BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Royale Boston - ECPv6.15.16//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:https://royaleboston.com X-WR-CALDESC:Events for Royale Boston REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20170312T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20171105T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20180311T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20181104T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20190310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20191103T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20200308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20201101T060000 END:STANDARD END:VTIMEZONE BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20170312T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20171105T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20180311T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20181104T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20190310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20191103T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20200308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20201101T060000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/New_York:20181128T190000 DTEND;TZID=America/New_York:20181128T190000 DTSTAMP:20260404T162958 CREATED:20181002T140042Z LAST-MODIFIED:20181127T170114Z UID:10001986-1543431600-1543431600@royaleboston.com SUMMARY:[CANCELLED] Adam Conover DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nDue to unexpected scheduling conflicts that have arisen with Adam Conover’s production schedule\, we regretfully have to cancel the Adam Conover: Mind Parasites Live! show at Royale on November 28\, 2018. \nRefunds will be issued at the point of purchase. URL:https://royaleboston.com/event/adam-conover/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/10/adam-conover-admat-2018.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20181130T080000 DTEND;TZID=America/New_York:20181130T170000 DTSTAMP:20260404T162958 CREATED:20181130T164823Z LAST-MODIFIED:20181130T164823Z UID:10002710-1543564800-1543597200@royaleboston.com SUMMARY:Laboda: Superstar Tour DESCRIPTION:21+\nValid US government issued ID or international passport required for entry. URL:https://royaleboston.com/event/laboda-superstar-tour/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts,Special Events ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/11/loboda.jpg GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20181201T180000 DTEND;TZID=America/New_York:20181201T213000 DTSTAMP:20260404T162958 CREATED:20180710T163006Z LAST-MODIFIED:20180726T182651Z UID:10001942-1543687200-1543699800@royaleboston.com SUMMARY:Tall Heights DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 6:30 pm \nTickets on sale Fri. 7/13 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. \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*** \nTall Heights \n \nWebsite\nFacebook\nTwitter \nGetting there is half the fun\, as the old saying goes\, but the journey is really the whole point for Boston electrofolk duo Tall Heights. Singer/guitarist Tim Harrington and singer/cellist Paul Wright know where they’ve been\, and where they want to go. As for the route\, well\, “we’re just mapping it out as we take it\, day by day\,” says Harrington. \nThey’ve reached their biggest junction so far — Neptune\, out now\, is Tall Heights’ first album for Sony Music Masterworks\, and the latest step in the ongoing evolution of their sound and style. \nHarrington and Wright formed Tall Heights in 2010\, keeping their songs stripped down to their essential elements\, in part\, to make it simpler to perform on the streets of Boston. \nNeptune is a far lusher construct: along with pristine and emotive vocal harmonies\, there’s subtly chugging electric guitar and a spare descending bassline on “Iron in the Fire\,” ethereal synthesizers and a spacious drum part on “Spirit Cold\,” a brittle splash of percussion to open “Backwards and Forwards” and feedback created by two cellphones on “Cross My Mind.” \n“It was helpful and I think comforting to define ourselves as two vocalists\, guitar and cello\,” Wright says. “There was a beauty and a simplicity\, and stepping outside of that box is pretty scary\, because you’re forced to redefine yourself and do some sonic soul-searching. I think this record reflects the results of that scary step.” \nThe band’s broadening sound came from the musicians’ conscious effort to push themselves\, and each other\, to create in new ways. By relying on a few core elements at the start\, the duo learned to make the most of their minimalist set-up. “It taught us to be lean and mean and effective with just two voices and two instruments\,” Harrington says. “It made us consider vocal tone and the way voices can mesh and interact.” \nAs those lessons took root\, the pair essentially gave themselves permission to push their musical boundaries outward over three separate recording sessions at Color Study studio in tiny Goshen\, Vermont\, that yielded songs for their 2015 EP Holding On\, Holding Out\, and for Neptune. Not only did Harrington and Wright expand their sonic palette throughout the process\, they also altered their approach to writing. The musicians tend to develop ideas separately\, before one brings a new song to the other for further development. It’s a reflection of their early days sharing musical ideas\, when Wright was living overseas and Harrington was finishing up college. \n“We would send each other terrible sound-recorder voice memo files and we’d write these nice emails to each other about each other’s songs\, so creating concepts independently is something we’ve always done\,” says Wright\, who has been friends with Harrington since they were kids growing up in the central Massachusetts town of Sturbridge. \nThey changed the formula on Neptune. Four songs on the album — “River Wider\,” “Infrared\,” “Cross My Mind” and “Growing” — are the result of one musician looping a simple instrumental part and letting the other write lyrics for it. With the last recording session looming\, the duo worked faster than usual on those songs\, particularly the somber\, atmospheric “Cross My Mind.” “We were under the gun\, he was downstairs making one thing\, I was upstairs making another thing\, we put them together and then we workshopped it in the car on the drive up to the studio\,” says Harrington\, whose Boston apartment is literally upstairs from Wright’s. \nTheir ever-closer collaboration\, and the time they gave themselves in the studio to develop it\, is indicative of the band’s developing approach to making music. “I can hear the evolution happening\,” Harrington says. “I feel like we’re walking across a bridge from one place to another\, and maybe I’ll always feel that way\, but I’m really happy with how we’re moving.” \n“Intimate and arresting” – NPR \n“Tall Heights employ a collection of acoustic guitar\, cello\, and electronic drums\,​ ​reminiscent of contemporary indie folk giants like Justin Vernon and Fleet​ ​Foxes.”​​ – XPN \n“In addition to finger-picked guitar\, swelling cello and tight\,​ ​prismatic vocal harmonies\, ‘Spirit Cold’ boasts a bold\, airy drum part​ ​that propels the song through the peaks and troughs of the​ ​arrangement.”​ – Wall Street Journal​ \n“It’s a contemporary sound that is not without its ageless qualities.” – Chicago Sun Times \n“Certifiably unclassifiable” – Boston Herald \n“There have been many bands in recent years that have employed beautiful close harmonies\, but when you add the strings and the great songwriting\, Tall Heights is a notch above the pack.” – WBEZ \n“Call it simply gorgeous.” – WFUV \n*** \nFrances Cone \n \nWebsite\nFacebook\nTwitter \nFRANCES CONE is Christina Cone\, Andrew Doherty\, Adam Melchor\, and Aaron Hamel. The Nashville based indie-pop band\, fronted by Christina Cone\, is named after Christina’s father and great-grandfather\, both musicians themselves in South Carolina and both born on September 11th. The band has been praised for their compelling\, emotional live show and captivating recordings. In 2016\, FrancesCone released\, “Arizona\,” the first single from their forthcoming full-length album\, Late Riser\, which is set to release in 2018. Stereogum praised “Arizona” for “Cone’s melodic vocals\, rich harmonies\, and an electrifying guitar sound.” Written about her brother\, filmmaker Stephen Cone\, “Arizona’s” reach has extended far and wide at 9.5 million streams on Spotify. \nThe band’s second single\, “Leave Without You\,” released in March 2017\, is an emotional song about the band’s decision to leave Brooklyn. Cone says\, “it is the only place I’ve known as an adult person\, and (the song is about) what and who I’ll carry with me.” Billboard raved that the track “employs the band’s signature slow build before exploding with synth and drums into the song’s chorus.” \n*** \nOld Sea Brigade \n \nWebsite\nFacebook\nTwitter \nOld Sea Brigade is Atlanta raised\, Nashville based singer-songwriter\, Ben Cramer. He delivers a compelling\, heartfelt\, and atmospheric blend of folk\, country\, Americana\, and indie rock that CLASH music has described as “gorgeous\, meditative songwriting” with a “sense of Southern gothic.” \nIn 2016 after self releasing his debut EP\, Cramer embarked on his first U.S. tour landing key support slots for Julien Baker\, Hiss Golden Messenger and John Paul White. During this time he signed with Nettwerk Music Group and over the following year released two more EP’s\, “Wash Me Away” and “Cover My Own.” \nOld Sea Brigade continued to tour throughout 2017\, including support for Joseph on their UK/EU tour in February and Lewis Watson in September. The singer/songwriter also saw support from major radio stations such as BBC Radio 1\, Radio X\, Virgin Radio and KEXP as well as having his music streamed over 20 million times on Spotify. \nOld Sea Brigade will be releasing his debut full-length record in 2018. URL:https://royaleboston.com/event/tall-heights/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/07/thsm.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20181202T190000 DTEND;TZID=America/New_York:20181202T190000 DTSTAMP:20260404T162958 CREATED:20180904T150538Z LAST-MODIFIED:20180904T150538Z UID:10001968-1543777200-1543777200@royaleboston.com SUMMARY:Draco Rosa DESCRIPTION:Presented by Bowery Boston & World Music/CRASHarts \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 9/7 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. \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*** \nDraco Rosa \n \nWebsite\nFacebook \nBorn in Long Island\, NY\, Draco Cornelius Rosa was raised surrounded by an eclectic mélange of musical tastes: from his mother’s affinity to the rock of the Beatles\, Led Zeppelin\, the Who and the funk-ridden R&B of the seventies\, to his father’s propensity toward salsa—not just any salsa\, but\, as Rosa puts it\, “the dark\, aggressive kind.” At a young age\, his family moved him to Puerto Rico\, where he became a member of the increasingly popular band Menudo. \nWanting to extend the reach of his talents into other media\, Rosa moved to Los Angeles. A solo contract with Sony Latin in 1993 enabled him to record in Spain the first of his highly celebrated Spanish-language solo albums\, Frío. In between solo projects\, Draco worked with Ricky Martin\, Ednita Nazario and Julio Iglesias among other celebrated artists. He is the creator of unforgettable hits such as “A Medio Vivir”\, “María\,” “Vuelve”\, “La Copa De La Vida”\, “Livin’ La Vida Loca”\, “She Bangs”\, “Más Grande Que Grande”\, and many more. \nPhantom Vox Studios\, Rosa’s own multi-media recording studio worked as Music Supervisor for Livin’ the Life\, an independent movie that won the Best Film Award in the 1999 New York Latin Film Fest. The studio filmed and edited the video for “Commitment #4\,” a track Draco composed and recorded in dedication to the freedom of the island of Vieques\, a municipality of Puerto Rico. \nIn 2004\, Draco released Mad Love. With most songs in English\, collaborations with musicians from all over the world and two videos included in the CD–for “Dancing in the Rain” and “Lie Without a Lover\,” both directed by Angela Alvarado Rosa. \nIn 2008\, Draco released his second Spanish only album\, Vino which was a follow up to Vagabundo. Vino is included in his long awaited production DRACO: LIMITED COLLEC TOR’S EDITION. \nOutside of his personal investments\, musical and otherwise\, he has also contributed towards the improvement of artistic and cultural life in Puerto Rico\, sponsoring the island’s Museo de Arte and Museo de Arte Contemporáneo\, and setting up an annual scholarship for outstanding students at the Puerto Rico’s Music Conservatory. URL:https://royaleboston.com/event/draco-rosa/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/09/Draco-Rosa.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20181204T190000 DTEND;TZID=America/New_York:20181204T190000 DTSTAMP:20260404T162958 CREATED:20180911T130038Z LAST-MODIFIED:20181126T175941Z UID:10002684-1543950000-1543950000@royaleboston.com SUMMARY:[MOVED TO THE SINCLAIR] Wild Child DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show has been moved to The Sinclair. More info at the ticket link \nhere. \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. URL:https://royaleboston.com/event/wild-child-2/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/09/Wild-Child-ADMAT-2018.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20181205T190000 DTEND;TZID=America/New_York:20181205T190000 DTSTAMP:20260404T162958 CREATED:20180619T155750Z LAST-MODIFIED:20180619T155750Z UID:10002654-1544036400-1544036400@royaleboston.com SUMMARY:Reverend Horton Heat & Junior Brown DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri. 6/22 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. \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*** \nReverend Horton Heat \n \nWebsite\nFacebook\nTwitter \n*** \nJunior Brown \n \nWebsite\nFacebook\nTwitter \n*** \nThe Blasters \n \nWebsite\nFacebook\nTwitter \n*** \nBig Sandy \n \nWebsite\nFacebook URL:https://royaleboston.com/event/reverend-horton-heat-junior-brown/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/06/RHH-admat-2018.