BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Royale Boston - ECPv6.15.16//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Royale Boston
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:20160313T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20161106T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20170312T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20171105T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20180311T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20181104T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170225T180000
DTEND;TZID=America/New_York:20170225T213000
DTSTAMP:20260405T082353
CREATED:20170126T000603Z
LAST-MODIFIED:20170126T000603Z
UID:10001746-1488045600-1488058200@royaleboston.com
SUMMARY:SOLD OUT - Kehlani
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \nSOLD OUT \n*** \n \n*** \nKehlani \n \n[Website] [Facebook] [Twitter] \nKehlani tells it like it is. Whether in conversation or on stage\, the Oakland-born R&B singer and songwriter gives the straight truth about her life\, pain\, passion\, love\, triumph\, and everything in between with collected calm and confidence. It’s that type of honesty that makes her music resonate with the depth of classic Motown and a vividly confessional lyricism reminiscent of Neo Soul. At the same time\, her 2015 mixtape\, You Should Be Here\, tells a story that distinctly belongs to her. \nIt all starts on the East Bay… \nBorn a unique blend of ethnicities including African American\, Caucasian\, Native American\, Spanish\, and Filipino Native American Kehlani will casually tell you “You’re lucky if you make it out of Oakland.” However\, in her case\, talent usurped luck. Months after her birth\, Kehlani lost her father\, never properly meeting him. Mired in drug addiction\, her mom shuffled her to an aunt. She initially found solace in dance—ballet in particular—but a knee injury sidelined her what might’ve been a budding career as ballerina. \n“That’s when I started singing\,” she recalls. “When I was living with my aunt\, she played me all of these powerful women and love songs. It was that Neo Soul-R&B\, and I couldn’t get enough of it. It felt right to sing from the moment I began.” \nIn eighth grade\, she became a member of the group Poplyfe produced by D’wayne Wiggins of Tony! Toni! Toné! fame. With Kehlani front and center\, Poplyfe ended up becoming a finalist on America’s Got Talent—even performing with her idol Stevie Wonder during the final round. They didn’t win the competition\, but she made an invaluable ally in Nick Cannon. A few industry pitfalls and detours derailed her musical momentum for six months until she decided to pick up the mic again. Without a home\, she moved from couch to couch until Cannon got back in touch wanting to help however he could. Kehlani wanted one thing: studio time. \nKehlani’s 2014 mixtape\, Cloud 19\, introduced her to the world. Immediately\, tastemakers and audiences alike wholeheartedly embraced her. Complex showcased the songstress in a piece entitled “How R&B Saved 2014\,” Pitchfork dubbed the mixtape one of the “Overlooked mixtapes of 2014\,” Vice proclaimed her an “R&B Artist on the Verge of Blowing Up\,” BuzzFeed pegged her at #4 on their “41 SXSW 2015 Artists You Need In Your Life\,” and she ended up being one of SXSW’s “Top 5 Most Tweeted Artists.” \nIn late April she shared You Should Be Here with the world\, which earned Kehlani her very first GRAMMY nomination at the 58th GRAMMY Awards for “Best Urban Contemporary Album.” Upon its release Billboard immediately called this project “The year’s first great R&B album”. Amongst their great review\, You Should Be Here has seen quite a bit of success on the charts. Aside from being the top R&B debut of the week\, it also came in at #1 on the iTunes R&B/Soul chart and #2 on both the Overall R&B Albums and Current R&B Albums chart. \nSigning to Atlantic Records in early 2015 and releasing You Should Be Here\, Kehlani possesses the power to make an impact because she’s so unwaveringly honest.\n“I am one-hundred percent music\,” she’ll assure.\nThat’s because it’s the truth. \n*** \nElla Mai \n \n[Website] [Facebook] [Twitter] \nLondon\, United Kingdom \n*** \nJahkoy \n \n[Website] [Facebook] [Twitter] \nLike all the most exciting new talents\, 21-year-old Toronto-born JAHKOY seemed to appear from nowhere. Shared speculatively on his Soundcloud last June\, the shimmering funk of debut single Still In Love – the first song he recorded after he moved to LA alone aged 20 – now sits at over one million plays on all platforms. Same with the skipping electro-throb of follow-up Hold Your Hand\, the string of those songs presenting a new artist in absolute control of his craft while already looking to manipulate it into new and exciting shapes. Both songs have received plays and shout outs on Beats 1\, most notably from Zane Lowe\, Drake and JAHKOY’s childhood hero\, Pharrell. In fact\, it’s telling that from a young age JAHKOY was drawn to a constant shape-shifter and experimentalist like Pharrell. “I loved the fact he was in his own lane\,” he explains. “There was stuff that was going on but he was creating new stuff. He didn’t fit in and he stepped over the boundaries of music and made what he has today.” A brief pause. “It’s something I want to do with my music.” \nBefore he could pinpoint his own musical inspirations\, there was a childhood household bustling with early influences\, mainly covering 90s R&B and hip-hop. “A lot of New Edition\, Total\, Notorious BIG\, Lil Kim\,” he says with a smile. While school didn’t offer him a musical education as such\, there were mandatory violin lessons to train his ear. “Because it’s the only instrument I know how to play I feel like it’s pretty easy\,” he shrugs. By the age of 11 music had started to go from something he listened to to something he created\, and buoyed by the expanding Toronto music scene he started (secretly) writing early lyrics in the form of poetry. Steadily these turned into raps\, which in turn became his debut releases under the name Raheem. “At the time I was doing music everyone was rapping\,” he says. “It started becoming more of a common thing and then it was too common. I put out three projects before changing my name.” While proud of the critically acclaimed mix-tapes\, he’s also aware that they were a stepping stone: “That was more my learning process to get to where I am now.” \nJAHKOY\, the artist\, was inspired by a perfect storm of circumstances\, mainly built around UK dance duo Disclosure and\, well\, good old-fashioned love. “Disclosure came to Toronto in 2014 and I had just dropped a project as Raheem that same day\,” he explains. “I went to the Disclosure show\, but I was going to see Vic Mensa\, who opened for them. So he killed it and then the headliners came on and they completely ripped it. I had no idea what kind of music they made or anything but their name. I was blown away by it. More because it was instrumental so I figured it would be dope if somebody sang or rapped over those kind of beats. So I started doing just that and then it turned into singing.” His passion for singing was also bolstered by falling in love\, the title of his forthcoming debut album\, Temptations\, inspired by his first date. \nIn amongst the musical re-awakenings and the young love\, JAHKOY also knew he needed to leave Canada to make his dreams a reality. “I left Toronto for Atlanta\,” he says. “I just needed to get out of Canada. So I spent some time there\, but eventually felt like there wasn’t what I needed in Atlanta. I needed to explore what was out there and so I went to LA and I grinded it out.” In fact\, he didn’t tell anyone he was going to LA\, just packed up his stuff and left.. While a move to LA sounds glitzy on paper\, in reality it was a leap into the unknown. “When I got to LA there was just one person I knew. I’d met him online. He was actually a fan of my early music\, so I knew he was really down to support the movement\,” he explains. “So I was staying on his couch for a while and getting a chance to meet people. The internet is a big world and there were some people who I knew were in LA that I hadn’t met before\, but I was willing to because I was there. So I linked up with a few people and I worked in a few studios and it went from there.” It was during those early sessions that he created Still In Love\, a song that re-shaped his journey.Steadily his name started to reach other producers\, most notably the likes of No ID\, Pop & Oak\, James Fauntleroy and DJ Dahi\, with a deal eventually signed with Def Jam. \nOften the inspirations behind JAHKOY’s songs are used purely as the foundation to careen off into glorious new areas. So Hold Your Hand was inspired by The Beatles’ I Want To Hold Your Hand\, this sense of carefree early love morphing into a day-glow mix of filtered guitars\, shuffling beats and JAHKOY’s airy delivery. \nAsked where he’d like to be in five years’ time\, JAHKOY says it’s something he’s been thinking about a lot recently. Rather than emulate a specific career\, he’s focused on making his music meaningful to as many people as possible. Once again\, there’s this sense of following your own path and doing what you need to do in the best way you can\, regardless of what else is happening around you. “I want to be influential to the music world\,” he states\, and you believe him. “That’s really it. I want to be able to bring that light to music. \n*** \nNoodles \n \n[Website] [Facebook] [Twitter] \nA name to know and an artist to watch in Electronic music\, Noodles continues to shine as a rising star in the DJ/Producer ranks and has taken his fans on quite a wild and exciting ride this past year. Noodles is well known as the go-to remixer for some of the biggest names in music and 2015 allowed him to further expand his library of collaborations while working on official projects for artists spanning the gamete of the industry\, from David Guetta to Pitbull. His work was also featured in the widely successful 2015 blockbuster motion picture “Furious 7” and can also be found on the official movie soundtrack. \nAside from working on his original releases as well as remixing for the biggest acts in music\, Noodles has continued to grow his radio audience reach to impressive lengths. He can be heard by over 2.5 million listeners per week through his massive radio network which includes mixes every weekend on Miami’s #1 station HITS 97.3\, his internationally syndicated show “The Radio Remix”\, his signature “Noodle’s Nation” show on DASH radio\, as well as weekly appearances on SiriusXM. Turn on a radio just about anywhere and you are sure to hear a mix or remix that Noodles is responsible for. \nNoodles brings the show during his high energy live performances! His sound can be described as a genre mashing experience rooted in big room electronic music with hip-hop\, trap and reggae influences\, which is the perfect combination to get any crowd moving. \nRemix King\, Super Producer\, and Radio Ruler- Noodles is a name to know and a star to watch in 2016.
URL:https://royaleboston.com/event/kehlani-second-show-added/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/01/kehlani-admat-2017v5.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170311T180000
DTEND;TZID=America/New_York:20170311T213000
DTSTAMP:20260405T082353
CREATED:20170109T100029Z
LAST-MODIFIED:20170109T100029Z
UID:10001744-1489255200-1489267800@royaleboston.com
SUMMARY:Haywyre & The Opiuo Band
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 1/13 at 10AM! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nHaywyre \n \n[Website] [Facebook] [Twitter] \nHaywyre consists of Martin Vogt\, who has been studying piano since the age of six. His interest in the production of various genres of electronic music and piano instrumentals began growing when he lived in Austria; there\, he was exposed to jazz and hip-hop for the first time. Shortly after moving back to the U.S. in 2008\, Haywyre was created. Now\, his mission can be defined by providing his listeners with music that presents variety\, originality\, and ideas stemming from his jazz and classical knowledge base. The most general description to Martin’s sound can be described as memorable melodies and (jazz / classically influenced) chord progressions in the context of progressive electronic music. Synthetic and organic elements combine in works inspired by artists such as Noisia\, Flying Lotus\, KOAN Sound\, Hans Zimmer\, Clint Mansell\, Austin Peralta\, and Abdullah Ibrahim. His main compositional tool is the piano; countless nights are spent drafting harmonic and melodic outlines by improvising. For live performances\, Haywyre also includes his akai mpk 88 to perform the melodies while triggering the stems to the rest of the pieces. His guitar work can also be heard in many tracks (and sometimes other instruments\, such as the Duduk\, as well). So far\, he has mastered every release himself (except the Draw The Line EP). \n*** \nThe Opiuo Band \n \n[Website] [Facebook] [Twitter] \nFor New Zealand native Opiuo\, making music has been an undeniable passion that encapsulates his every moment. His incredibly original\, against the grain style is often referred to simply as “funkadelic bass music”\, a term he supports wholeheartedly. The producer who now calls Australia home first gained international recognition in 2010 with his single “Robo Booty” from his debut album “Slurp and Giggle”\, which was a finalist for Best Dance/Electro Release at the Australian Independent Music Awards that year. His music has since reached the #1 position on the iTunes\, Hype Machine\, Beatport & Addictech charts. Racking up 5 million plays on his Soundcloud page\, Opiuo swept the 2013 UK Glitch-Hop Awards with 5 wins. His latest full-length album “Meraki” was a finalist for the Best Electronica Album at the New Zealand Music Awards 2014. \nOpiuo’s unique take on electronic music has captured the attention of music lovers around the entire globe\, with sets at Coachella (USA)\, Glastonbury (UK)\, Shambhala (Canada)\, Lightning In A Bottle (USA)\, Boomtown Fair (UK) as well as headlining tours across Australia\, New Zealand\, N. America\, Europe\, Asia\, Israel and India. He’s shared the stage with some of music’s elite including Bassnectar\, Moby\, Pete Tong\, Bonobo\, & The Glitch Mob to name a few. Whether he’s equipped with his solo setup of various drum machines and synths\, or performing 100% live as The Opiuo Band\, his explosive live shows never disappoint. \nAs a remixer Opiuo’s credits span far & wide\, from Gwen Stefani to Kimbra\, Pretty Lights to Infected Mushroom\, KOAN Sound to Shapeshifter and many more. With such a grand scope its no wonder Opiuo’s musical meanderings are heard the world over. \n*** \nFreddy Todd \n \n[Website] [Facebook] [Twitter] \nWords will inevitably fail to properly describe Freddy Todd. Genre-busting could be an understatement. You can’t pin him down with lexicon like lazer-bass and glitch-funk; these phrases fall way short of capturing the expressiveness\, fearlessness\, and space-traveling qualities of his music. Hearing his music is akin to being abducted by an extra-terrestrial cruise liner where everyone is tripping on space acid. And if you are lucky enough to witness him produce\, you’ll see that he fittingly looks just like the captain of said space cruiser\, both hands intently gripping his electronics like the instrument panel on the flight deck. \nLet’s bring this back to earth real quick. His motown\, soul\, blues\, jazz\, funk\, hiphop (and techno for that matter) roots are a given\, being born just outside of Detroit in Southfield\, MI in 1990. Freddy moved out of his parents house immediately upon turning 18 lusting for the world and the creative juices it has to offer\, living briefly in Ferndale\, MI at first\, then to the outskirts of a rougher part of the city of Detroit near 7 mile and Lahser for two years to live with his then-band “Tone Poets”\, producing for Scrummage hip-hop queen “Breezee One”\, and wrapping up his second full length studio LP on Simplify Recordings\, followed by a year in Chicago. After living in the midwest until the age of 22\, his sights were set on the golden west. Moving cross-country and living two years in the Bay Area\, living in both the hood of West Oakland followed by the Oakland Hills while writing and releasing the “Golden Tremendous” album and starting his next EP. After soaking up the Cali vibes\, he returned across country for some more wholesome less-congested living in the blue ridge smokey mountains of Asheville\, NC to be closer to family\, where he currently resides. \nFreddy Todd is truly a master of his craft not only in the studio but on stages across the globe. Without any pre-recorded sets\, Freddy has the skills and the audacity to perform on the fly mixes of 100% original material tailored to his specific audience\, mood\, and venue each night\, be it a theater in northern California\, a club in the back alleys of Detroit\, or an outdoor festival in the bush off the eastern coast of Australia (occasionally on special nights with his live drummer forming the FT Live Band/Duo). His earth shattering\, meticulously programmed beats & rhythms\, his lazer crunk\, funky psychedelic bass & sound design\, and his brain tingling\, intelligently soul-soaked synths\, melodies\, & field-recorded samples are sure to shake your consciousness as they blast through airwaves out of top notch sound systems across the universe while Freddy serenades you with 100% live & improvised get-your-booty-on-the-floor analog Moog synthesizers & keytar\, loop triggering\, and occasional drums & percussive elements. Be careful where you don’t look.
URL:https://royaleboston.com/event/haywyre-the-opiuo-band/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/01/haywyre-opiuo-band-admat-2017.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170312T190000
DTEND;TZID=America/New_York:20170312T190000
DTSTAMP:20260405T082353
CREATED:20170119T190636Z
LAST-MODIFIED:20170119T190636Z
UID:10002461-1489345200-1489345200@royaleboston.com
SUMMARY:Devendra Banhart
DESCRIPTION:Show moved from The Sinclair to Royale due to overwhelming demand! \nBowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale now! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nDevendra Banhart \n \n[Website] [Facebook] [Twitter] \nDevendra Obi Banhart (born May 30\, 1981) is a Venezuelan American singer-songwriter and visual artist. Banhart was born in Houston\, Texas and was raised by his mother in Venezuela\, until he moved to California as a teenager. He began to study at the San Francisco Art Institute in 1998\, but dropped out to perform music in Europe\, San Francisco and Los Angeles. Banhart released his debut album in 2002\, continuing to record his material on the Young God and XL labels\, as well as other work on compilations and collaborations.
URL:https://royaleboston.com/event/devendra-banhart/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/01/Devendra-Banhart-admat-2017v4.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170313T190000
DTEND;TZID=America/New_York:20170313T190000
DTSTAMP:20260405T082353
CREATED:20170124T160927Z
LAST-MODIFIED:20170124T160927Z
UID:10002464-1489431600-1489431600@royaleboston.com
SUMMARY:The Protomen\, MC Frontalot & Bit Brigade
DESCRIPTION:18+ \nLeague Podcast & Rock On! Concerts Presents….
