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DTSTART;TZID=America/New_York:20180522T190000
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SUMMARY:Jukebox The Ghost
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale NOW! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \n \n***\nJukebox the Ghost \n \nWebsite\nFacebook\nTwitter \nJukebox the Ghost’s latest record\, Off To The Races is a giddy\, vibrant collection of Jukebox the Ghost’s most bombastic\, colorful songs to date. Though it’s the fifth studio outing from this long-running trio of piano pop wizards\, it plays like an energetic debut album: Just as eager to please as it is eager to surprise you. Every generation has a band that puts a fresh twist on piano-rock\, and Jukebox the Ghost’s latest studio offering serves as a memorably vivid and kaleidoscopic step forward for the genre. \nOff To The Races is their fifth studio outing\, mostly recorded at Studio G in Brooklyn and engineered\, produced and mixed by Chris Cubeta and Gary Atturio (two exceptions: “Everybody’s Lonely” was produced by CJ Baran and Peter Thomas and “Fred Astaire” was produced by Chris Wallace). Longtime fans will hear little bits of past Jukebox the Ghost embedded in the record blanketed in a fresh\, more colorful sonic palette. The flamboyance and quirkiness of Let Live and Let Ghosts (2008)\, the retro sensibility of Everything Under the Sun (2010)\, the concise modern pop smarts of their recent self-titled album (2014) and Safe Travels (2012) and the raw live energy of their live album Long Way Home (2016) are all on full display if you listen closely. \nThe album is the result of a three-year songwriting and recording process\, culled from dozens of demos that the band brought to the table. Recording in their home base of Brooklyn enabled them to do more outside-the-computer sonic experimentation and live performance than past records have afforded. “In ‘Boring’ we sent Tommy’s backing harmonies through a distorting rotary speaker which created this totally weird underwater sound\,” explained Jesse Kristin. “And for ‘See You Soon’ we ran an electronic tabla machine through an amplifier and then I played drums along with it. That’s the sort of thing I think we wouldn’t have spent the time to do on our other records.”  \nJukebox the Ghost formed in college in 2006 and has been a steadily growing cult favorite and a globally touring band ever since. Composed of Ben Thornewill (piano/vocals)\, Tommy Siegel (guitar/bass/vocals) and Jesse Kristin (drums/vocals)\, they have played over 1\,000 shows across the country and around the world over the course of their career. In addition to countless headlining tours\, they have also toured as openers alongside Ingrid Michaelson\, Ben Folds\, Guster\, Motion City Soundtrack\, A Great Big World and Jack’s Mannequin\, among others. In addition to festivals like Lollapalooza\, Outside Lands\, Bonnaroo\, and Bottlerock\, Jukebox the Ghost has also performed on The Late Show with David Letterman and Conan. Their 2018 national headlining tour will take them to their largest headlining venues to date across April and May. \n***\nThe Greeting Committee \n \nWebsite\nFacebook\nTwitter \nFormed in 2014\, The Greeting Committee consists of vocalist Addie Sartino\, guitarist Brandon Yangmi\, bassist Pierce Turcotte\, and drummer Austin Fraser\, half of which are still in high school. The band quickly emerged into the music scene after catching the attention of Lazlo Geiger\, a radio personality from 96.5 The Buzz (KRBZ Kansas City). \nThe Greeting Committee’s debut EP\, titled ‘It’s Not All That Bad\,’ captivated the hearts of listeners with its intelligent musicality and meaningful lyrics. “If you want smart\, credible music with a raw energy that inspires\, you just found it\,” says Geiger. The EP was re-released through Harvest Records in October of 2015\, leading The Greeting Committee to land tours with bands such as KITTEN\, Saint Motel\, and The Mowgli’s\, as well as festivals such as Mo Pop in Detroit and the 25th anniversary Lollapalooza in Chicago. \n“We’re working to create a collaborative environment with our surroundings\,” explains Sartino\, “To us\, The Greeting Committee is an art project influenced by the listeners. The music is merely the soundtrack to something much greater.” After recording in Capitol Studio B in August 2016\, the band plans to release new music in the near future.
URL:https://royaleboston.com/event/jukebox-the-ghost/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180523T190000
DTEND;TZID=America/New_York:20180523T190000
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SUMMARY:Parquet Courts
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale NOW! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nParquet Courts \n \nWebsite\nTwitter \nParquet Courts began their 2014 release Content Nausea with the repeated refrain\, “everyday it starts – anxiety!” And while that track left off at just its start\, Human Performance dives in\, picking apart the anxieties of modern life with the band’s most innovative and emotional collection of songs to date. Not that that’s the whole story. \n“The final product of this album is Exhibit A that we made it through the shit\, solved the problem\, had the chuckle\, took the piss\, made up with the other guy\, and got home in one piece\,” laughs bassist Sean Yeaton. \nWhereas other Parquets Courts albums were recorded in a matter of days or weeks\, for Human Performance the band took an entire year; it’s the first LP that finds all four band members contributing songs. \nHuman Performance brings expansive sonic experimentation and shining melodic introspection onto matters of the heart\, matters of humanity\, of identity. “I told you I loved you\, did I even deserve it when you returned it?” singer/guitarist Andrew Savage wonders on the title track. It’s also their most pop-oriented collection yet\, coming only months after the release of the largely instrumental Monastic Living EP; a record that was actually made at the same time. \n“In a way\, Monastic Living was like a palate cleanser for us as a band\,” explains singer/guitarist Austin Brown\, who produced the entire record\, and mixed it in Austin at Jim Eno’s Public Hi-Fi\, “maybe a return to our roots of improvising together\, and being a bit more free\, and seeing what kind of new sounds we could make.” \nThe recording sessions started at Justin Pizzoferrato’s Sonelab in Western Massachusetts. Some of it was also made with Tom Schick and Jeff Tweedy at The Loft\, Wilco’s visionary studio in Chicago\, but the majority of Human Performance was made at Dreamland Studios\, a massive upstate NY pentecostal church where records have been made by The Breeders\, Dinosaur Jr\, and the B-52s (including “Love Shack”). They spent three weeks straight there\, writing by day and recording with Pizzoferrato by night. \nThe result is a record with a palpable sense of fragility. “The process of writing and recording Human Performance\, for me\, was a fairly uncomfortable confrontation with my emotions\,” Savage says. “Emotions I don’t think I’ve fully explored in my life\, artistic or otherwise.” \nHuman Performance is fittingly laced with as much static as softness\, with tight-wound percussion pushing along meandering\, wistful melodies. There are dazed and disoriented earworms\, echoing group chants\, downtempo ballads with wired riffs. Lovers leave\, existential confusion replaces them\, weeks pass\, the J train rolls by. \nThe record leads with “Dust”\, a 4-minute opener that takes the mundane daily duty of sweeping the floor and turns it into a frantic\, obsessive call for action. “Dust is everywhere … Sweep!” they drolly repeat\, before their cyclic back beat gives way to explosive\, everyday city sound of car horns. \nSavage says “Human Performance” is his most personal song on the record\, a solemn musing on love drifting away\, a picture-perfect memory of the beginning of things and a hazier recollection of the ending. “It didn’t feel right to be shouting\, barking\,” he says\, reflecting on his tendency to really sing for this first time on this album. “I think a lot of people are attracted to a sort of cerebral side of Parquet Courts\, in the lyricism. There has always been the emotional side of our band\, which I think has always been an important balance\, but Human Performance marks a point where the scales have tipped. I began to question my humanity\, and if it was always as sincere as I thought\, or if it was a performance. I felt like a malfunctioning apparatus. Like a machine programmed to be human showing signs of defect.” \nAcross six years\, four full-length albums\, and two EPs\, Parquet Courts have always littered their lyric sheets with question marks\, interrogating the outside world to varying degrees. Light Up Gold considered peanuts versus Swedish Fish\, an introduction of their sharp\, young wit and language of mundane\, everyday NYC imagery. Sunbathing Animal channeled that language into noisy punk philosophy\, raising wide-view questions about agency versus captivity\, choice versus freewill. Content Nausea wondered about anxiety and emotional deterioration under the age of big data\, in an aptly self-aware way: “And am I under some spell? And do my thoughts belong to me? Or just some slogan I ingested to save time?” And with Human Performance—their fifth album and second for Rough Trade—the question marks get turned on themselves more than ever. \n“There is a lot of darkness\, and general anguish being worked out on this record\,” Brown adds. “But it ends kind of peacefully\, kind of accepting that you can’t do much about it.” \n*** \nGoat Girl \n \nFacebook \nFrom the very beginning Goat Girl were always threatening to turn into a special band. Songs that use subtlety as their main ingredient while remaining disarmingly fierce at every turn. Lyrics that mean everything despite being written down in the most simplistic and non-aggressive way possible… they are an anomaly in the UK music scene as 2016 draws to a draggy close: four people playing guitars\, bass and drums who have the ability to make you feel //alive// again. \nThe best music always comes out of nowhere\, and Ellie\, Lottie\, Naima and Rosie seem as surprised as anybody to find themselves in their current position. “A year ago me and Ellie were playing this cult open mic night in south London run by someone who used to be in Hawkwind\,” says Naima. “Then we met Lottie in the street outside a house party\, then we met Rosie in the audience at The Windmill in Brixton\, and then we became Goat Girl.” \nNamed in reference to the questionable Bill Hicks comedy sketch Goat Boy (“It’s disgusting\,” says Lottie\, although she’s quick to add: “But I like his social commentary\, and the satirical element to what he did\,”) the band are fresh out of their respective London colleges and a million miles away from everything else ‘new’ you’ll hear right now. \nGoat Girl currently have upwards of 20 completed songs\, each one a caustic commentary on the England they’ve grown up in. Next month they finally get around to releasing two of them on Rough Trade: ‘Scum’\, quoted at the top of this article\, is as full-on and dead-eyed as British rock music gets\, while ‘Country Sleaze’ is a brooding two-chord time capsule that sounds like it’s been beamed over from a Seattle divebar in 1989. Both tracks were recorded purposefully quickly in a no-nonsense north London studio a few weeks ago with fast-rising producer Margo Broom. \n“There’s teenage angst in them\,” says Ellie. “But I think that was inevitable\, growing up in London over the last ten years.” All four members of Goat Girl are under 20\, but their relative youth isn’t what makes them stand out. Rather\, they feel so compelling because of they way they expertly pick through the holes of so-called millennial culture\, not to mention the way the media and government are messing with the minds and future plans of an entire generation. They’re truth-tellers\, and this is surely the reason why so many people have been leaving Goat Girl gigs open-mouthed recently. \n“I just like watching people\,” says Lottie\, the band’s principal lyricist and lead singer. “I think it’s nice to make lyrics obscure\, so people can’t really understand them. People like dark themes\, don’t they? Especially today.” \nUnassuming in person\, Lottie’s brilliant words undoubtedly propel Goat Girl. But as a band they’re very much a democracy\, with each member as integral as the last. Just check out guitarist Ellie’s unconventional playing on fan-favourite and future anti-anthem ‘Burn The Stakes’\, as well as the way drummer Rosie and bassist Naima gel on the droning\, soul-spluttering ‘You’re The Man’\, which is also their catchiest track to date. \nGoat Girl’s raw brand of classic garage pop subversion has proved irresistible to those in the know so far\, which is why despite barely playing any shows in public before this summer\, nearly every day in the first quarter of 2016 a fresh face from the music industry would randomly appear at the band’s dark and damp rehearsal space in south London\, contract in hand\, desperately trying to sign them. \n“It was kind of annoying\, we just really wanted to write songs at that point!” says Lottie\, adding that ultimately\, being afforded the time to grow as a band was why Goat Girl decided to go with Rough Trade. “We signed on the same day as the Brexit result\,” says Rosie. The irony was lost on nobody. \nAs a unit\, Goat Girl say they’re torn on politics. Lottie’s lyrics explicitly deal with issues most other acts in 2016 seem scared to even skirt around\, but the band are also acutely aware of how easy it is to become a cliché\, to be labelled and put in a box. \n“We’re in a weird position\,” says Lottie. “With anything in music that’s succeeding\, money is gonna be thrown at it. And because of that you’re running the risk of destroying what it is that makes you special in the first place. But right now\, today\, it’s just nice to relate to people – to feel like we’re a part of a growing community.” \nAs rare as they are refreshing\, the band’s plan from here is simple: get ‘Country Sleaze’ and ‘Scum’ out into the world ASAP\, hit the road\, and record a debut album that has\, as Naima puts it\, “spirit\, strength and simplicity” at its heart. Savvy and effortlessly inventive\, Goat Girl are London in 2016 – and suddenly London feels real again.
URL:https://royaleboston.com/event/parquet-courts/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180528T204500
DTEND;TZID=America/New_York:20180528T204500
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SUMMARY:Mihalis Hatzigiannis
DESCRIPTION:21+ \nValid US Government ID or International Passport Required for Entry.