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20181206T200000 DTEND;TZID=America/New_York:20181206T200000 DTSTAMP:20260404T162958 CREATED:20180904T130044Z LAST-MODIFIED:20181017T220122Z UID:10002680-1544126400-1544126400@royaleboston.com SUMMARY:[SOLD OUT] Khruangbin DESCRIPTION:Presented by Bowery Boston \nDoors: 8:00 pm / Show: 9:00 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*** \n \n*** \nKhruangbin \n \nWebsite\nFacebook\nTwitter \nTexan trio Khruangbin is formed of Laura Lee on bass\, Mark Speer on guitar\, and Donald “DJ” Johnson on drums. Taking influence from 1960’s Thai funk – their name literally translates to “Engine Fly” in Thai. \nThe seeds of Khruangbin were sown when Mark and Laura were invited to tour with Ninja Tune’s YPPAH supporting Bonobo across his 2010 American tour. The tour galvanised the two to start making music together more seriously\, with DJ – he and Mark have played in the same gospel band for years – the natural choice for drums. Sharing their first recordings\, Bonobo included Khruangbin’s ‘A Calf Born In Winter’ on his 2013 Late Night Tales compilation. Subsequently signed to Late Night Tales offshoot Night Time Stories\, ‘A Calf Born In Winter’ was released as a single in May 2014 and saw support from DJs Zane Lowe\, Cerys Matthews\, Tom Ravenscroft\, Gideon Coe\, Don Letts and magazines as musically diverse as i-D\, The 405\, Clash\, Ransom Note\, Test Pressing and For Folk’s Sake. Four track EP ‘The Infamous Bill’ followed in October\, with covers EP ‘History Of Flight’ on Record Store Day 2015. The band’s debut album ‘The Universe Smiles Upon You’ was released in November 2015 to widespread acclaim. \n‘The Universe Smiles Upon You’ steeped in the bass heavy\, psychedelic sound of their inspiration\, Tarantino soundtracks and surf-rock cool\, was recorded at their spiritual home\, a remote barn deep in the Texas countryside. The band listened to a lot of different types of music on the long drives out to the country but their favorites were 60s and 70s Thai cassettes gleaned from the cult Monrakplengthai blog and compilations of southeast Asian pop\, rock and funk. This had a heavy impact on the direction of the band\, the scales they used and the inflection of the melodies; which coupled with the spaciousness of the Texan countryside culminated in Khruangbin forming their exotic\, individual sound. \n2016 was a defining year for Khruangbin. After a chance meeting on BBC Radio\, Father John Misty invited the band to support him on his UK & European tour. They hit the road for a month experiencing some of Europe’s biggest stages – and they didn’t falter once. A summer of live shows followed which saw them play the Park Stage at Glastonbury\, a sunrise session at Love International Croatia\, BST Hyde Park London and supporting Massive Attack in landmark event The Downs to name just a few. Come the Autumn the band took to the road again for their first US headline tour\, this was followed by an appearance at Austin City Limits and a UK headline tour. They sold out shows including New York\, London\, San Francisco\, Berlin and the list goes on. \nHaving engaged early support from KCRW\, The New Yorker and named The Guardians Band Of The Week in the UK\, press and radio support for the band grows with every release and every tour. During their 2016 UK visit they were invited to play their first ever set on the prestigious Boiler Room. \nWhere they find the time for further projects no one is quite sure but this is a band whose creative interests extend beyond the confines of traditional formats. In 2016 the band released a short film “Two Fish and an Elephant” directed by Scott Dungate. This beautifully crafted film\, released to accompany the album track of the same name\, was funded in part by an innovative Kickstarter campaign\, so creative in its design it smashed its target and beyond. The resulting film had such impact it scored a premier on NPR. \nWhen you hear Khruangbins album it is likely you will fall in love with it\, its fair to say there is nothing else out there that sounds quite like it. You see them play live and you fall in love all over again when you experience the music translated to stage in a way you won’t have imagined. When Khruangbin play a show – they play a show! \n2017 kicks off with a US winter tour and a return to South By Southwest. The summer will include a variety of US festivals and a visit back to European soil. Will we see new material emerge this year? Knowing this band and how their artistry seems to effortlessly turn out new offerings it is very likely – and so we eagerly wait… \n*** \nWill Van Horn \n \nWebsite\nFacebook URL:https://royaleboston.com/event/khruangbin/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/09/Khruangbin-admat-2018.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20181208T180000 DTEND;TZID=America/New_York:20181208T213000 DTSTAMP:20260404T162958 CREATED:20180730T143746Z LAST-MODIFIED:20180730T143746Z UID:10002670-1544292000-1544304600@royaleboston.com SUMMARY:Phosphorescent DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 6:45 pm \nTickets on sale Fri. 8/3 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. \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*** \nPhosphorescent \n \nWebsite\nFacebook\nTwitter \nIn the five years since Matthew Houck’s last record as Phosphorescent he fell in love\, left New York for Nashville\, became a father\, built a studio from the ground up by hand\, and became a father again. Oh\, and somewhere along the way\, he nearly died of meningitis. Life\, love\, new beginnings\, death— “it’s laughable\, honestly\, the amount of ‘major life events’ we could chalk up if we were keeping score\,” Houck says. “A lot can happen in five years.” \nOn C’est La Vie\, Houck’s first album of new Phosphorescent material since 2013’s gorgeous career defining and critically acclaimed Muchacho\, he takes stock of these changes through the luminous\, star-kissed sounds he has spent a career refining. By now\, Houck has mastered the contours of this place\, as intimate as it is grand\, somewhere between dreamed and real\, where the great lyrical songwriters meet experimental pioneers and somehow distill into the same person. It is Houck’s own personal musical cosmos\, a mixture of the earthy and the wondrous\, the troubled and the serene\, and by now he commands it with depth and precision. When you ask Houck about the cumulative effect of all this life happening in such a short time\, he turns philosophical: ”These significant moments in life can really make you feel your insignificance\,” he says. “It’s a paradox I guess\, that these wildly profound events simultaneously highlight that maybe none of this matters at all…”  On this album\, Houck reckons with that void — the vanishing point where our individual significance melts into the stars — and sums it up thusly: C’est La Vie. \nFrom the album’s opening moments\, Houck sings of this newfound landscape. Of the discovery of new paradigms and the disposal of those no longer useful. After the wordless\, haunting Houck-choir opener of “Black Moon / Silver Waves”\, he pointedly begins the title track “C’est La Vie No. 2” with the albums first lyrics: “I wrote all night / Like the fire of my words could burn a hole up to heaven / I don’t write all night burnin’ holes up to heaven no more.” \n“I was always pursuing this thing of Phosphorescent and becoming the artist that I wanted to become\, that sometimes I didn’t even have a second for reflection\,” Houck says of the hectic years spent creating\, releasing and touring Muchacho. “I was plowing forward—just do\, do\, do and all else was secondary.” Not that this album exhibits any sense of settling down into complacency. On the contrary\, this collection contains some of Houck’s most devastating works to date\, but there’s a refreshing measured confidence that radiates throughout C’est La Vie. \nSonically\, C’est La Vie is his masterwork: Every sound\, including his famously frayed\, bemused voice\, rings out as inviting and clear as a koi pond. Working in a studio he built from scratch (which certainly came with its own set of challenges) Houck once again set off to produce his own record\, calling in musicians from his crack live band as well as friends new and old\, and enlisting veteran Vance Powell to help mix the completed project. The writing process was more intuitive\, less cerebral and with fewer revisions than anything he’d written before. It was a scary\, liberating new approach\, like painting with his eyes closed. “I let go of a lot of my writer-poet tricks\, and let the lyrics be what they wanted to be\,” he says. These lyrics marvel at life’s ability to uproot and re-deposit you into alien\, revelatory landscapes: “If you’d have seen me last year\, I’d have said\, ‘I can’t even see you there from here.’” he sings\, wryly\, on “There From Here.” This has been one of Phosphorescent’s constant themes—the ever-present possibility for transformation. \nBut for the first time\, Houck seems to be laying down some burdens. “These rocks\, they are heavy/I’ve been carrying them around all my days\,” he sighs on the album’s closing ballad “These Rocks.” On that same song he also muses\, with disarming forthrightness\, about drinking: “I stayed drunk for a decade/I’ve been thinking of putting that stuff away.” The lyric makes Houck somewhat uncomfortable\, both in its direct simplicity and its capacity to distract listeners into thinking he’d written a stereotypical “battle with the bottle” song. “I’m aware of how that verse resonates\, but for me those lines take a backseat to the main driver of that song\,” he says. “I originally assumed I’d rewrite and re-sing that lyric\,” he says. “But the bones of that song were recorded live and it was the first time I ever played it. It was the first time the band ever heard it and I think it captured something perfect. And it was\, y’know\, true.” So I had to ask myself\, again\, ‘Well\, what is the point of what I’m doing here? I could re-record it but why not just let it be?” To hear Houck\, he confronts this moment of mystery every time he records. “Oh yeah\, this process is positively filled with moments where you go ‘What exactly the hell is it that I’m doing here?’” Houck laughs. “And the answer always comes back a resounding\, ‘I don’t know.’” \nAin’t that just how it goes\, C’est La Vie. \n*** \n Liz Cooper and The Stampede \n \nWebsite\nFacebook\nTwitter \nAh\, yes\, hello\, howdy and welcome to the about section of Liz Cooper & The Stampede. My name is Liz\, it’s a pleasure to meet you. Dream-folk psychedelic rock is what we’ve heard on the streets and we dig what the people think. I suppose the blending of my unique vocal texture with my no rules\, what-the-hell-am-I-doing picking and playing style from acoustic to electric guitar is the dream folk. The psychedelic is the way Grant Prettyman makes his v rare\, v sexy Red Lobster® red bass sometimes sound like a scary monster that lives in your basement\, or a beautiful melody that makes you wanna cry. And our rock? Ryan Usher. He’s always creatively thinking outside the box\, always bringing the vibe\, and is always there to reel us back in from a jam we’ve lost ourselves in. All together we like to sing sweet sweet harms\, we live to be wild\, we love getting weird\, and we always have fun. Pure bliss. We recorded our debut album\, “Window Flowers” in 2016 at Welcome to 1979 in Nashville\, TN and we are elated to finally be releasing these songs through our label Sleepyhead Records in conjunction with Thirty Tigers on August 10th. URL:https://royaleboston.com/event/phosphorescent/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/07/Phosphorescent-Press-Photo.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20181227T190000 DTEND;TZID=America/New_York:20181227T190000 DTSTAMP:20260404T162958 CREATED:20181129T154813Z LAST-MODIFIED:20181220T221909Z UID:10001998-1545937200-1545937200@royaleboston.com SUMMARY:Christmas Queens DESCRIPTION:VIP Entrance: 6pm\nGeneral Admission Entrance: 7pm\nShow: 8pm \nAll Ages URL:https://royaleboston.com/event/christmas-queens-2/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts,Special Events ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/11/ROYALE_12272018-poster.jpg GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20181229T180000 DTEND;TZID=America/New_York:20181229T180000 DTSTAMP:20260404T162958 CREATED:20180911T130043Z LAST-MODIFIED:20180911T161019Z UID:10002683-1546106400-1546106400@royaleboston.com SUMMARY:The Ballroom Thieves Home for the Holidays Tour DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri 9/14 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. \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*** \nThe Ballroom Thieves \n \nWebsite\nFacebook\nTwitter \nDarker times make for bolder and\, sometimes\, brighter art. \nThe Ballroom Thieves – Calin “Callie” Peters (vocals\, cello)\, Martin Earley (guitar\, vocals)\, and Devin Mauch (percussion\, vocals) – mine immense melodies and hypnotic hooks from personal stories on their 2018 EP\, Paper Crown (Nettwerk Records). Under the cover of vintage jazz-style\, the five songs reflect feelings of rootlessness from four nomadic years\, bouts of depression\, and the ever-looming specter of political unrest hanging over the country. \nNevertheless\, a noticeable glimmer of light always peeks through. \n“Our lifestyle has shaped our perspective\,” explains Martin. “We’ve toured so much that we haven’t been able to call anywhere home. A lot of the songwriting was done from this place of simply not having a home base. We were the perennial guests.” \n“Some of the more somber moments come from a darkness I carry\,” admits Callie. “I’m not an optimist\, and I suffer from insomnia and depression. Traveling around on highways and utilizing the faux likes of large cooperate hotels and chains can bring a person down. Songwriting is a way to speak about sad things in a pretty and concise way while providing a distraction from some of the realities of tour life. It’s not all dreary though\, and the enormous range of experiences give us the juxtaposition of happy\, easygoing vintage music and dark lyrics.” \nThat subtle balance has transformed The Ballroom Thieves into a quiet phenomenon. Following two EPs\, the group released their full-length debut A Wolf in the Doorway in 2015. Between marathons of touring\, 2016’s Deadeye would spawn a string of fan favorites. They claimed real estate on prime Spotify playlists (e.g. “Your Favorite Coffeehouse\,” “Relax & Unwind\,” “Morning Acoustic”) with “Bees” cracking 10 million streams on the platform. Along the way\, they sold out shows and delivered standout performances at festivals such as Boston Calling and Newport Folk Festival\, while landing features at NPR\, Baeble Music\, Boston Globe\, Paste\, Earmilk\, and many others. \nIn late 2017\, they commenced work on Paper Crown\, collaborating with producer Ryan Hadlock (The Lumineers\, Brandi Carlile\, Vance Joy) in Washington for the first time. \n“Working with Ryan at Bear Creek was a completely new and unique experience\,” affirms Devin. “He naturally pushed us through our vulnerabilities\, challenging the band to grow and apply some of his more pop sensibilities to our traditional ‘Thieves sound.’ The rustic wooded environment at Bear Creek also had a serious impact on the band’s experience creating these songs as we found ourselves there at two very different times of year – once in the beautiful but smoky heat of August and again in February’s more frigid rain season. The result was a pretty stark contrast in the sounds\, tones\, textures\, colors\, and feel between each song\, which in itself is a reflection of this band and our journey. “ \nDuring the process\, The Ballroom Thieves dramatically expanded their sonic palette. Electric guitars figured prominently\, and the group wholeheartedly embraced the fifties and sixties pop and country influences such as Etta James\, Ella Fitzgerald\, Nina Simone\, and Willie Nelson in addition to religiously spinning Dan Auerbach. \n“It was an attempt to make contemporary music accessible for a large range of music lovers” explains Callie. “You can’t deny those classics are special\, and people across all generations have loved them for decades. Listeners keep coming back to them again and again for a reason.” \nMartin elaborates\, “We liked mixing those old-school pop elements with our big harmonies and folk-sensible songwriting.” \nThe band introduced the EP with the haunting “Only Lonely.” It quickly generated over 3.9 million streams. Meanwhile\, the single “Do Something” illuminates their evolution. Its smoky soul could very well have swooned right out of a Chicago jazz haunt and onto a California beach circa 1965. At the same time\, it encases fiery rhetoric within those sweet sonics. \nThe Ballroom Thieves culled the EP title Paper Crown from a lyric in “Do Something.” Representing the ephemeral nature of consumerism\, corporate greed\, and reality TV\, it’s symbolic of the fake coronation atop the country’s hierarchy. At the same time\, it proposes an alternative charge for unity in the face of this misdirection. \n“It’s a letter to this administration to do something kind\,” Callie exclaims. “This president is not a suitable representative for any human being\, but ironically\, many of the Americans rallying behind him are the ones who stand to suffer the most if he continues to bolster ideals that only work for people who look and live like him. For ‘Do Something’\, instead of focusing on my cynicism about it\, I was trying to have higher hopes\, and maybe scream a little about what most of us are thinking.” \nMartin goes on\, “It’s unifying rather than being divisive. It points towards the fact we’re all trying to navigate this situation together. We shouldn’t be doing that as two separate factions.” \nWhether it’s the hard-hitting “Can’t Cheat Death” or the tearful\, yet upbeat joy of “Almost Love\,” they make pronounced creative strides together. \n“To me\, this EP is a transition\,” Martin states. “It leads us towards the next project and stands as an evolution of our sound. Just like any band\, we keep evolving and writing new songs that require creativity in production. I hope we take our older fans with us while making some new ones along the way.” \nIn the end\, The Ballroom Thieves strain light through all the darkness. \n“We hope people find it catchy and inviting\,” Callie leaves off\, “but are also able to find a likeness and connection to any of the ideas we express and the music we love to create.” \n*** \nOdetta Hartman \n \nWebsite\nFacebook\nTwitter \nWith a heart – stopping voice & wide – ranging instrumental talent\, Odetta Hartman carries cowboy soul into an era where country can clash with computers\, and bluegrass isn’t afraid of bass. Her debut LP 222 — an experimental\, bedroom-produced hybrid of folk\, musique concrète and psychedelia — was released on Northern Spy Records in 2015 to critical acclaim. Alongside her partner\, sound artist & radio producer Jack Inslee\, Odetta continues to explore the sonic vernacular created by their uncanny collaboration: badass banjos\, detuned violins\, field recordings\, superstitious soundscapes\, and vocal stylings ranging from sensual to spooky. A new album\, Old Rockhounds Never Die\, is slated for release on Northern Spy Records in August of 2018. URL:https://royaleboston.com/event/the-ballroom-thieves-home-for-the-holidays-tour/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/09/TheBallroomThieves_StaphanieBassos2.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190110T190000 DTEND;TZID=America/New_York:20190110T190000 DTSTAMP:20260404T162958 CREATED:20180928T145638Z LAST-MODIFIED:20181219T003226Z UID:10001982-1547146800-1547146800@royaleboston.com SUMMARY:[SOLD OUT] Noname DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show is 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*** \nNoname \n \nWebsite\nFacebook\nTwitter \nNoname (born Fatimah Warner) is an American artist from Chicago\, Illinois\, who blurs the lines of poetry and rap through the music she creates. \nNoname grew up in Bronzeville\, a historic neighborhood on the southside of Chicago that famously attracted accomplished black artists and intellectuals of all types. Noname first discovered her love for words while taking a creative writing class as a sophmore in highschool. \nShe became enamored with poetry and spoken word- pouring over Def Poetry Jam clips on YouTube and attending open mics around the city. Noname regularly attended and performed at an open mic at Harold Washington Library- YouMedia’s Lyricist Loft. \nAfter sessions at YouMedia\, Noname would participate in cyphers and started getting into freestyling. When she was just a senior in highschool\, she placed third in “Louder Than A Bomb”\, a poetry competition with 120 Chicago high schools in participation. She remained connected with the artists she met at YouMedia and in 2013\, her verse on Chance the Rapper’s “Lost” attracted the beginning of her large fan base\, most of whom have been following her every move since. \nOn July 31st Noname released her debut project entitled Telefone which was 3 years in the making and highly anticipated by fans and media alike. Instantly the project gained critical acclaim with a rave review by Pitchfork and landing her praise from major outlets like Rolling Stones\, Complex and Dazed & Confused. Noname has been hailed by The FADER\, Complex\, and Rolling Stone as one of the most exciting and important new artists of 2016. \nThanks to Telefone’s success\, Noname played some shows in support of Ms. Lauryn Hill\, who hand-picked Noname to open for her on tour. When first approaching the project\, Noname set out to emulate the feeling of talking on the phone with someone for the first time. She describes Telefone as “an introductory conversation with someone you’re interested in”. But as Noname continued to work on the tape\, it also transitioned a bit into mortality: the idea of life and death and the duality between those two things. \n*** \nElton \n \nWebsite\nFacebook \nElton began his musical journey with the Art of Cool\, a multi instrumentation jazz/hip hop group that included long time collaborator & friend Phoelix. This laid the groundwork for MDMC where we first see Elton’s lyrical prowess on display. After moving to Chicago & struggling to find his place both internally and artistically. Elton utilized his collaborative skills to team up with Chicago producers The Burns Twin’s & Bedows for their EP’s; ​Sun Shower & Side Eye​ . His growth during this time resulted in the completion of his Solo Project – ​Elevated​ . Released in August 2018. \nReaching from his past experiences\, and current realities. ​Elevated​ ​takes you on a whirlwind of intrinsic instrumentation\, while Elton’s delivery ​paints a portrait with poetic melodies\, wrapped in bedroom soul. URL:https://royaleboston.com/event/noname-2/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/09/Noname-Admat-2019v2.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190111T180000 DTEND;TZID=America/New_York:20190111T180000 DTSTAMP:20260404T162958 CREATED:20180914T145059Z LAST-MODIFIED:20181219T003148Z UID:10001970-1547229600-1547229600@royaleboston.com SUMMARY:[SOLD OUT] Noname DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nThis show is SOLD OUT! A second show has been added due to overwhelming demand. Tickets are available here 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 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*** \nNoname \n \nWebsite\nFacebook\nTwitter \nNoname (born Fatimah Warner) is an American artist from Chicago\, Illinois\, who blurs the lines of poetry and rap through the music she creates. \nNoname grew up in Bronzeville\, a historic neighborhood on the southside of Chicago that famously attracted accomplished black artists and intellectuals of all types. Noname first discovered her love for words while taking a creative writing class as a sophmore in highschool. \nShe became enamored with poetry and spoken word- pouring over Def Poetry Jam clips on YouTube and attending open mics around the city. Noname regularly attended and performed at an open mic at Harold Washington Library- YouMedia’s Lyricist Loft. \nAfter sessions at YouMedia\, Noname would participate in cyphers and started getting into freestyling. When she was just a senior in highschool\, she placed third in “Louder Than A Bomb”\, a poetry competition with 120 Chicago high schools in participation. She remained connected with the artists she met at YouMedia and in 2013\, her verse on Chance the Rapper’s “Lost” attracted the beginning of her large fan base\, most of whom have been following her every move since. \nOn July 31st Noname released her debut project entitled Telefone which was 3 years in the making and highly anticipated by fans and media alike. Instantly the project gained critical acclaim with a rave review by Pitchfork and landing her praise from major outlets like Rolling Stones\, Complex and Dazed & Confused. Noname has been hailed by The FADER\, Complex\, and Rolling Stone as one of the most exciting and important new artists of 2016. \nThanks to Telefone’s success\, Noname played some shows in support of Ms. Lauryn Hill\, who hand-picked Noname to open for her on tour. When first approaching the project\, Noname set out to emulate the feeling of talking on the phone with someone for the first time. She describes Telefone as “an introductory conversation with someone you’re interested in”. But as Noname continued to work on the tape\, it also transitioned a bit into mortality: the idea of life and death and the duality between those two things. \n*** \nElton \n \nWebsite\nFacebook \nRenaissance Vocalist Elton (+-) is an artist\, writer and producer from “The Valley” referring to Fox River Valley a west Chicago Suburb. \nElton began his musical journey with the Art of Cool\, a multi instrumentation jazz/hip hop group that included long time collaborator & friend Phoelix. This laid the groundwork for MDMC where we first see Elton’s lyrical prowess on display. After moving to Chicago & struggling to find his place both internally and artistically. Elton utilized his collaborative skills to team up with Chicago producers The Burns Twin’s & Bedows for their EP’s; ​Sun Shower & Side Eye​ . His growth during this time resulted in the completion of his Solo Project – ​Elevated​ . Released in August 2018. \nReaching from his past experiences\, and current realities. ​Elevated​ ​takes you on a whirlwind of intrinsic instrumentation\, while Elton’s delivery ​paints a portrait with poetic melodies\, wrapped in bedroom soul. URL:https://royaleboston.com/event/noname/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/09/Noname-Admat-2019v2.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190124T190000 DTEND;TZID=America/New_York:20190124T190000 DTSTAMP:20260404T162958 CREATED:20181009T140028Z LAST-MODIFIED:20181029T185826Z UID:10002692-1548356400-1548356400@royaleboston.com SUMMARY:Neko Case DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri. 10/12 at 10AM! \nNeko Case has partnered with PLUS1 so that $1 from every ticket will go to Peer Solutions and support their positive youth leadership and development program designed to prevent harm before it begins and engage lifetime ambassadors of positive change. \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*** \nNeko Case \n \nWebsite\nFacebook\nTwitter \nFive years have passed since Case’s last solo project\, The Worse Things Get\, the Harder I Fight\, the Harder I Fight\, the More I Love You. In the interim\, she sang on Whiteout Conditions\, the 2017 release from longtime bandmates the New Pornographers. The year before that\, she released a vinyl box set of her solo work and joined k.d. Lang and Laura Veirs on the case/lang/veirs project. \nRecording that record was a revelation\, from Veirs’ innovative guitar tunings to Lang’s skills in studio. “I learned so much experiencing the work ethic of those two\,” Case says. She considers Lang “probably the most natural producer I’ve ever seen. Watching her work was awe-inspiring.” \nAfter their national tour together\, Case found similar transcendence in October 2016 sitting on a panel at the first-of-its-kind “Woman Producer” summit in Brooklyn\, NY. Between discussions and performances from a diverse group of women who produce music from around the world\, she wondered how it had taken such a long time to get to that moment\, and why so many female pioneers had been forgotten. \nShe felt lucky to have worked with the people she had encountered across her career—Darryl Neudorf\, Tucker Martine\, Craig Schumacher\, and Chris Schultz among them—who encouraged her to expand her own skills in studio. But she had also gotten fed up with a world in which women’s accomplishments seemed to vanish from public memory. “The George Martins and Quincy Joneses of the recording pantheon deserve every drop of praise and every project they have received\,” Case says. “But we can’t keep telling the same stories over and over. We need more stories\, more inspiration\, more flavors.” \nShe set to work on her next record looking for not just new stories but also new sounds. This time\, she wanted to put herself in a setting far away from everything she knew. She recalled Björn Yttling’s skill with Lykke Li\, Camera Obscura\, and his own band\, Peter Bjorn and John. “I’ve worked with the same people so long\, I never had to step outside my comfort zone\,” Case says. “In this instance\, I chose to.” \nThe two met over breakfast in Washington\, DC\, and decided to team up. By the time she went to Sweden in the fall of 2017\, Case had already written songs with longtime collaborator Paul Rigby\, laid down vocal and guitar tracks at WaveLab Studio in Tucson\, and built Carnacial Singing\, her recording space in Vermont. But in the middle of her stint in Stockholm\, with the finish line in sight\, she received a surreal 3am call telling her that her house was burning and would likely be completely destroyed. She felt panicked and helpless. \nThe fire had started in the barn\, where she kept an assortment of belongings\, from artwork to old pianos. A friend had managed to get the dogs to safety. After the flames jumped to the house\, her