URL:https://royaleboston.com/event/the-protomen-mc-frontalot-bit-brigade/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/01/313-Protomen-Concert.jpeg
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170317T180000
DTEND;TZID=America/New_York:20170317T180000
DTSTAMP:20260405T082353
CREATED:20170116T195250Z
LAST-MODIFIED:20170116T195250Z
UID:10002459-1489773600-1489773600@royaleboston.com
SUMMARY:House of Pain
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is 21 and over. \nTickets on sale Fri. 1/20 at noon! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n***\nSt. Patrick’s Day 2017\nHouse of Pain \n \n[Facebook] [Twitter] \nOn the heels of their widely heralded reunion show at KROQ’s ‘Epicenter 2010’\, EVERLAST and DANNY BOY have decided to get the band back together in celebration of their 20th anniversary. That’s right\, HOUSE OF PAIN is back\, more focused than ever and extremely excited to kick-off a worldwide reunion tour in 2011. \nIt’s hard to believe that the rowdy Irish Americans got started way back in 1991\, but for the past 20 years the group has maintained a high profile – topping the Billboard charts as a group and with solo efforts. It was a turn of a new decade when HOUSE OF PAIN changed the face of hip-hop with their self-titled debut album\, going multi-platinum and launching one of the most memorable songs in hip-hop history with “Jump Around”. Now it’s the start of another new decade and HOUSE OF PAIN is ready to do it all over again; the group aims to bring their fiery live show to fans all over the world\, reclaim the throne as hip-hop’s best and celebrate what has allowed their successes over the past 20 years – the fans. \n“It’s been 20 years and we are very excited to go out there and do this again\,” comments Everlast. “The catalyst was definitely the KROQ Epicenter show this past summer. We had already been working together on the La Coka Nostra record and did an event with [UFC President] Dana White but it really came down to seeing the crazy response from the crowd in LA when we went into ‘Jump Around’. After that\, we went home thinking about it and now is the time to act on it. Every show is going to be like an anniversary party. It’s going to be crazy.” \nSince HOUSE OF PAIN disbanded back in 1996\, the members have kept their star power and went on to huge successes. EVERLAST has maintained an incredibly successful solo career that includes a triple platinum album\, multiple Top 10 hits (including the #1 smash hit “What It’s Like”) and a Grammy for the song “Put Your Lights On” which was recorded with Carlos Santana. Danny Boy changed focus from music to art and launched an extremely successful art company\, multiple clothing lines and ultimately brought the reunion about by forming the group LA COKA NOSTRA that featured the original lineup from HOUSE OF PAIN alongside rappers Slaine and Ill Bill. \nAfter experiencing all of the solo success\, it becomes obvious that HOUSE OF PAIN isn’t a group reforming to cash in on current musical trends. HOUSE OF PAIN is reforming because of the passion that they have for their music. They are back to celebrate with their fans across the 20 years that have spawned tremendous success and undying anthems of rebellious teenagers everywhere. They are back to show young fans everywhere just how raucous and dirty hip-hop can be – to prove that it doesn’t matter your age\, race\, religion or whether you’re into hip-hop\, rock or metal. HOUSE OF PAIN has crafted a 20-year legacy that speaks to fans from all walks of life. \nSo get out of your seat and “Jump Around.” \n*** \nSlaine \n \n[Website]\n[Facebook] [Twitter] \nIf you believe Life is hard yet one of the best gifts anyone can be granted\, you’ll understand the journey of Slaine. The hard knocks and struggle of this Boston native may sound like good tidbits for a novel\, television or mini-series. Hailing from the Dorchester area with deep connections in South Boston\, Slaine’s life was patterned somewhat of a gypsy moving around often. Despite not having a normal home foundation\, Slaine aspired like other starry eyed kids to become a force in the entertainment industry. Mapping out his plan to obtain his goals\, Slaine packed his bags and moved to New York City and enrolled in the School of Visual Arts. After only seven months\, an unfortunate altercation between Slaine and a school employee resulted in his expulsion at the school. \nThe incident was a major setback for Slaine that suspended his dream of becoming a filmmaker. Although dismayed and discouraged\, Slaine prevailed over his setback and proceeded towards his pursuit into the entertainment industry via another way…music. His love for hip-hop was discovered at the early age of nine. “I started writing rhymes when I was nine years old\, I use to record on my boom box with a pair of headphones plugged into the microphone jack. I felt they were just words on a page because I didn’t have an outlet to perform them.” Determined and focused\, Slaine spent his nights as a club promoter to survive in the hard lonely streets of New York City. At the same time\, he began recording and being managed by hip-hop legend MC Shan. While recording a demo in a studio operated by the Lordz of Brooklyn\, SLAINE was introduced to Danny Boy O’Connor of House of Pain. \nThe introduction lead into him being signed to a production deal with DJ Lethal of House of Pain which led to the mix tape release ‘The White Man is the Devil: Volume 1’ and the formation of Special Teamz with Boston rap legends Edo G and Jaysaun. Special Teamz dropped a self-titled street CD after that\, which garnered critical acclaim and allowed the group to tour in Europe. In a very short time\, SLAINE had gone from living in poverty with a drug habit to traveling the world and working with hip-hop icons such as DJ Premier\, Ill Bill\, House of Pain\, Cypress Hill\, The Alchemist\, and a host of other talented artists. He also became part of the collective LA COKA NOSTRA\, alongside Ill Bill and all three members of House of Pain – Everlast\, DJ Lethal\, and Danny Boy. La Coka Nostra’s debut album\, “A Brand You Can Trust” debuted at #84 on the Billboard Top 200 and #6 on the Rap charts\, sending a message to the masses that the group’s brand of gritty hip-hop was exactly what fans of the genre had been waiting for. \nSlaine’s name continued to grow far past his hometown of Boston due to the exposure he has received in publications such as The Source\, XXL\, The New York Times\, The Boston Herald\, and has performed sold out shows across the globe. SLAINE has been nominated for a Boston Music Award and received 4 trophies at The Mass Industry Committee’s hip-hop awards including one for Best Lyricist. \nAs his music career expanded\, a personal battle with drugs became a focal point that reared its ugly head. After overdoses\, hospital visits and a whirlwind of drugs and violence\, SLAINE finally checked into rehab. Instantly\, he found himself with homeless drug addicts and realized he was no different than any of them. “Everybody had a story to tell. That was where the idea and the hunger for “The White Man is the Devil” was born. “The White Man” is a cocaine reference\, not a declaration of self hate.” \nSince conquering his addiction\, Slaine’s was presented with new and exciting possibilities…Acting. A chance of a lifetime presented itself through an unexpected ally\, hometown hero and Academy Award winner Ben Affleck. SLAINE made his acting debut with his portrayal of Bubba Rogowski in Affleck’s return to screenwriting and directorial debut “Gone Baby Gone”. The film was critically acclaimed and led to Slaine being offered a larger role as a bank robber in the blockbuster “The Town” featuring Ben Affleck\, Jeremy Renner (The Hurt Locker)\, and Jon Hamm (Mad Men). He is also been in films\, “The Crack Down” and “Bad Blood” and in the upcoming movie “Cogan’s Trade” with Brad Pitt\, Ray Liotta and James Gandolfini. \nWhile Slaine’s acting career has allowed him to blaze new paths\, his venomous lyrical attack burns hotter than ever on his debut solo album\, “A World With No Skies 2.0”\, which drops on August 16th \, 2011 through Suburban Noize Records. With hard hitting lyrical content\, and vicious delivery\, “A World with No Skies 2.0” instantly takes hip-hop back to its grimy roots on the streets. To execute his dark musical vision\, Slaine enlisted the help of his La Coka Nostra brothers Everlast and ILL BILL\, as well as Cypress Hill’s B-Real and Vinnie Paz of Jedi Mind Tricks to create a dark hip-hop album that hits squarely in the jaw. “Even though I started my career as a solo artist by hustling my ‘The White Man is the Devil’ mixtapes\, I think people are more familiar with me from Special Teamz and La Coka Nostra\,” commented Slaine. “With this album I set out to create a soundscape that brings you into my world as an individual which is a bad place to be. It is hard\, dark and aggressive from the beats to the lyrics\, and a deeply personal trip through my life and the things that made me who I am today. A ‘World with No Skies’ is a look into my psyche and a vision of my dreams\, nightmares\, and realities.” \nDespite his ups and downs throughout his career\, Slaine’s living his life to the fullest. “I love making music that means something to me\, I am grateful for all the experiences that I have had—good and bad. I am lucky to be alive\, but my past also made me who I am today.”
URL:https://royaleboston.com/event/house-of-pain-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/png:https://royaleboston.com/wp-content/uploads/2017/01/HOP-2017.03.17-ADMAT-1.png
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170323T190000
DTEND;TZID=America/New_York:20170323T190000
DTSTAMP:20260405T082353
CREATED:20161116T175405Z
LAST-MODIFIED:20161116T175405Z
UID:10002445-1490295600-1490295600@royaleboston.com
SUMMARY:The Knocks: Feel Good Feel Great
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Thu. 11/17 at 1PM! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nThe Knocks \n \n[Website] [Facebook] [Twitter] \nThe Knocks are a New York story through and through. They met as 19-year-old college students\, late one night in a studio at the New School. Ben Ruttner\, known as “B-Roc\,” DJed clubs as a PM day job\, and James Patterson\, known as “JPatt\,” played the organ at a church outside the city. \nWorking out of their bedrooms\, The Knocks remixed Jay-Z’s entire American Gangster album in two days\, calling it American G-Funk. With remixes for Katy Perry and Passion Pit soon following\, the Knocks were declared one of the “20 hottest producers in music” by NME and quickly became synonymous with a certain warm\, retro-future\, disco-kissed touch. Future stars like Ellie Goulding and Icona Pop took note of the Knocks\, asking them to produce for their own projects. \nThey put our their first big hit in 2010 with the filter-house party anthem “Dancing With the DJ”\, and toured the UK with Sleigh Bells and DJ Shadow. Opening for Ellie Goulding on her US debut tour in 2011 and playing the main stage at Ultra in 2012\, B-Roc and JPatt were a bridge between the indie dance world and the mainstream market. \nThey recently hit a touchstone with “Classic\,” a seductive track that whips up the sun-drenched sense of endless celebration. Fetty Wap jumped on for a guest verse\, as befits the way the Knocks style synthesizes anything with energy: hip-hop\, soul\, house\, disco and pop. Their new album 55 is a resolutely DIY dance album that pulses with the heart of the city. It opens with none other than Cam’ron\, Wyclef Jean comes out of nowhere\, Carly Rae Jepsen takes a house diva turn\, and Alex Newell aims his high range like a trigger in SPIN’s Best-101-of-2015 pick “Collect My Love”. It’s an album laced with disco magic and hiphop flow; it’s built for a crowd\, but first it has to pass a bar that’s internal. “Would I spin this?” the Knocks still ask each other\, every time they cut a track. They’ll be spinning this one for years. \n*** \nBipolar Sunshine \n \n[Website] [Facebook] [Twitter] \nBipolar Sunshine is based on a surreal world where anything is possible\, the stranger the better as long as its done with an artistic approach. A Home for the defeated romantic\, the passionately curious but in the mist of all still can see the bright side to every- thing. \n*** \nGilligan Moss \n \n[Website] [Facebook] [Twitter] \nYou could say that Gilligan Moss originally formed in the early 90s in an unassuming pre-school in downtown Chicago. Comprised of Evan and Ben\, the two have used this deep-rooted friendship to form a psychic bond to explore a new vision for what it means for pop music to live in the club. The duo from Chicago\, has a distinct style that fills the cracks between several genres — they are drawn to strange melodies\, polyrhythmic percussion\, and driving\nbasslines. Their goal is to make music that could soundtrack an Ewok dance party as easily as it could a solitary walk home.\nThe project began with Evan\, who anonymously started posting his music to Soundcloud in 2013. His first single “Choreograph” caught a wave of blog buzz\, eventually hitting #1 on the Hype Machine charts. On the success of this single and a remix for Glass Animals’ “Gooey\,” he took to writing a batch of tunes and the resulting Ceremonial EP was released in August 2015 via AMF Records\, an imprint of Virgin EMI.\nWhen asked to go on the road in support of Glass Animals in late 2015\, he asked Ben to join him for the live rig. Once tour came to a close\, they began writing together\, rekindling the spark that formed all those years ago in pre- school. They have done remixes for the likes of Sia\, Banks\, Tegan & Sara and their second EP is expected in mid-2017. For the past few months\, the duo has been camped out in the woods in upstate New York\, perfecting the perfect dance party for the squirrels and birds that surround their studio.
URL:https://royaleboston.com/event/the-knocks-feel-good-feel-great/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/11/KNOCKS-FG-FG-TOUR-admat-11x17WSUPPORT.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170324T180000
DTEND;TZID=America/New_York:20170324T213000
DTSTAMP:20260405T082353
CREATED:20170309T191804Z
LAST-MODIFIED:20170309T191804Z
UID:10001765-1490378400-1490391000@royaleboston.com
SUMMARY:Jessi Live Concert!
DESCRIPTION:Korean R&B/Rapper \n18+ \nVIP: 617-733-0505
URL:https://royaleboston.com/event/jessi-live-concert/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/03/FB_IMG_1488848684013.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:20170325T190000
DTEND;TZID=America/New_York:20170325T190000
DTSTAMP:20260405T082353
CREATED:20170210T153933Z
LAST-MODIFIED:20170210T153933Z
UID:10002466-1490468400-1490468400@royaleboston.com
SUMMARY:Zveri Concert
DESCRIPTION:Party Time Boston Presents.. \n21+ \n7:00pm Doors\n8:00pm Show
URL:https://royaleboston.com/event/zveri-concert/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
GEO:42.3499959;-71.0656288
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:20170326T190000
DTEND;TZID=America/New_York:20170326T190000
DTSTAMP:20260405T082353
CREATED:20170110T183438Z
LAST-MODIFIED:20170110T183438Z
UID:10002455-1490554800-1490554800@royaleboston.com
SUMMARY:Minus the Bear
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 1/13 at 10AM! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nMinus the Bear \n \n[Website] [Facebook] [Twitter] \nOver the course of their 15-year career\, Minus the Bear have carved out their own unique musical world. This isn’t to say they’re impervious to outside influence. They’ve borrowed components from a wide swath of genres—the brainy clangor of New York’s proto-punk scene\, the cerebral buzz of IDM\, the poptimist evaluation of hip-hop and R&B\, and the grandiose visions of prog rock—but always managed to defy classification. Throughout the first decade of their existence\, every new album offered a new musical approach\, as seen in the idiosyncratic fretboard gymnastics of Highly Refined Pirates\, the glitchy loops of Menos el Oso\, or the modernized Fripp-inspired wizardry of Planet of Ice. By the time the band entered our current decade\, their knack for reinvention yielded to an emphasis on refinement. Albums like OMNI and Infinity Overhead searched for a middle ground where their myriad of stylistic approaches could all work within the context of a single record. \nOn their sixth album VOIDS\, Minus the Bear started with a blank slate\, and inadvertently found themselves applying the same starting-from-scratch strategies that fueled their initial creative process. “There was a lot of change and uncertainty\,” says guitarist David Knudson. “I think the general vibe of emptiness\, replacement\, lacking\, and longing to fill in the gaps was very present in everyones’ minds.” Change was everywhere. Keyboardist/vocalist Alex Rose took on a more prominent role in composition and handled lead vocal duties on songs like “Call the Cops\,” “Tame Beasts\,” and “Robotic Heart\,” drummer Kiefer Matthias joined the fold\, producer Sam Bell lent a fresh set of ears in the studio\, and the band returned to their original label home at Suicide Squeeze Records. Minus the Bear were no longer swept along by the momentum that had driven them for the last fifteen years. Instead\, they reached a point where they could recalibrate and redefine who they were as a musical entity. The resulting album VOIDS retains many of the band’s signature qualities—the hedonistic tales of nighttime escapism and candid vignettes of adulthood\, the savvy up-tempo beats\, the layered and nuanced instrumentation—while simultaneously reminding us of the musical wanderlust that initially put them on the map. \nAlbum opener “Last Kiss” immediately establishes the band’s renewed fervor. An appropriately dizzying guitar line plunges into a propulsive groove before the chorus unfolds into a multi-tiered pop chorus. From there the album flows into “Give & Take”\, a tightly wound exercise in syncopation that recalls the celebratory pulse of early Bear classics like “Fine + 2 Pts” while exploring new textures and timbres. “Invisible” is arguably the catchiest song of the band’s career\, with Jake Snider’s vocal melodies and Knudson’s imaginative guitar work battling for the strongest hooks. “What About the Boat?” reminds us of the “math-rock” tag that followed the band in their early years\, with understated instrumentation disguising an odd-time beat. “Erase\,” recalls the merging of forlorn indie pop and electronica that the band dabbled with on their early EPs\, but demonstrates the Bear’s ongoing melodic sophistication and tonal exploration. By the time the band reaches album closer “Lighthouse\,” they’ve traversed so much sonic territory that the only appropriate tactic left at their disposal is a climactic crescendo\, driven at its peak by Cory Murchy’s thunderous bass. Not since Planet of Ice’s “Lotus” has the Bear achieved such an epic finale. All in all\, it’s an album that reminds us of everything that made us fall in love with Minus the Bear in the first place\, and a big part of that appeal is the sense that the band is heading into uncharted territories. \nSuicide Squeeze Records is proud to release VOIDS to the world on March 3\, 2017 on CD\, LP\, and cassette. Nick Steinhardt designed the artwork and layout for all formats. The first pressing of the album is available on 5\,000 copies of splatter colored vinyl and 5\,000 copies of 180 gram black vinyl. The LP jacket features PMS inks\, a die-cut cover with a printed inner sleeve and contains a download code. The cassette version is limited to 500 copies and includes a download code as well. \n*** \nBeach Slang \n \n[Website] [Facebook] [Twitter] \nBeach Slang are a band who have garnered a lot of attention considering that they’ve only released two 7-inches\, 2014’s Cheap Thrills On A Dead End Street and its companion Who Would Ever Want Something So Broken? Refreshingly this Philadelphia-based act have built their hype the old-fashioned way\, without any gimmicks or marketing teams\, which makes sense when you consider that frontman and writer James Alex cut his teeth in the Pennsylvania pop-punk act Weston while drummer JP Flexner and bassist Ed McNulty also play in buzzed about projects such as Ex-Friends and Crybaby. However there’s something indefinable about Beach Slang’s music that evokes the spirit of punk and juxtaposes it into something that’s as brutally honest as it is infectiously catchy. \n“When this whole thing started it was like\, ‘Alright\, i’m going to get to hear my sappy little songs played loud and interact with other human beings again\,’ the admittedly shy Alex says looking back on Beach Slang’s existence. “Then one day this really sweet explosion happened and Beach Slang became a thing that mattered to people.” As anyone who has seen Beach Slang live can attest\, it matters to people a lot including the group’s peers like Cursive who hand-selected Beach Slang to open for them on their upcoming headlining tour. “I used to skate with this really sweet girl who would refer to the way I spoke as ‘beach slang’ and I’ve never shaken that off\,” Alex continues. “The really soft parts of your childhood\, I suppose\, have a way of sticking around. I like that.” \nThat feeling of youth and vulnerability also lie at the core of Beach Slang’s music\, which is part punk\, part pop and all catharsis. It references the ghosts of The Replacements but keeps one foot firmly rooted in the present. It’s fun and it’s serious. It’s sad but it isn’t. It’s Beach Slang. Enjoy it and look out for the band’s debut full-length later this year because they’re still just getting started. \n*** \nBayonne \n \n[Website] [Facebook] [Twitter] \nRoger Sellers is a lot of things. He’s a minimalist composer with a knack for making hypnotic\, enveloping songs from a few repeated musical phrases. He’s a gifted musician who is mostly self-taught\, having abandoned formal study because it was draining the life from his work. He’s a self-described disciple of Phil Collins. What he is not\, however — despite multiple press reports to the contrary — is a DJ. \n“I started developing a decent following in Austin\,” he says\, “but most of the time when I would play\, the press would say something like ‘Local DJ Roger Sellers\,’ or ‘Roger Sellers is playing a late-night DJ set.’ I think it was maybe because my live set involves a table full of gear\, a drum set and headphones\, but the average person probably knows more about DJing than I do.’” To combat the misunderstanding\, Sellers printed up stickers reading\, “Roger Sellers is Not a DJ\,” and eventually adopted the alias Bayonne\, changing his name without altering his approach. \nAnd it’s a good thing: Primitives\, Sellers’ debut as Bayonne\, is a rich\, complex work\, the kind with no clear rock parallel. In its winding\, maze-like structures are hints of both Steve Reich and Owen Pallett\, each instrument working a single melodic pattern over and over and over\, as Sellers threads his soft\, reedy voice between them. On songs like “Appeals\,” the effect is hypnotic: notes from a piano crash down like spilled marbles from a bucket\, as Sellers’ ringing-bell vocals swing back and forth between them. The end result is spellbinding music\, meticulously-crafted songs where each tiny piece locks into another\, and hundreds of them joined together create a breathtaking whole — like dots in a Seurat\, or tiny bones in a dinosaur skeleton. \nSellers’ journey to Bayonne began when he was two years old\, situated in front of Eric Clapton Unplugged at his home in TK. “I’d just watch it over and over again\,” he laughs. “I would get paint cans and bang on them\, trying to imitate what I saw in the video. My parents got me a drum set when I was 6 years old and I became obsessed. I wanted to be Phil Collins for so many years as a child. He was my hero. I feel like you can hear that a lot in Primitives\, that big drum sound\, because so much of the way I play was learned from Phil Collins.” Though Sellers studied classical piano as a child and music theory in college\, rather than developing his skill\, he found both to be deadening. “It became homework\,” he says. “It made me come home and not want to write. That’s not at all how I’d thought about music — it had always been something fun — almost like a kind of therapy. It was an escape\, not a chore.” \nInstead\, Sellers struck out on his own\, buying a looper and slowly amassing a stockpile of tiny melodies. “I found out that I could make these songs really spontaneously and have this really good idea without having to get into the studio to capture it right away. Most of these songs came out of me just fucking around\, hooking up keyboards and experimenting.” The experiments cohered into music that is beautiful and densely layered. The composition of the individual musical phrases may have been spontaneous\, but assembling them to create Primitives was anything but. Instead\, Sellers constructed the songs from a collection of loops he’d built up over the course of six years. Some of those patterns were created on stage at his shows\, where Sellers threads melodies together in real time\, augmenting them with live drums and vocals. Others were written during downtime\, improvising at home. Once he had the basic melodies\, he had to figure out how they went together\, and how to layer them meticulously to make songs that were rich in deep detail but still immediately engaging. \nYou can hear all of that in “Spectrolite”; taut apostrophes of guitar enter first\, pinpricks of barely-there sound that blink like Christmas lights. Bone-dry snare enters next\, but the guitars keep echoing their same hypnotic phrase; it’s followed by grumbling bass and\, finally\, Sellers’ airy\, high-arcing voice; each piece follows their charted course again and again\, but as the song goes on\, it gets more engrossing — it gives the effect of slipping slowly into warm water. “That one came from an older loop that I had\,” Sellers explains. “It was about a stone that my girlfriend at the time had brought me back from Australia\, a spectrolite stone. We had some things happen between us during that time\, so that stone meant a lot to me. I had it with me the entire time I made the record. It’s a song about forgiveness\, and keeping those people who matter most to you close around you\, and caring for those that you love.” In “Waves\,” surging piano replicates the sound of the ocean\, lapping slowly forward and back. Giant tribal drums enter\, filling the blank space\, giving the song a soft\, calming\, see-sawing rhythm. “That’s a song I basically wrote by performing it live\,” Sellers says. “That’s one of my favorite songs that I’ve written because of the simplicity of it\,” he explains. “You feel like you’re in the ocean or something.” But as the song goes on\, it skews darker. “I know that there’s something else\, something else\, something else\,” Sellers sings\, “And I know that you’d be there for me.” As the song goes on\, the object of his affection drifts away\, like a boat toward the skyline. Like all of Sellers’s songs\, it centers carefully constructed music around the soft\, glowing core of the human heart. \n“That’s all of it — emotion\,” Sellers says. “I want the music to carry people in some way\, and I want them to feel what I’m feeling. I want my music to be an emotive expression.” On Primitives\, Sellers creates music that’s nuanced\, layered\, complicated and soothing — easy to get lost in\, impossible to ignore.