URL:https://royaleboston.com/event/mihalis-hatzigiannis/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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DTSTART;TZID=America/New_York:20180608T180000
DTEND;TZID=America/New_York:20180608T213000
DTSTAMP:20260407T121319
CREATED:20180226T150040Z
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SUMMARY:Gomez - Bring It On 20th Anniversary Tour
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 6:30 pm \nTickets on sale NOW! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nGomez \n \nWebsite\nFacebook\nTwitter \n“No other record captures that period so perfectly\,” says Elbow’s Guy Garvey. “The concerns of the songs. The stories\, the experimental sounds. It was so brave for a band to record themselves at that time: it allowed a direct and undiluted account of the band as aspirational\, big-hearted friends in love with making music and each other. It dared us to record ourselves. But they did it first. It’s the most deserving recipient of the Mercury Prize in its history: a breathlessly ambitious and lovingly crafted masterpiece. It should be called Bring It ‘The Fuck’ On.” \nTo commemorate the 20th anniversary of Gomez’s Mercury Music Prize winning debut album\, Bring It On will be re-mastered and reissued as a super-deluxe 4CD with an accompanying remastered double LP release. The 4CD 20th Anniversary edition of Bring It On contains the original\, classic album remastered by Frank Arkwright @ Abbey Road studios and 35 previously unreleased tracks including 25 demos (recorded between January 1996 and August 1997) – 13 of which are appearing on an official Gomez release for the first time. \nThe band will be playing the album in its entirety on their forthcoming UK & Ireland tour (April/May 2018) plus Australian and US dates \nTwenty years on\, the debut album by Gomez sounds not of its time\, but ahead of its time. You can hear its echoes in so much of the music that followed it: not just in Elbow\, but in any artist who heard Bring it On and realised the possibilities of combining indie and roots music with lo-fidelity electronics: a modern experimental sensibility with a love of the past. Bring It On was an album that synthesised styles in a way that seemed remarkable then\, and now sounds utterly unforced and contemporary. Where so many of its contemporaries sound completely of their time\, Bring It On sounds as if it could have come out to equal acclaim at any point over the past 20 years. It’s a record that thoroughly merits its expanded 20th anniversary edition. \nBring it On sounds as if it’s been made by kids who’ve been exploring the outer expanses of Spotify\, scouring it for unlikely sources\, rather than four lads in a Southport garage\, and the fella they met at university. Though\, in a way\, Bring It On is the pre-streaming version of that very process\, bringing together all the five members’ tastes\, without ever allowing one style to dominate. You can hear their love of so much different music: Tom Waits\, Tim Buckley\, Prince\, Talking Heads\, Johnny Cash\, Portishead\, The Chemical Brothers\, Led Zeppelin\, Neil Young\, jazz and folk and indie and the West Coast and classic rock. Between them\, Ian Ball\, Ben Ottewell\, Tom Gray\, Paul Blackburn and Olly Peacock created something that was far more than the sum of its parts. \nIn 1998\, of course\, it sounded revolutionary. “Gomez came along at exactly the right moment\,” says the DJ Steve Lamacq\, who championed the band on his Radio 1 show. “After Britpop had collapsed in on itself\, there was a massive hole on the Evening Session\, waiting to be filled. But what we found was\, people reacting against the commerciality of the Britpop wave and heading off on all sorts of strange tangents. The audience was really receptive to sounds that maybe wouldn’t have fitted in a few years earlier.” \nGomez hadn’t even recorded with the intention of making an album\, which is perhaps why it sounds so unforced. The basis of the album was seven tracks recorded on an ancient four-track recorder. The band’s label\, Hut\, had to use the home recordings – for practical reasons. “They couldn’t recreate those recordings because they’d done them in one of their dad’s garages on the four-track\, and just after they’d finished doing the last one the thing broke\,” says Hut’s David Boyd. “So we decided it needed a little bit of mixing and embellishment\, but not a lot\, and they trotted off to Liverpool to do the touch-ups\, but to all intents and purposes that was Bring It On.” \nIn Liverpool\, engineer Ken Nelson awaited them\, and helped them turn those seven tracks into a whole album. “They’d have an idea and would look to me to make it work\,” Nelson says. “Their home-learned skills transferred well to the studio and I believe we learned so much from each other. I’d never worked with a band who were so creative before: it was truly exciting for me.” \nThe spectacular results had an immediate impact and influence\, Chris Martin admired Bring It On so much that Coldplay hired Ken Nelson to produce their first album (he went on to produce three for them). Indeed without some of Gomez’s freewheeling influence\, it’s much harder to imagine the British music scene making a comfortable home for the innovating likes of Alt-J\, Everything Everything & Field Music\, or across the pond where subsequent harmony bands blending indie\, antifolk and art rock have thrived. \nBring It On went on to win 1998’s Mercury Music Prize\, beating Pulp\, Massive Attack\, Cornershop and The Verve\, the judges describing the album as “an intriguing blend of swamp blues\, bar-room rock and eerie power”. \nBring It On remains the album Gomez are best known for in the UK\, but it was only the starting point for a spectacular career. The band built audiences internationally\, especially in the US and Australia. In the States\, in particular\, Gomez have become bigger and bigger\, with their two most recent albums\, A New Tide (2009) and Whatever’s on Your Mind (2011)\, becoming the highest-charting records of their career. \nBut Bring It On remains the landmark: The introduction to their singular nature. Hence the deluxe reissue. Hence the forthcoming anniversary tour on which many of the shows – including an appearance at the Royal Albert Hall – sold out in moments. Twenty years later? Once again\, bring it on. \n*** \nLilith \n \nWebsite\nFacebook\nTwitter \nhannah + kelsey
URL:https://royaleboston.com/event/gomez/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180613T183000
DTEND;TZID=America/New_York:20180613T183000
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CREATED:20180427T160002Z
LAST-MODIFIED:20180427T160002Z
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SUMMARY:[SOLD OUT] A Celebration of the life and art of Caleb Scofield ft. Cave In\, Old Man Gloom\, Converge\, Young Widows\, The Cancer Conspiracy
DESCRIPTION:A Celebration of the life and art of Caleb Scofield featuring:\nCave In\nOld Man Gloom\nConverge\nYoung Widows – NO LONGER PLAYING DUE TO FAMILY EMERGENCY\nThe Cancer Conspiracy \n100% of all proceeds to be donated to the Scofield Family \n— \nDoors: 6:30 pm / Show: 7:00 pm \nSOLD OUT \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n***
URL:https://royaleboston.com/event/celebration-life-art-caleb-scofield-ft-cave-old-man-gloom-converge-young-widows-cancer-conspiracy/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180614T200000
DTEND;TZID=America/New_York:20180614T200000
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CREATED:20180108T233253Z
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SUMMARY:[SOLD OUT] King Gizzard and the Lizard Wizard
DESCRIPTION:SOLD OUT! \nPresented by Bowery Boston \nDoors: 8:00 pm / Show: 9:00 pm \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \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  \n*** \nAmyl and the Sniffers \n \n[Website] [Facebook] \nAmy Taylor – Vocals\nDec Martens – Guitar\nBryce Wilson – Drums\nGus Romer – Bass
URL:https://royaleboston.com/event/king-gizzard-lizard-wizard/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180616T180000
DTEND;TZID=America/New_York:20180616T213000
DTSTAMP:20260407T121319
CREATED:20180212T174151Z
LAST-MODIFIED:20180212T174151Z
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SUMMARY:Okkervil River
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale NOW! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n***\nOkkervil River \n \nWebsite\nFacebook\nTwitter \nIn 2017 I started regularly attending Quaker meetings for worship\, I spent a lot of time in therapy\, and I started microdosing psychedelics. I had asked the band I’d hired to play on my last album Away to be my new band\, the new version of Okkervil River\, and we’d gone on a long tour of America and Europe that was my favorite touring experience I’ve had since 2003. In some ways\, I felt like a kid again. I realized how phenomenally lucky I am that I’ve been able to play music for this long.  \nThe election happened while we were in Brussels\, on a rainy horrible morning. Crossing over into England later that day\, I met a border guard who had worked at the Berlin wall on the night that crowds of East Germans showed up wanting to cross over\, when someone on his side had to make a judgment call to open fire or to let everyone through. He told me the story\, trying to make me feel better\, and I couldn’t help crying in front of him. He looked at me sadly\, like a nice dad wearing a police uniform. \nThe new band had a recording date booked to work on songs while we were still tight from tour\, and I had some material prepared but I wanted to write more. And if December 2016 was good for anything it was good for writing new songs. I wrote “The Dream and the Light” at a vacation home adjoining Frank Sinatra’s old place in Palm Springs; a friend’s father had died and she was treating herself and his nurse to a vacation and invited some friends along. Then I went to the Away cabin and wrote more new songs. We hit the studio and recorded about ten songs in three days\, everybody playing together in the room and me singing vocals live. “The Dream and the Light\,” “How It Is\,” “External Actor” and “Pulled Up the Ribbon” were recorded during those sessions\, as was “Famous Tracheotomies\,” an autobiographical song about a lengthy hospitalization I experienced as a little kid. \nI had intended the new songs to continue in the exact sonic vein of Away\, but almost immediately they started to diverge somewhat wildly. The sound was more electric and playful – it was a happy sound\, because I was happier than I’d been in years. I decided to keep going in that direction. \nI scheduled another recording session for a couple months later and I went back upstate to write more songs in the dead of winter\, snowed in\, no way to get to town. And then I got back to Brooklyn I started writing songs with members of my band. I’ve never done that before\, written with the band.  I love this band. We added another nine songs and recorded those\, including “Family Song\,” “Shelter Song” and “Human Being Song.” \nOn a little tour through the South I decided I wanted to write one last song\, something upbeat and catchy. So we gathered together in my hotel room in Charleston\, West Virginia the morning after a radio performance and wrote “Love Somebody” quickly before they kicked us out of the room. We hit the road and were immediately held up in traffic diverted for the motorcade from that disgusting Boy Scouts speech.  \nI kept working on all the tracks until some of them started sounding more finished than others and I had enough finished-sounding ones to put a record out. I wanted to put it out quickly. It’s so much more fun that way\, and this record is supposed to be fun\, and to hopefully make people feel happy. \nWhen I gave these songs to Shawn Everett to mix\, he saw something even further in it than I saw and he made all the tracks sing. His production reminds me of my favorite experiences of recording Black Sheep Boy and The Stage Names with the brilliant Brian Beattie\, who taught me more about music than anyone I’ve ever met. But Shawn also brought this new energy to it that elevated it and took it in a direction I hadn’t quite known it was pointing in. It was so great hearing the mixes coming back\, hearing the whole thing in full\, one year of my life condensed into 50 minutes. I was thrilled. \nWhen the album was finished\, I moved out of New York City. \n***\nStar Rover \n \nWebsite\nTwitter \nWestern Winds Bitter Christians by Star Rover \n“Star Rover specializes in an alluring sort of pastoral punk that suggests a collaboration between Deerhoof and John Fahey”- Time Out New York
URL:https://royaleboston.com/event/okkervil-river-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180617T190000
DTEND;TZID=America/New_York:20180617T190000
DTSTAMP:20260407T121319
CREATED:20180313T164511Z
LAST-MODIFIED:20180313T164511Z
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SUMMARY:Jungle
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale now! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nJungle \n \nWebsite\nFacebook\nTwitter \n*** \n Triathalon  \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/jungle/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180624T204500
DTEND;TZID=America/New_York:20180624T204500
DTSTAMP:20260407T121319
CREATED:20180612T204435Z
LAST-MODIFIED:20180612T204435Z
UID:10001935-1529873100-1529873100@royaleboston.com
SUMMARY:Nepathya Live in Boston 2018
DESCRIPTION:21+ \nValid US Government/State-issued ID or international passport required. \n  \nDoors @ 7:30pm \nShow @ 8:45pm
URL:https://royaleboston.com/event/nepathya-live-in-boston-2018/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180626T183000
DTEND;TZID=America/New_York:20180626T183000
DTSTAMP:20260407T121319
CREATED:20180128T170008Z
LAST-MODIFIED:20180128T170008Z
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SUMMARY:[SOLD OUT] Frank Turner & The Sleeping Souls - Night 1
DESCRIPTION:NOTE: June 26\, 27\, 29\, and 30 shows are now SOLD OUT.  \nDue to overwhelming demand\, TWO MORE shows have been added on July 1 and 2. \nTickets for July 1 and 2 shows are still available HERE. \n*** \nPresented by Bowery Boston \nDoors: 6:30 pm / Show: 7:30 pm \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nFrank Turner & The Sleeping Souls \n \nWebsite\nFacebook\nTwitter \nFrank Turner has announced details of his forthcoming seventh studio album entitled Be More Kind available on May 4th via Xtra Mile Recordings/Polydor UK /Interscope Records. The album is available for pre-order and those who pre-order will receive instant downloads of “1933” and the previously released track “There She Is” from the 2017 release Songbook. \nMonths after the release of Songbook\, a career-spanning retrospective which also saw reworked versions of tracks from across the past decade\, Be More Kind represents a thematic and sonic line in the sand for the 36-year-old. It’s a record that combines universal anthems with raw emotion and the political and the personal\, with the intricate folk and punk roar trademarks of Turner’s sound imbued with new\, bold experimental shades. Be More Kind is produced by Austin Jenkins and Joshua Block\, formerly of psychedelic-rock Texans White Denim\, and Florence And The Machine and Halsey collaborator Charlie Hugall. “I wanted to try and get out of my comfort zone and do something different\,” says Turner. \nTurner was halfway through writing a very different sort of album\, a concept record about women from the historical record who had been ignored\, when he was reading a collection of Clive James’ poetry and one particular line compelled him to re-think his direction. It was from a poem called Leçons Des Ténèbres: “I should have been more kind. It is my fate. To find this out\, but find it out too late.” “It devastated me the first time I read it\,” he says. \nTurner and his band\, the Sleeping Souls\, were on tour in the USA in 2016 “when the world decided to go collectively nuts” and the songs that make up Be More Kind started to come together. “Somewhere in the record\, there’s a convergence of the ideas of personal and political\, which is a central theme of the album\,” Turner says. One of the driving themes of the album is empathy\, even for your enemy. “You should at least be able to inhabit the mental universe of the people you disagree with. If you can’t do that\, then how do you communicate with people other than through force of arms\, which is something we all agree is a bad idea.” \nTurner’s last two records\, 2013’s Tape Deck Heart and 2015’s Positive Songs For Negative People\, dealt with the fallout from a break-up and saw Turner struggling to cover the cracks in his personal life. Now happily in a relationship and living with his partner and their cat\, he again set his sights to the bigger picture. Positive Songs… was cut in nine\, intense days whereas Be More Kind was made over a period of seven months\, giving Turner the opportunity to turn songs on their head\, try different versions and shake up the dynamics within his band. \nThe first track to be released from Be More Kind