home was engulfed\, too. \nA few hours later\, she went into a studio in Stockholm and laid down the vocals for “Bad Luck\,” singing the lines she had written long before she realized they would land on her. \nCase is now stoic about the fire. “If somebody burned your house down on purpose\, you’d feel so violated. But when nature burns your house down\, you can’t take it personally.” The month before the blaze\, Hurricane Harvey had slammed into Texas and flooded Houston. Her home burned just as Puerto Rico was plunged into a nightmare by Hurricane Maria and wildfires incinerated California. “In the big picture\, my house burning was so unimportant\,” she says. “So many people lost so much more: lives and lives and lives.” \nShe was hell-bent on not losing sight of the goal\, reminding herself there was still beauty in the world and in the process of making music. She had been reading a lot of ancient history\, including Adrienne Mayor’s The Amazons\, and thinking about how for millennia\, women have been more central to events than the average history class admits. “We were always there\, we were just erased. And I knew it. As a little girl I knew it. As a young person I knew it\,” Case says. “Now I know it anew with a ferocious\, righteous\, razor- sharp tribe of witnesses\, and it makes me feel like a super-powerful human being. It makes me feel joy. There’s an inheritance there that’s really important\, and I want to share it.” \nShe decided to climb inside her role as producer and wield it more directly. It just meant owning what she was already doing. \n*** \nThe record that came out of this reckoning with lost stories delivers both familiar Neko Case and something different. Death\, extinction\, exploitation\, tides\, animals\, and adoration all blend recognizably. Case’s trademark narrative gaps\, just large enough for listeners to enter each song\, likewise remain. As with Fox Confessor Brings the Flood and Middle Cyclone\, Hell-On spins away from conventions of story\, slipping into real life\, with its fierce mess and blind catastrophes. \n“I’m writing fairy tales\, and I hear my life story in them\, but they’re not about me\,” Case says. “I still can’t figure out how to describe it. But I think that’s why we make music or write things. You’ve got to invent a new language.” \nThere are differences\, too. The opening kalimba notes of the first track\, “Hell On\,” lead into a waltz of deep forces\, irresistible as gravity\, that refuse to be leashed or controlled (“You’ll not be my master / you’re barely my guest”). This tornado might not love you. \nCase planned this record with a commitment to big choruses and a goal of making them even bigger. The results appear in the anthemic “Last Lion of Albion\,” a requiem for every landscape and iconic creature (“last tiger of Tasmania / the last she-wolf to suckle Rome”) erased through massacre and marketing. \nRounding out the opening trilogy of false possession is “Halls of Sarah\,” a song for unwilling muses tormented by poets who love women “as lions love Christians.” \n“Bad Luck\,” recorded from the ground up in Stockholm\, opens at a gallop and never breaks stride. A song always poses the challenge of when to move away from the groove and how to get back to it. But Yttling pointed out to Case that sometimes the whole song should be the hook—that there’s no shame in exploiting the catchiest part. That became the strategy for bringing “Bad Luck” to life. Longtime collaborators Kelly Hogan and Nora O’Connor came up with backing vocals that build a giddy\, knowing call and response into the song. \nFor “The Curse of the I-5 Corridor\,” former Screaming Trees frontman Mark Lanegan duets with Case on a ballad of memory and departure. Melancholy grooves “Gumball Blue” and “My Uncle’s Navy” mark Case’s first songwriting efforts with New Pornographers cofounder Carl Newman. And after performing it live for years\, Case has finally done a studio recording with Eric Bachmann of his song “Sleep All Summer\,” which moved her to pull over to the side of the road and cry the first time she heard it on the radio. \nThe labyrinthine “Dirty Diamond” opens onto room after room of shifting vocals that soar above a march- like rhythm. “Oracle of the Maritimes\,” perhaps the most fairy tale song on the record\, floats over a tuning invented by co-writer Laura Veirs\, carrying a love that longs to prove itself (“come on sweet girl let’s find you an ocean / that goes with your eyes”). \nClouds of mosquitoes rising out of hot tires\, a chest of drawers that rides out into the waves\, a box filled with unnamed newborn creatures: these songs are bursting with images that can only be understood through peripheral vision\, shards of imaginary lives wired into a mosaic. \nLater comes “Winnie\,” a pirate love song for a woman with a mouth “as sharp as the rib of a star.” The song came from the afterglow of reading Amazons. “There aren’t enough songs that are obviously about a woman loving another woman\, just loving her\, Sapphic or Platonic\,” Case says. “I thought there should be one\, because I know I sit around loving them all day.” \nThe record ends with “Pitch or Honey\,” winding its way through intimate verses sung over a drum machine before blooming into layered vocals\, a bigger beat\, and a wall of sound. “Am I making pitch or honey?” fades into repetition of “I love you better when you’re wild.” \nThe record was born at the hands of some three dozen performers in all\, from k.d. Lang\, Laura Veirs\, Beth Ditto\, and Robert Forster on backing vocals\, to Joey Burns of Calexico and Doug Gillard of Guided by Voices on guitars\, and Barbara Gruska and Matt Chamberlain on drums. The sidelong perspective is part of the known Neko galaxy\, but the production is more expansive and edgier\, moving into new universes. These are songs that can swallow you. \n*** \nWhen Case returned to the US and walked through the ruins of her home\, the fire that had blazed after these songs were written became part of the record. For the cover\, she made a warrior’s helmet out of cigarettes. Interior and exterior shots of her incinerated house appear on the gatefold and booklet. And a tiny pop-open charred Brothers-Grimm cottage serves as the set for the video of “Bad Luck.” \nIt was as if nature invented a landscape for Hell-On after the fact: a melted ladder\, seared insulation dangling in ribbons\, the internal organs of pianos. She thought it should all be included in solidarity with those who had lost so much in the past year. \nAll the living creatures present at the time of the fire were found alive\, and so Case was able see beauty in the bleak scene. “It felt like this out-of-time Jacques Cousteau undersea expedition through a sunken World War II ship. Of course there’s some shit I miss\,” she says\, citing family photographs and a favorite sweater. “But none of it matters.” \nAnd as for those fairy tales she’s writing and the history she’s remembering: “We need them now more than ever. We need stories from all sectors. Stories without endings. Stories with multiple endings. Stories that don’t end happily\, cautionary tales\, everything. We don’t need Disneyfied stories anymore.” \nA force of nature\, an act of a mercurial\, forgotten god\, Hell-On is a record sealed by fire\, filled with love and rage and dangers that might lay waste to everything at any moment. So if you wake up dazed in a smoking landscape\, walking through the detritus of your own lost civilization with the smell of ash in your hair\, your favorite sweater gone and a new song in your head\, don’t say you weren’t warned. \n*** \nMargaret Glaspy \n \nWebsite\nFacebook\nTwitter \nBorn Yesterday is a bookend to New York singer-songwriter\, Margaret Glaspy’s lauded 2016 debut Emotions and Math (ATO Records). “In releasing it\, I feel set free to sink deep into my new inspirations while taking a break from the road and make something entirely new.” Glaspy continues\, “These songs are the end of this chapter and mark a new beginning!” \nEmotions and Math was featured on many Year-End lists when it was released in 2016\, including The New York Times\, NPR Music\, Billboard\, Mother Jones\, and more. Glaspy toured the record intensely\, playing countless shows throughout North America\, Europe\, and Asia. This season on the road birthed her new EP released on ATO Records\, Born Yesterday. Margaret recalls\, “I wrote these songs on the road\, in my hotel\, on the plane\, and at soundcheck. They were the product of the little time that I had to myself – three songs about different sides of love: love gone wrong\, love gone right\, and love at a distance.” She continues\, “Born Yesterday is a bookend on the adventure that was my last record\, Emotions and Math.” \nGlaspy self-produced the new EP\, which frames these love stories in catchy choruses\, dark harmony\, and her ever evolving sense of the electric guitar. Her finely tuned ear for production and tone shine on Born Yesterday. URL:https://royaleboston.com/event/neko-case/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/10/NEKO-CASE-admat-2019.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190125T180000 DTEND;TZID=America/New_York:20190125T180000 DTSTAMP:20260404T162958 CREATED:20181102T153045Z LAST-MODIFIED:20190111T171438Z UID:10002705-1548439200-1548439200@royaleboston.com SUMMARY:[SOLD OUT] King Princess DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nThis show is SOLD OUT! \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 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*** \nKing Princess \n \nWebsite\nFacebook\nTwitter \nBorn and raised in Brooklyn\, NY\, King Princess is a vocalist\, multi-instrumentalist\, songwriter and producer. The product of a musical family\, she spent much of her childhood tinkering on the vintage Neve board in her father’s Brooklyn studio Mission Sound\, learning instrumentation along the way. At 11 she turned down a record deal in favor of finishing school\, which eventually led her to USC’s Thornton School of Music for college. She studied there for a year with legendary pianist and singer Patrice Rushen before leaving USC to pursue music full time. \n*** \nSeverity Stone \n \nFacebook \nSeverity Stone is a towering spooky drag entertainer hailing from Boston MA. She has been performing in and around the city for almost 8 years. Severity is best known for her commanding stage presence\, her ever-evolving witchy sense of style\, and sassy quick wit. She was crowned Scream Queen of Salem in 2014\, and Boston Comedy Queen in 2017. Severity is a regular performer at Machine Nightclub\, Jacques Cabaret and DADT at Great Scott. She also hosts Rupaul’s Drag Race viewing parties as well as Glam Brunch at Trophy Room! \n*** \nBanoffee \n \nWebsite\nFacebook\nTwitter \nAfter performing in Charli XCX’s band across the global Taylor Swift Reputation tour and curating three sold out Australian parties with Charli XCX\, Melbourne-born\, LA-based multidisciplinary artist Banoffee has released her new single ‘Bubble.’ \nPremiered on triple j’s Home & Hosed and Paper Magazine\, ‘Bubble’ exemplifies Banoffee’s unique style of subversive electronica-pop \nBanoffee: “Bubble is my combat to bullies. It’s for the underdogs when they lose sight of their power. Being different\, being unheard or unseen is so dispiriting. I hope in those moments something like this song is a little pick me up. There’s power in difference. Don’t mistake vulnerability as weakness. What a typical doozy we all make. \nI made the video to this song in my hotel room in Dallas. It was a funny week because I’d always imagined a big budget clip for this song. But without the funds or means to do anything accept something on the road\, I came to the realisation what we put together was perfect. \nI don’t claim to represent everyone I hope this song can reach out to. The video is limited to the cast I had on hand which were my friends. But in all their beauty and pure love for the project we made something which shows who we are very clearly. The Dallas party we threw that night was full of such amazing strong characters\, all unique and proud of their identities. I asked them to sing this with me\, and with them helping me along I think we made something really special. You can see that by the goofy smile on my face the whole way through. \nNo lights\, not make up\, just us dancing in a pub\, sitting on the toilet\, jumping on our beds and singing to each other the lines I know I wish someone had sung to me at times when I thought I was a complete loser. \nI hope you like this song\, it’s for you.” \nBanoffee’s own brand of experimental electronica has been praised by FACT\, Clash Magazine\, DIY and BBC Radio 1 to name a few. A relocation to LA in 2017 offered up a fresh creative start for her without preconceptions\, a space filled with new collaborators\, an opportunity to flex muscles Banoffee didn’t even know were there. The past few months have seen her collaborate with the likes of SOPHIE\, HTML flowers\, l8loomer as well as join Charli XCX’s live band. \nThis is Banoffee’s first batch of work that looks outside of self. The songs remain dark\, but instead of wallowing in dread\, they seek to inspire contentment. Banoffee is interested in the future of a more hyper textualised vein of pop\, one that pushes its listeners outside of their comfort zone. URL:https://royaleboston.com/event/king-princess/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/11/KING-PRINCESS-admat-2019.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190127T210000 DTEND;TZID=America/New_York:20190127T210000 DTSTAMP:20260404T162958 CREATED:20181207T165123Z LAST-MODIFIED:20181207T165136Z UID:10002716-1548622800-1548622800@royaleboston.com SUMMARY:Eduardo Costa DESCRIPTION: URL:https://royaleboston.com/event/eduardo-costa/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/12/6e1529da-8717-4144-9b9d-16bda25cf67a.jpg GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190201T180000 DTEND;TZID=America/New_York:20190201T180000 DTSTAMP:20260404T162958 CREATED:20180907T130012Z LAST-MODIFIED:20190118T173902Z UID:10002682-1549044000-1549044000@royaleboston.com SUMMARY:[SOLD OUT] NAO DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nThis show is sold out! \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***\nNAO \n \nWebsite\nFacebook\nTwitter \n***\nXavier Omär \n \nWebsite\nFacebook\nTwitter URL:https://royaleboston.com/event/nao/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/09/nao-admat-2019-1.