URL:https://royaleboston.com/event/minus-the-bear/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/01/minus-the-bear-tour-2017-2.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:20170327T190000
DTEND;TZID=America/New_York:20170327T190000
DTSTAMP:20260405T082353
CREATED:20170127T192406Z
LAST-MODIFIED:20170127T192406Z
UID:10001747-1490641200-1490641200@royaleboston.com
SUMMARY:Bebe Rexha
DESCRIPTION:SHOW MOVED FROM THE SINCLAIR TO ROYALE DUE TO OVERWHELMING DEMAND! \nBowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is All Ages.\nTickets on sale NOW! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nBebe Rexha \n \n[Website] [Facebook] [Twitter] \nEvery dream requires a hustle. Long before she became an inescapable pop presence and one of the industry’s most in-demand songwriters\, Bebe Rexha began quietly hustling hard towards a career in music during her childhood in Brooklyn\, NY.\n“I never wanted to take the easy way\, and I was always willing to hustle\,” she declares. “I started grinding and writing songs back in high school. I was the girl that didn’t go to prom or my graduation\, because I was too busy working with producers and making music. I’d feel at home singing over hip-hop beats and rolling with the boys. It’s where I still have the most fun\, and it’s where my personality comes through.”\nFollowing years of dedication and diligence\, that grind paid off big time in 2013 after she penned “The Monster” in a Harlem studio. The single eventually became a worldwide hit for Eminem and Rihanna—going RIAA quadruple-platinum stateside. Bebe would write and feature on Cash Cash’s “Take Me Home\,” an idea she envisioned back in her bedroom in New York. Relocating to Los Angeles\, she’d go on to co-write and sing on Pitbull’s “This Is Not A Drill” in addition to writing Tinashe’s “All Hands On Deck.” Her 2015 debut EP\, I Don’t Wanna Grow Up [Warner Bros. Records] \, boasted the singles “I Can’t Stop Drinking About You” and “I’m Gonna Show You Crazy\,” which racked up over 52 million Spotify streams in only six months. That same year\, she co-wrote and carried instantly recognizable hooks for the double-platinum “Hey Mama” by David Guetta\, Nicki Minaj\, and Afrojack as well as G-Eazy’s 2016 Billboard Hot 100 platinum smash “Me\, Myself\, & I.”\nTo date\, she’s accumulated over 10 million overall single sales\, 800 million Spotify streams\, 1 billion combined YouTube/VEVO views\, and reached a radio audience of 7 billion in addition to earning praise from the likes of USA Today\, Billboard\, MTV and more. On the road\, she has toured supporting Nick Jonas and scorched the stage of the 2015 Vans Warped Tour\, emerging as one of its biggest breakout acts.\nHowever\, everything set the stage for her 2016 single “No Broken Hearts” [featuring Nicki Minaj]. The unshakable and undeniable anthem introduces her forthcoming full-length album with a bang. Produced by Grammy Award®-nominated production team The Invisible Men\, the track sees her robust\, raw\, and real voice take the spotlight. Over a slick\, smooth\, and sultry bounce\, Bebe delivers a massive refrain freestyled in the vocal booth and punctuated by a fiery verse from Minaj.\n“I had been heartbroken three times that week\,” she admits. “I went to the studio\, and I was crying my eyes out. As soon as I walked to the mic\, it came to me. We captured the first take right when I heard the song. There’s nothing mathematical to my writing. It’s feeling. I turned sadness into an anthem for not letting anything or anyone slow you down. Everybody goes through some sort of pain. It’s good for people to hear that. Nicki was perfect\, because she’s a New York chick who identifies with this. Life’s too short\, so let’s enjoy it.”\nThat spirit courses through her inimitable and irresistible sound. Merging booming production\, cinematic storytelling\, and a powerhouse voice\, she nods to influences as diverse as Michael Jackson\, Lauryn Hill\, Tracy Chapman\, The Cranberries\, and Kanye West. Drawing on her Albanian heritage and youth in New York City\, she stirs up a musical melting pot of her own.\n“I feel like I’m just starting to show who I am\,” she continues. “I’m going even further though. I’m embracing my roots and the artists I love. At the same time\, I want to tell stories. The new music is more about empowerment. You work on yourself\, and you focus on your happiness. That’s the message. I’m saying what I want to say. Life isn’t easy. We’re all going through something. I hope people know they’re not alone when they hear my songs.” \n*** \nDaniel Skye \n \n[Website] [Facebook] [Twitter] \nI am a 16 year old singer/songwriter. \n*** \nSpencer Ludwig \n \n[Website] [Facebook] [Twitter] \n> \nA trumpeter\, singer\, producer\, and dancer who rocks alligator shoes with smoking style and panache\, Spencer Ludwig brings any party to life. Chances are\, you’ve heard his lyrical lead trumpet soaring through the music of multiplatinum-selling indie pop act Capital Cities. Not only did the Los Angeles-born\, half-Filipino vocalist-instrumentalist perform on their full-length debut In a Tidal Wave of Mystery\, but he also crisscrossed the globe with the band\, opening Katy Perry’s Prismatic World Tour and tearing up the stage at Coachella\, Bonnaroo\, and more. Following a whirlwind two years in the group\, he returned to Los Angeles in December 2014 and commenced writing solo material that showcased both his trumpet talents and dynamic\, diverse vocals. On his 2016 solo debut for Warner Bros. Records\, he merges jazz virtuosity and pop style for a sound that simmers and swaggers with soul.
URL:https://royaleboston.com/event/bebe-rexha/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/01/bebe-rexha-admat-2017v4.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170401T180000
DTEND;TZID=America/New_York:20170401T180000
DTSTAMP:20260405T082353
CREATED:20161115T173730Z
LAST-MODIFIED:20161115T173730Z
UID:10002442-1491069600-1491069600@royaleboston.com
SUMMARY:SOLD OUT - The Menzingers
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nThis show is SOLD OUT. \n*** \n \n*** \nThe Menzingers \n \n[Website] [Facebook] [Twitter] \nThe Menzingers will release their eagerly awaited fifth full-length After the Party on February 3\, 2017. The album arrives as the follow-up to the Philadelphia-based band’s widely acclaimed Rented World. Pre-orders for After The Party are available here. \nProduced by Will Yip (Title Fight\, Balance & Composure\, Pianos Become the Teeth)\, After the Party taps into the Menzingers’ everyman romanticism to reflect on getting older but not quite growing up. Throughout the album\, singer/guitarists Greg Barnett and Tom May\, bassist Eric Keen\, and drummer Joe Godino offset that deeply nuanced songwriting with anthemic harmonies\, furious power chords\, and larger-than-life melodies. \n“We spent our 20s living in a rowdy kind of way\, and now we’re at a point where it seems like everyone in our lives is moving in different directions\,” says May of the inspiration behind After the Party. Adds Barnett: “We’re turning 30 now\, and there’s this idea that that’s when real life comes on. In a way this album is us saying\, ‘We don’t have to grow up or get boring—we can keep on having a good time doing what we love.’” “Bad Catholics” follows the release of After the Party’s lead single “Lookers\,” which premiered on Noisey in August. \nThe Menzingers formed as teenagers in their hometown of Scranton in 2006\, then later relocated to Philadelphia. The band made their Epitaph debut with 2012’s On The Impossible Past\, which was voted Album of the Year by Absolute Punk and Punk News. Released in 2014\, Rented World was praised as “packed with clever songwriting” by The New York Times and “a colossal fist-pumper” by Stereogum. \n*** \nJeff Rosenstock \n \n[Website] [Facebook] [Twitter] \nIt’s almost midnight on a Saturday in the summer\, and I live in New York City. I’m still in my 30s and I don’t have to get up early tomorrow. By anyone’s standards\, I should be heading out for the night; dancing\, drinking\, meeting up with old friends\, making new friends\, making mistakes\, and feeling young in a city that allows you to remain young despite your age growing higher. I should be out there living. \nInstead\, I just put a load of laundry in the machine in my building’s basement. I’m wearing a pair of green shorts and I feel like an asshole in them. I have knobby knees and shorts don’t look good on me. I am wearing a light green t­shirt and the whole outfit makes me vaguely feel like a middle­aged man dressed up for his first day of kindergarten. I am going nowhere tonight\, and I suspect this may apply in the long term as well. \nThis seems like the perfect time to write about Jeff Rosenstock. \nBecause no one I’ve ever met creates art that encapsulates this state of mind more than Jeff. It’s music that’s catchier than any other music\, music you can scream along to in a joyous frenzy. But simultaneously\, if you really listen to the lyrics you’re shouting\, they can speak to a loneliness and desperation so profound it’s soul crushing. I’ve lost myself in joy to Jeff’s songs and I’ve sat alone depressed to Jeff’s songs\, and I’ve felt both those things to the same song\, sometimes on back to back listens. \nNobody can take the exhilaration and possibilities of life and balance them with the depression of a laundry room on a Saturday night like Jeff Rosenstock. His music can be like a funeral taking place inside a bouncy house\, or like a kids’ birthday party taking place inside a morgue. I say that with the utmost sincerity and the intent to offer only the highest of praise. \nIf you’re reading this\, you probably know the legend of Jeff Rosenstock by now. The Arrogant Sons of Bitches had Long Island’s attention\, and then mutated into Bomb the Music Industry\, a collection of musicians that were among the first to just give their music away\, that spray painted t­shirts for fans\, that did everything in a way that was financially ill­advised and built a cult unlike any other in the process. Sometimes their shows had a dozen musicians on stage\, sometimes it was Jeff and an ipod. No matter what\, there was always one thing that remained the same – this band had as much integrity as Fugazi with none of the pretension but with all the emotion but with a lot more fun and also I have to reiterate none of the pretension. To me it seems like Bomb was like Fugazi if the members of Fugazi had been willing to let down their guards and laugh at fart jokes. Again\, this is meant as high praise. I really like Fugazi and am not trying to talk shit\, it’s just an apt metaphor. \nWhen Bomb ended\, Jeff was left standing in a lonely spotlight and we all wondered if he’d be ok. Instead of even giving us time to find out\, he put out We Cool? and showed us all what growing up looks like. Growing up fucking sucks\, but it’s not for melodramatic reasons. It sucks because your joints start hurting and you know you probably aren’t gonna get some of the things done that you’ve always promised yourself you’re gonna get done and you still have a lot of guilt about dumb shit you pulled when you were like 19. We Cool? showed us that Jeff Rosenstock’s version of growing up wasn’t going to betray Bomb or its fans or the things people loved about them\, it was going to put a magnifying glass on his own impulses and insecurities as an individual in a way that was both shockingly frank and impossibly catchy. \nJeff’s music\, if you ask me\, is for people who really and truly feel like they could change the world\, if only they could muster up the strength to leave the fucking house. It’s for people who get into group situations and have every instinct inside their heads scream that the world is a fucked up and terrifying place and they should crumble up into a corner and wait to die\, but who instead dance like idiots because what the fuck else is there to do? It’s music that makes me feel like maybe\, just maybe\, if I do things the right way I can help make the world a better place\, while co­existing with the knowledge that I don’t fucking matter and there’s no reason not to give up\, except maybe I shouldn’t because what if deep down people are actually beautiful\, giving\, and kind? \nIt’s music that makes me lose myself like I used to when I was 13 and first discovered the joy of punk rock\, but it’s also music that makes me think way too fucking hard about why the world is how it is and if I might be someone with enough heart to throw a few punches in the effort to make shit just a tiny bit better for others for one fucking second of one fucking day. \nIt’s simple punk rock. It’s also complicated and beautiful and working class and perfect. \nIs the above a little cheesy? Sure. But I think it’s true and I think it’s all worth saying. Because having become friends with Jeff over the past few years\, I can say the following with great certainty – he actually is what he says he is. And because of that\, all the above applies. His integrity is untouchable. We all need to take a second and appreciate how much time this guy has wasted finding all ages venues. How much money he has passed on to retain his credibility as an artist. If other artists – myself chief among them – conducted themselves with an ounce of the integrity Jeff approaches all areas of art and life with\, the world would be a better place. \nI know this might sound silly to people who don’t get it – they might say “It’s just punk rock\, calm down.” – but fuck those people\, we all know Jeff is a musical genius. If he wanted to go ghost write songs for Taylor Mars and Bruno Swift\, I bet he could make millions of dollars doing so. Music is easy for him. He could write empty songs and hand them off to hollow artists and we all know he’d kill it and he wouldn’t have to deal with shaking down shady promoters for a few hundred bucks or driving overnight to get to the next venue or stressing about paying bills or any of it. He continues to not do any of that easy shit and that’s because he’s not bullshitting about doing things not just the right way\, but in a way that’s more idealistic than reality actually allows for. He does that for us. \nThe guy is a genius poet while simultaneously being the definition of a fucking goon from Long Island. There is nothing not to love. The album you are about to listen to\, WORRY.\, only furthers and exceeds the myth of Jeff Rosenstock\, he who is mythical for being the most normal dude from a boring place any of us have ever met; mythical for sticking to his guns when all logic points in the other direction; mythical for writing melodies that stick in our brains and lyrics that rip our guts out; mythical most of all for being not mythical at all. He’s just Jeff. It’s not that complicated. But in a world where everything is driven by branding and image and hidden agendas\, being not that complicated makes him perhaps the most complicated artist I know. \nEnjoy this album. Enjoy it as a whole. The second half is going to blow your mind with its ambitiousness – in my opinion the second half of this album will be viewed over time as a triumph and high water mark of a cool ass career. And the singles – “Wave Goodnight to Me” is untouchable. “Blast Damage Days” will make you feel ok about the fact that the world seems to be built on a foundation of quicksand. \nAnd when you’re done listening\, don’t forget – you probably can’t change the world\, but you’re kind of a dick if you don’t at least try. Jeff’s been falling on the sword for the rest of us for years and it’s on all of us to at least go down swinging. \nSincerely\, \nChris Gethard \nPS – John DeDomenici ain’t bad either. \n*** \nRozwell Kid \n \n[Website] [Facebook] [Twitter] \nRozwell Kid is the rock and roll brainchild of frontman Jordan Hudkins. Born and raised in West Virginia\, Hudkins’ landlocked upbringing imbues the band and their tunes with a restless energy. He manages to avoid the sun-tanned decadence of some of his noise pop counterparts while keeping the tunes charged with the insouciant attitude of his LA post-grunge inspirations. The band draws from a variety of musical influences ranging from 90s punk to Weezer to the Broadway musicals that Hudkins listened to as a kid. Good Graphics\, the Kid’s fourth release\, continues their stumble into adulthood. The album explores everything from the struggles of growing up (”Baby‘s First Sideburns”) to the simplicity of everyday pleasures (”Hummus Vacuum”)\, celebrating the absurdity of life rather than being weighed down by it. Welcome to the darker side of fun.