is “1933\,” a clattering\, state-of-the-nation anthem. Furious and direct\, it’s inspired by articles Turner saw that suggested the alt-right was punk rock. “That filled me with a mixture of incredulity and anger\,” says Turner. “The idea that Breitbart or Steve Bannon think they have anything to do with punk rock makes me extremely angry.” \nThe Be More Kind World Tour will begin in the UK in April and head to North America on May 31\, with its first leg playing to over 200\,000 people across the UK\, the USA\, Europe\, Canada\, Australia and New Zealand\, taking them through to Christmas. Turner promises that 2019 will include visits to some “slightly more weird and wonderful places.” \n*** \nSpeedy Ortiz \n \nWebsite\nFacebook\nTwitter \n“Necessary brattiness” is the motto for Speedy Ortiz’s dauntless new collection of songs\, Twerp Verse. The follow-up to 2015’s Foil Deer\, the band’s latest indie rock missive is prompted by a tidal wave of voices\, no longer silent on the hurt they’ve endured from society’s margins. But like many of these truth-tellers\, songwriter\, guitarist and singer Sadie Dupuis scales the careful line between what she calls being “outrageous and practical” in order to be heard at all. \n“You need to employ a self-preservational sense of humor to speak truth in an increasingly baffling world\,” says Dupuis. “I call it a ‘twerp verse’ when a musician guests on a track and says something totally outlandish – like a Lil Wayne verse – but it becomes the most crucial part. This record is our own twerp verse\, for those instances when you desperately need to stand up and show your teeth.” \nTwerp Verse was tracked in Brooklyn DIY space Silent Barn\, mixed by Omaha legend Mike Mogis (Bright Eyes\, Rilo Kiley) and mastered by Grammy-nominated engineer Emily Lazar (Sia\, Haim\, Beck). The record pulls from the most elastic pop moments in Squeeze’s Argybargy and the seesawing synth-rock of Deerhoof and the Rentals. With Dupuis on guitars\, vocals\, and synths\, supporting guitarist Andy Molholt (of psych pop outfit Laser Background) now joins Speedy veterans Darl Ferm on bass and Mike Falcone on drums – and together they accelerate the band’s idiosyncrasy through the wilderness of Dupuis’ heady reflections on sex\, lies and audiotape. \nDupuis\, who both earned an MFA in poetry and taught at UMass Amherst\, propels the band’s brain-teasing melodies with her serpentine wit. Inspired by the cutting observations of Eve Babitz\, Aline Crumb’s biting memoirs\, and the acute humor of AstroPoet Dorothea Lasky\, Dupuis craftily navigates the danger zone that is building intimacy and political allyship in 2018. Now as public pushback against the old guards reaches a fever pitch – in the White House\, Hollywood and beyond – the band fires shots in disillusioned Gen Y theme “Lucky 88\,” and casts a side-eye towards suitors-turned-monsters in the cold-blooded single “Villain.” Closing track “You Hate The Title” is a slinky traipse through the banality of this current moment in patriarchy – in which survivors are given the mic\, but nitpicked over the timbre of their testimonies. “You hate the title\, but you’re digging the song\,” Dupuis sings wryly\, “You like it in theory\, but it’s rubbing you wrong.” Tuned smartly to the political opacity of the present\, Twerp Verse rings clear as a bell. \n*** \nThe Homeless Gospel Choir \n \nWebsite\nFacebook\nTwitter \nDerek Zanetti\, also known as The Homeless Gospel Choir\, is a protest singer\, author and artist based out of Pittsburgh\, PA. \nThrough his on-stage humor and vulnerability\, Derek creates an atmosphere of inclusion and community. He engages with the audience in a way that allows them to know that they’re not alone. \nHis new record\, Normal\, was described by Frank Turner as “a generationally defining album for the underground punk scene.” He also said\, “In half an hour\, Derek reminded me of what punk’s supposed to be.” \nDerek’s new album\, Normal\, is out now on A-F Records.
URL:https://royaleboston.com/event/frank-turner-sleeping-souls-night-1/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180627T183000
DTEND;TZID=America/New_York:20180627T183000
DTSTAMP:20260407T121320
CREATED:20180128T170055Z
LAST-MODIFIED:20180128T170055Z
UID:10002601-1530124200-1530124200@royaleboston.com
SUMMARY:[SOLD OUT] Frank Turner & The Sleeping Souls - Night 2
DESCRIPTION:NOTE: June 26\, 27\, 29\, and 30 shows are now SOLD OUT.  \nDue to overwhelming demand\, TWO MORE shows have been added on July 1 and 2. \nTickets for July 1 and 2 shows are still available HERE. \n*** \nPresented by Bowery Boston \nDoors: 6:30 pm / Show: 7:30 pm \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nFrank Turner & The Sleeping Souls \n \nWebsite\nFacebook\nTwitter \nFrank Turner has announced details of his forthcoming seventh studio album entitled Be More Kind available on May 4th via Xtra Mile Recordings/Polydor UK /Interscope Records. The album is available for pre-order and those who pre-order will receive instant downloads of “1933” and the previously released track “There She Is” from the 2017 release Songbook. \nMonths after the release of Songbook\, a career-spanning retrospective which also saw reworked versions of tracks from across the past decade\, Be More Kind represents a thematic and sonic line in the sand for the 36-year-old. It’s a record that combines universal anthems with raw emotion and the political and the personal\, with the intricate folk and punk roar trademarks of Turner’s sound imbued with new\, bold experimental shades. Be More Kind is produced by Austin Jenkins and Joshua Block\, formerly of psychedelic-rock Texans White Denim\, and Florence And The Machine and Halsey collaborator Charlie Hugall. “I wanted to try and get out of my comfort zone and do something different\,” says Turner. \nTurner was halfway through writing a very different sort of album\, a concept record about women from the historical record who had been ignored\, when he was reading a collection of Clive James’ poetry and one particular line compelled him to re-think his direction. It was from a poem called Leçons Des Ténèbres: “I should have been more kind. It is my fate. To find this out\, but find it out too late.” “It devastated me the first time I read it\,” he says. \nTurner and his band\, the Sleeping Souls\, were on tour in the USA in 2016 “when the world decided to go collectively nuts” and the songs that make up Be More Kind started to come together. “Somewhere in the record\, there’s a convergence of the ideas of personal and political\, which is a central theme of the album\,” Turner says. One of the driving themes of the album is empathy\, even for your enemy. “You should at least be able to inhabit the mental universe of the people you disagree with. If you can’t do that\, then how do you communicate with people other than through force of arms\, which is something we all agree is a bad idea.” \nTurner’s last two records\, 2013’s Tape Deck Heart and 2015’s Positive Songs For Negative People\, dealt with the fallout from a break-up and saw Turner struggling to cover the cracks in his personal life. Now happily in a relationship and living with his partner and their cat\, he again set his sights to the bigger picture. Positive Songs… was cut in nine\, intense days whereas Be More Kind was made over a period of seven months\, giving Turner the opportunity to turn songs on their head\, try different versions and shake up the dynamics within his band. \nThe first track to be released from Be More Kind is “1933\,” a clattering\, state-of-the-nation anthem. Furious and direct\, it’s inspired by articles Turner saw that suggested the alt-right was punk rock. “That filled me with a mixture of incredulity and anger\,” says Turner. “The idea that Breitbart or Steve Bannon think they have anything to do with punk rock makes me extremely angry.” \nThe Be More Kind World Tour will begin in the UK in April and head to North America on May 31\, with its first leg playing to over 200\,000 people across the UK\, the USA\, Europe\, Canada\, Australia and New Zealand\, taking them through to Christmas. Turner promises that 2019 will include visits to some “slightly more weird and wonderful places.” \n*** \nJeff Rosenstock \n \nWebsite\nFacebook\nTwitter \nJeff Rosenstock is a musician from Brooklyn via Long Island (which I guess is like saying Long Island via Long Island) who has sang and written songs for Bomb the Music Industry!\, Kudrow and The Arrogant Sons of Bitches. \n*** \nRestorations \n \nWebsite\nFacebook\nTwitter \nDave Klyman – Guitar/Backing Vocals\nJon Loudon – Guitar/Vocals\nBen Pierce – Keys/Guitar/Backing Vocals\nDan Zimmerman – Bass/Backing Vocals
URL:https://royaleboston.com/event/frank-turner-sleeping-souls-night-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180629T173000
DTEND;TZID=America/New_York:20180629T213000
DTSTAMP:20260407T121320
CREATED:20180101T230019Z
LAST-MODIFIED:20180101T230019Z
UID:10002605-1530293400-1530307800@royaleboston.com
SUMMARY:[SOLD OUT] Frank Turner & The Sleeping Souls - Night 3
DESCRIPTION:NOTE: June 26\, 27\, 29\, and 30 shows are now SOLD OUT.  \nDue to overwhelming demand\, TWO MORE shows have been added on July 1 and 2. \nTickets for July 1 and 2 shows are still available HERE. \n*** \nPresented by Bowery Boston \nDoors: 5:30 pm / Show: 6:00 pm \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nFrank Turner & The Sleeping Souls \n \nWebsite\nFacebook\nTwitter \nFrank Turner has announced details of his forthcoming seventh studio album entitled Be More Kind available on May 4th via Xtra Mile Recordings/Polydor UK /Interscope Records. The album is available for pre-order and those who pre-order will receive instant downloads of “1933” and the previously released track “There She Is” from the 2017 release Songbook. \nMonths after the release of Songbook\, a career-spanning retrospective which also saw reworked versions of tracks from across the past decade\, Be More Kind represents a thematic and sonic line in the sand for the 36-year-old. It’s a record that combines universal anthems with raw emotion and the political and the personal\, with the intricate folk and punk roar trademarks of Turner’s sound imbued with new\, bold experimental shades. Be More Kind is produced by Austin Jenkins and Joshua Block\, formerly of psychedelic-rock Texans White Denim\, and Florence And The Machine and Halsey collaborator Charlie Hugall. “I wanted to try and get out of my comfort zone and do something different\,” says Turner. \nTurner was halfway through writing a very different sort of album\, a concept record about women from the historical record who had been ignored\, when he was reading a collection of Clive James’ poetry and one particular line compelled him to re-think his direction. It was from a poem called Leçons Des Ténèbres: “I should have been more kind. It is my fate. To find this out\, but find it out too late.” “It devastated me the first time I read it\,” he says. \nTurner and his band\, the Sleeping Souls\, were on tour in the USA in 2016 “when the world decided to go collectively nuts” and the songs that make up Be More Kind started to come together. “Somewhere in the record\, there’s a convergence of the ideas of personal and political\, which is a central theme of the album\,” Turner says. One of the driving themes of the album is empathy\, even for your enemy. “You should at least be able to inhabit the mental universe of the people you disagree with. If you can’t do that\, then how do you communicate with people other than through force of arms\, which is something we all agree is a bad idea.” \nTurner’s last two records\, 2013’s Tape Deck Heart and 2015’s Positive Songs For Negative People\, dealt with the fallout from a break-up and saw Turner struggling to cover the cracks in his personal life. Now happily in a relationship and living with his partner and their cat\, he again set his sights to the bigger picture. Positive Songs… was cut in nine\, intense days whereas Be More Kind was made over a period of seven months\, giving Turner the opportunity to turn songs on their head\, try different versions and shake up the dynamics within his band. \nThe first track to be released from Be More Kind is “1933\,” a clattering\, state-of-the-nation anthem. Furious and direct\, it’s inspired by articles Turner saw that suggested the alt-right was punk rock. “That filled me with a mixture of incredulity and anger\,” says Turner. “The idea that Breitbart or Steve Bannon think they have anything to do with punk rock makes me extremely angry.” \nThe Be More Kind World Tour will begin in the UK in April and head to North America on May 31\, with its first leg playing to over 200\,000 people across the UK\, the USA\, Europe\, Canada\, Australia and New Zealand\, taking them through to Christmas. Turner promises that 2019 will include visits to some “slightly more weird and wonderful places.” \n*** \nTim Barry \n \nWebsite\nFacebook \nThe first time one of his friend’s fathers saw singer/songwriter Tim Barry perform\, he summed up his thoughts with a Yogi Berra-worthy declaration: “You’re old-timey in a modern way.” \nThat’s a near perfect description for the artist who sums up his latest solo release\, Lost & Rootless in a single word: WOODEN. “That’s the feel that I was going for when I picked the songs\,” says Barry. “There’s violin\, voice\, a wooden resonator guitar…there’s a very subtle electric bass on one track\, but otherwise I wanted to do a wooden record.” \nTo create that stripped-down\, earthy sound\, Barry (along with sometime accompanists Josh Small and sister Caitlin Hunt) selected an equally wooden venue: his own shed\, mic’d up and MacGyvered with blankets\, bits of carpet\, and pallets for soundproofing. This gave Tim an opportunity musicians are rarely afforded: the ability to record any moment that inspiration struck\, without racing the clock or pulling out the wallet. “It’s not always relaxing in the studio unless you have so much loot you don’t care how much time you spend in there. To be able to go into my shivering cold shed and play music whenever it hit me was pretty awesome\,” he says. \nOpening Lost & Rootless with the forlorn “No News From The North” (drawn from 2005’s solo debut Laurel Street Demos\, one of which he has re-recorded for each subsequent release)\, Barry then unspools twelve more songs toggling between spare soliloquies and toe-tappers\, telling tales of sadness and of celebration\, and portraying the narrator as both partier and poet. \nWith a cohesive musical feel\, a vivid cast of characters\, and not one but two mentions of his own daughter Lela Jane\, one might think there’s a larger tale being told here. Don’t spend too much time trying to tie it all together\, though: “I’m not bright enough to make a concept record!” Tim exclaims. “Going all the way back to the early days of my music\, I just write what’s around me\, what I feel\, who I know.” \nThe album is thick with examples of that that autobiographical (and auto-geographical) writing style\, featuring references to Richmond’s Laurel Street\, its Manchester neighborhood\, and the James River (each also calling back to Barry’s past recordings). His surroundings also set the scene for one of the album’s story song highlights: “Solid Gone\,” about one family’s fight to survive outside the confines of the law. Tim notes that the subject matter reads a bit like a country music stereotype\, “But that’s what it’s about: drugs\, guns and family. I’m not sure the average fan of Willie Nelson would like it\, but it’s what happens in the state of Virginia.” \nThe one song on the album that’s not drawn from Barry’s background or environment is a reverent cover of “Clay Pigeons” by the late Austin musician Blaze Foley (the subject of the Lucinda Williams song “Drunken Angel”). Originally turned on to the song via a mixtape from a friend\, Tim quickly became obsessed. “It was just TOO GOOD\,” he stresses. Seeing that the song only had a paltry number of YouTube views\, “I started asking everyone I knew if they knew the song. Only two people out of maybe twenty did\, so I said\, “F*** that\, I’m recording this!” \nOf course\, the challenges of making an album don’t end with the recording: figuring out the best order for the songs is another chore entirely. In keeping with his old-school approach to creating the music\, Tim took to a slightly vintage sequencing method. “My favorite part of the entire recording project is using cassette to sequence the album\,” he says. “I really believe in listening beginning to end\, and it forces me to listen all the way through. Then if I want to change it\, I’ve got to sit down with the CD and hit play and record and do it all over again. That’s how I’m going to do it from now on.” \nWith the release of Lost & Rootless this fall\, and the tenth anniversary of his solo career in 2015\, you can bet that Tim will be playing a town near you soon\, whether it’s a bourbon-soaked hole in the wall or as the opener for one of his longtime comrades. As he chuckles\, “All my peers are becoming stars\, and I’m staying exactly the same. I’m just excited to get the record out and get back on the road!”