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190208T180000 DTEND;TZID=America/New_York:20190208T180000 DTSTAMP:20260404T162958 CREATED:20181016T140018Z LAST-MODIFIED:20190208T220335Z UID:10002695-1549648800-1549648800@royaleboston.com SUMMARY:[SOLD OUT] Sharon Van Etten DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nThis show is SOLD OUT! \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*** \nSharon Van Etten \n \nWebsite\nFacebook\nTwitter \nSharon Van Etten’s Remind Me Tomorrow comes four years after Are We There\, and reckons with the life that gets lived when you put off the small and inevitable maintenance in favor of something more present. Throughout Remind Me Tomorrow\, Sharon Van Etten veers towards the driving\, dark glimmer moods that have illuminated the edges of her music and pursues them full force. With curling low vocals and brave intimacy\, Remind Me Tomorrow is an ambitious album that provokes our most sensitive impulses: reckless affections\, spirited nurturing\, and tender courage. \n“I wrote this record while going to school\, pregnant\, after taking the OA audition\,” says Van Etten. “I met Katherine Dieckmann while I was in school and writing for her film. She’s a true New Yorker who has lived in her rent controlled west village apartment for over 30 years. Her husband lives across the hall. They raised two kids this way. When I expressed concern about raising a child as an artist in New York City\, she said ‘you’re going to be fine. Your kids are going to be fucking fine. If you have the right partner\, you’ll figure it out together.’” Van Etten goes on\, “I want to be a mom\, a singer\, an actress\, go to school\, but yeah\, I have a stain on my shirt\, oatmeal in my hair and I feel like a mess\, but I’m here. Doing it. This record is about pursuing your passions.” The reality is Remind Me Tomorrow was written in stolen time: in scraps of hours wedged between myriad endeavors — Van Etten guest-starred in The OA\, and brought her music onstage in David Lynch’s revival of Twin Peaks. Off-screen\, she wrote her first score for Katherine Dieckmann’s movie Strange Weather and the closing title song for Tig Notaro’s show Tig. She goes on\, “The album title makes me giggle. It occurred to me one night when I\, on auto- pilot\, clicked ‘remind me tomorrow’ on the update window that pops up all the time on my computer. I hadn’t updated in months! And it’s the simplest of tasks!” \nThe songs on Remind Me Tomorrow have been transported from Van Etten’s original demos through John Congleton’s arrangement. Congleton helped flip the signature Sharon Van Etten ratio\, making the album more energetic-upbeat than minimal-meditative. “ “I was feeing overwhelmed. I couldn’t let go of my recordings – I needed to step back and work with a producer.” She continues\, “I tracked two songs as a trial run with John [Jupiter 4 and Memorial Day]. I gave him Suicide\, Portishead\, and Nick Cave’s Skeleton Tree as references and he got excited. I knew we had to work together. It gave me the perspective I needed. It’s going to be challenging for people in a good way.” The songs are as resonating as ever\, the themes are still an honest and subtle approach to love and longing\, but Congleton has plucked out new idiosyncrasies from Van Etten’s sound. \nFor Remind Me Tomorrow\, Van Etten put down the guitar. When she was writing the score for Strange Weather her reference was Ry Cooder\, so she was playing her guitar constantly and getting either bored or getting writer’s block. At the time\, she was sharing a studio space with someone who had a synthesizer and an organ\, and she wrote on piano at home\, so she naturally gravitated to keys when not working on the score – to clear her mind. Remind Me Tomorrow shows this magnetism towards new instruments: piano keys that churn\, deep drones\, distinctive sharp drums. It was “reverb universe” she says of the writing. There are intense synths\, a propulsive organ\, a distorted harmonium. \nThe demo version of “Comeback Kid” was originally a piano ballad\, but driven by Van Etten’s assertion that she “didn’t want it to be pretty”\, it evolved into a menacing anthem. Cavernous drones pull the freight for “Memorial Day\,” which fleshes out an introvert in warrior mode. The spangled “Seventeen” began as a Lucinda Williams-esque dirge but wound up more of a nod to Bruce Springsteen\, exploring gentrification and generational patience. Van Etten shows the chain reaction\, of moving to a city bright-eyed and hearing the elders complain about the city changing\, and then being around long enough to know what they were talking about. She wrote the song semi-inter-generationally with Kate Davis\, who sang on a demo version when the song was in its infancy. \nSince her last album\, Van Etten has had a young son\, and family life is joyful. Preparing and finishing these songs\, she found herself expressing deep doubts about the world around him\, and a complicated need to present a bright future for him. “There is a tear welling up in the back of my eye as I’m singing these love songs\,” she says\, “I am trying to be positive. There is strength to them. It’s— I wouldn’t say it’s a mask\, but it’s what the parents have to do to make their kid feel safe.” \nAlongside working on Remind Me Tomorrow\, Van Etten has been exploring her talents (musical\, emotional\, otherwise) down other paths. She’s continuing to act\, to write scores and soundtrack contributions\, and she’s returning to school for psychology. The breadth of these passions\, of new careers and projects and lifelong roles\, have inflected Remind Me Tomorrow with a wise sense of a warped-time perspective. This is the tension that arches over the album\, fusing a pained attentive realism and radiant lightness about new love. URL:https://royaleboston.com/event/sharon-van-etten/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/10/Sharon-Van-Etten-admat-2019-17x11.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190209T180000 DTEND;TZID=America/New_York:20190209T180000 DTSTAMP:20260404T162958 CREATED:20181001T180012Z LAST-MODIFIED:20190109T212304Z UID:10001984-1549735200-1549735200@royaleboston.com SUMMARY:[SOLD OUT] Mandolin Orange DESCRIPTION:Presented by Bowery Boston & Newport Folk®️ \nDoors: 6:00 pm / Show: 7:00 pm \nThis show is now SOLD OUT! \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*** \nMandolin Orange \n \nWebsite\nFacebook\nTwitter \nMandolin Orange’s music radiates a mysterious warmth —their songs feel like whispered secrets\, one hand cupped to your ear. The North Carolina duo have built a steady and growing fanbase with this kind of intimacy\, and on Tides of A Teardrop\, due out February 1\, it is more potent than ever. By all accounts\, it is the duo’s fullest\, richest\, and most personal effort. You can hear the air between them—the taut space of shared understanding\, as palpable as a magnetic field\, that makes their music sound like two halves of an endlessly completing thought. Singer-songwriter Andrew Marlin and multi- instrumentalist Emily Frantz have honed this lamp glow intimacy for years. \nOn Tides of A Teardrop\, Marlin wrote the songs\, as he usually does\, in a sort of stream of consciousness\, allowing words and phrases to pour out of him as he hunted for the chords and melodies. Then\, as he went back to sharpen what he found\, he found something troubling and profound. Intimations of loss have always haunted the edges of their music\, their lyrics hinting at impermanence and passing of time. But Tides of A Teardrop confronts a defining loss head-on: Marlin’s mother\, who died of complications from surgery when he was 18. \nThese songs\, as well as their sentiments\, remain simple and quiet\, like all of their music. But beneath the hushed surface\, they are staggeringly straightforward. “I’ve been holding on to the grief for a long time. In some ways I associated the grief and the loss with remembering my mom. I feel like I’ve mourned long enough. I’m ready to bring forth some happier memories now\, to just remember her as a living being.” \nFor this album\, Marlin and Frantz enlisted their touring band\, who they also worked with on their last album Blindfaller. Having recorded all previous albums live in the studio\, they approached the recording process in a different way this time. “We went and did what most people do\, which we’ve never done before—we just holed up somewhere and worked the tunes out together\,” Frantz says. There is a telepathy and warmth in the interplay on Tides of A Teardrop that brings a new dynamic to the foreground—that holy silence between notes\, the air that charges the album with such profound intimacy. “This record is a little more cosmic\, almost in a spiritual way—the space between the notes was there to suggest all those empty spaces the record touches on\,” acknowledges Marlin. There are many powerful ways of acknowledging loss; sometimes the most powerful one is saying nothing at all. \n*** \nMapache \n \nWebsite\nFacebook \nMapache consists of Clay Finch and Sam Blasucci. Born and raised in Glendale\, California\, the duo’s breathtaking harmonies and heartfelt sound verges on cosmic West Coast Pop Americana. Just months after releasing their critically acclaimed self-titled debut\, the duo is back touring with a beguiling new EP titled ‘Lonesome LA Cowboy.’ \nConsisting of three charismatic covers\, ‘Lonesome LA Cowboy’ encompasses decades\, genres\, and even international borders. Tapping faithfully into an era that ended well before their births\, Mapache’s performances here conjure up dry desert breezes and lush coastal canyons with a distinctly southwestern brand of harmony-driven folk and country that’s at once vintage and contemporary. The pair relies on nothing more than acoustic guitars and enchanting vocals to work their magic\, pulling influence from the architects of American roots music as well as formative years spent living in Mexico and filtering it all through modern\, youthful sensibilities. It’s music with little regard for boundaries or barriers\, reverent of the past but fully immersed in the present. \n“We make music that’s reflective of the landscape we grew up with in southern California\,” says Finch. “It’s a big sweep of all the really rich influences you encounter around here: folk and psychedelic and country and Latin and rock and cowboy and Hawaiian. We’re drawing from a really deep well.” \nRecorded in a similarly stripped-down fashion with producer Dan Horne (Cass McCombs\, Allah-Las)\, Mapache’s self-titled debut introduced the duo’s timeless songwriting and airtight harmonies\, earning obvious comparisons to The Louvin Brothers in addition to more cosmic keepers of the flame like Graham Parsons and the Grateful Dead. Aquarium Drunkard hailed the duo as “a blazed up Everly Brothers” and raved that “the LP faithfully radiates the intimate warmth of their live shows\,” while No Depression said the album “weds lilting melodies to lyrics that often extol the beauties of nature\,” and Saving Country Music declared that the duo “can fill up a room with more soul soaring harmony than most symphonic assemblies.” The music helped earn the band festival appearances from Pickathon to Mountain Jam as well as tour dates with Chris Robinson\, Nikki Bluhm\, Beachwood Sparks\, and more. \nThough Mapache (Spanish for “raccoon”) only recently began recording\, the duo’s roots stretch all the way back to high school\, where Finch and Blasucci struck up a friendship over a shared love of skateboarding and classic songwriters. After graduation\, Finch headed north to study music at Chico State (birthplace of The Mother Hips\, who recently invited Mapache to perform at their beloved Hipnic festival in Big Sur)\, while Blasucci headed South to Mexico\, where he served as a missionary for two years. \nTheir sound is not an exercise in pop nostalgia\, but rather a distinctly independent link in a chain that stretches far behind and ahead of them. URL:https://royaleboston.com/event/mandolin-orange-2/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/10/Mandolin-Orange-Photo-Feb-and-March-19-dates.jpeg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190210T200000 DTEND;TZID=America/New_York:20190210T200000 DTSTAMP:20260404T162958 CREATED:20190206T174108Z LAST-MODIFIED:20190206T174108Z UID:10002741-1549828800-1549828800@royaleboston.com SUMMARY:Panos Kiamos DESCRIPTION:21+\nValid US Government issued ID or International Passport required for entry. URL:https://royaleboston.com/event/panos-kiamos/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190214T190000 DTEND;TZID=America/New_York:20190214T190000 DTSTAMP:20260404T162958 CREATED:20180731T140038Z LAST-MODIFIED:20190123T210331Z UID:10002672-1550170800-1550170800@royaleboston.com SUMMARY:[SOLD OUT] Car Seat Headrest DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show is SOLD OUT! \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 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*** \nCar Seat Headrest \n \nWebsite\nFacebook\nTwitter \nToledo always knew he would return to Twin Fantasy. He never did complete the work. Not really. Never could square his grand ambitions against his mechanical limitations. Listen to his first attempt\, recorded at nineteen on a cheap laptop\, and you’ll hear what Brian Eno fondly calls “the sound of failure” – thrilling\, extraordinary\, and singularly compelling failure. Will’s first love\, rendered in the vivid teenage viscera of stolen gin\, bruised shins\, and weird sex\, was an event too momentous for the medium assigned to record it. \nEven so\, even awkward and amateurish\, Twin Fantasy is deeply\, truly adored. Legions of reverent listeners carve rituals out of it: sobbing over “Famous Prophets\,” making out to ‘Cute Thing’\, dancing their asses off as ‘Bodys’ climbs higher\, higher. The distortion hardly matters. You can hear him just fine. You can hear everything. And you can feel everything: his hope\, his despair\, his wild overjoy. He’s trusting you – plural you\, thousands of you – with the things he can’t say out loud. “I pretended I was drunk when I came out to my friends\,” he sings – and then\, caught between truths\, backtracks: “I never came out to my friends. We were all on Skype\, and I laughed and changed the subject.” \nYou might be imagining an extended diary entry\, an angsty transmission from a bygone LiveJournal set to power chords and cranked to eleven. You would be wrong. Twin Fantasy is not a monologue. Twin Fantasy is a conversation. You know\, he sings\, that I’m mostly singing about you. This is Will’s greatest strength as a songwriter: he spins his own story\, but he’s always telling yours\, too. Between nods to local details – Harper’s Ferry\, The Yellow Wallpaper\, the Monopoly board collecting dust in his back seat – he leaves room for the fragile stuff of your own life\, your own loves. From the very beginning\, alone in his bedroom\, in his last weeks of high school\, he knew he was writing anthems. Someday\, he hoped\, you and I might sing these words back to him. \n“It was never a finished work\,” Toledo says\, “and it wasn’t until last year that I figured out how to finish it.” He has\, now\, the benefit of a bigger budget\, a full band in fine form\, and endless time to tinker. According to him\, it took