URL:https://royaleboston.com/event/the-menzingers/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/11/menzingers-admat-2017wjeff.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:20170402T190000
DTEND;TZID=America/New_York:20170402T190000
DTSTAMP:20260405T082353
CREATED:20161109T234102Z
LAST-MODIFIED:20161109T234102Z
UID:10002440-1491159600-1491159600@royaleboston.com
SUMMARY:SOLD OUT - King Gizzard and the Lizard Wizard
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nSOLD OUT \n*** \n*** \nKing Gizzard and the Lizard Wizard \n \n[Website] [Facebook] [Twitter] \n“Nonagon infinity opens the door\,” sings Stu Mackenzie\, frontman of Australian psych-rockers King Gizzard & The Lizard Wizard. It turns out\, though\, that once the door’s open\, it never closes. That’s because the Melbourne septet has ingeniously crafted what may be the world’s first infinitely looping LP. Each of the nine\, complex\, blistering tracks on ‘Nonagon Infinity’ seamlessly flows into the next\, with the final song linking straight back into the top of the opener like a sonic mobius strip. It’s exactly the kind of ambitious vision that prompted Rolling Stone to dub the band “one of the most compelling collectives of art-rock experimentalists in recent years.” But far from a simple conceptual experiment\, the album is both an exhilarating shot of adrenaline and a remarkable feat of craftsmanship\, the result of painstaking planning and an eye for detail years in the making. \nThe roots of ‘Nonagon Infinity’ stretch back to 2014\, when King Gizzard recorded their critically acclaimed album “I’m In Your Mind Fuzz\,” which was hailed by Pitchfork as “dense\, intricately crafted\, and most importantly\, powerful.” \n“We actually wanted to do this with ‘Mind Fuzz\,’ but it just didn’t work\,” explains Mackenzie. “We ended up writing songs that needed to be on that record but didn’t connect to the others\, so we had to abandon the idea\, but the seeds were sown.” \nTo an outsider\, it may have seemed like the band had completely given up on the concept\, as the ever-prolific group quickly followed ‘Mind Fuzz’ with two more records in 2015\, ‘Quarters’—described by The Guardian as “the neon intersection of DIY psych and 1960s beach pop”—and the stripped-down ‘Paper Mache Dream Balloon\,’ which earned praise from NPR to Stereogum. The truth\, though\, was that King Gizzard was honing in on the ‘Nonagon Infinity’ material the whole time\, test-driving various tracks in their explosive live shows to prep for the monumental task of stitching them all together into one searing\, multi-movement epic. \n“We really wanted to focus on things that felt good live\,” says Mackenzie. “We’d grab a little riff here or a little groove there\, and we’d jam on them and form songs out of them\, which was the opposite of ‘Paper Mache\,’ where we were making songs in an acoustic\, classic-songwriting kind of way. I wanted to have an album where all these riffs and grooves just kept coming in and out the whole time\, so a song wasn’t just a song\, it was part of a loop\, part of this whole experience where it feels like it doesn’t end and doesn’t need to end.” \nRecorded at Daptone Studios in Brooklyn\, the final result is an intricate and immersive listening experience. Lyrical refrains and musical motifs establish themselves and then submerge beneath the chaos\, only to resurface unexpectedly later like familiar companions on a labyrinthine journey. Motorhead-grade riffs give way to King Crimson and Yes-levels of prog complexity\, as songs churn through unusual time signatures and shifting rhythms with blunt force\, laying waste to everything in their path. \n“I wanted it to feel like a horror or sci-fi movie\,” explains Mackenzie of the album’s dark overtones. “The lyrics came as a stream of consciousness\, all of these elements just falling out of my head as it was happening.” \n“Big Fig Wasp” references a particularly macabre insect that must kill itself in order to perpetuate the species\, while “Gamma Knife\,” with its 11/8-time drum solo\, is named for a surgical tool that burns cuts into the skin\, and “People-Vultures” plays like a sinister film soundtrack. Album opener “Robot Stop” pulls more directly from the band’s recent experiences\, inspired in part by their relentless work ethic and tour schedule\, which has included festival performances at Bonnaroo\, Glastonbury\, Montreux Jazz & Roskilde as well as countless sold out dates in rooms across the USA\, UK\, Europe and Australia. \n“That song’s about feeling overworked\, like a bit of a robot that’s just going to crash and die or something\,” he says with a laugh. “But you get yourself up and do it again and you robot on and you’re alright. It was one of the early ones we wrote for the record\, and I think when that song came together\, everybody started to feel like were going to actually be able to pull off this never-ending album idea.” \nTo say they pulled it off would be an understatement. The record is a force to be reckoned with on par with the road trains Mackenzie references in the album’s final track. \n“In the Australian desert\, in the outback\, there are what’s called road trains\, which are these massive trucks pulling heaps of carriages that can end up being 50 meters long\,” he explains. “They drive on the road really\, really fast\, and they’re deadly\, with these bars in the front to kill kangaroos and anything else in their path.” \n‘Nonagon Infinity’ has opened the door for King Gizzard & The Lizard Wizard\, and they’re barreling ahead with more momentum than ever before now. Much like those road trains\, with a band this good\, the safest place to be is onboard. \nKing Gizzard & The Lizard Wizard are: \nStu Mackenzie – Guitar\, lead vocals \nJoe Walker – Guitar\, vocals \nEric Moore – Drums \nAmbrose Kenny-Smith – Harmonica\, vocals \nLucas Skinner – Bass \nCook Craig – Guitar \nMichael Cavanagh – Drums \n*** \nORB \n \n[Website] [Facebook] \nBirth by ORB \nPlaying dark\, sonically massive guitar-based rock that’s heavy without sounding excessively metallic\, ORB (not to be confused with the influential electronic group the Orb) hail from Geelong\, Victoria\, Australia. The group was founded by guitarist and lead singer Zak Olsen\, guitarist and bassist Daff Gravolin\, and drummer Jamie Harmer. The three musicians lived not far from one another\, and with some extra time on their hands\, they began jamming regularly. Inspired by their youthful enthusiasm for hard rock and early metal bands ORB started as an exercise in fuzz and alternate tunings with a drive to challenge the style they were used to playing in other projects. \nTheir first full-length album\, Birth\, was released in July 2016 by Flightless & Anti-Fade in Australia and by Castle Face in the United States and Canada. \n*** \nStonefield \n \n[Website] [Facebook] [Twitter] \nIt all started in a shed. \nMore specifically\, it started in a shed on a family hobby farm in a tiny rural township in Victoria\, Australia. \nThe four Findlay sisters\, who’d go on to become the earthen psych-rock opal that is Stonefield\, had been granted their wish of a drum kit by their parents\, whose Zappa\, Hendrix and Zeppelin records had long been the shared soundtrack of the household. Amy – the oldest Findlay\, though at that time just 15 – took a particular shine to the kit and soon began lessons\, her practice sessions echoing out across the family’s acreage. It wasn’t long\, however\, before her sisters were drawn back into the shelter as\, one by one\, they found their own instruments to wrangle with. Hannah\, then 13\, started on guitar. Sarah\, 12\, took on the keyboard. Holly\, just seven years old\, listened in on her sisters practising and\, perhaps hearing that something was missing\, asked her father for a bass. \nNow the question is: listen to Stonefield and try to figure out what else the Findlays could possibly be doing. \nStonefield’s first song ‘Foreign Lover’ was recorded for a project Amy was working on as part of her tertiary studies. When they arrived home from the studio that day\, the siblings’ mother suggested they enter the track in triple j’s Australia-wide unsigned band competition\, Unearthed High. The deadline for entries was that night. They weren’t convinced they had a chance\, but decided to give it a shot. \nSoon enough\, ‘Foreign Lover’ was all over triple j\, followed shortly by infectious rock stomper ‘Through The Clover\,’ the song they were given the opportunity to record as part of the competition’s first prize. Stonefield was invited to showcase at the inaugural One Movement music and arts conference in Perth\, which resulted in [renowned band booker] Martin Elbourne\, inviting the band to play the 2011 Glastonbury Festival on the spot. \nOver the next two years\, the girls wrote and released their second EP Bad Reality. They released their debut self-titled album in October 2013. It entered the AIR charts at #6 and the ARIA charts at #21. The three singles released from the album\, including Put Your Curse On Me\, received immense support from triple j\, and the Southern Cross Network\, including MMM. \nThe album was well received by both the industry and general public. Such was the demand that Stonefield embarked on a national tour\, spanning 22 dates and 5 states. The second single Love You Deserve\, took up a life entirely of its own\, and the band set out on yet another tour. \nBy this time\, the international market had caught wind of the incendiary band from rock journo heaven\, and the girls headed to the UK during May to play showcases\, as well as Dot to Dot festivals across the UK. In November 2013\, Stonefield won the inaugural Age Music Victoria Award for Best Regional Act. \nAfter a huge amount of touring the country last year\, 2015 kicked off with the band being awarded ‘APRA Rock Work Of the Year’ for their song ‘Love you Deserve’. Stonefield have secured the support slot for one of their idol bands Fleetwood Mac’ later this year. Finally at home the girls have spent this year working on their second album; produced by Australian music legend ‘Kram’ from Spiderbait. The first taste ‘Golden Dream’ is an exciting glimpse of the new music to come.
URL:https://royaleboston.com/event/king-gizzard-and-the-lizard-wizard/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/11/King_Gizzard_Royale_2_bands.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:20170414T180000
DTEND;TZID=America/New_York:20170414T180000
DTSTAMP:20260405T082353
CREATED:20161024T035954Z
LAST-MODIFIED:20161024T035954Z
UID:10001725-1492192800-1492192800@royaleboston.com
SUMMARY:[SOLD OUT] Tinariwen
DESCRIPTION:Bowery Boston and World Music/CRASHarts present \nDoors: 6:00 pm / Show: 6:45 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \nTHIS SHOW IS SOLD OUT! \n*** \n \n*** \n Tinariwen  \n \n[Website] [Facebook] [Twitter] \nThe new album by Tinariwen could well have been called Exile on Main Street. But other people have already thought of that. It also could have been called A la recherché du pays perdu (‘Remembrance of a lost country’). Except that would have been a tad Proustian for musicians who grew up pretty much between a rock and a sand dune\, in the midst of their goat herds and camel caravans. But the idea is apt. As is the painful paradox\, if you consider that while Tinariwen were busy criss-crossing the globe on their recent triumphant tours (160 concerts played in the past three years)\, expanding their audience on all five continents\, becoming one of the latest musical phenomena of truly universal calibre\, the frontiers that encircle their desert home were closing down and double-locking\, forcing them into exile to record this their 8th album. \nOver the past five years\, their beloved homeland in the Adrar des Ifoghas\, a Saharan mountain range that straddles the border between north-eastern Mali and southern Algeria has\, in effect\, been transformed into a conflict zone\, a place where nobody can venture without putting themselves in danger and where war lords devoted either to jihad or trafficking (sometimes both at the same time)\, have put any activity that contradicts their beliefs or escapes their control in jeopardy. Even though the 12 songs on this new record evoke those cherished deserts of home\, they were recorded a long way away from them. And\, as a result of this separation\, at a time when the political\, military and humanitarian situation in the region has never been so critical\, the feelings and the emotions that the band managed to capture on record have never been so vivid. \nIn October 2014\, making use of a few days off in the middle of a long American tour\, the band stopped off at Rancho de la Luna studios in California’s Joshua Tree National Park. The place has become the favoured refuge of the stoner rock tribe. Josh Homme and his Queens of the Stone Age were the first to make it their hive\, and since then\, whether in use by P J Harvey or the Foo Fighters\, Iggy Pop or the Arctic Monkeys\, neither the mixing console nor the kitchen ovens have had a moment to cool down. For Tinariwen\, the geographical location of the studios – lost in the middle of that horizontal desert\, that mineral immensity\, where Man is reminded of his own insignificance in ways that can only\, in the end\, either kill him or sublimate him – proved to be particularly propitious in terms of creativity. \nAnd the human climate was just as favourable. As session followed session\, musicians who know the place well dropped by to add their own touch to that pre-industrial boogie which comes from a world where only the essential and metaphysical passions of space and time have any meaning. Such was the case of Matt Sweeny\, guitarist of fine pedigree (Johnny Cash\, Bonnie Prince Billy and Cat Power) and an avowed fan of the band. Kurt Vile\, ex-member of the duo War On Drugs\, now spearheading a noisy indi-folk combo\, also took part in the debate. As did Alan Johannes\, multi-instrumentalist\, sound engineer and producer of the first few albums by Queens of the Stone Age\, a band with whom Mark Lanegan\, the other guest on the album\, has also been a singer. From their angle\, one might have expected all these contributions to result in something pretty heavy\, with those American guitars coming into to reinforce the ishumar (name of the musical style of which Tinariwen precursors) guitars of Ibrahim\, Abdallah Hassan and Elaga. In effect\, lovers of those sensual yet abrasive riffs that are the band’s signature won’t be disappointed. But neither will those who love the funky\, danceable side of Tinariwen\, which comes through loud and clear courtesy of bassist Eyadou and percussionist Sarid\, a veritable rhythm machine in the mould of Sly and Robbie. All that potential has been wonderfully honed by the album’s mixing engineer Andrew Schepps\, who has previously worked with the Red Hot Chilli Peppers\, Johny Cash\, and Jay Z. \nThat happy encounter between Tamasheks and rockers was already in evidence back in 2011\, with the involvement of Wilco and TV On The Radio on the album Tassili\, which was recorded in the depths of the Sahara. It was as if those musicians\, coming from their world of high tech\, leisure and entertainment\, sought to reinvigorate the way they do things by working with artists who have been forced by necessity to reduce everything to its essence\, and who bear a different destiny. In that sense\, Ibrahim and his tribe restore meaning to an activity which has been partially drained all existential significance. In a cultural environment that has been overtaken by the petty and the superficial\, the members of Tinariwen fascinate because they incarnate a salutary break and come across as the ultimate heroes in the midst of an army of fleshless puppets. \nHaving said that\, in M’Hamid El Ghizlane they’re heroes for real\, so much so that the youth of the area know how to sing their songs in the same way that people in other parts of the world know how to sing the Stones or Led Zep . It was there\, in that oasis in southern Morocco\, close by the Algerian frontier\, that the band set up their tents for three weeks in March 2016 to record this 8th album\, accompanied now and then by the local musical youth in question\, or by a local Ganga outfit (a group of Berber ‘gnawa’ trance musicians). The album is called Elwan (‘The Elephants’)\, not Exile On Main Street\, though it fits nicely into that ‘road record’ category nonetheless. \nThere are road records just like there are road movies. In American cinema\, a road movie always unfolds the same way. Characters travel from one place to another in search of some truth\, of a future might offer them some kind of revelation. But they always end up reconnecting with their own past\, their