URL:https://royaleboston.com/event/frank-turner-sleeping-souls-night-3/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180630T173000
DTEND;TZID=America/New_York:20180630T213000
DTSTAMP:20260407T121320
CREATED:20180101T230046Z
LAST-MODIFIED:20180101T230046Z
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SUMMARY:[SOLD OUT] Frank Turner & The Sleeping Souls - Night 4
DESCRIPTION:NOTE: June 26\, 27\, 29\, and 30 shows are now SOLD OUT.  \nDue to overwhelming demand\, TWO MORE shows have been added on July 1 and 2. \nTickets for July 1 and 2 shows are still available HERE. \n*** \nPresented by Bowery Boston \nDoors: 5:30 pm / Show: 6:00 pm \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nFrank Turner & The Sleeping Souls \n \nWebsite\nFacebook\nTwitter \nFrank Turner has announced details of his forthcoming seventh studio album entitled Be More Kind available on May 4th via Xtra Mile Recordings/Polydor UK /Interscope Records. The album is available for pre-order and those who pre-order will receive instant downloads of “1933” and the previously released track “There She Is” from the 2017 release Songbook. \nMonths after the release of Songbook\, a career-spanning retrospective which also saw reworked versions of tracks from across the past decade\, Be More Kind represents a thematic and sonic line in the sand for the 36-year-old. It’s a record that combines universal anthems with raw emotion and the political and the personal\, with the intricate folk and punk roar trademarks of Turner’s sound imbued with new\, bold experimental shades. Be More Kind is produced by Austin Jenkins and Joshua Block\, formerly of psychedelic-rock Texans White Denim\, and Florence And The Machine and Halsey collaborator Charlie Hugall. “I wanted to try and get out of my comfort zone and do something different\,” says Turner. \nTurner was halfway through writing a very different sort of album\, a concept record about women from the historical record who had been ignored\, when he was reading a collection of Clive James’ poetry and one particular line compelled him to re-think his direction. It was from a poem called Leçons Des Ténèbres: “I should have been more kind. It is my fate. To find this out\, but find it out too late.” “It devastated me the first time I read it\,” he says. \nTurner and his band\, the Sleeping Souls\, were on tour in the USA in 2016 “when the world decided to go collectively nuts” and the songs that make up Be More Kind started to come together. “Somewhere in the record\, there’s a convergence of the ideas of personal and political\, which is a central theme of the album\,” Turner says. One of the driving themes of the album is empathy\, even for your enemy. “You should at least be able to inhabit the mental universe of the people you disagree with. If you can’t do that\, then how do you communicate with people other than through force of arms\, which is something we all agree is a bad idea.” \nTurner’s last two records\, 2013’s Tape Deck Heart and 2015’s Positive Songs For Negative People\, dealt with the fallout from a break-up and saw Turner struggling to cover the cracks in his personal life. Now happily in a relationship and living with his partner and their cat\, he again set his sights to the bigger picture. Positive Songs… was cut in nine\, intense days whereas Be More Kind was made over a period of seven months\, giving Turner the opportunity to turn songs on their head\, try different versions and shake up the dynamics within his band. \nThe first track to be released from Be More Kind is “1933\,” a clattering\, state-of-the-nation anthem. Furious and direct\, it’s inspired by articles Turner saw that suggested the alt-right was punk rock. “That filled me with a mixture of incredulity and anger\,” says Turner. “The idea that Breitbart or Steve Bannon think they have anything to do with punk rock makes me extremely angry.” \nThe Be More Kind World Tour will begin in the UK in April and head to North America on May 31\, with its first leg playing to over 200\,000 people across the UK\, the USA\, Europe\, Canada\, Australia and New Zealand\, taking them through to Christmas. Turner promises that 2019 will include visits to some “slightly more weird and wonderful places.” \n*** \nDave Hause & The Mermaid \n \nWebsite\nFacebook\nTwitter \nSometimes you have to move forward in order to see where you started out—and the hardscrabble wisdom that one gains from that type of journey forms the backbone of Dave Hause’s third full-length\, Bury Me In Philly. “Punk rock guilt is a real thing\,” the lifelong Philadelphian says from his new home in California. “I like to make rock n’ roll music because that’s what I love and I don’t care if Zeppelin or the Stones aren’t cool to the punks… it’s cool to me and that’s what matters.” In that spirit\, Bury Me In Philly is a love letter both to his hometown as well as the larger-than-life rock acts he grew up worshiping as a teenager. \nFor the follow-up to 2013’s Devour\, a newly sober Hause holed up in his new home and wrote nearly forty songs\, eleven of which would end up as Bury Me In Philly. “The first song I wrote for this album was the title track and I didn’t realize it at the time but that really set the tone for the album\,” he explains. “One thing I was focused on was trying to make the songs more concise and uplifting than the last record. My last album was a divorce record and during the touring of it I fell in love with my fiancé\, moved to California and things got a lot better.” Hause’s newfound perspective allowed him to dig even deeper as a songwriter whether he’s getting intimately introspective on the tender ballad “Wild Love” or channeling that into shot of sonic adrenaline on monster anthems such as “Shaky Jesus.” \nAlthough Bury Me In Philly is a Dave Hause album\, it was also greatly inspired by the other people involved in the production of the album\, most notably Eric Bazilian of Philadelphia rock legends The Hooters. “The Hooters were the first concert I ever saw when I was eight years old and it definitely made a huge impression on me\,” Hause explains. In fact\, during the pre-production process Hause was constantly sending songs to Bazilian who actually performed The Hooters classic “And We Danced” onstage with the Hause the last time he was in town. “Things weren’t working out with my original producer and Eric expressed that he would want to produce the album and suddenly he went from my hero to a causal friend to a co-collaborator.” Recorded at Bazilian’s home studio with him and Grammy Award winning producer William Wittman\, the album is the ultimate homage to Hause’s past and is a timeless take on rock music’s enduring spirit. \nAdditionally\, these songs are united by Hause’s intent dedication to his craft\, which punk fans are already familiar with from his role as front man in The Loved Ones and guitarist/vocalist in The Falcon. From the fuzzed-out boogie of “Dirty Fucker” to the folksy sing-along vibe of “Helluva Home” and the classic rock-inspired groove of “The Mermaid\,” Bury Me In Philly may not be an easy album to categorize but it’s a joy to get lost inside. Hause also kept things in the family this time around by co-writing the album with his 23-year-old brother Tim\, who helped bring a fresh perspective to the recordings. “I’ve never had a musical soulmate but during this process I realized it’s my brother\,” Hause explains. “Who I think of as this cute cuddly infant is now this grown man who is really talented and focused and he’s not drinking and partying his way through life the way that I was at that age. It’s really cool.” \nWhile virtually every song on Bury Me In Philly could be played on the radio\, the album is much more than a collection of singles. “I still write in the paradigm of albums you know?” Hause says. “I think there should be melodic through lines and each track on the album should compliment the other ones. You want to plan an album like a live set: You want a batch of songs that kick off the record\, then you want some left turns. You want to take people on a journey.” The road to get to this point may have had its share of obstacles but looking back Hause wouldn’t trade his experiences for anything. “The ringing of that broken bell\, it always seems to cast its spell. I was young and I flinched before\, but I ain’t flinching anymore\,” Hause sings over a soaring slide guitar on “The Flinch” ….and you can tell that he means it. Coming full circle rarely sounds this inspired.
URL:https://royaleboston.com/event/frank-turner-sleeping-souls-night-4/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/01/Frank-Turner-admat-2018-2.jpg
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DTSTART;TZID=America/New_York:20180701T183000
DTEND;TZID=America/New_York:20180701T183000
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CREATED:20180223T175434Z
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SUMMARY:Frank Turner & The Sleeping Souls - Night 5
DESCRIPTION:Bowery Boston presents \nDoors: 6:30 pm / Show: 7:30 pm \nTickets on sale NOW! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nFrank Turner & The Sleeping Souls \n \nWebsite\nFacebook\nTwitter \nFrank Turner has announced details of his forthcoming seventh studio album entitled Be More Kind available on May 4th via Xtra Mile Recordings/Polydor UK /Interscope Records. The album is available for pre-order and those who pre-order will receive instant downloads of “1933” and the previously released track “There She Is” from the 2017 release Songbook. \nMonths after the release of Songbook\, a career-spanning retrospective which also saw reworked versions of tracks from across the past decade\, Be More Kind represents a thematic and sonic line in the sand for the 36-year-old. It’s a record that combines universal anthems with raw emotion and the political and the personal\, with the intricate folk and punk roar trademarks of Turner’s sound imbued with new\, bold experimental shades. Be More Kind is produced by Austin Jenkins and Joshua Block\, formerly of psychedelic-rock Texans White Denim\, and Florence And The Machine and Halsey collaborator Charlie Hugall. “I wanted to try and get out of my comfort zone and do something different\,” says Turner. \nTurner was halfway through writing a very different sort of album\, a concept record about women from the historical record who had been ignored\, when he was reading a collection of Clive James’ poetry and one particular line compelled him to re-think his direction. It was from a poem called Leçons Des Ténèbres: “I should have been more kind. It is my fate. To find this out\, but find it out too late.” “It devastated me the first time I read it\,” he says. \nTurner and his band\, the Sleeping Souls\, were on tour in the USA in 2016 “when the world decided to go collectively nuts” and the songs that make up Be More Kind started to come together. “Somewhere in the record\, there’s a convergence of the ideas of personal and political\, which is a central theme of the album\,” Turner says. One of the driving themes of the album is empathy\, even for your enemy. “You should at least be able to inhabit the mental universe of the people you disagree with. If you can’t do that\, then how do you communicate with people other than through force of arms\, which is something we all agree is a bad idea.” \nTurner’s last two records\, 2013’s Tape Deck Heart and 2015’s Positive Songs For Negative People\, dealt with the fallout from a break-up and saw Turner struggling to cover the cracks in his personal life. Now happily in a relationship and living with his partner and their cat\, he again set his sights to the bigger picture. Positive Songs… was cut in nine\, intense days whereas Be More Kind was made over a period of seven months\, giving Turner the opportunity to turn songs on their head\, try different versions and shake up the dynamics within his band. \nThe first track to be released from Be More Kind is “1933\,” a clattering\, state-of-the-nation anthem. Furious and direct\, it’s inspired by articles Turner saw that suggested the alt-right was punk rock. “That filled me with a mixture of incredulity and anger\,” says Turner. “The idea that Breitbart or Steve Bannon think they have anything to do with punk rock makes me extremely angry.” \nThe Be More Kind World Tour will begin in the UK in April and head to North America on May 31\, with its first leg playing to over 200\,000 people across the UK\, the USA\, Europe\, Canada\, Australia and New Zealand\, taking them through to Christmas. Turner promises that 2019 will include visits to some “slightly more weird and wonderful places.” \n*** \nThe Hotelier \n \nWebsite\nFacebook\nTwitter \nWe Are All Alone\nIt Never Goes Out\nHome\, Like Noplace Is There\nGoodness \n*** \nWar on Women \n \nWebsite\nFacebook\nTwitter \nWar On Women is a co-ed feminist hardcore punk band. Formed in Baltimore\, MD in 2011\, W.O.W. use driving riffs and in your face vocals that attack the listener both sonically and lyrically\, penning catchy and confrontational songs that touch on rape culture\, street harassment\, the gender wage gap\, transphobia\, and other vitally pertinent social issues. \nIn 2015\, W.O.W. released their debut self-titled full length (recorded in collaboration with J. Robbins at Magpie Cage) on Bridge Nine Records and have been touring relentlessly ever since\, with dates in the US\, UK\, and Western Europe sharing the stage with such bands as the Refused\, Propagandhi\, Anti-Flag\, Boy Sets Fire\, Jello Biafra\, RVIVR\, Iron Reagan\, Dismemberment Plan\, and Shai Hulud.