eight months of mixing just to get the drums right. But this is no shallow second take\, sanitized in studio and scrubbed of feeling. This is the album he always wanted to make. It sounds the way he always wanted it to sound. \nIt’s been hard\, stepping into the shoes of his teenage self\, walking back to painful places. There are lyrics he wouldn’t write again\, an especially sad song he regards as an albatross. But even as he carries the weight of that younger\, wounded Toledo\, he moves forward. He grows. He revises\, gently\, the songs we love so much. In the album’s final moments\, in those “apologies to future me’s and you’s\,” there is more forgiveness than fury. \nThis\, Toledo says\, is the most vital difference between the old and the new: he no longer sees his own story as a tragedy. \nHe’s not alone no more. \n*** \nNaked Giants \n \nWebsite\nFacebook\nTwitter \n‘SLUFF’ is a word that means both everything and nothing\, but it definitely sums up the three distinct personalities that make up Naked Giants. Depending which member you ask\, SLUFF is either slang for the black gunk that comes off your shoes when it snows in the winter\, an acronym that stands for South Lake Union Fuck Face (a reference to the tech bros who have infiltrated Seattle in recent years) or what a snake does when it sheds its skin. It’s also the title — and a song on — the band’s debut full-length. \nFormed in 2015\, the Seattle trio — guitarist/vocalist Grant Mullen\, bassist/vocalist Gianni Aiello and drummer Henry LaVallee — put out debut EP R.I.P.the following year and have been steadily building up their reputation as a live act in the meantime\, and having as much fun as possible while doing it. Because as much as the three-piece — who are all in their very early 20s now — have their heads screwed on and are fiercely intelligent people\, they also want to let loose and enjoy being in a band. After all\, that’s kind of what being in a band with your closest friends is all about. \n“I just want to make as much noise and have as much fun and get as sweaty as I can\,” says LaVallee\, “and if that resonates with people\, that’s who I want in my life. That’s who I want to play music for.” \nThat clash of the cerebral and the intelligent — the desire to say something meaningful but also just have some fun — is what underpins the very essence of who Naked Giants is. It’s a band of contradictions. Their music\, which is simultaneously timeless and modern\, new and old\, is loud and brash and raw\, but there’s vulnerability there\, too. In fact\, debut album SLUFF is a melting pot of ideas and sounds that\, on paper\, don’t seem like they would go together\, but which form one phenomenally cohesive whole. \n“These are songs that we’ve played live for a long time\,” explains Mullen. “We wanted to showcase the different kinds of songs we’ve written and put them all onto an album that flows together\, making it tie together into something that means something.” \nThat’s exactly what they do on SLUFF’s twelve weird and wonderful songs. Recorded with producer Steve Fisk (Nirvana/Screaming Trees/Beat Happening/Car Seat Headrest/Low/Minus The Bear) in Seattle at Avast! and Soundhouse Studios over the course of two and a half weeks in October\, the record is a dizzying mélange of influences and ideas. It swirls with hyperactive restlessness as 1960s harmonies share space with 1970s riffs while at the same time battling an undercurrent of punk rock and more modern indie influences. The song “TV\,” for example\, is a kaleidoscope of sound that seems to take in the whole history of rock’n’roll but reframes it in a more contemporary context. \n“From our perspective as millennials where everything is accessible all at once\,” explains Aiello\, “there is no difference to us between punk and classic rock or anything like that because we’re all observing it at the same time through the same lens. And yes\, history exists\, but if you’re just flipping through something on the TV\, it all kind of conflates together — kind of like the song does.” \nNeedless to say\, that song simmers with tension\, and it’s not the only one. “Everybody Thinks They Know (But No One Really Knows)” is a jaunty\, upbeat jangle but with distinctly sinister undertones\, “Slow Dance II” is a sumptuous\, soulful track with a desperate\, raw and bluesy swagger. “Dat Boi” is a rash of brash guitars that’s soon swept by an off-kilter\, psychedelic melody while closer “Shredded Again” is a graceful\, lackadaisical comedown after the rush of energy that precedes it. Raucous and rabid\, but also considered and complex\, Naked Giants’ music is the sum of all their influences and then some. And then some more. \n“What’s really interesting to me\,” ponders Aiello\, “is we have very different influences\, so when we’re jamming it’s like it’s being pulled apart and pushed together in so many different directions. And I think that’s a good thing.” \nThen\, of course\, there’s the quasi-grunge title track\, which chugs along with an ominous yet uplifting attitude as its title is shouted with a fervent zeal — “SLUFF!” — and which carries with it both the weight of the world and the reckless abandon of youth. \nSo while Naked Giants are happy to play the role of the dumb\, hedonistic rock band\, don’t be fooled for a second — they’re one of the brightest\, smartest acts out there at the moment. And this is also just the beginning of what they’re already planning to be a long and rewarding career. Even at this early stage\, they’re taking it as seriously as they are just having a good time. They have a lot to say and they’re not afraid to say it\, but they also relish in what making music has\, even already\, given back to them. \n“Performing on a stage has been very purpose-giving\,” says LaVallee. “Being in a group of people all experiencing music together brings a strong sense of community\, which excites me. Hopefully going forward we’ll be playing to more and more people. I want us to spread respect and fun rock’n’roll music to a whole lot of people. That just seems like a good deal all around.” \n“We’re just here to play music\,” says Mullen\, “so the more it goes well the more we’ll be thinking about our own art and our own voices. And that’s really the progression of it — personal growth and artistic growth. And whatever people think of that on a greater scale when it reaches them is all kind of up to them.” \n“Not everyone gets to go onstage and have a microphone in front of their mouth\,” says Aiello\, “so that’s a certain amount of responsibility. If you’re given the responsibility of having a microphone then you better say something pretty important. The pressure is to learn and listen to as much as we can so we can say the right thing and hopefully impact people.” URL:https://royaleboston.com/event/car-seat-headrest-2/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/07/CarSeatHeadrest-PressPhoto-1.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190217T180000 DTEND;TZID=America/New_York:20190217T220000 DTSTAMP:20260404T162958 CREATED:20190130T184750Z LAST-MODIFIED:20190130T184935Z UID:10002735-1550426400-1550440800@royaleboston.com SUMMARY:Dragathon DESCRIPTION:All ages URL:https://royaleboston.com/event/dragathon/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/01/ROYALE_02172019-poster-1.jpg GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190217T220000 DTEND;TZID=America/New_York:20190217T220000 DTSTAMP:20260404T162958 CREATED:20190130T200933Z LAST-MODIFIED:20190131T171853Z UID:10002737-1550440800-1550440800@royaleboston.com SUMMARY:Gay Mafia Boston present - Dragathon Official After Party - Present DJ Alain Jackinsky DESCRIPTION:21+ \nDoors at 10 \nDj Alain Jackisnky URL:https://royaleboston.com/event/presidents-day-dragathon-official-after-party/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts,Nightclub ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/01/ROYALE_02172019-Poster.jpg GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190223T180000 DTEND;TZID=America/New_York:20190223T180000 DTSTAMP:20260404T162958 CREATED:20181009T170057Z LAST-MODIFIED:20190207T191704Z UID:10002694-1550944800-1550944800@royaleboston.com SUMMARY:Jacob Banks DESCRIPTION:Presented by The River \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri 10/12 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. \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*** \nJacob Banks \n \nWebsite\nFacebook\nTwitter \nBorn in Nigeria and based in England\, 25-year-old singer/songwriter Jacob Banks creates soul music that’s uncompromisingly honest but thrillingly cinematic. A self-taught musician who began singing\, playing guitar\, and writing songs at the age of 20\, Banks got his start at open mic nights around Birmingham in 2011 and quickly won major attention for his commanding vocal presence and daringly intimate songwriting. In early 2013 he released his powerful debut EP The Monologue\, earning feverish acclaim that soon saw him supporting such artists as Emeli Sandé and Alicia Keys on tour. \nNow at work on his Interscope Records debut (the follow-up to 2015’s self-released\, critically praised EP The Paradox)\, Banks thrives on constant innovation in the richly textured beats and grooves that give his music such intensity. “I think the epicness of my songs partly comes from being African — that really heavy\, four-on-the-floor\, foot-thumping\, warrior kind of vibe has a lot to do with where I’m from\,” notes Banks\, who moved to England at age 14. And with his nuanced yet arresting vocal delivery\, Banks proves himself attuned to the darker dimensions of the human experience while instilling each track with a profoundly hopeful spirit. “I’m never defeated in any of my songs; I always seem to win\,” he says. “I want to use that to empower everyday people\, to be their battery pack on a Monday morning and help them get through the day. All of these songs are about triumph\, and how to keep going when everyone and everything is telling you to stop.” \n*** \nABIR \n \nWebsite\nFacebook\nTwitter URL:https://royaleboston.com/event/jacob-banks/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/10/Jacob-Banks-admat-2019-v2.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190224T190000 DTEND;TZID=America/New_York:20190224T190000 DTSTAMP:20260404T162958 CREATED:20181030T120039Z LAST-MODIFIED:20181029T203158Z UID:10002700-1551034800-1551034800@royaleboston.com SUMMARY:Deerhunter DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 11/2 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. \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*** \nDeerhunter \n \nWebsite\nFacebook\nTwitter \nFrom Atlanta\, Georgia\, the origins of Deerhunter can be traced back to when frontman Bradford Cox first met guitarist Lockett Pundt at high school. Years later Bradford met Moses Archuleta and started jamming together. Other contributors to Deerhunter since its establishment in 2001 include Josh Fauver\, Colin Mee and Whitney Petty. The current incarnation consists of Cox\, Pundt and Archuleta plus bassist Josh Mckay and guitarist Frankie Broyles. \nDeerhunter’s first album was a lo-fi experiment not initially intended for the wider world\, but appeared in 2005 on a local Atlanta label\, Stickfigure. Although officially untitled\, it has since become known as Turn It Up\, Faggot; a phrase that doesn’t actually appear on the sleeve but is an insult that Cox claimed was often thrown at the band during their early gigs. Their next album\, Cryptograms (2006)\, was generally considered to be their real debut and as such things started to get serious for the band. They had moved to fêted Chicago indie\, Kranky (Godspeed You! Black Emperor\, Low\, Stars Of The Lid)\, and the world outside was starting to pay attention. \nThen in mid-2008\, Deerhunter and Kranky signed a deal with 4AD\, allowing them to finally release music outside the US and the band’s next move was to prove epic in more than just musical terms.?? Recorded over the course of a week at the Rare Book Studios in Brooklyn\, NY\, the Can and Wire-inspired Microcastle (2008) was to propel them to further heights. However\, the album leaked four months before release\, leading the band back to the studio to record Weird Era Cont.\, an album in its own right added as a bonus disc to make Microcastle a 25-track colossus. Not content with such prolificacy\, the band announced a new five track EP\, Rainwater Cassette Exchange\, in 2009 and that its release would coincide with the band’s extensive European\, Japanese and Australian tour in May and June.?? \nDisplaying few signs of slowing down\, Halcyon Digest\, the band’s fourth studio album was released in September 2010. Remaining in their native Georgia to piece together the album\, Halcyon Digest took just a few weeks to complete. The recording sessions took place at Chase Park Transduction in Athens with Ben H. Allen helping to co-produce the album\, while final track\, ‘He Would Have Laughed\,’ was recorded separately by Bradford Cox at NOTOWN SOUND in Marietta. To announce the release\, the band fully embraced the DIY mindset of their New Wave heroes from the 70’s and 80’s with a Cox-designed\, cut-and-paste Xeroxed flyer. It’s with these kind of approaches that Deerhunter continue to widen their sphere of influence and impress with each subsequent release. \nAfter a brief hiatus\, during which time Bradford Cox and Lockett Pundt released their own albums as Atlas Sound and Lotus Plaza respectively\, a new Deerhunter line-up (with additions of bassist Josh Mckay and guitarist Frankie Broyles) reconvened in January 2013 at Rare Book Studio in Brooklyn\, New York. Produced by Nicholas Vernhes and Bradford Cox and recorded in the dead of night\, Deerhunter’s new longplayer Monomania will be released in May. Monomania finds the group recalling its scrappy punk aesthetic; a perfect nocturnal garage rock album full of the layered and hazy vintage guitar sounds that define them. \n*** \nMary Lattimore \n \nWebsite\nFacebook\nTwitter \nMary Lattimore is a Los Angeles-based harpist. She experiments with effects through her Lyon and Healy Concert Grand pedal harp\, concocting half-structured improvisations which can include both ambient glitter and unsettling noise. Her first solo record\, the Withdrawing Room\, was released on Desire Path Recordings in 2014. The solo recordings that followed\, At the Dam and Collected Pieces\, were released by Ghostly International. \nMary has also recorded synth + harp duo projects with Elysse Thebner Miller (And the Birds Flew Overhead) and Jeff Zeigler (Slant of Light) and has co-written reimagined scores for the 1968 experimental silent film Le Revelateur\, directed by Philippe Garrel (who approved of the project)\, and the Czech New Wave classic Valerie and Her Week of Wonders\, and performed these scores live throughout the US with Jeff Zeigler and the Valerie