origins. Of course\, it’s an impossible return\, because that past\, those founding origins have been irrevocably erased. It’s the same for this record\, so musically powerful and yet poignant in human terms: every song evokes a land that can no longer be found\, a lost world\, with all that this implies in terms of emotional range\, from nostalgia for a joyous past to the tragic recent loss of a territory\, and of the dream that it nourished. The emotional ‘bite’ of that loss imbues some of the songs by Ibrahim\, such as Imidiwan n-akal-in (Friends from my country)\, Hayati (My life) or Ténéré Takhal (What’s Happened to the Desert). It’s in that last song that the famous elephants of the album title make their appearance\, an animal metaphor to describe those ‘beasts’\, whether militias or multinational consortiums\, who have trampled everything in their path: kindness\, respect\, solidarity\, ancestral traditions and the values essential to life in the desert\, where both the human and ecological equilibriums are extremely fragile. \nBut the songs written by Abdallah\, such as Sastanaqqam (I Question You)\, or those penned by Hassan\, the deeply disturbing Ittus (Our Goal)\, also evoke a similar sense of helplessness and disempowerment. The same goes for Nannuflay (Fulfilled)\, written by Eyadou\, one of the ‘kids’ in the band; it’s a song echoes that sense of absolute crisis. Having said that\, between the weariness of the old fighters of the Touareg rebellion of the 1990s (Ibrahim\, Hassan\, Abdallah) and the dynamism of a youth that’s still emerging (Eyadou\, Elaga\, Sarid\, Sadam)\, you get a wonderfully symbiotic mix. The meeting of two such disparate generations in one band is relatively rare in today’s musical world. In Tinariwen\, it’s a meeting that celebrates\, even more powerfully might otherwise be the case\, the capacity of music to make experiences as intense and cruel as exile beautiful and\, in some ways\, even attractive\, experiences that would surely end up destroying those who lived them\, if this form of aesthetic relief didn’t exist. \nFrancis Dordor\nTranslated by Andy Morgan \n*** \nDengue Fever \n \n[Website] [Facebook] [Twitter] \n“Before it was partly Cambodian and partly indie rock\,” explains Williams of the band’s evolution. “Now it’s 100 percent both.” \nPlunging headlong into their second decade as a band\, DENGUE FEVER’s new album\, The Deepest Lake\, their fifth full-length of all-new material\, comes at a critical juncture in the band’s career. In 2013\, after forming their own label Tuk Tuk Records\, the band crossed over into a brave new world as both artist and record label owner’s. Today they find themselves able to wear two hats – as creative musicians with no boundaries as well as label owners who make their own decisions on where\, when and how to fabricate their career. \nThe net result is the aforementioned\, The Deepest Lake\, a record with more musical diversions than the Mekong River itself. Released in January 27\, 2015 – US/Canada & February 2\, 2015 in the rest of the world\, the ten tracks on The Deepest Lake will satiate longtime fans as well as newcomers looking for something altogether different. Widely recognized for their trademark blend of 60’s Cambodian pop and psychedelic rock\, Dengue Fever’s latest release expands their musical palette to include Khmer rap\, Latin grooves\, Afro percussion\, layered Stax-like horns and more. \nFrom the keyboard and percussion heavy opening track\, “Tokay”\, lead singer Chhom Nimol’s unmistakable bird-like Khmer vocals lead the band on a evolutionary musical journey on The Deepest Lake. Be it the John Doe & Exene boy/girl vocals on “Rom Say Sok” that gets your indie grooves on or the six plus minute psychedelic jam on “Cardboard Castles”\, it’s pretty evident that this is a band looking to take chances and not play it safe. By following their instincts on this record and letting many of the final tracks come out of extended jams when demo’ing the album\, the band played to their musical strengths. No longer was there a need to ‘find’ a song\, the songs on The Deepest Lake came to them. \nThe band’s newly established independence as both label owner and artist marks yet another chapter in the continual evolution of a group unlike many other bands in the Los Angeles music scene. It all began in 2002 when Dengue Fever formed and released their eponymous debut (2003). Packed chock full of ‘lost’ Khmer covers\, the band paid homage to Khmer rock\, a hybrid of Vietnam War era surf\, psych and classic rock performed by Cambodian giants like Ros Sereysothea\, Pan Ron and Sinn Sisamouth. \nThe band’s critically acclaimed sophomore follow-up\, Escape from Dragon House (2005) found them writing and performing original material in earnest. Amazon.com named Dragon House the #1 international release for 2005\, and Mojo magazine named it in their Top 10 World Music releases of 2006. \nIn 2008\, their third release Venus on Earth became the band’s best selling album. It garnered praise from both critics and fans the world over. In fact\, Venus on Earth found support from iconic musicians such as Peter Gabriel\, Metallica’s Kirk Hammett and Ray Davies who each made mention of the band in the press. \nDENGUE FEVER’s fourth release\, Cannibal Courtship (Fantasy Records/Concord Music Group)\, was released in April 2011 and found the band expanding beyond their usual comfort zone and experimenting with new vocal harmonies and sounds. \nThe roots of the band began in the late 1990’s with a 6-month trek through Southeast Asia by Keyboardist Ethan Holtzman. Returning to Los Angeles with a suitcase crammed full of Cambodian cassette tapes\, Holtzman and his brother Zac – who had discovered the same music through a friend working at a record store in San Francisco – reunited. The brothers soon bonded over their love of vintage Cambodian rock and in 2002 founded the band with saxophonist\, David Ralicke (Beck/Brazzaville); drummer\, Paul Dreux Smith; and bassist\, Senon Williams (Radar Brothers). Shortly thereafter the members were on hot pursuit for the ideal Cambodian chanteuse to complete their outfit. After a short period of musical courtship that began at a Cambodian nightclub in Long Beach\, CA.\, Nimol joined the band when she realized the band shared a genuine passion for the music and culture of her homeland. \nIt’s that cross pollination of Khmer rock\, garage rock\, psychedelic rock and the British Invasion sound that has pushed the band to heights they could only dream of in 2002. DENGUE FEVER has performed in front of thousands of fans at such noted music festivals as WOMAD (UK\, AUS\, NZ)\, WOMEX (Spain)\, Melbourne Festival (AUS)\, Glastonbury (UK)\, Bumerbshoot\, (USA)\, Transmusicales (France)\, Roskilde (Denmark)\, Electric Picnic (Ireland)\, Peace and Love (Sweden)\, Treasure Island (USA) among many others. Their songs have appeared in films such as City of Ghosts\, Jim Jarmusch’s Broken Flowers\, The Hangover 2\, the Showtime series Weeds\, the HBO’s hit series True Blood (who named an entire episode after one of their songs) and featured the band’s music\, CBS’ series CSI: Las Vegas and numerous independent documentaries. \nWith band profiles in the New York Times\, Los Angeles Times\, Mojo\, Uncut\, Magnet\, Wired\, NPR’s “Fresh Air”\, Radio Australia\, KCRW’s “Morning Becomes Eclectic” and “World Café Live”\, the time is truly ripe for at least another decade of breaking down more musical barriers. The Deepest Lake is the first\, glorious musical step in that new direction.
URL:https://royaleboston.com/event/tinariwen/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/10/Tinariwen-admat-2017-1.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:20170415T180000
DTEND;TZID=America/New_York:20170415T213000
DTSTAMP:20260405T082353
CREATED:20170130T123431Z
LAST-MODIFIED:20170130T123431Z
UID:10001748-1492279200-1492291800@royaleboston.com
SUMMARY:Betty Who
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is ALL AGES.\nTickets on sale Fri. 2/3 at 10AM! \nRoyale is general admission standing room only. Tickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office (Cambridge\, MA) Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n***
URL:https://royaleboston.com/event/betty-who-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/01/betty-who-admat-2017.jpg
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:20170419T190000
DTEND;TZID=America/New_York:20170419T190000
DTSTAMP:20260405T082353
CREATED:20170205T224804Z
LAST-MODIFIED:20170205T224804Z
UID:10001754-1492628400-1492628400@royaleboston.com
SUMMARY:Me First and the Gimme Gimmes
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. X/XX at noon! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nMe First and the Gimme Gimmes \n \n[Website] [Facebook] [Twitter] \nAre We Not Men? We Are Diva! by Me First and the Gimme Gimmes \nIn that mythical era known as the 90’s\, five brave young men emerged from the legendary halls of some of the mightiest bands on Fat Wreck Chords with a single mission: make all the rest of these dildo punk bands covering popular songs obsolete. They crowned themselves Me First and the Gimme Gimmes and the world rejoiced. Now\, seven records\, scores of singles and nearly a thousand years later\, having tackled every genre under the sun\, the bold young knaves known colloquially as the Gimmes have ridden their success hard\, and decayed into desiccated\, old divas. Yet\, the diva\, she is immortal. And thus\, imbued with the old-world\, Mystic Pizza-esque swagger of Cher\, the modern pop-art sensibility of Lady Gaga and the enthusiasm-for-drug-consumption of Whitney Houston\, Me First and the Gimme Gimmes have returned from their beauty rest\, busting out of their sequined gowns\, and throwing vases at their assistants in order to present you with their latest opus\, entitled Are We Not Men? We Are Diva!\, slated to be released on May 13\, 2014 on none other than Fat Wreck Chords. And you’d best believe\, whether because of their tantrums or their virtuosity\, once you hear these fat ladies sing\, there’s not gonna be a dry eye in the house.\nFor the uninitiated\, Me First and the Gimme Gimmes consist of Lagwagon frontman Joey Cape on the guitar\, Shiflett brother (and Foo Fighter) Chris Shiflett on the other guitar\, Lagwagon drummer and Fat Wreck utility superhero Dave Raun on the skins\, and are rounded out by Fat Wreck-head-honcho/NOFX main-dude Fat Mike\, and incomparable crooner Spike Slawson. Together\, Me First and the Gimme Gimmes—an outfit that has always operated more like a beer-hall Pussycat Dolls than a regular mortal band—contain so much hot air\, so much pomp\, so much attitude\, that it’s a wonder that these guys can still manage to pull their five individual tour buses into the same parking lot\, put their differences aside and belt out the ballads without clawing each other’s eyes out. But they do\, for the love of the fans\, the music\, and of course\, the applause.\nIn the past\, The Gimmes have tackled such disparate genres as Motown\, country\, show tunes and even Japanese pop (sung in real live Japanese!) but none of that enabled them to truly soar as high above the eagles as they desired\, feeling the wind of other\, lesser bands beneath their wings. So this time\, the Fat (Wreck) Five decided to take on the un-take-on-able and hit us with cuts from the likes of Celine (gasp!) Christina (Sigh!) and Paula Abdul (oh no you di’int!) among others. And as Spike’s baritone somehow manages to make Whitney Houston’s (Dolly Parton-penned) Theme Song To The Bodyguard EVEN MORE EPIC\, you will be moved to tears. You will find joy. You will shake in your very skin as the music of these divas gently takes you by the hand and shows you how to love again. AND! You’ll buy tickets to see ‘em on tour.\nBecause that’s right folks! Nothing says ‘diva’ like coming to your town to bask in the torrential\, gushing blasts of your love\, and the Gimmes will be hitting the entire world in support of Are We Not Men? We Are Diva!\, except maybe Mike\, who’s such a diva that he’s got substitutes on hand! So grab those flowers off of your grandma’s grave and head out now\, to check out Me First and the Gimme Gimmes on wax and in your town\, before these five outrageous harpies either kill each other or wind up as a Vegas destination act\, bloated\, high on pills and… uh\, nevermind that last part. Just go see em\, eh? It’s a helluva time. \n*** \nMasked Intruder \n \n[Website] [Facebook] [Twitter] \nThe best pop-punk band you hope never gets out of prison. \nPears \n \n[Website] [Facebook] [Twitter] \nGreen Star by PEARS \nThe story of PEARS is not exactly an incredibly long one: The hardcore punk band came together just over a year ago\, in early 2014\, after its members had kicked around the New Orleans punk scene for long enough before finally wising up and realizing they were meant for each other. However\, it is a story that is remarkably fast-paced: The band’s first demo\, …In Diapers\, was released days after their first practice. The band’s 10-song debut album\, the absolutely electrifying Go To Prison\, was written over the course of 14 hours and recorded a mere five weeks after the band formed. Really\, there’s no way PEARS should be as good as they are—something frontman Zach Quinn fully realizes. “The big secret is that me and a couple of the guys were in a band called the Lollies for a few years\,” Quinn says. “That band broke up\, we took some time away from each other and then just tried to do it right this time. I guess we really kind of lucked out. We didn’t make the same mistakes—the same mistakes being really too fuckin’ drunk to do anything.”\nOf course\, coming out of the NOLA scene\, it’s tough to be anything but debaucherous. “The city is so decadent\, it’s a great place to be a piece of shit\,” Quinn says. “There’s plenty of punk rock. Not a lot of it is very good\, but everybody’s having fun.” It’s that anything-goes attitude that informs Go To Prison\, an album that straddles the line between in-your-face hardcore and sugar-sweet traditional pop-punk that’s surprisingly lighthearted. It’s evident in their logo (some might call it an homage to Fear; “I haven’t heard from Lee Ving’s lawyers yet\,” chuckles Quinn)\, all the musical easter eggs scattered throughout the record (including references to Descendents and Suicidal Tendencies)\, plus an absolutely ripping cover of the Ramones’ “Judy Is A Punk” that is one whole second shorter than the original (a feat we didn’t even think possible). But just because the album comes off as humorous at times doesn’t mean PEARS don’t take themselves seriously. “I definitely take what we do very seriously\, but it doesn’t mean it ain’t funny\,” Quinn explains. “Humor is an aspect of everything. People without a sense of humor are either dead or lying. There’s humor in everything if you know where to look.” Take\, for example\, the band name. “The name ‘PEARS’ came from this really terrible mushroom trip I had\,” he admits. “I ate way too many mushrooms and things just got really bizarre. Pears and bananas became archetypes for everything that is good and pure and everything that is terrible and shitty—pears are the terrible and shitty things. After that bad trip\, pears became slang between me and my friends for bullshit: ‘That shit’s pears.’ I suggested the band name\, and everybody thought that was dumb\, but I talked ‘em into it.” The band were lucky enough to befriend Off With Their Heads frontman Ryan Young\, who loved the band so much he put out Go To Prison on vinyl on his own label\, Anxious And Angry\, last year. Since then\, PEARS have been on the road nonstop\, supporting the likes of the Dwarves\, the Queers\, Teenage Bottlerocket and Strung Out\, all leading to the re-release of Go To Prison on Fat Wreck Chords on July 24th. That’s no excuse to stop working\, though: While their first album might finally be hitting a record store near you this July\, the band will be back in the studio recording its follow-up with none other than Fat Mike in the producer’s chair. (“I never thought anything like that would ever happen\,” Quinn says of Mike’s interest in his band. “I remember buying The Decline when I was 12—it’s really weird that I have anydegree of separation from that.”) While 2015 might be the busiest year of PEARS’ short existence thus far\, it’s clear 2016 has potential to be even bigger.\n“Honestly\, what we have done up to now\, I hadn’t even dreamed of\,” Quinn admits. “I’m not gonna stop climbing. I wanna see how insane this can get. We’ve always said the last thing we’ll do as a band is play North Korea. Then we’ll be done. That’s the ultimate goal—even if we sneak in and play to nobody. I don’t care. I can’t wait to see what I get to do.”