URL:https://royaleboston.com/event/frank-turner-sleeping-souls/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/02/Frank-Turner-admat-2018.jpg
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DTSTART;TZID=America/New_York:20180702T183000
DTEND;TZID=America/New_York:20180702T183000
DTSTAMP:20260407T121320
CREATED:20180223T184103Z
LAST-MODIFIED:20180223T184103Z
UID:10002612-1530556200-1530556200@royaleboston.com
SUMMARY:Frank Turner & The Sleeping Souls - Night 6
DESCRIPTION:Bowery Boston presents \nDoors: 6:30 pm / Show: 7:30 pm \nTickets on sale NOW! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nFrank Turner & The Sleeping Souls \n \nWebsite\nFacebook\nTwitter \nFrank Turner has announced details of his forthcoming seventh studio album entitled Be More Kind available on May 4th via Xtra Mile Recordings/Polydor UK /Interscope Records. The album is available for pre-order and those who pre-order will receive instant downloads of “1933” and the previously released track “There She Is” from the 2017 release Songbook. \nMonths after the release of Songbook\, a career-spanning retrospective which also saw reworked versions of tracks from across the past decade\, Be More Kind represents a thematic and sonic line in the sand for the 36-year-old. It’s a record that combines universal anthems with raw emotion and the political and the personal\, with the intricate folk and punk roar trademarks of Turner’s sound imbued with new\, bold experimental shades. Be More Kind is produced by Austin Jenkins and Joshua Block\, formerly of psychedelic-rock Texans White Denim\, and Florence And The Machine and Halsey collaborator Charlie Hugall. “I wanted to try and get out of my comfort zone and do something different\,” says Turner. \nTurner was halfway through writing a very different sort of album\, a concept record about women from the historical record who had been ignored\, when he was reading a collection of Clive James’ poetry and one particular line compelled him to re-think his direction. It was from a poem called Leçons Des Ténèbres: “I should have been more kind. It is my fate. To find this out\, but find it out too late.” “It devastated me the first time I read it\,” he says. \nTurner and his band\, the Sleeping Souls\, were on tour in the USA in 2016 “when the world decided to go collectively nuts” and the songs that make up Be More Kind started to come together. “Somewhere in the record\, there’s a convergence of the ideas of personal and political\, which is a central theme of the album\,” Turner says. One of the driving themes of the album is empathy\, even for your enemy. “You should at least be able to inhabit the mental universe of the people you disagree with. If you can’t do that\, then how do you communicate with people other than through force of arms\, which is something we all agree is a bad idea.” \nTurner’s last two records\, 2013’s Tape Deck Heart and 2015’s Positive Songs For Negative People\, dealt with the fallout from a break-up and saw Turner struggling to cover the cracks in his personal life. Now happily in a relationship and living with his partner and their cat\, he again set his sights to the bigger picture. Positive Songs… was cut in nine\, intense days whereas Be More Kind was made over a period of seven months\, giving Turner the opportunity to turn songs on their head\, try different versions and shake up the dynamics within his band. \nThe first track to be released from Be More Kind is “1933\,” a clattering\, state-of-the-nation anthem. Furious and direct\, it’s inspired by articles Turner saw that suggested the alt-right was punk rock. “That filled me with a mixture of incredulity and anger\,” says Turner. “The idea that Breitbart or Steve Bannon think they have anything to do with punk rock makes me extremely angry.” \nThe Be More Kind World Tour will begin in the UK in April and head to North America on May 31\, with its first leg playing to over 200\,000 people across the UK\, the USA\, Europe\, Canada\, Australia and New Zealand\, taking them through to Christmas. Turner promises that 2019 will include visits to some “slightly more weird and wonderful places.” \n*** \nKevin Devin & The Goddamn Band \n \nWebsite\nFacebook\nTwitter \nKevin Devine is an independent singer/songwriter from Brooklyn\, NY. He plays alone\, with his Goddamn Band\, and as a member of Bad Books. \n***\nTrapper Schoepp \n \nWebsite\nFacebook\nTwitter \n“Rangers & Valentines is Trapper Schoepp’s mini masterpiece.” -Relix \n“Rootsy\, cinematic rock that charms as it soars.” -NPR Music \n“Story songs that explore and explode the conventions of rock and roll.” -PBS \n“A master storyteller.” -Huffington Post​ \nRangers & Valentines: Best of the Week\, 4/1/16 – Billboard Magazine \n“This Wisconsin outfit–lead by one of two brothers—are as capable of kicking roots rock ass as they are delivering introspective Gram Parsons-tinged tunes.” -FUSE TV \n“This Milwaukee troupe plays alt.country like it’s 1997 and they have something to prove.” -The Austin Chronicle \n“Excellent…The band’s sound is all their own.” –Paste Magazine \n“Replacements-meets-Uncle Tupelo influence rings clear…Trapper Schoepp & The Shades can only get better.” (4/5 stars) –Alternative Press \n“Their boisterous tune ‘Tracks’ is probably going to end up on all of my summer playlists.” –CMT.com \n“Schoepp clearly grew up rifling through his parents’ record collection\, paying special attention to the artists who pioneered California’s country-rock sound during the 1970s.” -American Songwriter Magazine
URL:https://royaleboston.com/event/frank-turner-sleeping-souls-night-6/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/02/Frank-Turner-admat-2018.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180710T190000
DTEND;TZID=America/New_York:20180710T190000
DTSTAMP:20260407T121320
CREATED:20180530T195419Z
LAST-MODIFIED:20180530T195419Z
UID:10002644-1531249200-1531249200@royaleboston.com
SUMMARY:[SOLD OUT] Adult Swim Presents: The Pillows Feat. FLCL
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nMOVED FROM THE SINCLAIR TO ROYALE DUE TO OVERWHELMING DEMAND!  \nThis show is SOLD OUT. \nPlease note: this show is all ages. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n***
URL:https://royaleboston.com/event/adult-swim-presents-the-pillows-feat-flcl/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180711T200000
DTEND;TZID=America/New_York:20180711T200000
DTSTAMP:20260407T121320
CREATED:20180501T183555Z
LAST-MODIFIED:20180501T183555Z
UID:10001916-1531339200-1531339200@royaleboston.com
SUMMARY:Dragathon: 10s Across The Board Tour
DESCRIPTION:
URL:https://royaleboston.com/event/dragathon-10s-across-board-tour/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180725T190000
DTEND;TZID=America/New_York:20180725T190000
DTSTAMP:20260407T121320
CREATED:20180418T160021Z
LAST-MODIFIED:20180724T214826Z
UID:10001915-1532545200-1532545200@royaleboston.com
SUMMARY:Deafheaven
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 7:30 pm \nTickets on sale NOW! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nDeafheaven \n \nWebsite\nFacebook\nTwitter \nDeafheaven is a California-based act that has garnered acclaim for their signature hybrid sound of black metal\, shoegaze\, and post-rock. On October 2 the band will release their next album New Bermuda on ANTI-. \nGeorge Clarke (vocals)\, Kerry McCoy (guitar)\, Dan Tracy (drums)\, Stephen Lee Clark (bass)\, and Shiv Mehra (guitar) recorded New Bermuda live to tape at 25th Street Recording in Oakland\, CA and Atomic Garden Recording in East Palo Alto\, CA in April 2015. It was produced\, engineered\, mixed\, and mastered by Jack Shirley who has worked with the band on their previous releases. Clarke says that he came up with the idea of “New Bermuda” to describe a new destination in life\, a nebulous point of arrival\, and an unknown future where things get swallowed up and dragged into darkness. The album artwork for New Bermuda is an oil painting\, dense in brush strokes of darker tones and deep blues\, by Allison Schulnik. The layout was designed by art director Nick Steinhardt. \nFormed in 2010 in San Francisco\, California\, the band has released two studio albums on Deathwish; Roads to Judah in 2011 and their lauded Sunbather in 2013. Sunbather received accolades from NPR on their Favorite Albums of 2013 list\, a coveted Best New Music at Pitchfork\, the Best Metal Album of 2013 per Rolling Stone\, a 9/10 star review from Decibel Magazine\, and it was the highest rated album of 2013 according to Metacritic. Deafheaven have spent the last two years touring extensively nationally and around the world with shows in Australia\, Japan\, Asia\, Europe\, Russia\, the UK\, and Canada with festival appearances at Pitchfork\, Bonnaroo\, Primavera\, Roskilde\, Fun Fun Fun\, FYF Fest\, SXSW\, Basilica Sound Scape 14\, Corona Capital\, ATP Iceland\, amongst others. Deafheaven will perform August 8 at Heavy Montreal in Canada. Details on a forthcoming North American tour are soon to be announced. \n*** \nDrab Majesty \n \nFacebook\nTwitter \nDrab Majesty began as a warbled transmission received via 4-track cassette in a dim\, Los Angeles bedroom in 2012. The entity known as Deb Demure\, an interdimensional muse of sorts\, lent an otherworldly vision to a human contact; one to be realized through meticulously composed lo-fi recordings. Focusing on the aesthetics of cult ritual and the devastating power of music\, Deb sought an alternative way to share the cosmic agenda. Culminating in a cassette titled Unarian Dances\, Drab Majesty’s manifesto to humanity was revealed: revel in the power of artistic influences that reside beyond the self.\nThe tape circulated through Los Angeles\, catching the attention of local tastemakers like the heads at Lollipop Records in Echo Park. It quickly found a place on the shelves of LA’s underground musical seekers. After a gauntlet of performances and late night manifestations\, Drab Majesty came on the radar of DAIS Records. \nIn 2015\, Drab Majesty released Careless\, the first LP which was received and recorded soley by Demure on living room floors and in cluttered spaces across the city. After three pressings and an imminent fourth\, Careless remains a fixture in LA’s somber yet sublime nightlife and a noted contribution to the murkier subcultures abroad. \nWielding a left-handed guitar\, Deb employs a unique style of arpeggiated finger picking\, producing vast and organic musical textures reminiscent of Vinny Reilly (Durutti Column) with the anthemic power of Sisters of Mercy and Cocteau Twins. In the past two years Deb has been invited to support bands such as Psychic TV\, Clan of Xymox\, The Frozen Autumn\, Prayers\, and label mates Youth Code and King Dude. \nFrom its incarnation\, Drab Majesty was a solo act; an interplay between guitar and triggered machines. In 2016\, with growing audiences and heightened interest\, Drab expanded into a duo\, employing the keyboard accompaniment of far-out twin\, Mona D – filling out frequencies and upping the spectacle of the live performance. \nJanuary of 2017 saw the release of Deb’s second album entitled The Demonstration\, recorded by Josh Eustis (NIN\, Telefon Tel Aviv). With extensive worldwide touring to follow\, Drab Majesty will spread its message to new and grander audiences around the globe. \n*** \nUniform \n \nWebsite\nFacebook\nTwitter \nUniform formed in New York City in late 2013 when old friends Ben Greenberg (Hubble\, The Men\, Pygymy Shrews) and Michael Berdan (York Factory Complaint\, Drunkdriver\, Believer/Law) realized they lived on the same street. Their impulsive collaboration quickly yielded Our Blood / Of Sound Mind and Body single. The six tracks that comprise the equally abrasive but more refined Perfect World have been coming together between tours and work ever since. \nThe music that Greenberg and Berdan conjure up under the Uniform moniker is immediate\, aggressive\, and even primal in form\, but it plumbs untold depths. Berdan’s venomous voice mines deeply personal themes of resentment\, regret\, reflection and addiction over the hum of Greenberg’s almost impossibly disciplined guitar\, bass synth\, and drum machine lines. Greenberg uses the word “templatized” to describe their approach to writing songs for Uniform. \n“There’s this set bunch of gear to create sounds\, and it only creates sound through a certain process\, or within its own limitations\,” Greenberg said. “The goal of songwriting is to see how many different kinds of sounds you can get from the same basic process and machine.” \nOn Perfect World\, that machine is firing on all cylinders. The guitar is run through a cheap ’80s preamp marketed to metal kids. The drum machine is equally no-frills\, an Akai XR20 that Greenberg says “most people wouldn’t want to keep around.” These humble components are combined with noisy synth and Berdan’s profound howling to form something much greater. Post-punk\, synthpunk\, and industrial traditions are borrowed from as needed\, but the constraints placed on the process mean the result is unique to Uniform. Berdan describes his lyrics as the consequence of feeling “so full of pain\, confusion\, deep selfishness\, and general animosity that you make some horrible mistakes and have to learn how to forgive yourself for them.” Perfect World feels like the sum of all that pain and confusion\, but it also feels like the catharsis.
