazz and folk and indie and the West Coast and classic rock. Between them\, Ian Ball\, Ben Ottewell\, Tom Gray\, Paul Blackburn and Olly Peacock created something that was far more than the sum of its parts. \nIn 1998\, of course\, it sounded revolutionary. “Gomez came along at exactly the right moment\,” says the DJ Steve Lamacq\, who championed the band on his Radio 1 show. “After Britpop had collapsed in on itself\, there was a massive hole on the Evening Session\, waiting to be filled. But what we found was\, people reacting against the commerciality of the Britpop wave and heading off on all sorts of strange tangents. The audience was really receptive to sounds that maybe wouldn’t have fitted in a few years earlier.” \nGomez hadn’t even recorded with the intention of making an album\, which is perhaps why it sounds so unforced. The basis of the album was seven tracks recorded on an ancient four-track recorder. The band’s label\, Hut\, had to use the home recordings – for practical reasons. “They couldn’t recreate those recordings because they’d done them in one of their dad’s garages on the four-track\, and just after they’d finished doing the last one the thing broke\,” says Hut’s David Boyd. “So we decided it needed a little bit of mixing and embellishment\, but not a lot\, and they trotted off to Liverpool to do the touch-ups\, but to all intents and purposes that was Bring It On.” \nIn Liverpool\, engineer Ken Nelson awaited them\, and helped them turn those seven tracks into a whole album. “They’d have an idea and would look to me to make it work\,” Nelson says. “Their home-learned skills transferred well to the studio and I believe we learned so much from each other. I’d never worked with a band who were so creative before: it was truly exciting for me.” \nThe spectacular results had an immediate impact and influence\, Chris Martin admired Bring It On so much that Coldplay hired Ken Nelson to produce their first album (he went on to produce three for them). Indeed without some of Gomez’s freewheeling influence\, it’s much harder to imagine the British music scene making a comfortable home for the innovating likes of Alt-J\, Everything Everything & Field Music\, or across the pond where subsequent harmony bands blending indie\, antifolk and art rock have thrived. \nBring It On went on to win 1998’s Mercury Music Prize\, beating Pulp\, Massive Attack\, Cornershop and The Verve\, the judges describing the album as “an intriguing blend of swamp blues\, bar-room rock and eerie power”. \nBring It On remains the album Gomez are best known for in the UK\, but it was only the starting point for a spectacular career. The band built audiences internationally\, especially in the US and Australia. In the States\, in particular\, Gomez have become bigger and bigger\, with their two most recent albums\, A New Tide (2009) and Whatever’s on Your Mind (2011)\, becoming the highest-charting records of their career. \nBut Bring It On remains the landmark: The introduction to their singular nature. Hence the deluxe reissue. Hence the forthcoming anniversary tour on which many of the shows – including an appearance at the Royal Albert Hall – sold out in moments. Twenty years later? Once again\, bring it on. \n*** \nLilith \n \nWebsite\nFacebook\nTwitter \nhannah + kelsey
URL:https://royaleboston.com/event/gomez/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180613T183000
DTEND;TZID=America/New_York:20180613T183000
DTSTAMP:20260408T002941
CREATED:20180427T160002Z
LAST-MODIFIED:20180427T160002Z
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SUMMARY:[SOLD OUT] A Celebration of the life and art of Caleb Scofield ft. Cave In\, Old Man Gloom\, Converge\, Young Widows\, The Cancer Conspiracy
DESCRIPTION:A Celebration of the life and art of Caleb Scofield featuring:\nCave In\nOld Man Gloom\nConverge\nYoung Widows – NO LONGER PLAYING DUE TO FAMILY EMERGENCY\nThe Cancer Conspiracy \n100% of all proceeds to be donated to the Scofield Family \n— \nDoors: 6:30 pm / Show: 7:00 pm \nSOLD OUT \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n***
URL:https://royaleboston.com/event/celebration-life-art-caleb-scofield-ft-cave-old-man-gloom-converge-young-widows-cancer-conspiracy/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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