URL:https://royaleboston.com/event/first-gimme-gimmes/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/02/me-first-and-the-gimme-gimmes-admatv3.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:20170420T200000
DTEND;TZID=America/New_York:20170420T200000
DTSTAMP:20260405T082353
CREATED:20170123T203931Z
LAST-MODIFIED:20170123T203931Z
UID:10002463-1492718400-1492718400@royaleboston.com
SUMMARY:Cashmere Cat
DESCRIPTION:Bowery Boston presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 2/3 at 10AM! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nCashmere Cat \n \n[Website] [Facebook] [Twitter] \nThe cat isn’t entirely out of the bag yet…but he’s getting there. Cashmere Cat has been happy to remain mostly behind the scenes\, up to this point\, focusing his efforts more on his collaborative work with some of the top names in pop\, R&B and hip-hop rather than toot his own meow. But even that board work has threatened to make him a household name\, at least among the kinds of households that obsessively scan Yeezy album credits. As Fader wrote\, “The introverted producer—who’s lent beats to Kanye West\, Ariana Grande\, and Tinashe—is pop’s new not-so-secret weapon.” \nHe’s about to get even less clandestine\, with his first full-length album under his own nom deplume. It’s too soon for Cashmere Cat to reveal just which vocalists he’s enlisted for his feature debut\, although you could make a good guessing game would naturally include some of the marquee names who’ve previously enlisted his producing efforts. But there’s already a significant cachet of fans who would sign up for pre-orders with or without featured artists. Cashmere Cat is a destination producer-DJ-writer-maestro. \nThe artist formerly known as Magnus August Høiberg previously released a pair of allinstrumental EPs on cult labels Lucky Me (Hudson Mohawke\, Lunice\, TNGHT) and Pelican Fly (Sinjin Hawke\, Lido)\, which were acclaimed for vast dynamic soundscapes that transcended any tropes associated with his dance music roots. Bringing in some big-name collaborators for his debut album was a welcome relief from his previous X-treme auteurism. “I was used to making music on my own\, having to deal with my own thoughts and my own computer\, and that was it\,” he says. “Now there’s a spectrum of artists and emotions and places and times involved\, and it’s a lot bigger than what I’m used to. But I don’t mind. It feels better. I prefer to have other people involved in my songs. It got boring and lonely to do music by myself. It’s kind of like playing a videogame alone. It can be awesome\, but you can also feel like a loser\, if you’re playing a game and it’s ‘Yeah! I fucking killed this game! And\, I’m sitting alone\, and I’ve also not had sex for three months.’” Collaborative game on! \nHe took inspiration for his own full-length album debut from the work he did on Kanye West’s most recent album. “I feel like the music I did for him set the standard for what I want to do with my own music\,” he says. “I’m the biggest Kanye fan in the world\, and when they premiered ‘Wolves\,’ it was one of the most exciting days of my life.” So exciting that Cashmere Cat instagrammed a photo of himself in his lawyer’s office\, prostrate on the floor in grateful awe. “‘Wolves’ is really one of my favorite Kanye songs\, and I can’t tell if it’s because I produced it or it’s because it’s actually good. But the way that record came out set the standard for what I want my own music to sound like. It was a new sound for me\, and it made me feel like I can do really beautiful\, weird music that sonically still fits within everything I’ve done\, without it being just banging rap songs or even big-feeling pop music.” \nAny of this would have seemed like a pipe dream not that many years ago\, when Høiberg was a fledgling DJ in his native Norway and began doing remixes for famous artists like Miguel and Lana Del Rey…many of them not officially authorized. His skills attracted an American audience that eventually grew to include multiplatinum super-producer Benny Blanco\, a mentor who encouraged him to come to New York and took him under his wing. Their sensibilities meshed\, with Blanco “bringing me in because he believed that the weirder shit I was doing could work in a more poppy sense.” At the beginning of 2014\, the man now known as Cashmere Cat had his first solo production credit on Ludacris’ “Party Girls\,” which also featured Wiz Khalifa and Jeremih. With Blanco\, Cashmere Cat moved further away still from slamming hip-hop into quirky pop with their co-production of Ryn Weaver’s “Octahate.” With Stargate\, he worked on Charli XCX’s “Break the Rules” and Tinashe’s “All Hands on Deck.” Ariana Grande not only used him on record but took him out on her tour as the opening act. Even when he was working on hiphop records\, a critic at Resident Advisor found the production style he was developing to be “elegant and pristine\,” His own two solo EPs (2012’s Mirror Maru and 2014’s Wedding Bells) also won the hearts of reviewers at outlets like Pitchfork\, which enthused:. “Blending technical sensibility with pop playfulness\, his debut EP communicates a fully realized artistic persona.” \nThey haven’t heard anything yet. When the new album comes out in late 2016\, — on Blanco’s Friends Keep Secrets label\, in conjunction with Interscope — “a lot of my old sound will still be in there\,” he promises\, “but I think I’m influenced by a lot of different music that I wasn’t before— like\, I’ve been listening to a lot of Arca” (the Venezuelan producer/DJ who’s worked with Bjork). “I hope and believe that I’m doing something that’s worthy of an album and not just something that will bang in the club.” \nIs he ready for a greater limelight? Cashmere Cat’s shyness was such that\, even after his name became known\, his gender was less so. “When I would play a show\, there would be a picture of me DJ-ing with my head down and my hair in front of my face\, and I would kind of look like a really weird-looking girl. And the music sounded really soft\, too\, so people would just automatically assume it was by a girl. But I don’t mind if people think there’s something feminine about it.” He eventually added to the mystique by covering up his face with his hand in photos. “When people would come up with cameras\, because I’m awkward and shy\, I would just start automatically covering my face. It wasn’t really an aesthetic choice and it’s not necessarily trying to be mysterious. And then it became a thing.” Such a thing\, in fact\, that now\, when he’s approached by fans for selfies\, “people put their hands in front of their faces to do the picture\, too! But I’m not as scared anymore. There are pictures of me now where you can see the contours of my weird Norwegian face. I think that’s also part of me finding out what I actually want to do. I’m revealing more of myself.” \nThat includes doing interviews\, something he literally shied away from for a while. “I feel like I have stuff to talk about now\, whereas before it was ‘Yes\, I’m in my bedroom in Norway\, and I’m trying to send beats over email to the guy who knows the guy who works at Roc Nation.’” No shortage of stories now: With a full dance card extending to having some of the world’s hottest artists eager to appear on his record\, the cat no longer has his tongue. Even when it’s the biggest names in pop doing the literal singing\, Cashmere Cat has found his voice. \n*** \nNina Las Vegas \n \n[Website] [Facebook] [Twitter]
URL:https://royaleboston.com/event/cashmere-cat/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/png:https://royaleboston.com/wp-content/uploads/2017/01/Boston-w-Guest.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:20170428T180000
DTEND;TZID=America/New_York:20170428T213000
DTSTAMP:20260405T082353
CREATED:20170120T182331Z
LAST-MODIFIED:20170120T182331Z
UID:10002462-1493402400-1493415000@royaleboston.com
SUMMARY:The Maine
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is All Ages \nSOLD OUT \n*** \n \n*** \nThe Maine \n \n[Website] [Facebook] [Twitter] \nThe Maine is an American rock band from Tempe\, Arizona. In their eight years together\, The Maine has released four full-length albums\, including their major label debut “Black & White” in 2010. The band expanded their musical realm into production which resulted in their fourth EP\, the self-recorded and produced “Imaginary Numbers” (2013). Over the years\, they have toured across the globe as well as extensively on home soil in the US; both as headliners and in support roles. The Maine has shared the stage with the likes of Taking Back Sunday\, Anberlin\, A Rocket To The Moon\, Augustana\, and many more. The band has made numerous festival appearances including the Vans Warped Tour\, Bamboozle\, and South by Southwest. The Maine is recognized within the industry for the close relationships they build and maintain with their fans — many of whom are now college age and have grown up alongside the band. The Maine is John O’Callaghan\, Pat Kirch\, Kennedy Brock\, Garrett Nickelsen\, and Jared Monaco. \n*** \nThe Mowgli’s \n \n[Website] [Facebook] [Twitter] \nFrequently called “the quintessential California band\,” THE MOWGLI’S– known for their laid-back mix of sunny West Coast pop\, garage rock and 60’s Laurel Canyon folk sound– are currently in the studio with producer Mike Green (All Time Low\, Paramore). They’re putting the finishing touches on their as-yet- untitled third album that’s due out Fall 2016 on Photo Finish Records. The six-piece group just released the album’s first single “Freakin’ Me Out\,” available at iTunes now. Look for the band to launch a spring trek starting this Wednesday\, May 25 in Santa Barbara\, CA (dates below). \nTHE MOWGLIS’ uplifting\, indie-rock and universal message of positivity and love resonate with audiences all over the world. Their debut album Waiting for the Dawn (Photo Finish Records) premiered at #4 on the Billboard Heatseekers Chart and yielded the group their first hit song “San Francisco.” Their sophomore album Kids In Love included the feel-right summer song “I’m Good\,” originally written for an anti-bullying campaign. Following Kids In Love\, they released two fan favorite songs: “Summertime”– one the group’s highest playing songs on Spotify– and “Room For All Of Us\,” a song released in support of the refugee-relief organization\, International Rescue Committee. \nKatie Jayne Earl – Vocals\nColin Louis Dieden – Vocals/Guitar\nJosh Hogan – Vocals/Guitar\nMatthew Di Panni – Bass/Vocals\nDave Appelbaum – Keys/Vocals\nAndy Warren – Drums/Percussion/Vocals \n*** \nBeach Weather \n \n[Website] [Facebook] [Twitter]
URL:https://royaleboston.com/event/the-maine/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/01/the-maine-admat-2017.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170430T190000
DTEND;TZID=America/New_York:20170430T190000
DTSTAMP:20260405T082353
CREATED:20161129T182025Z
LAST-MODIFIED:20161129T182025Z
UID:10002447-1493578800-1493578800@royaleboston.com
SUMMARY:SOLD OUT - JoJo
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nThis show is SOLD OUT \n*** \n \n*** \nJoJo \n \n[Website] [Facebook] [Twitter] \nJoJo is resilient. That’s the message that comes through loud and clear when you listen to Mad Love.\, her debut album with Atlantic Records and her first LP in ten years. She’s empowered. She’s in control. And she’s grown as hell. \nYou can hear it in her Wiz Khalifa-assisted lead single\, “Fuck Apologies.” It’s a powerful statement of intent that announces to the world that the singer-songwriter isn’t going to let anyone make her feel small. \n“As a woman\, I find myself apologizing for things that I really don’t need to apologize for\,” JoJo says. “Even as simple as when someone bumps into you.” She laughs. “Guess what? I’m not sorry you bumped into me. Overall\, though\, the song to me is an anthem of empowerment. It’s about being confident and comfortable enough with who you are to live unapologetically.” \nThemes of hard-won independence and strength are vividly realized on Mad Love.\, which swerves from slinky alt-R&B to exultant pop bangers and back again. It’s no surprise\, given that JoJo\, now 25\, had a heavy hand in writing the entire album after\nfirst attempting to cut tracks penned by outsiders. \n“I was starting to lose myself in the process of being sent songs\,” she says. “But I stood up and remembered that I’m a songwriter\,\nand I want to be heard.” \nTruly finding her voice was a journey that’s taken a lifetime. Born Joanna Levesque and raised in Massachusetts\, she notched a #1 hit on the Billboard Pop Songs chart with her debut single\, “Leave (Get Out)\,” when she was only 13; she was the youngest solo artist to have a #1 single in the U.S. She followed it up with a string of additional singles\, most notably “Too Little Too Late\,” another Top 3 smash\, and the hit album The High Road in 2006. \n“Being a child star is a weird thing because your identity is put onto you\,” she says. “As much of an individual as I was\, I still had a lot of cooks in the kitchen telling me where to go and how to dress and what songs to record.” \nIt didn’t help that she was trapped in a deal with a label that was defunct\, which kept her from releasing music commercially. As the years passed\, she earned a devoted following online releasing free mixtapes featuring tracks from top hitmakers like Boi-1da\, Chad Hugo of the Neptunes and Da Internz. She collaborated\, too\, with the producer Noah “40” Shebib on her critically acclaimed single\, “Demonstrate”\, and had guest features on Timbaland’s Shock Value 2 and Pharrell Williams’ Grammy-nominated album G I R L. She was finally liberated from her contract in 2013 after 2 lawsuits and seven years of limbo and signed anew with Atlantic. \nIn 2015\, she released a critically acclaimed trio of singles\n—she called it a “tringle”—to give fans a first taste of the sound she’d been developing with tunesmiths such as Harmony Samuels\, Benny Blanco\, Wayne Hector and Jason Evigan. Ever prolific\, she recorded dozens of songs. But a series of major life events—including the passing of her beloved father and a break-up—inspired her to start fresh at the top of 2016 when con ceptualizing the vibe of her first studio album in a decade. Life was too short and she wanted to be in the driver’s seat. “After losing my father and breaking up with my boyfriend\,” she says\, “I realized: I cannot keep listening to the opinions of others.” So she started writing again. “I needed it to come from my pen\, in a way I would say it\,” she says. “I felt like my spirit would die if I didn’t come across with my own point of view. It just poured out of me.” \nIt comes as no surprise\, then\, that there’s so much authenticity and vitality in Mad Love.; it’s a document of a young woman finding her way in the world. She’s vulnerable on the opening track “Music\,” a spare piano ballad that allows the singer to show off her spine-chilling vocal chops as she recalls her blue-collar roots and pays homage to her late father. “Usually I’m crazily obsessive about chasing my best performance when I’m cutting vocals\,” she says. “But for ‘Music\,’ I put my perfectionist ego aside and did a couple takes all the way through\, singing through my tears. The emotion was more important to me than anything else.” She’s emotional\, too\, on the haunting “I Am\,” the only song from her earlier sessions to make the album. “This song is my mantra\,” she says.”But she turns up the volume on the self-empowering Alessia Cara-assisted “I Can Only”\, asks a male suitor to politely stop killing her vibe on the head-nodding uptempo “Vibe”\, and demolishes the hater-industrial complex on “FAB”\, ( which stands for Fake Ass Bitches) featuring Remy Ma. For devotees of the woozy R&B slow jams from her JoJo’s mixtapes\, there’s something here too—namely “Edibles\,” a sultry ode to cannabis consumption that’s bound to be a fan favorite. And on the swooning\, doo-wop-inspired title track\, the singer commits so fully to retro soul she sounds transported from another era. \nIf it sounds like there’s a lot of ground covered here\, there is—which is exactly what JoJo wanted. She called the album Mad Love. because it’s the first thing that feels like it’s 100% her voice. “This album is passionate\, crazy\, vulnerable and all about the thing that keeps us going—love\,” she says. “It’s inspired by the music I grew up listening to—and like my generation\, refuses to be put in a box. I tried so many things along the way\, but I realized I needed to be true to myself and do this on my own terms.” \nNow\, she’s ready to turn it over to the fans who have stuck with her after a full decade of challenges. “I don’t want them to experience me\,” she says. “I want them to experience themselves. This music is for you. Listen to this in your car\, do your workout with it\, get ready to it\, cry to it. It comes from my life\, but it’s not for me anymore.” She smiles. “It’s for everyone.” \nSTANAJ \n \n[Website] [Facebook] [Twitter] \nFreshly inked Republic artist\, Stanaj\, just released his debut EP\, The Preview. Complex Magazine featured the highly anticipated record on their site and made The Preview available for exclusive streaming on Monday\, the day before the official release of the EP\, August 9th. \nThe Preview features Stanaj’s undeniably powerful vocals backed by the full sound from the talented producers and songwriters\, Justin Tranter\, Mattman & Robin\, and HazeBanga. With hits like “Ain’t Love Strange” and “Romantic”\, Stanaj gives us an enticing glance at what we can expect from the talented artist in the near future.
URL:https://royaleboston.com/event/jojo/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/11/jojo-admat-2017v2.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170504T193000
DTEND;TZID=America/New_York:20170504T193000
DTSTAMP:20260405T082353
CREATED:20170201T225158Z
LAST-MODIFIED:20170201T225158Z
UID:10002477-1493926200-1493926200@royaleboston.com
SUMMARY:Jamestown Revival
DESCRIPTION:Bowery Boston presents \nDoors: 7:30 pm / Show: 8:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 3/3 at noon! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nJamestown Revival \n \n[Website] [Facebook] [Twitter] \nThe story of Jamestown Revival feels suited for the dog-eared pages of a timeless American novel. \nChapter one opens with Jonathan Clay and Zach Chance meeting in Magnolia\, TX at 15-years-old. Fast friends\, the duo attended college together\, started Jamestown Revival\, and traded their home state for Los Angeles\, CA in late 2011. By 2014 they released their debut album UTAH (which included the hit single ‘California’)\, built a committed fan base with countless road shows\, and received critical acclaim from the likes of Rolling Stone and The Wall Street Journal. They were named iTunes “Best of 2014: Singer-Songwriter Album of the Year\,” graced the sound stages of Conan and The Late Late Show with Craig Ferguson\, and performed at some of America’s legendary music festivals including Coachella\, Austin City Limits\, Bonnaroo\, Bottlerock Festival\, and Willie Nelson’s Fourth of July Picnic. \n“UTAH opened a lot of doors for us and put us on the road for the first time\,” says Zach. “We learned how to play for a crowd and how to perform.” \nBut when it came time to record a second album\, the band found themselves in a different place. \n“This album is like chapter two\,” agrees Jonathan. “The story begins at the point where we decided to head back to Texas. We wrote many of the songs when we were entering a different phase of our lives. We settled back into Austin\, and my wife and I had our first child. That was a big shift. It was all about leaving behind our last bastion of adolescence\, if you will.” \nThis process resulted in The Education Of A Wandering Man [Republic Records]\, an album that looks back at the journey of the band’s past. The record chronicles the lessons learned and the experiences that color the life-lived along the way. \n“This album is a snapshot of our observations and learnings over the past four years. Our education has been gained not in a classroom\, but in our experience\,” Zach and Jonathan write in a letter to fans announcing the album. \nMusically\, the record remains loyal to Jamestown Revival’s indie rock/alt country aesthetic while also reaching into new creative territory. \n“You can hear all of our influences on the new album. It feels like a late night drive after a show. There’s some Motown\, rock ‘n’ roll\, and even a little country. We paid homage to a lot of the people we listened to while stuck in a car between gigs\,” says Zach. \nTapping into almost a lifetime of natural chemistry\, the band started sharing musical ideas while sitting on Jonathan’s porch before holing up in a Hill Country farmhouse a few hours from Austin for recording. Producing themselves alongside longtime collaborator Ryan Lipman\, the sessions lasted only two weeks\, and Jamestown Revival emerged with 12 new tracks. \n“It was a bunch of good friends in a relaxed setting making a record\,” says Zach. “It never felt like a nine-to-five. We could have a smoke outside\, play horse on the basketball hoop\, and hang out and wait for the muse to find us.” \nThough the record came together quickly\, nailing down the first song proved more difficult. After wrestling to overcoming the pressure\, the band emerged with their first single “Love Is A Burden\,” kick-starting the creative process. \n“We wrote that song about our last single ‘California’\,” admits Jonathan. “When we started writing\, all we did was compare every song we wrote to ‘California.’ We never thought anything lived up to it\, and that started to squelch our creativity. This piece of music that did amazing things for us became like a lead weight. ‘Love Is A Burden’ is about the successes\, the failures\, the triumphs\, and the fears of the past really starting to weigh you down and having a hard time moving on. It’s a metaphor we related to a relationship you can’t move past in the lyrics. As far as inspiration goes\, the chorus just popped in my head\, and we ran with it. After all of that overthinking\, it was done in ten minutes.” \nAlbum opener “Company Man” captures the heartbreak of corporate greed. “My family’s got some land where we birthed the idea of Jamestown Revival\, and we’ve both been going there together since we were kids\,” says Jonathan. “”One day my family gets a call that there’s an oil company who wants to put a pipeline right through the property. They were doing it under the protection of ‘public domain’. That piece of land is sacred to us\, but ironically\, nobody else cared about it until there was something to gain.” Company Man speaks to that feeling of helplessness and frustration. \n“American Dream” comments on similar themes\, while “Head On” explores the claustrophobia of the concrete jungle. Elsewhere\, the acoustic-driven “Back To Austin” serves as an upbeat love letter to their hometown. Throughout\, the record speaks to themes inherent to the meaning within its title The Education Of A Wandering Man. \n“The Education Of A Wandering Man is actually an autobiography by classic western novelist Louis L’Amour\,” Zach says. “He traveled the world and lived a fascinating life. Jonathan and I read the book years ago and fell in love with it. It’s like looking back on a life unplanned. That really resonated with us when we were making the album. The more you travel\, the more perspective you get. Our travels have been an education.” \nFor Jamestown Revival\, the album is simply a continuation of their ongoing story. “We’ll be writing and telling stories until we’re six feet under\,” Jonathan leaves off. “This album is just the next step on the path.” \n*** \nThe Ghost of Paul Revere \n \n[Website] [Facebook] [Twitter] \n“Mumford & Sons meet the Avett Brothers with a twist of bluegrass. Old Crow Medicine Show with three-part harmonies. The Band for millennials… The Maine-grown\, foot-stompin’ holler-folk quartet create the type of music for which festivals are made.” – The Boston Globe \nBorn on the banks of the Saco River\, brothers in all but name\, the Ghost of Paul Revere is Maine’s holler-folk band. A powerful\, energetic\, non-traditional American folk band that’s renowned for harmony fueled\, heart-pounding performances full of songs with unique identities that remain undeniably the Ghost of Paul Revere.\nFormed around childhood friends Max Davis\, Sean McCarthy\, and Griffin Sherry\, joined by Matt Young on harmonica\, the Ghost of Paul Revere played their first show together in 2011 at a tiny bar in Portland\, Maine. Now\, they play across the nation\, bringing holler-folk into houses\, bars\, and music halls. They have shared the stage with the Avett Brothers\, The Travelin’ McCourys\, Brown Bird\, Spirit Family Reunion\, Darlingside\, as well as members of Greensky Bluegrass\, the Infamous Stringdusters\, and Old Crow Medicine Show. \nTheir critically acclaimed\, Billboard charting full length album Believe\, as well as their two EPs North and Field Notes Vol. 1\, have continually been the top selling local albums in Maine and New Hampshire for more than four years. The Ghost of Paul Revere has since sold out Port City Music Hall\, Stone Mountain Arts Center\, and the Strand Theater multiple times\, won Best In Maine at the 2014 New England Music Awards\, were an official showcase artist at Folk Alliance International 2015 and made their Newport Folk Festival debut in August 2015. They capped off 2015 with an electrifying headline performance on New Year’s eve at Portland’s State Theatre in front of 1\,600 enraptured fans. \nIn 2016\, amidst touring nationally\, they returned to the studio to craft their second full length album\, engineered by Jonathan Wyman at Halo Studios and mastered by Adam Ayan of Gateway Mastering. The album is expected to be released in early 2017. \n“Robustly played\, masterful amalgamation of bluegrass\, folk\, and gospel for the Millennial Generation… The Ghost of Paul Revere prove that superior roots music can come from anywhere.” – No Depression \n“Simply put\, this band is one to see live… A gorgeous blend of bluegrass\, folk and good old fashioned rock and roll… their performance takes on a boot-clacking brilliance that transforms each song into a full-on participatory event\, sending an electric surge about the room that’s near impossible not to feel. Add to that a layered three part harmony coursing through each soulful song\, and The Ghost of Paul Revere demonstrated they not only had the chops\, but the heart to reach their audience and leave an undeniable impression as well. As the floorboards shook with each pounding stomp\, one thing was certain: the band announced they had arrived\, loud and clear.” – Dispatch Magazine \n“Simply put North is an album that shouldn’t be missed. (It will) make even the most callous of individuals feel the unbridled joy of Holler-Folk.” – Ear to the Ground Music \n“A distinguished sound that only seasoned musicians can usually attain” – Portland Press Herald \n“(The Ghost of Paul Revere) stole the show. I was so impressed with them. Their harmonies\, stomping percussion\, and vocal power were stellar… their songs progressed from mellow to powerhouse… their harmonies are superb and their songs have power.” – whatbreesees.com
URL:https://royaleboston.com/event/jamestown-revival-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/03/jamestown-revival-admat-2017.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170505T180000
DTEND;TZID=America/New_York:20170505T213000
DTSTAMP:20260405T082353
CREATED:20170131T131956Z
LAST-MODIFIED:20170131T131956Z
UID:10001750-1494007200-1494019800@royaleboston.com
SUMMARY:[SOLD OUT] Real Estate
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \nSOLD OUT \n*** \n \n*** \nReal Estate \n \n[Website] [Facebook] [Twitter] \n*** \nFrankie Cosmos \n \n[Website] [Facebook] [Twitter]
URL:https://royaleboston.com/event/real-estate/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/01/real-estate-admat-2017.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170507T190000
DTEND;TZID=America/New_York:20170507T190000
DTSTAMP:20260405T082353
CREATED:20170310T040902Z
LAST-MODIFIED:20170310T040902Z
UID:10001766-1494183600-1494183600@royaleboston.com
SUMMARY:Potap & Nastya Live!