URL:https://royaleboston.com/event/deafheaven-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180726T200000
DTEND;TZID=America/New_York:20180726T200000
DTSTAMP:20260407T121320
CREATED:20180501T171336Z
LAST-MODIFIED:20180501T171336Z
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SUMMARY:Raphael Saadiq
DESCRIPTION:Presented by Bowery Boston \nDoors: 8:00 pm / Show: 9:00 pm \nTickets on sale Fri. 5/4 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nRaphael Saadiq \n \nWebsite\nFacebook\nTwitter \nRaphael Saadiq just announced his first headline tour dates in several years. The Oscar-nominated and Grammy-winning musician and producer will head out on a seven-city run including headline shows in NYC\, Boston\, Philadelphia and more\, and a performance at Chicago’s Pitchfork Festival (read ‘The Meaning of Soul Music According to Raphael Saadiq’ via the 2017 Pitchfork here). The dates come as he’s set to finish work on his anticipated fifth solo album and first since 2011’s Stone Rollin’. The upcoming shows follow 2017 performances as a headliner at Afropunk Brooklyn\, a surprise appearance with A Tribe Called Quest at FYF Fest 2017\, and several dates with Maxwell\, among other shows. See all upcoming tour dates below and get tix this Friday\, May 4 at 10am local time. \nIn addition to his own music\, Raphael has been working on many high profile projects with other musicians. In the last year\, he has worked with the likes of Chromeo\, Justin Timberlake\, Rick Ross\, Little Dragon\, and much more. In 2016\, he also served as executive producer on Solange’s critically lauded album A Seat at the Table. \nSaadiq has become a musical go-to in the film & television world over the last several years. He received his first Academy Award and Golden Globe nominations for co-writing the song “Mighty River” from Mudbound with co-songwriters Mary J. Blige and Taura Stinson. In addition to his work on Mudbound\, he composes the music for HBO’s hit series Insecure which returns soon for a third season (see him on the show’s ‘Wine Down’ here). Saadiq also scored the Netflix film Step Sisters and the Sundance documentary STEP with Laura Karpman; and he has composed music for the film Black Nativity\, television shows Underground (WGN) and Rebel (BET)\, performed on Luke Cage (Netflix)\, among others. \nRaphael Saadiq’s first foray into the international music scene came as a teenager when he performed as part of Sheila E.’s backing band and toured with Prince. Saadiq has also released critically acclaimed solo albums including his five-time Grammy-nominated debut album Instant Vintage and 2004’s Ray Ray. For the last two decades\, Saadiq has also worked behind the scenes as a celebrated producer and songwriter for major artists including D’Angelo (Grammy-winner for “How Does It Feel”)\, John Legend\, Miguel\, The Roots\, A Tribe Called Quest\, Stevie Wonder\, Mary J. Blige\, Snoop Dogg\, The Isley Brothers\, TLC\, Whitney Houston\, the Bee Gees\, Joss Stone\, and more. He was also a founding member of the multi-platinum selling group Tony! Toni! Toné! \n*** \n Ali Shaheed Muhammad  \n \nWebsite\nFacebook\nTwitter \nDJ/Producer Ali Shaheed Muhammad is known around the world as one-third of the legendary hip hop group A Tribe Called Quest\, but he began his musical career in his hometown of Brooklyn\, New York. It was there that his uncle\, Michael Jones\, a bass player and DJ himself\, pulled aside 8-year-old Ali and began teaching him music. Ali then spent years DJ-ing parties in his Bedford-Stuyvesant neighborhood and recorded a slew of demos before co-founding Tribe in 1985 with Q-Tip\, Phife Dawg\, and Jarobi. He was just 19 when the group released its first album\, People’s Instinctive Travels and the Paths of Rhythm\, in 1990\, and four more followed: The Low End Theory (released in 1991); Midnight Marauders (1993); Beats\, Rhymes and Life (1996); and The Love Movement (1998). All went either gold or platinum\, with The Low End Theory and Midnight Marauders both widely considered hip-hop classics. The group’s socially conscious lyrics – coupled with their unique production: heavy on jazz\, funk and ’70s rock samples – helped push it to the forefront of rap\, and scores of current artists/producers\, including Kanye West\, Pharrell Williams and Will. I. Am\, cite Tribe as an influence. \nThough Tribe disbanded in 1998\, the group’s place in hip hop’s pantheon has long been secured. It is unclear if the group will record another album\, but Tribe remains relevant\, recently eclipsing their contemporaries as co-headliners on the Rock the Bells 2010 Tour and starring in the 2010 documentary\, Beats\, Rhymes\, & Life: The Travels of A Tribe Called Quest. \nTribe\, however\, is just one representation of Ali’s talent. He formed the production company The Ummah in the ’90s with Jay Dee and Q-Tip\, and he’s worked with a wide range of artists\, including Faith Evans\, Mos Def\, and D’Angelo\, the last of whom he collaborated on the Grammy-nominated single\, Brown Sugar\, in 1995. That song led the way for the “neo-soul” movement\, making possible the rise of such performers as Erykah Badu\, Musiq Soulchild and Jill Scott. Ali has also remixed songs for Janet Jackson Maxwell\, Maroon 5and KRS-One. In all\, he has credits as writer\, producer or co-producer on 23 albums\, most recently with the Irish band The Kanyu Tree. The group’s lively\, fresh sound convinced Ali to work in a new genre – alternative music – and the debut album is due out summer 2011. \nAli also has a sharp eye for talent. Seeking to gain insider’s perspective on the record industry\, he took a job in 1996 as an A&R for Quincy Jones’ Qwest Records. While there\, he scouted and tried to sign Corey Glover\, Common\, The Black Eyed Peas and The Neptunes. Qwest passed on all. Feeling that he was unable to satisfy the needs of Qwest\, Ali parted ways with the label. Separately\, he was introduced by his friend\, producer Dahoud Darien\, to Bilal\, and Ali tried to get him signed\, as well\, but Ali could not convince his contacts to make the deal. Though he soon returned to his own artistic ambitions\, it is worth noting that Ali’s instincts were correct: those artists have gone on to sell millions of records. \nIn 1999 he co-founded the star trio Lucy Pearl\, aligning with Dawn Robinson\, formerly of En Vogue\, and Raphael Saadiq\, of Tony! Toni! Toné! Lucy Pearl fused funk\, rock\, R&B and hip-hop to create an organic\, sexy sound that was unprecedented at the time and still unmatched today. The group’s self-titled debut album produced the hits Don’t Mess With My Man\, and Dance Tonight\, the latter nominated for a Grammy in the best vocal performance by a duo or group category. \nAli has also built up a solo career\, beginning with his 2004 debut LP Shaheedulah and Stereotypes\, featuring the dance song All Night. Beyond engineering a unique sound for his first LP\, Ali also performed songs on it\, and he has two more albums scheduled for release in summer 2011. The first is pure hip hop and boasts collaborations with Phife Dawg\, De La Soul and Raphael Saadiq; the second is a dance album\, continuing the vibe he started with All Night. \nWhile the music world awaits those two albums\, Ali keeps busy by performing as a DJ around the globe\, reaching music fans of all types\, each gig adding to the journey he started as an 8-year-old in Brooklyn.
URL:https://royaleboston.com/event/raphael-saadiq/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180728T180000
DTEND;TZID=America/New_York:20180728T213000
DTSTAMP:20260407T121320
CREATED:20180212T150604Z
LAST-MODIFIED:20180212T150604Z
UID:10001892-1532800800-1532813400@royaleboston.com
SUMMARY:[SOLD OUT] Sleep
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 6:30 pm \nThis show is SOLD OUT! \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n***\nSleep \n \nWebsite\nFacebook \nThe words have failed them all. Since by the time you’ve read this far you’ve already read words that are intended to be touchstones but which do nothing but make it easier to not hear what should be all about hearing: their music. \nSo let’s dispense with “stoner” and “doom” and while “metal” is a good catch-all even that does what SLEEP does an injustice. What SLEEP does and has been doing since 1990. Since San Jose. Since vocalist and bassist Al Cisneros hinted darkly at his next act after Asbestosdeath. Make something that was like something you had never heard/felt before even if you had heard/felt it before. Like wind or the yawning subsonic expanse of an earthquake: something undeniably large. \nAnd like ragas\, the songs were not just songs but movements and the movements trended toward the eternal. Almost time-wise too with songs that lasted as long as some entire records\, which is as long as it needs to be to get short-sighted labels to drop you. And beyond time\, the weight was equally significant. Heavy\, sublime and not even a little bit ridiculous and whether or not these were influenced by the sacramental consumption of weed really misses the point. \nWhile there may have been a few like them before them\, there were none like them really and certainly none of after them. And so in 2009 when they were reborn with Cisneros who’d been reframing the world with the band OM\, Matt Pike doing double duty with this and his HIGH ON FIRE\, and the estimable Jason Roeder doing the same with NEUROSIS\, SLEEP did what it had done and what it had left to do. Largely and without pause\, make music in tune with The Ages. \nBest to be enjoyed? Live and living. See\, hear\, feel\, do it. Well\, beyond just music and well into the experiential joy of pure being. SLEEP. Undoubtedly. \n***\nHeavy Blanket \n \nWebsite\nFacebook \nIn a Dutch Haze – digital by Earthless Meets Heavy Blanket \nJ Mascis rounds up a couple partners-in-crime from his adolescence with an eye – and ear – towards shredding harder\, wailing louder\, and generally melting faces even more brutally than ever before. Stoner dirtbags cloaked in mystery\, j’s longtime buddies Pete Cougar and Johnny Pancake lay down the heavy rhythm base for j’s massive licks and blistering guitar mastery. Ever wondered what Band of Gypsies would sound like if you mixed it up with Japanese hard psych and smoked it through a giant power bong? Well\, now you know. Don’t say we didn’t warn you. \n***\nDylan Carlson \n \nWebsite\nFacebook \nGuitarist and founder/principal member of the rock band Earth\, as well as numerous solo/side projects. These include drcarlsonalbion\, an ongoing exploration reflecting Carlson’s long standing interest in occult folklore and history of the United Kingdom and his abiding love for all things British. Its ancillary project\, Coleman Grey\, dealing with the ffayre folklore of the British Isles. The improvisatory music of the Dylan Carlson/Rogier Smal duo. The Bug vs. Earth collaboration. Composer of the soundtrack for the German feature film ‘Gold’. Husband to Holly Carlson.