Project\, respectively. She has contributed and written harp parts for such artists as Kurt Vile\, Thurston Moore\, Sharon Van Etten\, Meg Baird\, Steve Gunn\, the Clientele\, Hop Along\, Jarvis Cocker\, Karen Elson\, Ed Askew and Quilt. \nGhostly International will release her third solo record in late spring of 2018. URL:https://royaleboston.com/event/deerhunter-2/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/png:https://royaleboston.com/wp-content/uploads/2018/10/Deerhunter-Press-Photo.png ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190226T200000 DTEND;TZID=America/New_York:20190226T200000 DTSTAMP:20260404T162958 CREATED:20190108T140052Z LAST-MODIFIED:20190226T155127Z UID:10002726-1551211200-1551211200@royaleboston.com SUMMARY:Wiz Khalifa and Curren$y DESCRIPTION:Presented by Bowery Boston \nDoors: 8:00 pm / Show: 9:00 pm \nTickets on sale Fri 1/11 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. \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*** \nWiz Khalifa \n \nWebsite\nFacebook\nTwitter \nMulti-platinum selling\, Grammy and Golden Globe nominated recording artist Wiz Khalifa burst onto the scene with mainstream success with the release of his first major label debut\, Rolling Papers‎ in 2011. ‎Rolling Papers spawned the hugely successful hits “Black and Yellow\,” “Roll Up” and “No Sleep” and gave Wiz the platform to win the award for Best New Artist at the 2011 BET Awards and Top New Artist at the 2012 Billboard Music Awards. His sophomore studio album\, Blacc Hollywood\, ‎debuted at #1 on Billboard’s Top 200 album chart and featured the hit single “We Dem Boyz.” Soon after Khalifa’s track\,‎ “See You Again\,” off the FURIOUS 7 soundtrack\, catapulted to the top of the charts across 95 countries. Holding the #1 spot for 12 consecutive weeks\, “See You Again” broke records by being Spotify’s most-streamed track in a single day in the United States and in a single week in 26 countries. In addition to winning 3 Teen Choice Awards in 2015\, “See You Again” continued its success by winning a Critics’ Choice Award in the category Best Song\, winning two Billboard Music Awards in the categories Top Hot 100 Song and Top Rap Song\, earning three Grammy Award nominations in the categories Song of the Year\, Best Pop Duo/Group Performance and Best Song Written for Visual Media\, and a Golden Globe nomination in the category Best Original Song – Motion Picture. Wiz released his album Khalifa in February of 2016 as a thank you to fans which includes the tracks “Bake Sale” featuring Travis Scott\, “Zoney” and “Elevated.” On June 3 Wiz released TGOD Mafia Presents: Rude Awakening with his TGOD Mafia collaborator Juicy J. Wiz recently co-headlined The High Road Summer Tour with Snoop Dogg this past July. \n*** \nCurren$y \nWebsite\nFacebook\nTwitter \nNew Orleans rapper and Hip-Hop connoisseur Curren$y thrives on making music on his own terms. With his “Jet Life” mantra about living life to the fullest\, the savvy rhyme spitter (why do you think they call him “Spitta”?) is focused on a lyrical devotion to the truth and authenticity. It’s because of this ethos that the man born Shante Anthony Franklin has transcended any regional rap stereotypes to become a favorite of bloggers\, critics\, fans and everyone in between. Now aligned with Atlantic Records.\, the plan is to let Spitta be himself\, but have even more people get acquainted with the Jet (Just Enjoy This Sh*t) Life.\nInspired by a litany of Hip-Hop heavyweights (“You’re putting your voice on top of some shit\, you gotta say something.”) including Slick Rick\, Snoop Dogg\, Camp Lo\, DJ Quick\, A Tribe Called Quest\, OutKast and 8Ball & MJG\, by 2002 the young Curren$y took his talents to Master P. Signing a recording deal with No Limit Records\, he was a member of the 504 Boyz. Only two years later\, he switched over to Cash Money Records\, becoming the marquee artist of Lil Wayne’s then fledgling Young Money Records. The experience with the hometown labels taught him not only how to be a team player but about the type of artist he wanted to be.\n“I was in other places. The verse before would be about possibly decapitating somebody with a shotgun and boatloads of cocaine\,” recalls Curren$y. “So young me was like\, so I shot him too and I got two keys out of the ten. Then I would try to sneak in something else about how I got the newest Jordans and this that and third to still be myself.”\nCurren$y went for self in late 2007 when he formally left the Young Money fold. An album called Music To Fly To was recorded for the label but never released. After walking away from the Lil Wayne co-sign\, Curren$y began releasing mixtapes (Life At 30\,000 Feet\, Independence Day\, et al.) to let fans know his talents didn’t go to waste when he was sitting on the shelf. Off the strength of his mixtapes\, Curren$y earned a spot on the 2009 Freshmen cover of XXL Magazine (December 2008 issue)\, labeling him as one of Hip-Hop’s most promising acts.\nLabels began sniffing around for Curren$y’s services around this time\, but he preferred to remain independent. “The rap game\, I didn’t know the politics of it until I was completely dolo in making the music that I make. I started going to meetings and realizing how the machine was set up.”\nSpitta was increasing his music business IQ but was still adamant about not compromising his art. “Any song that an artist gives you\, if there’s a world for him out there\, it’s going to do what it do\,” he says. “It doesn’t have to sound like whatever’s popping on the radio. It has to sound like that artist because that’s what people want.”\nThe New Orleans native moved to New York City because he felt that the creative energy there would only help him bolster his movement. “It was just smarter for my hustle to be somewhere where everything is right at my fingertips\,” he says. “It just so happened that the city was fucking with me. I felt the love the \nwhole time and I still do. When I got out here to New York\, I was able to be with so many people absolutely on the grind. I could shoot a video every day\, and they wanted to do it. Once I got all that work done\, people [back home] came out of their shells and said I can do this. Now I’m assembling a team in the city of people that are talented and I’m working with them as well.”\nTo call Curren$y output of music prolific would be an understatement. In 2009 Curren$y released This Ain’t No Mixtape\, via Amalgam Digital\, and the same year released another album\, Jet Files. He also aligned with ex-Roc-a-fella Records head honcho Dame Dash and his new DD172 venture. The result was in 2010\, Curren$y would again drop two albums\, Pilot Talk and Pilot Talk 2\, via Dash’s DD172 label with distribution from Def Jam Record. Throughout this time Spitta was receiving acclaim for his music\, and videos\, as well as making moves with lifestyle and streetwear brands like Married to the Mob\, Diamond supply and Rocksmith. An avid automobile fan and collector\, he also has a couple of car clubs (Boxed Sets with Chuck English from rap group the Cool Kids\, and Cruise Life in New Orleans with his manager/business partner and long time friend Mousa Hamdan).\nYes\, Curren$y is living the good life\, but don’t make the mistake of calling him some type of stoner rapper. “When you rapping about weed and kicking it\, how pissed off can people be with you. dog?\,” he observes. “If that’s really what you doing. Just don’t be a studio chiller. Everybody wants to get on with this fucking weed rap. It’s not weed rap. There’s no stoner rap. It’s not a genre\, that’s bullshit. Anybody that’s doing that should be kicked in the balls because that’s some gimmick shit. Four bars ago you were barely smoking\, dog\, and now you’re smoking a doobie.”\n The charismatic Curren$y is living\, breathing example of that tried and true quote from from Confucius: “Picking a job you love\, you’ll never have to work a day in your life.”\n“I hit the ultimate liq. I watch basketball like\, ‘Yo\, they’re getting paid to play’\,” says Curren$y. “This is the equivalent. Yeah\, it’s work\, but the trade off is pretty G’d up.” Now that’s the Jet Life. \n*** \nChevy Woods \nWebsite\nFacebook\nTwitter \n*** \nFendi P/T.Y. \nWebsite\nTwitter URL:https://royaleboston.com/event/wiz-khalifa-and-curreny/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/01/wiz564.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190301T190000 DTEND;TZID=America/New_York:20190301T190000 DTSTAMP:20260404T162958 CREATED:20181030T140034Z LAST-MODIFIED:20190228T180637Z UID:10002701-1551466800-1551466800@royaleboston.com SUMMARY:[SOLD OUT] Jacob Collier DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 7:45 pm \nThis show is SOLD OUT! \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 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*** \nJacob Collier \n \nWebsite\nFacebook\nTwitter \nJacob Collier’s series of viral YouTube videos are what first made him a star\, and caught the attention of Quincy Jones. On 2016’s In My Room\, which won 2 GRAMMYs and a Jazz FM Award\, Collier sang\, played\, and produced everything himself. And he made it all in his childhood bedroom. In My Room led to collaborations with Herbie Hancock and Hans Zimmer\, performances with the likes of Pharrell\, a TED Talk\, a BBC Proms concert and much more. After releasing that astonishing gambit\, he decided he wanted to open the process up to the world\, to allow the music and musicians that had influenced him to participate in the very songs he wrote. \nOn January 1\, 2018\, Jacob woke up in London and began something bold: He sat down and started composing for an orchestra for the first time\, giving himself just four weeks to finish an entire album before flying to The Netherlands to record the songs with the Metropole Orkest. That was only the first day and first act of a year of new musical adventures for the British singer\, multi-instrumentalist\, and production wunderkind—the dawn of a profound period of musical dialogue and discovery that is now poised to dazzle the world. \nThat morning\, Collier started making Djesse\, a four-album cycle composed entirely during 2018 and featuring contributions from a global cast of his musical inspirations. It is one of the most audacious recording projects to emerge this decade from someone who has already established himself as one of music’s most brazen and electrifying new minds. Djesse is a universal wonder. \n“I never planned to record a four-album project\, but it occurred to me that there was so much music I wanted to write at this point that I might as well just write it all\,” explains Collier\, laughing. “I’ve always been a huge fan of going to the deepest waters of something I don’t truly understand and making something happen. It’s amazing to see how oftentimes when you just jump in and do the thing\, something magical will happen.” \nTake\, for instance\, “Everlasting Motion\,” the ecstatic rhythmic centerpiece of Djesse’s first volume. For years\, the musically omnivorous Collier had studied gnawa\, a spiritual and relentlessly percussive ancient sound rooted in Northern Africa. He loved its hypnotic rhythms and the way its vocals seemed to unfurl in endless ribbons. Collier wanted to collaborate with Hamid El Kasri\, a modern Moroccan master of the form. He asked around\, eventually obtained an email address\, and sent a note explaining his backstory and project. Nearly three months passed. Collier had essentially given up on El Kasri\, assuming that either the email address he had found was outdated or that one of Morocco’s living legends simply had no interest in such a nebulous project. \nBut suddenly\, an enthusiastic answer arrived: Come to Morocco\, and make music. Collier booked a flight to and studio time in Casablanca\, where he spent 24 hours recording with El Kasri and asking one of gnawa’s current wellsprings about the history of the genre itself. He left with new information and a radiant piece of polyglot pop\, where strings and horns and funky bass dance in jubilation. It is a magnificent moment of ignored borders and a positive affirmation of Collier’s central vision for Djesse. \nIn one story and one song\, this is the spirit of Djesse. (Pronounced “Jesse\,” the album’s name is an extrapolation of Collier’s initials\, though he’s not the character at the center of this epic.) In these four albums\, all written and engineered and produced by Collier\, he has taken the singular approach to arrangement and harmony that have earned him acclaim since he was a teenager on YouTube and paired it with the artists he treasures. In the process\, he has traveled from Los Angeles to New York\, Tokyo to Casablanca\, Nashville to Abbey Road with a compact version of his home studio in tow. Documenting a year in Collier’s life and of his musical loves\, Djesse is a monumental testament to creative exploration and collaboration. \nOn the first volume\, his key partner is the Metropole Orkest\, the 70-year-old Dutch ensemble that programs and performs with the aplomb and energy of youth. Led by conductor Jules Buckley\, the Metropole continues to reimagine how modern symphonies can sound and how they should play. Alongside Collier\, they animate the voices of El Kasri\, stunning a cappella group Take 6\, and the rapturous soul singer Laura Mvula. You hear Collier wink awake through a gorgeous vocal aubade\, then assert his distinctive voice as an arranger and orchestrator\, where the ensemble becomes new limbs with which to create motion and harmony. “Keep in motion/Stay unspoken\,” he sings again and again. “If I’m broken/Keep me open.” There are sweeping ballads\, classical beauties\, electric R&B tunes\, and a cover of “All Night Long” that swings from South America to the American South in seven minutes that rush past in an instant. \nAnd that’s just the start. As the volumes are revealed\, different textures and themes and sounds will be explored in equally astonishing ways. Jacob imagined Djesse as a grand journey through space and time\, and the volumes follow his path. In addition\, across the quartiles nearly two-dozen collaborators will be featured\, from pop stars and folk songwriters to guitar wizards and soul singers. Collier stands bravely at the center of it all\, the writer\, producer\, arranger\, and singer putting himself in conversation with the musical world at large. \n“I’m treating it as this great big puzzle. Piece by piece\, it comes together\,” he says. “An idea like this can’t come without obsession on every single plane ride\, every single day\, every single night\, staying up to think about how it all fits together. Rather than being my four walls\, this time my room is the Planet Earth. I have been able to call many rooms my room.” \nIn times of political turmoil\, the assumption is that the artistic response should be one of bile and vitriol\, the raised fist of barbed punk or plaintive folk or urgent hip-hop instructing us how best to broadcast our anger and how best to organize it. Djesse isn’t a disavowal of that idea so much as an alternative that stares into a darkness with an irrepressible light\, a universal ecstasy. During these four volumes\, Jacob Collier doesn’t merely embrace globalism or give it the deference of lip service. He lives it\, sings it\, arranges for it through songs that fight for something—music and its power to remind us of the connections we all share\, the joy\, and pain and humanity of being alive at all. URL:https://royaleboston.com/event/jacob-collier/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/10/jacob-Collier-admat-2019.