DESCRIPTION:Potap & Nastya\nSunday\, May 7th\nDoors 7pm/ Show 8pm\n18+
URL:https://royaleboston.com/event/potap-nastya-live/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/03/PN_poster_Boston_Royale.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:20170513T180000
DTEND;TZID=America/New_York:20170513T213000
DTSTAMP:20260405T082353
CREATED:20170213T110023Z
LAST-MODIFIED:20170213T110023Z
UID:10002467-1494698400-1494711000@royaleboston.com
SUMMARY:Perfume Genius
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 2/17 at noon! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \nPerfume Genius has partnered with Plus 1 so that $1 from every ticket goes to support the ACLU and their work defending and protecting our individual rights and liberties. \n*** \n \n*** \nPerfume Genius \n \n[Website] [Facebook] [Twitter] \nOver the course of two astonishing albums\, Perfume Genius\, aka Seattle native Mike Hadreas\, cemented his place as a singer-songwriter of rare frankness\, creating songs that\, while achingly emotional\, offered empathy and hope\, rather than any judgment or handwringing. Sparse\, gorgeous and with Hadreas’ quavering vocals often only accompanied by piano\, they were uncommonly beautiful tales of a life lived on the dark side – scarred\, brutalised\, yet ultimately\, slowly but surely reclaimed.\n“Too Bright”\, however\, is something else altogether. Less self-conscious\, and less concerned with storytelling and easily-digested melodies\, it is a brave\, bold\, unpredictably quixotic exploration of what Hadreas calls “an underlying rage that has slowly been growing since ten and has just begun to bubble up.” This sharp U-turn came early in the writing process\, when a creatively frustrated and uninspired Hadreas decided not to write what he thought people might want to hear – or as he describes it\, “mid tempo Adele songs\, carefully plotting each chord and lyric like math” – but focus instead on writing what came naturally\, 100% visceral and unfiltered\, no matter what the potential reception might be. “I looked to PJ Harvey”\, he recalls. “How powerful and raw she can be\, and thought\, “what is my version of that?”‘\nThe resultant album\, then\, is a stunning about-face which brings to mind audacious career-shift albums like Kate Bush’s The Dreaming or Scott Walker’s Tilt\, records which walk the tightrope between pure songwriting and overt experimentation. Here\, Hadreas is aided in his efforts by not one\, but two unlikely conspirators – John Parish\, who plays drums on several tracks\, and Portishead’s Adrian Utley\, who\, as producer\, brought the physical resources to flesh out the songs in innovative ways. According to Hadreas\, Utley was the key to unlocking hitherto unexplored terrain on the album\, using both synths and organic instrumentation to push the tracks to darker and more unreal heights. The album is also rounded off with key contributions from longtime touring band members Alan Wyffels and Hervé Bécart.\nThe fragile yet defiant “I Decline” opens the album\, draped in hushed\, languorous beauty\, but it is an outlier. The interim between “Put Your Back N 2 It” and “Too Bright” has seen Perfume Genius grow claws and fangs\, and he is unafraid to draw blood. On the following track (and first single) “Queen”\, the line “Don’t you know your queen?” booms out over ominous guitars\, not so much a genuine question as a rhetorical one\, as Hadreas proceeds to deconstruct gay panic with relish. Even with a wordless\, albeit soaring and cacophonous symphony of a chorus it sounds huge\, anthemic\, a gleeful kiss off to what he describes as “faces of blank fear when I walk by…if these fucking people want to give me some power – if they see me as some sea witch with penis tentacles that are always prodding and poking and seeking to convert the muggles – well\, here she comes”.\nThat mischevious sense of defiance runs rampant through the album. A surreal threat hangs over songs like “My Body” and “Grid”\, with piercing screams\, tribal drums and electronic stabs highlighting disturbing lyrics of self-destruction and temporary respite from the darkness. On “Fool” meanwhile\, deceptively swinging doo-wop rhythms disguise a story of social mutiny\, with Hadreas tearing into the stereotype of “a walking\, talking candelabra”\, and rejecting it for something much more volatile and dangerous. “Ive met people that laugh at EVERYTHING i say”\, he muses. “I could be talking about OJ or Munchausens Syndrome or bloody stool – I am still just the cutest thing. Here only to enrich their lives\, not have one of my own. Make their dress\, tell them how great their boobs look and then peace. Isnt he the best?”\nWhich is not to say that Hadreas has completely abandoned the shimmering\, exquisite piano ballads that he is so known for. “No Good” is a heartbreaking meditation on a difficult life lived on the outside but “spent looking in”\, while the somber closer “All Along” is a resigned yet firm rebuke to acceptance and reassurance from external forces\, preferring instead to find refuge from within – “I have my love”\, Hadreas asserts\, “and I apply it where I need to”. This\, in fact\, is the overarching theme of “Too Bright”; the connective tissue loosely joining up these 11 stunning\, weird and wonderful tracks – the discovery of strength and power where previously he felt he had little. As he himself puts it\, during the making of the album\, it felt “like i had woken some ancient beast which began to rattle and threaten to rise”. With this record\, consider the demon awoken. There’s no turning back now. \n*** \nserpentwithfeet \n \n[Website] [Facebook] [Twitter] \nAfter spending years studying as a classical vocalist\, 27-year-old Baltimore-born artist serpentwithfeet (a nom de plume for Josiah Wise) spent time drifting around Paris and London before eventually landing in NYC. It was here that his music-a beautiful confluence of gospel and classically-inflected electronica-began to truly take shape.\n“I decided in 2012 or in 2013 that I didn’t want a band anymore\,” he recalls\, “I was like\, “What would happen if I did my R&B thing over this classical shit” It took a while\, but I started to wonder if I could make something that satisfies other people and myself. I want the music to resonate with people. I didn’t start thinking about that until I moved to New York\, to be honest.”\nblisters is serpentwithfeet’s first EP from Tri Angle Records. After spending a few years experimenting-both musically and visually-in NYC’s underground queer music scene (“I was basically just posting something new every week on Soundcloud\, waiting for someone to take notice\,” he says)\, Wise eventually struck on a sound and a sentiment that made sense. On “four ethers\,” the third single to be taken from blisters\, serpentwithfeet wonders aloud what it would feel like to be violently transparent\, and finds him in pursuit of a rare honesty. Huge swathes of strings and percussion emphatically rise and crash turbulently against Wise’s questioning voice as he ultimately asks: “How can I touch somebody who wont even touch themselves?” “four ethers” might be serpentwithfeet’s most powerful and dramatic work to date.\nA similar kind of emotional dynamic runs throughout all of blisters. Tracks like “penance” and “redemption” vacillate between hushed intimacy and huge emotional swells. On the EP’s title track\, Wise’s multi-tracked voice plays against gently-plucked harp and syncopated handclaps\, the record’s gospel affectations and slinky R&B tropes fusing into something unique\, exotic\, and strangely beautiful. Meanwhile\, surrounded by strings\, subtle electronics and Wise’s restrained piano playing–and buoyed aloft by production courtesy of The Haxan Cloak- the EP’s first single\, “flickering\,” is the perfect showcase for Wise’s powerhouse voice. “I’m starting to feel the cord connecting us two is made of gossamer\,” he sings. “I’m starting to feel there’s no cord between us two/are we made of gossamer?” The track unspools with a kind of hushed intimacy\, the tone and tenor of Wise’s voice rising and falling like a breath until the song itself crests and flutters before disappearing completely.\nGiven that he credits both Brandy and Bjork as inspirations\, it’s not surprising that serpentwithfeet treads a fine line between emotive gospel and more left-of-centre stylings. With his own gloriously outré personal style and penchant for the dramatic\, it also makes sense that the music Wise makes would be so remarkably unclassifiable. “It feels very free because I also feel very free\,” he says. “I don’t feel like being gay restricts me in the same way I also don’t feel like being black restricts me. In fact\, it only makes me more interesting. Making music has always been about making a space for myself in the world. My theory has always been that if you walk into a room and say\, ‘This is my room’-it’s your room. The End.”
URL:https://royaleboston.com/event/perfume-genius/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/02/perfume-genius-admat-2017.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170514T180000
DTEND;TZID=America/New_York:20170514T180000
DTSTAMP:20260405T082353
CREATED:20161214T180843Z
LAST-MODIFIED:20161214T180843Z
UID:10001736-1494784800-1494784800@royaleboston.com
SUMMARY:[SOLD OUT] State Champs
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is All Ages. \nSOLD OUT \n*** \n \n*** \nState Champs \n \n[Website] [Facebook] [Twitter] \nTyler Szalkowski\nDerek Discanio\nTony Diaz\nEvan Ambrosio\nRyan Graham \n*** \nAgainst The Current \n \n[Website] [Facebook] [Twitter] \nChrissy Costanza – @ChrissyCostanza\nDan Gow – @DanielGow\nWill Ferri – @WillFerri \n*** \nWith Confidence \n \n[Website] [Facebook] [Twitter] \nAlternative Sydney rockers\, With Confidence\, have just finished touring in support of their recently released EP ‘Distance’. \nReleased on January 13 2015\, ‘Distance’ is their sophomore EP from 2013’s ‘Youth’ EP. It was recorded at Electric Sun Studios with Stevie Knight and Dave Petrovic (Tonight Alive\, Hands Like Houses\, Northlane) at the helm. \nThe response by the fans has been overwhelming with the EP rocketing to #2 on the iTunes Alternative charts and #10 on the overall iTunes albums chart. \nThe four-piece’s popularity is a product of solid touring and hard work over the past twelve months supporting the likes of You Me At Six\, Tonight Alive\, Kids In Glass Houses\, Neck Deep and more recently\, Marianas Trench. The constant touring has also heavily influenced the band’s maturity in their song writing which is evident on ‘Distance’. \nThe recent ‘Distance’ tour saw the band return to Sydney\, Newcastle\, Brisbane\, Perth and Melbourne – their first headlining tour since their sold out April 2014 “I Will Never Wait” run. \n*** \nDon Broco \n \n[Website] [Facebook] \nRob Damiani – Vocals\nMatt Donnelly – Drums\nSimon Delaney – Guitar\nTom Doyle – Bass
URL:https://royaleboston.com/event/state-champs/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/12/state-champs-admat-2017.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170521T180000
DTEND;TZID=America/New_York:20170521T180000
DTSTAMP:20260405T082353
CREATED:20170420T203336Z
LAST-MODIFIED:20170420T203336Z
UID:10001787-1495389600-1495389600@royaleboston.com
SUMMARY:Yiannis Ploutarhos w/ Kings
DESCRIPTION:18 + \nGreek Music Live… \n6:00pm Doors\n7:30pm Show
URL:https://royaleboston.com/event/yiannis-ploutarhos-w-kings/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/04/521-Yiannis-Greek-Event.jpg
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170524T190000
DTEND;TZID=America/New_York:20170524T190000
DTSTAMP:20260405T082353
CREATED:20170221T163147Z
LAST-MODIFIED:20170221T163147Z
UID:10002468-1495652400-1495652400@royaleboston.com
SUMMARY:[SOLD OUT] Marian Hill
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \nSOLD OUT \n*** \n \n*** \nMarian Hill \n \n[Website] [Facebook] [Twitter] \nAct One\, the debut full-length from songwriting duo Marian Hill\, was written and produced in its entirety by Jeremy Lloyd (music/lyrics/production) and Samantha Gongol (music/lyrics/vocals). The multi- talented duo\, who have been collaborating in one form or another since high school\, have shifted the classic paradigm of a woman on a stage and a man with a piano to a woman on a mic and a man with a laptop — and the results are seductive and vivid. Tempting paradox with a blend of blues and bass\, acoustic and digital\, classic and modern\, Marian Hill have arrived. \nTwo years ago Sam and Jeremy wrote and recorded “Whisky” over spring break in Jeremy’s parents’ basement. When they released it for free on Soundcloud later that summer it was the only song they’d written for the project\, and in a little over a year’s time they had recorded their first EP in a bedroom\, amassed millions of plays on various platforms\, sold out shows across the country and featured in high profile commercials. They signed to Republic Records in early 2015\, released the Sway EP\, and settled in to write and record their debut album over the course of the following year with a plan to push their unique sound to its fullest potential. \nFor the first 50 seconds of “Down” you might think you’re at a supper club in the 1920s\, but when the bass drops out of nowhere you couldn’t be anywhere but 2016. Act One then takes you on a journey through the complexities of modern relationships\, with each song inhabiting a specific and charged relationship lyrically\, melodically\, and sonically. “I Know Why” constantly transforms and reinvents itself as the vocals grapple with a secret while “Mistaken” is the hardest of sax trap with a classic songwriting backbone. “Same Thing” is the saddest part of the album\, a haunting ballad depicting serene resignation of a doomed relationship\, but castanets rise from the ashes as “I Want You” closes out the night in a pure moment of optimistic electricity\, a glance across a crowded room that changes everything. \nMarian Hill’s one of a kind sound is present throughout — blues harmonies blend with sparse hip hop drums\, horns blast under classic vocal melodies\, and soloistic vocal chops sit side by side with clear\, intimate lyrics. You’ve never heard this before\, yet it’s surprisingly familiar. And it’s only the beginning. \n*** \nOpia \n \n[Website] [Facebook] [Twitter] \nCole and Jacob met as Math and Physics majors at Yale University and began recording and collaborating on different music projects. Jacob’s extensive production and arrangement background clicked instantly with Cole’s guitar and vocal songwriting experience. At the top of 2016\, the duo spent three weeks living out of an underground studio in New Haven\, writing music for what would become Opia. Their debut release “Falling” instantly became a viral hit\, rocketing to the top of the Spotify\, Hype Machine\, and SoundCloud charts.