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190302T180000 DTEND;TZID=America/New_York:20190302T180000 DTSTAMP:20260404T162958 CREATED:20180903T160031Z LAST-MODIFIED:20190124T171434Z UID:10002679-1551549600-1551549600@royaleboston.com SUMMARY:The Cat Empire DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri. 9/7 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. \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*** \nThe Cat Empire \n \nWebsite\nFacebook\nTwitter \nf it has been a while since you danced up a storm\, sang out loud\, smiled until your face hurt\, had a night out with your friends or lover…the time has come… \nFor over a decade\, The Cat Empire have been known far and wide as one of the worlds greatest party bands. Their colourful\, genre-bending music\, shipped across the globe in travellers backpacks\, seems at home almost anywhere. Difficult to describe and impossible to categorise\, The Cat Empire’s reputation is built upon a chaotic and fiercely uplifting live show that saw their last album debut Top 20 in 16 countries around the world. \nLoved around the globe for their melody driven mood lifting music\, and with well over 1200 shows under their belts\, their career has been spectacular. This is testament to the quality of their musicianship\, showmanship and unstoppable energy and generosity as performers. \nThe Cat Empire have chosen to kick off their 2019 Global Tour in North America to celebrate the release of their new album\, due Feb 2019. Expect to hear new songs\, and old favourites. Shows will sell out quickly\, so secure your tickets early. \n*** \nNeal Francis \n \nWebsite\nFacebook\nTwitter \n“I just wanted to be honest about everything\, from my musical influences to my story\,” muses Neal Francis. After years of dishonest living — consumed by drugs\, alcohol\, and addiction — such sincerity is jarring from the 30-year-old Chicago-based musician. Liberated from a self-destructive past and born anew in sobriety\, Francis has captured an inspired collection of songs steeped in New Orleans rhythms and Chicago blues. His music evokes a bygone era of R&B’s heyday while simultaneously forging a new path on the musical landscape. Ohio-based Karma Chief Records (a subsidiary of rising soul label Colemine Records) will release two songs\, “These Are The Days” and “Changes\, Pt. 1\,” in early 2019 with the full LP to follow in summer 2019. \nThere is a deep connection between Francis’s childhood — his obsession with boogie woogie piano\, his father’s gift of a dusty Dr. John LP — and the songs he’s created. The result is an astonishing collection of material without parallel in the contemporary funk and soul scene. The influences are unmistakable: the vocal stylings of Allen Toussaint and Leon Russell; the second line rhythms of The Meters and Dr. John; the barroom rock ‘n’ roll of The Rolling Stones; the gospel soul of Billy Preston; the roots music of The Band. Francis pays tribute to the masters but has his own story to tell: “It’s the life I’ve lived so far.” \nAnd what a life it’s been. Born Neal Francis O’Hara\, the piano prodigy found himself touring Europe by the age of 18 with Muddy Waters’ son and backing up other prominent blues artists coast-to-coast. In 2012\, Francis joined popular instrumental funk band The Heard. With Francis at the creative helm\, The Heard transformed into a national act\, touring with boogaloo progenitors The New Mastersounds and chart toppers The Revivalists and appearing at Jazz Fest and Bear Creek. As The Heard’s star rose\, however\, Francis sunk deeper into addiction. Once a promising sideman\, by 2015 he had been fired from his band\, evicted from his apartment\, and was perilously close to self-destruction. “When you get close to death like that you can feel it\,” Francis recalls. An alcohol-induced seizure that year led to a broken femur\, dislocated arm\, and\, finally\, the realization that he needed to get clean. \nThe journey from a hospital bed to launching his solo career was neither predictable nor straightforward. There were musical fits and starts\, relapses\, and broken relationships. Yet the overwhelming passion driving Francis in this second act has been an overabundance of creative energy. “Drinking held my music in a half-cocked slingshot. I was always so consumed by drugs and alcohol that I didn’t have the time\, money\, or creative energy to do it. Sobriety let it loose.” \nDetermined to realize the songs swirling in his head\, Francis assembled a crack team of musicians\, calling on bassist Mike Starr (The Heard) and drummer PJ Howard (The Revivalists\, The Heard). He linked up with producer and analog-obsessive Sergio Rios (Orgone\, Cee Lo Green\, Alicia Keys) and self-funded a trip to Killion Sound in Los Angeles to record the initial batch of material. “I learned to trust my instincts in that room\,” says Francis. Buoyed by classic horn arrangements and Rios’ fierce guitar work\, the resulting tracks illuminate a lifetime spent studying the masters of soul music. \nFrom the RMI electra-piano riff that kicks off “She’s A Winner” to the screaming organ swells of “This Time\,” Francis and company let it all hang out. This is fun music\, dance music. Yet verse after verse and chorus after chorus\, Francis wrestles with his past in a straightforward manner: “It’s 5 o’clock in the morning\, but I’m not home/ I’m surrounded by people\, but I’m really alone.” Like Toussaint and Russell before him he’s married the upbeat rhythms of New Orleans R&B with the lyrical approach of a confessional singer/songwriter. The refrain on “This Time” serves as a foxhole prayer for a better future: “Let me get it this time/I won’t let you down/Let me get it this time/I won’t fool around.” \n2018 has been a busy year. In February Francis finished recording basic tracks for the yet-to-be named debut album in Los Angeles and spent the following months doing overdubs in Chicago with engineer Mike Novak (who also recorded demos for the project). After playing his first show in November\, Francis was signed by Paradigm Talent Agency. He is now preparing to tour relentlessly to promote his own music. “I’m doing this to fulfill a drive within myself\, but also to pay tribute to the gifts I’ve been given. And it comes from a place of immense gratitude. I’ve been given so much in my life\, especially in the last two years\, that this feels like a bonus.” URL:https://royaleboston.com/event/the-cat-empire/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/09/the-cat-empire-admat-2019-new.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190303T190000 DTEND;TZID=America/New_York:20190303T190000 DTSTAMP:20260404T162958 CREATED:20190115T201835Z LAST-MODIFIED:20190206T201925Z UID:10002013-1551639600-1551639600@royaleboston.com SUMMARY:[SOLD OUT] Dean Lewis DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 7:30 pm \nThis show is SOLD OUT! \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 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*** \nDean Lewis \n \nWebsite\nFacebook\nTwitter \nOn Dean Lewis’s latest single “Be Alright” for Island Records\, he perfectly captures gut-wrenching heartbreak that comes with the hardships of a break-up. But while it deals candidly with anguish\, the chorus swells with hope; a recognition that this pain is only temporary\, with Lewis emotively singing “It’s never easy to walk away/ Let her go/ it’ll be ok”. “Be Alright” has already amassed over 200 million streams and is the first taste of Lewis’ forthcoming album and signals a newfound conviction in his own storytelling and singing capabilities. Buy / Listen to Dean Lewis: www.DeanLewis.lnk.to/BeAlrightID. \nLewis’ debut EP Same Kind Of Different\, gave us chart-topping single\, “Waves\,” which was added to Triple J rotation\, has had over 122 million streams\, 31 million video views and was the second biggest Australian single of 2017. Suddenly\, Lewis was gracing the stages of Europe’s biggest television shows\, playing headline shows and festivals slots across Australia and the US. “Waves” even appeared on programs like Suits\, Riverdale and Grey’s Anatomy. \n*** \nSYML \nWebsite\nFacebook\nTwitter \n*** \nJack Gray \n \nWebsite\nFacebook\nTwitter URL:https://royaleboston.com/event/dean-lewis/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/01/Boston-2.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190304T190000 DTEND;TZID=America/New_York:20190304T190000 DTSTAMP:20260404T162958 CREATED:20181205T220044Z LAST-MODIFIED:20190122T185629Z UID:10002715-1551726000-1551726000@royaleboston.com SUMMARY:[Moved to The Sinclair ]Wet & Kilo Kish DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show has been moved to The Sinclair. All tickets for the Royale show will be honored. Tickets are available here. \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. URL:https://royaleboston.com/event/wet-kilo-kish/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/12/B_real-size-BLANK.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190305T190000 DTEND;TZID=America/New_York:20190305T190000 DTSTAMP:20260404T162958 CREATED:20181023T160808Z LAST-MODIFIED:20190304T171226Z UID:10002699-1551812400-1551812400@royaleboston.com SUMMARY:Aurora DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri. 10/26 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. \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*** \nAurora \n \nWebsite\nFacebook\nTwitter \nIt is as if pure magic runs through AURORA’s veins. Enchanting by name and by nature\, there’s something decidedly singular and strange about this tiny Nordic musician with the massive talent.\nWith an eye-watering 200 million+ streams and 500\,000+ sales for her stunning 2016 debut album\, ‘All My Demons Greeting Me As A Friend’\, it’s hard to believe that the dynamic Norwegian singer/songwriter is still only 21\, and AURORA is now pushing things forward like never before. “There’s a deeper understanding of myself and what I want to say and do than on my first album. It’s more tuned into my soul and who I am\,” explains the Bergen-based artist of her new material. “It’s about the many\, many different aspects of what it is to be human. It covers the way we hurt and we love and the way we are so beautiful but also so awful.” See\, AURORA isn’t just a singer\, but a warrior\, a sage and a protector. Oh\, and a bloody good songwriter to boot.\nRecorded in a fairytale studio/chateau in the middle of nowhere\, somewhere out in the south of France\, her new songs veer from the personal to the political\, taking in everything from break-ups and death to feminism and environmentalism. These are songs you can find solace in but also songs that pose questions. “The world is becoming really quite chaotic\,” says AURORA of the swirling uncertainty reflected in those soon-to-be-shared new tunes\, but that isn’t necessarily a bad thing. “I think it’s good for us. It’s good to get tastes of this chaos so we can understand the places where it happens all the time better.”\nThough co-produced with British duo MyRiot [London Grammar\, Rae Morris] and fellow fast-rising Norwegian talent Askjell\, AURORA was adamant that she would play a large part in the production of her new music. “It’s so important to me that the music is a good enough reflection of who I am inside\,” she states. “I’m the only one who really knows me\, the core of me\, and I do me the best!” In a world where too many female artists are corralled into working with male producers\, it’s a move that makes a significant statement.\nShoring up her unique\, enchanting sound are Trondheim Symphony Orchestra and Florence and the Machine harpist Ruth Potter\, a cello quartet\, and a 32 strong gay male voice choir from Oslo. “They’re spectacular\,” she beams of the vocal troupe\, who appear on three songs. “The energy they have is so amazing\, it’s so alive and naughty\, but happy. I just love them.” AURORA has balanced the smooth with the rough. “Every song asks for a different thing and every line asks for a different emotion\,” she explains. “Sometimes an ugly vocal presentation\nmakes for the better emotion\, so it can be quite ugly and gritty and messy\, which you can hear even more on this album.”\nSentimental and fragile\, but tough and strong too\, AURORA wants her next full length project to make people “feel like they can accomplish things. It makes me feel like a fighter or a hunter – someone that can do whatever.” Reflecting the many facets of her character\, it’s ‘The Seed’ which shines a light on AURORA’s innate love of nature. Based on a traditional Native American saying\, she asks what will happen after the last tree has fallen and the rivers have been poisoned. “More than anything else around me Mother Earth is my biggest inspiration\,” she says\, calling the song “a fight for the things that can’t really fight for themselves.”\nThe strident returning single ‘Queendom’ is not just AURORA’s ‘Time’s Up’ anthem\, but a song for everyone. “Queendom has a feminist angle and it’s an important time for women right now; we are constantly fighting for each other to have a better life on this planet\, but it also stretches its arms further than that – to everything that’s alive\, to the men and boys\, to the animals and to nature.” In AURORA’s Queendom\, everyone fights for everything that’s alive and its right to live. Which is kind of awesome\, don’t you think?\nIn whatever form it eventually takes\, this collection of new songs she now sits on offer up a powerful look not just at one of the most exciting\, singular artists around\, but the most important issues of 2018. We’ll leave it to her to have the final word though. “Singing makes me feel like I’m opening a window in my skin\, the biggest window I have. The voice comes from my belly and out to the world – it’s such a powerful thing.\n“It makes me feel like some kind of portal\, which is a very nice feeling because I’m not me\, I’m not anyone – I’m just a voice\, which is not the worst thing to be!” \n*** \nTalos \n \nWebsite\nFacebook\nTwitter \n*** \nSean McVerry URL:https://royaleboston.com/event/aurora/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/10/AURORA-admat-2019-SQ.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT END:VCALENDAR