URL:https://royaleboston.com/event/marian-hill-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/02/marian-hill-admat-2017.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170531T190000
DTEND;TZID=America/New_York:20170531T190000
DTSTAMP:20260405T082353
CREATED:20170129T165949Z
LAST-MODIFIED:20170129T165949Z
UID:10001745-1496257200-1496257200@royaleboston.com
SUMMARY:[SOLD OUT] Michael Kiwanuka
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \nSOLD OUT! \nRoyale is general admission standing room only. \n*** \n \n*** \nMichael Kiwanuka \n \n[Website] [Facebook] [Twitter] \n“This album is led by emotion. So making melodies that capture you was my priority. I was just asking one question\, does it move you?” \nSoulful and raw\, Londoner Michael Kiwanuka’s critically-acclaimed debut album ‘Home Again’ (April 2012) staked his claim on the list of great British singer-songwriters. As a body of work\, Home Again was a genre-defying nod to the heritage names of soul\, and reinforced the real strength of young British music talent. \nHaving taken a deep breath and relaxed into his musical approach\, Kiwanuka is back\, and has delivered his eagerly anticipated second album – and it packs a powerful punch. If his last album was about returning home again\, this is about leaving it behind and stepping out – and finding himself outside his comfort zone. Love & Hate is an outward-looking\, drenched with emotional density and rich\, soulful production at the helm. \nTwo years in the making\, the British Ugandan Londoner has worked with new talent and created a canvas which sees his vulnerability take centre stage. While previous comparisons have been made to the sensual jazzy folk-soul of Terry Callier or Otis Redding\, in reality\, this simmering\, blues-inflected pop-soul offering\, this masterpiece\, takes the foundation of those artists and ignites the genre with new energy and thrill. \nIt’s no surprise that Kiwanuka cites the elaborate\, expressive music of Marvin Gaye\, Isaac Hayes and John Lennon as influences\, and when he speaks of what he loves about his heroes\, (“The melancholy and the sheer honesty of Gaye. He doesn’t hide behind his lyrics”) he could so easily be describing himself. \nKiwanuka describes himself as being “obsessed” with the guitar growing up (and tells a great story about how seeing a documentary on Jimi Hendrix as a teen\, and realising he was black\, opened up something in him). Now\, after countless accolades following his debut and providing support Adele on her 2011 live tour\, he’s showing us exactly what he’s learned. \n“The confessional aspect is cathartic for me. You accept it\, once it’s done\, it’s out there. That’s the therapeutic nature of it. Now\, I’m living in a way where I’m not apologising. My first album I was just worried about everything.” \nMusically\, this uncompromising fluency of expression means he is as exciting as he’s ever sounded. That\, alongside a fresh ear for production\, thanks to two new producers\, elevated his sound from his debut offering. One of which was a young London-based producer called Inflo\, who he co-wrote the lead single\, ‘Black Man In A White World’ with\, and the other\, the mighty Brian Joseph Burton\, aka Danger Mouse who was intrigued by Michael’s previous work and asked to work with him. The American producer and songwriter who is best known for his work producing for Gnarls Barkley\, Gorillaz and the Black Keys\, was ultimately recruited for his aptitude for applying heritage music in a fresh way\, and was exactly was Kiwanuka was looking for. It was this new approach being directed by Danger Mouse that allowed Kiwanuka to really revisit himself again. \n“The first album was way more technical.” He says. “It was like\, ‘OK\, we need exactly the right drum sound and an old mic\, and the perfect guitar sound’. I love that stuff and I always will\, but Brian changed my perspective on it. I realised it the music wasn’t just about deconstructing the instruments\, it was to feel.” \nIt was this team and fresh outlook that re-ignited Kiwanuka’s creative energy after a period of self-doubt\, and much of the album was written across London\, and out of his comfort zone of LA. He says\, “I wanted to give up making music after my first album\, but this made me realise that I just needed a new approach to really reflect who I am now.” \nLove & Hate is a confident expression of Kiwanuka taking things at his own pace\, which at times\, brings you to a standstill. One such track is ‘Black Man in A White World’\, perhaps Kiwanuka’s most remarkable moment. Inspired by the old southern blues of American blues singer Son House\, he takes us with him as he discusses his worldview. The song deals with his issues of race\, diasporic identity and anxiety\, and is a captivating moment of sonic vulnerability and power. The clipped bass claps punctuate each word and as he sings\, “I’m a black man in a white world/I’m in love but I’m still sad/I found peace but I’m not glad” and with that\, we get a sense of his duality. \nTalking about it\, he explains\, “That song is about all the sadness and frustrations of childhood\, of being one of very few black kids in Muswell Hill\, and never feeling like fitting in. It’s about not feeling like I could be a rock star\, of always being categorised as jazz\, of attending the Royal Academy of Music and seeing no black people on the course\, and thinking just how much I was a black man in a white world. ” \nIt is the ability to allow his pain to rise to the surface where Kiwanuka really excels. On ‘Cold Little Heart’\, the slow build of tension as he asks the heart wrenching question\, “Did you ever want it?” takes us to his raw pain over gentle piano lines and soft hums\, as he reinforces that we are all vulnerable in love. It’s a theme he takes further on ‘Final Frame’ where he takes us to the point after committing to a relationship\, delving into what happens next. \nHe explores his spiritual relationship with God on ‘Father’s Child’ as he gently sings\, “I’ve been searching for miles and miles/Looking for someone to walk with me”. He likens the ad-libs to “speaking in tongues” and takes images from his childhood at church. “that song is about purpose really\, its about walking with someone. And those ad-libs feel like tongues\, lyrics that pour out from the heart before the brain has had time to process them.” \nOn where he finds himself now\, he says\, “A lot of this album was grappling with the insecurities that I’d learned. The first album was grappling with faith. Here\, I’m not so worried about that – I’ve accepted that it comes and goes\, and now\, I’m left with myself.” \nHonest\, unabashed\, and ambitious\, this is Kiwanuka emerging from the emotional cocoon of his first album\, and ready to secure his position as one of our most exciting homegrown talents. It’s a new world since his debut\, and it seems that it’s his for the taking. \n*** \nCloves \n \n[Website] [Facebook] [Twitter] \nMelbourne\, Australia\nScandinavian Soothing Metal
URL:https://royaleboston.com/event/michael-kiwanuka-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/01/Michael-Kiwanuka-ADMAT-spring-2017.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170603T180000
DTEND;TZID=America/New_York:20170603T213000
DTSTAMP:20260405T082353
CREATED:20170405T191019Z
LAST-MODIFIED:20170405T191019Z
UID:10002487-1496512800-1496525400@royaleboston.com
SUMMARY:BROODS [Moved to The Sinclair]
DESCRIPTION:This show has been moved from Royale to The Sinclair.  \nAll previously purchased tickets will be honored. \n 
URL:https://royaleboston.com/event/broods-2/
LOCATION:279 Tremont Street\, Boston\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/04/broods-admat-2017v2.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499958;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=279 Tremont Street Boston 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499958
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170605T200000
DTEND;TZID=America/New_York:20170605T200000
DTSTAMP:20260405T082353
CREATED:20170404T182806Z
LAST-MODIFIED:20170404T182806Z
UID:10002486-1496692800-1496692800@royaleboston.com
SUMMARY:AIR
DESCRIPTION:Bowery Boston presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 4/7 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. Please note: box office is cash only. \n*** \n \n*** \nAIR \n \n[Website] [Facebook] [Twitter] \nWho has never finished reading a book and instantly missed its familiar universe and characters who had just become friends? Who has never felt like re-reading it all over again and felt envious of the new readers who will discover it for the first time ? Air\, the French band who wrote such a music novel\, belongs to that category. The light but dense electro-acoustic pop of the band created in the mid-90’s influenced several generations and left its mark on the sound of its time. Along the way\, Air has produced cult albums (Moon Safari in 1998\, The Virgin Suicides in 2000)\, clever pop LPs (Talkie Walkie in 2004)\, rich experimentations (10 000 Hz Legend in 2001) and various collaborations (with Beck and Radiohead producer Nigel Godrich\, Charlotte Gainsbourg on her 5:55 album\, Jarvis Cocker…). \nFor most of the listeners\, playing this best-of will be like reliving the magic of past travels. For others\, it will be a call to join the band and embark into a unique and epic music journey. There will be also new adventures for the most loyal fans : in addition to a first CD featuring 17 classic tracks\, two more CDs are full of rare and unreleased tracks and remixes for other artists and themselves. A reminder of the ever-surprising Air universe. \nSince they met in a Versailles high-school in the 1980’s before becoming Air in the mid-90’s\, Nicolas Godin and Jean-Benoît Dunckel have never stopped claiming the volatile aspect of their music. Each project constitutes its own and unique planet. The retro-futuristic compositions of Moon Safari’s\, their first international success in 1998\, were the soundtrack of a whole generation of teenagers’s trips to heaven. On the opposite side\, The Virgin Suicides\, recorded for Sofia Coppola’s film in 2000\, was the Dark side of the Moon Safari with its gothic and dreamlike tracks conveying teenage trouble. Earthier and more experimental\, the very sophisticated 10 000 Hz Legend (2001) welcomes the band into adulthood before the accomplishment of Talkie Walkie (2004)\, a true pop masterpiece followed by Pocket Symphony in 2007 and Love 2 in 2009. Then\, the band flew once again to the Moon in 2012 for the masterful and dreamlike soundtrack of the restored version of Georges Méliès’s film « Le Voyage dans la Lune ». An eerie project featuring the track Moon Fever\, available in this best-of. This fructuous collaboration with every art form was renewed with Music For Museum\, recorded in 2014 for the Lille Palais des Beaux-Arts. Inspired by the museum collection\, Air wrote the nine tracks (including Land Me\, the last track of CD1) of a music ballet. A unique art and music experience. \nSoon after forming\, Air was labelled as a French Touch act because their early tracks featured in Premiers Symptômes (1997) shared some similarities with Daft Punk\, Phoenix or Etienne de Crécy who also became first famous in the UK. Yet\, this best-of proves that their singularity set them apart from this movement. Away from the world explosion of French electronica\, their compositions still sound fresh 10\, 15 or 20 years later. They are timeless\, which was the band’s first ambition : « to create classic standards ». \nBeyond the caricatural use of some effects (the vocoder and the Moog) or the simplistic « easy-listening » categorization\, this success is the actual result of the creative process. The power and timelessness of these tracks come from a prodigious music knowledge and a never-ending passion for instruments (from the Fender Rhodes electric piano to the Japanese koto) and gear. From classical music (Bach or Debussy) to soundtracks (Aaron Copland\, Nino Rota\, Ennio Morricone\, John Barry)\, sixties French pop (Michel Legrand\, Michel Polnareff\, Michel Berger\, Serge Gainsbourg\, Françoise Hardy…) to The Beatles\, Brian Eno\, David Bowie or Kraftwerk\, Nicolas Godin and Jean-Benoît Dunckel sublimate all their personal influences to create a rich\, dense and deep atmosphere. Beyond time. Into Air. \nThibaut Wychowanok
URL:https://royaleboston.com/event/air/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/04/AIR-ADMAT-2017.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170606T190000
DTEND;TZID=America/New_York:20170606T190000
DTSTAMP:20260405T082353
CREATED:20170226T222956Z
LAST-MODIFIED:20170226T222956Z
UID:10002476-1496775600-1496775600@royaleboston.com
SUMMARY:[SOLD OUT] Banks
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \nTHIS SHOW IS SOLD OUT! \n*** \nBanks \n \n[Website] [Facebook] [Twitter] \n“Tell me what you want from me. I think you need a weaker girl\, kinda like the girl I used to be\,” sings Banks on “Weaker Girl\,” with a voice that is both reflective and self-assured. The song is from The Altar\, Banks’ new album due September 30th on Harvest Records\, and embodies a new kind of strength for the artist–not one that she didn’t have before\, but that she’s now embracing in full. \n“This is me looking in the mirror and being present in the moment\,” she says. “Not being scared of change\, and not being scared of my own strength and my own power.” \nWhen Banks broke out with 2014’s Goddess\, she became the world’s most blogged about artist\, with a voice compared to the likes of Fiona Apple\, Erykah Badu and Lauryn Hill\, and a sound that took alt-pop and R&B to electrifying new places. With every song written and controlled creatively by Banks\, The Altar pushes those edges even further\, and pulls no punches. It’s an inspiring confrontation of complicated love\, pain\, and self-doubt. \n“I pushed myself. I pushed my boundaries. I found my own strengths while making this album\,” she says. “I found that when I needed a shoulder to lean on\, I could be that shoulder for myself.” \nThe album opens with Banks alone on piano\, her voice distant and reverberant. “And to think you would get me to the altar\,” she sings on “Gemini Feed.” “Like I’d follow you around like a dog that needs water. But admit it you just wanted me smaller\, if you woulda let me grow you coulda kept my love.” And then grow she does–the song swells with core-shaking beats\, and her stirring voice turns resolute: “Open up your eyes.” \nNowhere is Banks’ fearless self-confrontation more evident than in “Fuck With Myself\,” which Zane Lowe premiered in July as a Beats 1 “World Record.” “I fuck with myself more than anybody else\,” sings Banks\, cutting through propulsive beats and ominous grooves. In the powerful\, jarring video she dances and struggles with contortionists wearing her image. “In the video I’m looking in a mirror\, because it’s like looking at myself with open eyes. My hair is not in my face anymore. I feel less scared to be seen.” \nOn the haunting\, slow-burning “Mind Games\,” she challenges us to do just that: “Do I ever have to notice? I’ve been standing here and I don’t know why. Did you ever even see me try? Do you see me now? Do you see me now? Do you see me now?” \nOther songs on the album like “Mother Earth” are fearless in their vulnerability–led by strings and acoustic guitar\, Banks sings “Follow me to my bed\, cause every time you fall I’ll be holding your head up. And when will you get tired of feeling bad? And every time you fall\, follow me.” \n“I wrote that song when I was feeling sickened by this weight that society puts on women\,” she says. “It tries to make them want to be as small as possible and take up as little space as possible. Be as perfect and wrapped up in a bow as possible. My sister just gave birth to a baby girl and I just I felt really sad and scared for her because I didn’t want her to feel how I have felt.” \nThe album\, which features collaborations with producers and writers including Tim Anderson\, SOHN\, DJ Dahi\, and Jenna Andrews\, was driven by Banks’ deep\, insistent need for raw expression and solace. \n“Once I was ready to write again it really just poured out of me\,” she says. “It was just like my body needed it so bad. I think I was probably chomping at the bit to put everything that I had gone through on paper. I went through a depression while I was creating\, and it came out in my music in the best way–not in a sad way\, but all of this deep-seated stuff that was weighing on my mind.” \nAnd the album’s title\, The Altar\, honors the spiritual experience of that creation. \n“Sometimes it feels like the inspirations for my songs come from somewhere else\, where I’m not even thinking\, they just come out\,” says Banks. “My music and my songs\, they feel like my religion\, and the altar is the holiest place there is.” \n–Evie Nagy
URL:https://royaleboston.com/event/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/2017/02/161120_Banks_Still2607_v1A.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:20170609T180000
DTEND;TZID=America/New_York:20170609T180000
DTSTAMP:20260405T082353
CREATED:20170306T160842Z
LAST-MODIFIED:20170306T160842Z
UID:10001761-1497031200-1497031200@royaleboston.com
SUMMARY:Jurassic 5
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Tickets on sale NOW! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n[Website] [Facebook] [Twitter] \nThe moment was ripe for renewal. In the center of the stage was a huge\, almost cartoonish turntable anchored by the Jurassic 5 logo in its center. Scratches are heard from DJ Nu-Mark and Cut Chemist\, the beat drops and Zaakir emerges\, mic in hand\, followed by Chali 2na’s distinct\, baritone cadence. Then Marc 7 and Akil join the onstage theatrics and for a moment it felt like 1997 all over again. Not bad for a group that called it quits in 2007. This was 2013 and like David Bowie once said: “It was alright…the band was back together.”\nJurassic 5 was in fact formed of six members; two DJs/Producers coupled with four distinct rappers who\, when performing sequences simultaneously\, was perfectly tempered\, making their early releases stand above the experimental rap that was burgeoning at the time. They weren’t throwback or old school\, but they embodied a nostalgic sound that was also at once fresh. Their first release\, The Jurassic 5 EP\, had songs like “Concrete Schoolyard” and “Jayou”\, quickly turned heads to their relaxed yet detailed sound. It also contained “Lesson 6: The Lecture”\, an instrumental opus that underscored the group’s deep production value. Fans worldwide became aware of J5’s dynamic stage show during this era.\nTheir next release\, a gold selling Quality Control\, was a more fully realized effort which was a charting album on the Billboard Charts\, peaking at #43 and largely introduced them to the masses worldwide. Tracks like “Quality Control”\, “Jurass Finish First” and “Swing Set” – became the group’s signature sound\, a development of intricate yet simple back-and-forth group dynamics accompanied by deep rooted production from Cut Chemist and DJ Nu-Mark. As momentum snowballed\, their next effort\, Power in Numbers produced “Day At The Races” featuring legendary Big Daddy Kane and a Hip Hop classic entitled “What’s Golden” which led the group to performances on national television including Conan Obrien and David Letterman.\nFeedback (released and distributed worldwide by Interscope) both reached #15 on the Billboard Charts in 2006\, would be their last official outing\, as Cut Chemist left to pursue solo works. They toured the globe\, made fans internationally while many rediscovered their back-catalogue. A year later\, the group parted ways. In the years in between\, their lore grew on soundtracks and in video games. Members’ solo efforts were well received. Given that everyone left amicably\, a reunion was always possible\, and yielded two huge European tours when it finally did. A performance at Japan’s Fuji Rock was particularly praised which led to more large-scale North American tour-stops. It had been sixteen years since their “playground tactics\, the rabbit in a hat trick” and not a beat had skipped.\nThe six-member tribe\, now of age and full of know-how\, are reaching a stage in their career where their full rise will be marked in an upcoming documentary feature currently in the works. This March J5 will tour Singapore\, Australia\, New Zealand and Hawaii. In June they are back in Europe for a 3 week run…Then in July and August\, their spectacular ‘Word Of Mouth’ Tour featuring Dilated Peoples\, & The World Famous Beat Junkies.\nAs DJ Nu-Mark aptly told the LA Times before their reunion at Coachella\, this right here is a “Rebirth”. \n*** \nShaheed and DJ Supreme \n \nFacebook \nCommunicating Vessels’ recording artists Shaheed and DJ Supreme are one of hip hops’ most consistent groups. Hailing from Birmingham\, AL Shaheed and DJ Supreme don’t fit the mold of most typical dirty south artists as they are practitioners of traditional boom-bap hip hop. They’ve already released two critcally acclaimed LPs (Health Wealth & Knowledge of Self and Scholar Warrior (The Remix Album) which showcases Shaheed’s sharp lyrical prowess and DJ Supreme’s soulful production. As a group\, Shaheed and DJ Supreme has shared stages with Raekwon\, DJ Shiftee\, The Bodega Brovas and Stalley\, as well as label mates The Green Seed. Their albums boast guest appearances from artists such as Akil the MC (of Jurassic 5)\, Amir Sulaiman\, and W. Ellington Felton. Their highly anticipated 3rd LP Knowledge Rhythm and Understanding will be released soon on Communicating Vessels.
URL:https://royaleboston.com/event/jurassic-5/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2017/03/jurassic-5-admat-2017v2.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
END:VCALENDAR