URL:https://royaleboston.com/event/sleep/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180731T183000
DTEND;TZID=America/New_York:20180731T183000
DTSTAMP:20260407T121320
CREATED:20180403T190007Z
LAST-MODIFIED:20180724T214023Z
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SUMMARY:Quicksand & Glassjaw
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:30 pm / Show: 7:30 pm \nTickets on sale Fri 4/6 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nQuicksand \n \nWebsite\nFacebook\nTwitter \nInteriors is Quicksand’s best album yet. It sounds like nothing else you are going to hear this year. \nIt arrives deliberately unannounced\, two decades after the pioneering post-hardcore quartet’s last album. Made completely on the band’s own terms\, Interiors has a power\, strength and subtlety that will likely stun you. There are no wasted notes\, no flab\, and no excess whatsoever. It is absolutely perfect. \n“This struck a chord\, where we felt this is actually something that could represent us now\,” says bassist Sergio Vega. “It doesn’t sound like a third album a couple of decades later. It’s a piece of work that we really\, really can back.” \nThat may be an understatement: Interiors is breathtaking in its surging\, sculptured sonic attack\, a welcome reminder that the band’s longtime status as musical innovators is not undeserved. \nTo make the record\, the band first had to return to the beginning—to the purity of why Quicksand started making music in the first place. In the process\, they made a great record that speaks to their past—but\, more essentially\, to their present and future. \n“First we went out and made the record we wanted to make\, with the person we wanted to make it with\,” says drummer Alan Cage. “Then we went with a finished product and said ‘OK\, who’s going to put this thing out?’ Of course we want to share it\, have people listen to it\, and create their own relationship with it–but at the core\, it is our thing. “I think we landed in a perfect place to do that with epitaph.” \n“When we first became a band\, that’s what we did with making our EP. We put together $1500 and recorded the songs\, because no one knew or cared about what we were doing\, except for us. We took the same approach with Interiors.” \nAnd of course\, so much has changed since then. \n“I’m thrilled to be listening back to a record that we made with our own money\, on our own schedule and creative terms\,” says Quicksand front man/guitarist Walter Schreifels. “While it was definitely important for us to speak to our longtime fans\, we thought the best way to do that was to embrace who we are now\, to allow our selves to be open to people that have never heard of us. Our tastes and experiences as musicians and as people have grown\, and we decided to run with that. As a result\, I think ‘Interiors’ has a wider spectrum on it than our past records.” \nInteriors makes clear via its searing opening sequence of tracks that Quicksand’s skills as songsmiths and players have never been sharper. \nFrom the pulse-pounding start of the opening track “Illuminant\,” the band immediately draws you in with its unique combination of pounding rhythm and shifting loud/soft dynamics\, heightened by Schreifels’ deliberately restrained—but powerful—vocal. \n“To me\, ‘Illuminant’ was the first song that set the bar for the rest of the album. We had compiled various jams and song inspirations that we’d recorded at sound checks and rehearsals\, but it is a significant step to take song ideas\, riffs etc. and commit to the structure that makes it a ‘song.’ Especially for us. We were searching for the abstract idea of ‘what does a new Quicksand song sound like?’ Once we put ‘Illuminant’ together\, it happened pretty quickly. I felt confident we could make a great album.” \nA similar standout is “Cosmonauts\,” a stylistic leap forward for the band both in terms of its powerfully rhythmic\, slow pacing and Schreifels’ textured and melodic vocal. \n“One of the things about Quicksand back in the day that made it hard for me was that most of the vocals were close to the top of my range\, it had impact but was exhausting to perform live. As a Quicksand song\, ‘Cosmonauts’ has all the elements that our fans dig\, but I gave myself license to sing. Over time I’ve discovered that if you have the right emotional pitch–if you understand what you’re trying to say\, you don’t necessarily have to scream it to make a point.” \nThat point also applies to the album’s title track\, among the finest the band has ever recorded. “Interiors” is majestic\, glacial\, powerful\, throbbing—like no other song you’ve ever heard—pairing a howling\, repetitive guitar figure partnered with Schreifels’ emotional\, almost resigned delivery of the lyrics. It is a mind-blower from top to bottom\, and its final moments feature a stunning instrumental break ranking among Quicksand’s best ever work. \nThere’s an astounding array of sonic diversity displayed on Interiors that will satisfy Quicksand fans both old and new. And that’s been done purposely\, adds Schreifels\, pointing to the significant contributions of producer Will Yip. “I worked with Will on another project some years ago–Title Fight’s Shed album\,” he says. “We had a blast. And with Will’s combination of expertise and taste\, I knew that he would gel with the other Quicksand guys. \nNo small matter was the fact that Yip has produced the records of several young\, critically admired bands that cite Quicksand as an influence\, he adds. \n“It made sense to thread that with where music is now. While working on this record\, Will really joined the band–and every move we made was in service of the song sonically\, structurally and overall energy-wise. We were not afraid to diverge from formula moves\, and we were also down to embrace aspects of our style that our fans have come to expect–as long as there was a twist. \n“For example\, ‘Under The Screw’ I really dig because I wanted something that kind of connected to the Quicksand that people remember\,” he says. “But in the vocals\, I took a more surrealistic approach than I would have in the past–which I think gives license for us to take more unexpected turns as the song progresses.” \nThere is a sense of growth and maturity on Interiors that longtime fans will hear upon first listen. A lot has happened since the early ‘90s\, a lot has happened since those days of Manic Compression and the very first Warped Tour. And a lot has happened in the lives of the four members of Quicksand. \n“This record just sounds like who we are\,” says Schreifels. “Lyrically\, I wasn’t interested in re-creating some ersatz version of the struggles I was having when I was 20 years old\, I lived that already. It took me a minute to find the thread but once I had a few songs done\, the language and themes of Interiors began to write themselves.” \nFrom start to finish\, there is growth\, there is strength\, and there is power in this music. More power than ever before\, and it may surprise you. \nTranslation? Quicksand has made the album of a lifetime. And now the world gets to hear it. \n*** \nGlassjaw \n \nWebsite\nFacebook\nTwitter \nMaking things since 1993 \n*** \nPrimitive Weapons \n \nWebsite\nFacebook\nTwitter \nThe Future of Death
URL:https://royaleboston.com/event/quicksand-glassjaw/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180804T150000
DTEND;TZID=America/New_York:20180804T173000
DTSTAMP:20260407T121320
CREATED:20180614T181821Z
LAST-MODIFIED:20180614T181821Z
UID:10002648-1533394800-1533403800@royaleboston.com
SUMMARY:Bitch Sesh Live
DESCRIPTION:Second show added due to overwhelming demand! Tickets on sale NOW! \nDoors: 3:00 pm / Show: 4:00 pm \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nBitch Sesh \n \n[Facebook] \nCasey Wilson (Happy Endings) and Danielle Schneider (The Hotwives of Orlando) bring you a live version of their hilarious podcast Bitch Sesh. They’ll deep dive into all things Real Housewives\, unpack pertinent pop culture goings on and continue to process and hopefully come to accept Julia Roberts wig in “Mother’s Day.” One day at a time. Join them for dramatic reenactments\, audience questions\, clips and more. You won’t want to miss this very important\, nay – life altering\, evening.
URL:https://royaleboston.com/event/bitch-sesh-live-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180804T190000
DTEND;TZID=America/New_York:20180804T213000
DTSTAMP:20260407T121320
CREATED:20180201T180001Z
LAST-MODIFIED:20180201T180001Z
UID:10002614-1533409200-1533418200@royaleboston.com
SUMMARY:[SOLD OUT] Bitch Sesh Live
DESCRIPTION:This show is now SOLD OUT! \nNOTE: Due to overwhelming demand\, an early show has been added! Tickets for the early show are still available HERE. \nDoors: 7:00 pm / Show: 8:00 pm \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nBitch Sesh \n \n[Facebook] \nCasey Wilson (Happy Endings) and Danielle Schneider (The Hotwives of Orlando) bring you a live version of their hilarious podcast Bitch Sesh. They’ll deep dive into all things Real Housewives\, unpack pertinent pop culture goings on and continue to process and hopefully come to accept Julia Roberts wig in “Mother’s Day.” One day at a time. Join them for dramatic reenactments\, audience questions\, clips and more. You won’t want to miss this very important\, nay – life altering\, evening.
URL:https://royaleboston.com/event/bitch-sesh-live/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180814T190000
DTEND;TZID=America/New_York:20180814T190000
DTSTAMP:20260407T121320
CREATED:20180612T153448Z
LAST-MODIFIED:20180806T184032Z
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SUMMARY:Jeremih / Teyana Taylor
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri. 6/15 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nJeremih \n \nWebsite\nFacebook\nTwitter \n“I can make a great sex song anytime I want\, without even saying a body part\, without saying anything that would be omitted on the radio. Somehow I’ve just been given that ability\,” Jeremih remarks matter-of-factly\, not even the hint of a mischievous grin on his face. The man knows his talent\, and his calling card. And as enviable as that talent is\, no man of Jeremih’s intelligence and versatility would be satisfied in a pigeonhole: “In no way do I feel that ‘Birthday Sex’ defines me as an artist\, or defined my first album. People are quick to make comparisons: ‘he’s the next R. Kelly\, he’s the next Dream.’ That’s flattering talk but we’re all different\, as people and as artists.” \nIndeed\, 23-year-old Jeremih Felton has planted his own flag among the glittering banner acts at Def Jam: “I feel like I’m on the best label I could be on; I’m not intimidated by anyone musically\, and I’m honored and inspired by the artists around me. There were a lot to choose from\, a lot of labels were interested in a short period of time\, but I didn’t get this far by making bad decisions. And to be blessed with L.A. Reid’s thoughts and even his critiques\, I couldn’t ask for anything more.” \nSo the stage is set for Jeremih’s sophomore album\, All About You\, dropping September 28th. The singer/ rapper/producer/multi-instrumentalist has again aligned with producer Mick Schultz to deliver eleven songs long on sophistication\, sex appeal\, and even some old soul. “Mick and I have a great chemistry; we entered the game together\, and we have albums’ worth of music\,” Jeremih imparts. “I want him to get known too; I’m not selfish like this has to be the Jeremih show. This album is a great showcase for his ability as well as my own. Once people hear this album\, others will recognize what I recognized in him and reach out for more of what we create.” \nWhat they create is a sonic palate ranging from subtle savoir-faire to unapologetic\, house-shaking climax. First single “I Like\,” featuring labelmate Ludacris and co-written by Keith James\, is pure babymaking bliss. Jeremih’s uncanny falsetto wends into Ludacris’ irresistible\, irrepressible flow\, bobbing and weaving with Schultz’s bubbly\, scaled-back rhythm. Elsewhere\, the titular track is a languid 4/4 offset by sawing high-octave synth riffs. But Jeremih’s vocals\, smacking of a young Michael\, steal the show. Rare is a falsetto this controlled\, this textured\, this evocative. Listen for it also on “Take Off\,” what Jeremih terms a relationship record told from the lesser-heard male point of view: “Guys have feelings too\, guys get hurt\, and this record expresses that. There’s a point when we feel like we’ve done enough in trying to work this out\, and now it’s best if I take off for the both of us. I can say I been there\, but I also hear this from a lot of peers. Women can relate to it too\, even if it’s not from their perspective.” \n“Down on Me” featuring 50 Cent is a supersmash in the waiting. 50 unleashes an insistent\, machine-gun flow\, while Jeremih contorts himself through some outrageous vocal acrobatics. His voice\, spiced with an island cadence\, bends and stretches about one of the nastiest hooks R&B has seen in quite some time. “Down on Me” is definitely a song to be up on. “I’ve always respected 50 and always wanted to work with him\,” Jeremih notes. “I wanted to reach out to a couple artists who could bring to the table what I know I do.”\nJeremih doesn’t lack for confidence. Nor should he. A native of the unforgiving Southside Chicago ―“a city full of talent”― streets\, Jeremih kept to a positive path\, honing his prodigious musical chops on saxophone\, drums\, and piano. He graduated high school a year early and enrolled at the University of Illinois as a prospective engineering major. Bookworm by day\, beatmaker by night. “I write off beats\,” Jeremih reveals. “I’m a producer myself\, that’s how I thought I’d initially get into the game. After a while\, I just got to writing to the beats. And at the time\, I was rapping\, not singing.” Indeed\, the U of I campus couldn’t hold Jeremih; he transferred to Columbia College\, one of Chicago’s preeminent creative schools.  \n“That’s where I met Mick Schultz and started vibing with him\,” he continues\, “And began singing over his beats\, because that’s what a lot of his stuff called for at the time. But singing and rapping both came natural; that stemmed from playing instruments growing up. Playing the piano taught me how to sing\, or at least how to sound out\, reach\, and hold notes.” \nJeremih holds notes\, and court\, on All About You. The album has a depth\, a sense of growth\, an exploratory side. “The Five Senses” is a slow\, sultry firestarter featuring Jeremih’s peerless tone. Then there’s “Broken Down\,” full of ominous piano chords and cadenced like a frozen moment in jazz or soul lore. And “Holding On\,” the subsequent track: “After being broken down\, you gotta keep holding on\,” Jeremih affirms. “It’s about trying to see the future when you’re going through something in the moment that’s getting you down. I played this for my Grandpops and a lot of older listeners and they really responded to it. I’m proud of this song and how far I’ve come as an artist.” \nJeremih has other reasons to be proud. Concurrent with his album release\, he’ll be appearing on the second season of BET’s popular series\, Rising Icons. Icons\, presented by Grey Goose vodka\, pulls back the curtains and chronicles the lives of rising stars\, both at home and on tour. Jeremih will share the spotlight with fast risers such as J. Cole\, Estelle\, Laura Izibor\, and B.O.B. Elsewhere\, he’s been honing his pen game for other ballyhooed newcomers\, including Jenna Andrews\, for whom he and Mick wrote “Tumblin’ Down\,” her debut single on Island Records. “I write what I feel\, and with the pitch of my voice\, I can write for a man or a woman\,” he states. “My voice just has the ability to do a lot of different things.” \nSpeaking of different things\, fans yearning for even more Jeremih can cop the Deluxe version of All About You\, available via iTunes and featuring several tracks not on the physical CD. Expect also a Jeremih mixtape\, on which the young star does as much spitting as singing: “I rapped a little on my last album with ‘Raindrops\,’ and people asked ‘Who was that?’ Now\, I have some new stuff that I went hard on that just didn’t fit with the theme of this album. So I’m looking forward to the mixtape to let people see that side of me. A lot of singers try to do it\, and it can either A) turn all your fans away like ‘You need to stick to singing\, fam’ or B) get you respect as being able to do both. I can put rhyme to a melody and have it accepted.” \nIt’s been a whirlwind couple years for Jeremih\, first setting the Midwest ablaze with his indy anthem “My Ride\,” following that up with the RIAA-certified platinum “Birthday Sex\,” a nomination for an American Music Award\, and now\, an imminent sophomore album. “I’ve almost traveled the world in a year\, and that’s an amazing experience. I now know what to expect this time around. When I do shows\, I perform every song off the last album. People still want to hear those songs live\, and those are from a year ago. So I’m excited to see the response to this material.” Jeremih recognizes that without his dedicated fans\, none of these amazing experiences would be possible. That is why\, on September 28th\, he would like to tell each and every one of them it’s “All About You”. \n*** \nTeyana Taylor \n \nFacebook\nTwitter \n*** \nDaniLeigh \n \nWebsite\nFacebook\nTwitter \nWhen the end of Summer hits\, the desire to rewind time kicks in\, reliving every magical moment from the season’s past. It’s a vibe that newcomer DaniLeigh has managed to encapsulate in her debut EP Summer With Friends\, coming soon. The 22-year-old singing and dancing phenomenon cut her teeth in the business when she directed a music video for her late mentor\, Prince. She enhanced her buzz with back-to-back jams “Play” (featuring Kap G) and “Lurkin’”\, and is here to continue her mission of making music that both sounds and feels good. \nThe South Florida native had music in her blood\, singing from a young age. As an early teen\, DaniLeigh recorded YouTube covers of songs like Musiq Soulchild’s “So Beautiful\,” though she wasn’t quite ready for the big time. “I was really shy\,” she admits\, “and I didn’t realize the unique sound of my voice until later on.” It wasn’t until a few years later when she moved to Los Angeles at 16 that DaniLeigh began harnessing her craft. In LA she found her footing in the music industry\, starting with dancing. “I was dancing in music videos\, commercials\, you name it\,” she recalls. “From there\, I met a lot of producers onset and just networked.” Singing became the secret weapon\, as DaniLeigh would reveal her chops and be invited to studios for recording sessions. However\, a life-changing encounter with the legendary Prince would be the real catalyst. \nAfter learning of DaniLeigh’s talents as a dancer (through a one-minute video clip)\, the Purple One reached out to have her direct his video for “Breakfast Can Wait” at just 18 years old. The video hit worldwide\, appearing on networks like MTV\, BET\, and REVOLT. Prince ultimately took DaniLeigh under his wing\, mentoring her budding singing career. His untimely death in 2016 left a void in DaniLeigh’s life\, though his presence is still felt as DaniLeigh’s star is only getting brighter. \n“Play” truly kicked things off. The high-energy single is described by DaniLeigh as an empowering anthem for women. “It’s a bold statement\,” she says of the cut\, which carries a message of “making a play” in all areas of life. “I’m a very positive person and this song I feel can help motivate people to put in that work\,” she says. Bringing Kap G (who is of Mexican descent) into the fold as a feature was her way of uniting more Latinos in music\, as DaniLeigh’s Dominican heritage is evident in both her style and sound. The single “Lurkin’” immediately followed\, as a slick nod to social those stalkers who don’t congratulate moves\, yet look on from the social media sidelines. The song even made its way to the HBO hit series Insecure. The stage is now set for DaniLeigh to show the diverse angles of her talent on a grander scale.  \nAptly titled Summer With Friends\, the upcoming EP sums up DaniLeigh’s past few months\, which she lightheartedly describes as “just having fun and working.” The relatable nature of the project brings forth the aforementioned singles\, along with feel good songs that channel the young artist’s inspirations including Aaliyah\, Missy Elliott\, and Drake while showing her ability to fuse hip-hop and R&B with poppier electronic-driven vibes. Songs like “Questions” playfully target those relationship interrogation sessions (Where were you? Who were you with?)\, while “Ex” is a self-explanatory track about the now-single artist’s previous romance. “He got one song\,” she jokes. Other cuts like the infectious “On” and “All I Know” show DaniLeigh’s versatility within the pop-urban landscape\, while “All Day” highlights her Dominican roots. “That’s a bachata beat underneath [the production]\,” she proudly points out. “The time right now is in alignment\, showing that things are going the right way.” As DaniLeigh unveils her debut Summer With Friends and the projects that follow\, she maintains her goal of positive music\, though has one wish involving one important angel by her side. “I always say I wish Prince was here to see all of this happening with me right now\,” she says. “It’s okay though. I know he’s watching.”
URL:https://royaleboston.com/event/jeremih/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180823T190000
DTEND;TZID=America/New_York:20180823T190000
DTSTAMP:20260407T121320
CREATED:20180529T160045Z
LAST-MODIFIED:20180529T160045Z
UID:10001925-1535050800-1535050800@royaleboston.com
SUMMARY:Belly
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri. 6/1 at noon! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nBelly \n \nWebsite\nFacebook\nTwitter \nAfter amicably exiting Throwing Muses and The Breeders\, Tanya Donelly formed Belly in 1991 with brothers Tom and Chris Gorman\, and were joined soon after by Gail Greenwood on bass. Belly released two albums ~ the first being Star\, which earned the band two Grammy nominations and eventually sold two million copies worldwide ~ and the second album being King\, which was produced by the legendary Glyn Johns and released in February 1995. After several extensive world-wide tours (including opening slots for REM\, U2\, and the Velvet Underground\, and tours with Radiohead\, Catherine Wheel\, and the Cranberries)\, Belly unfortunately fell prey to the all-too-common rock-and-roll cliché of industry pressure\, financial issues\, personal conflict and divergent creative ambitions. The band played its last show on Nov. 11\, 1995. Tanya went on to release five albums under her own name. Gail spent three years playing in L7\, then two years with Bif Naked\, and continues to play guitar in Benny Sizzler\, her band with her partner Chil. Chris and Tom opened a commercial and fine-art photography studio in New York City. In 2015\, Chris published his first children’s book\, Indi Surfs. Tom briefly played guitar and keyboards with both Buffalo Tom and Kristin Hersh. \nIn late 2015\, twenty years after last playing together\, the band decided it was ‘now or never’ and announced Belly would reunite for a limited tour in 2016. Falling right back into a laughter-fueled groove as they began rehearsing for the tour\, they decided to write a few new songs together. At the end of that joyful and successful tour\, they decided to expand on the idea and write a full album’s worth of music together and are now in the process of recording the new album with their old friend Paul Q. Kolderie at the board. Belly have partnered with Pledge Music\, and the album (not yet named) can be pre-ordered on vinyl\, CD\, or as a digital download\, or as part of a variety of “bundles” and exclusive limited-edition goodies. All advance orders through Pledge include member-only access to updates\, peeks into the studio\, and a soon to be released digital download of the band’s cover of “Hush-a-Bye Mountain\,” recorded just for fun while in the studio.
URL:https://royaleboston.com/event/belly-3/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/05/33847419_2175096669184068_5781368727396155392_o.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180907T180000
DTEND;TZID=America/New_York:20180907T213000
DTSTAMP:20260407T121320
CREATED:20180417T160054Z
LAST-MODIFIED:20180906T215311Z
UID:10001914-1536343200-1536355800@royaleboston.com
SUMMARY:The Jesus Lizard
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 6:45 pm \nTickets on sale Fri. 4/20 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nThe Jesus Lizard \n \nWebsite\nFacebook\nTwitter \nFollowing an instantly sold-out handful of US shows this past winter\, the Jesus Lizard have confirmed eight more dates.  Kicking off September 6 at Washington\, DC’s Black Cat the itinerary also takes the legendary band to Boston\, Philadelphia\,  Detroit\, Austin\, Atlanta\, Seattle and Portland.  Prior to this past December\, the band had not played live together since 2009 and these new shows represent the only new appearances planned.  \nTickets for all shows are on-sale Friday\, April 20 at 10am local time.    \n2017’s tour reminded all that saw the Jesus Lizard that their live show is unparalleled.  Brooklyn Vegan noted\, “…it would be hard to say The Jesus Lizard have mellowed in the 30 years since forming” and reviewing Houston’s Day For Night Festival\, the Houston Press declared\, “it was hard to deny that the Jesus Lizard was the best act on Sunday\, hands down.”  Stereogum have called them “one of the greatest live bands ever” and The New York Times has used the words “extravagantly good” while Rolling Stone speaks of the band’s “shattering live performances.”   \nThe Jesus Lizard formed in late 80’s Austin\, TX after David Yow (vox) and David Wm. Sims’ (bass) previous band Scratch Acid broke up.  They started the Jesus Lizard with Duane Denison (guitar) and a drum machine and recorded their debut EP Pure with Steve Albini in 1989.  A move to Chicago prompted the firing of the drum machine in favor of Mac McNeilly (drums) and in 1990 the band recorded their first full-length\, Head\, for Touch and Go.   \nWhile the labels “seminal” and “legendary” are often applied too easily\, they both accurately describe the Jesus Lizard.  They released five more remarkable LPs before disbanding in 1999\, the last being 1998’s Blue. During that time\, they toured endlessly and issued not only the critically acclaimed studio LPs but also assorted singles\, EPs\, compilations and a live album.  Pitchfork has said of them: “the Jesus Lizard raised a bar that few bands have reached since…Rarely does a band have each member adding something essential to such a united\, ferocious whole.”   \n*** \nAll Souls \n \nWebsite\nFacebook\nTwitter \nLife’s paths twist and turn\, but we always eventually end up where we’re meant to be. \nIn that respect\, the story of All Souls feels pre-destined. Way back in 1994\, Tony Tornay [Fatso Jetson\, The Desert Sessions\, Linda Perry] first met Tony Aguilar and Meg Castellanos [Totimoshi\, Alma Sangre] by introduction from Erik Trammel [Black Elk\, Wadsworth]. They kept in touch and always bandied the idea of “writing and jamming” about. \nIt took 21 years\, but a band finally became a reality in 2015 when these four artists sat around a table and discussed officially working together… \n“One of the things that we did in this band that I’ve never done before is have that discussion\,” recalls Aguilar. “Meg and I had always wanted to play with Tony as did Erik. It finally fell into place. Once we figured out what the lineup was going to be\, we sat around and discussed what we wanted to sound like artistically before even jamming. It gave us a really great grasp on the artistic angle. It was almost like forming the painting before it was brought to life.” \n“This is the culmination of thirty years as a professional musician\,” adds Tornay. “It’s everything I’ve wanted for as long as I can remember. When we get together\, it feels like home. This embodies every reason why I do what I do.” \nThroughout 2016\, the quartet—Aguilar [vocals\, guitar]\, Castellanos [bass\, vocals]\, Trammell [guitar]\, and Tornay [drums]—recorded what would become their self-titled full-length debut\, All Souls\, during intermittent sessions at Sound of Sirens Studio in Los Angeles with producer Toshi Kasai [Tool\, The Melvins\, Foo Fighters]. \nFor Aguilar and Castellanos\, the music spoke to a dormant primal need that harked back to their time in the fan favorite underground mainstay Totimoshi. \n“At the time\, we had been doing Alma Sangre\, which was our take on flamenco meshed with Ranchero\,” says Aguilar. “We’re rockers at heart though\, and we had been wanting to be in another rock band. It also reunited us with Toshi who did three of our Totimoshi records. He has his own approach. It’s almost like you enter into a different world with his production. Each song becomes like a journey\, and nobody curtailed that. We were all on the same page.” \nFollowing tours with the likes of Red Fang\, The Sword\, Kvelertak\, and Torche\, the band unleash All Souls in 2018 via Sunyata—the label founded by iconic Screaming Trees and Mad Season drummer Barrett Martin. Earmarked by Spaghetti Western-style expanse and rough-and-tumble riffing\, the music proudly bears the wild wear-and-tear of the nineties Palm Desert scene with a twist of psychedelic voodoo and metallic edge. \nIntroducing the album\, the first single “Never Know” barrels forward at full speed powered by gusty distortion and a psychedelically catchy refrain. \n“Lyrically\, I want to keep it a little mysterious\,” Aguilar reveals. “It’s about people in our society who feel like they own the world\, act accordingly\, and behave in ways that are completely derelict of social responsibility. They’ll never know love or understand that responsibility. They’ll never know anything.” \nElsewhere\, “Party Night” dements a surf rock-style gallop with punchy delivery and overcast production. The melancholy melodies of the seven-minute “Rename The Room” paint a stark picture of bipolar mood swings and abuse inspired by a dark day in Aguilar’s childhood home. Tool drummer Danny Carey kicks off the entrancing “Sadist/Servant” with a spirited cameo on Tabla Drums\, providing a tribal flare. \n“‘Sadist/Servant’ one never gets boring\,” smiles Tornay. “It’s always in your face and never falls back in the pocket. Danny killed it. He’s playing this really aggressive instrument on the quietest part of the song!” \nIn the end\, these four musicians were always meant for this band. That’s why All Souls is so easy to get lost in. \n“When you hear this\, I hope you have that experience where you’re just completely inside the music\,” Aguilar leaves off. “You can just fall into it.”
URL:https://royaleboston.com/event/the-jesus-lizard/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180913T190000
DTEND;TZID=America/New_York:20180913T190000
DTSTAMP:20260407T121320
CREATED:20180424T140045Z
LAST-MODIFIED:20180424T140045Z
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SUMMARY:[SOLD OUT] Car Seat Headrest
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nSOLD OUT! \nPlease note: this show is open to all ages. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nCar Seat Headrest \n \nWebsite\nFacebook\nTwitter \nToledo always knew he would return to Twin Fantasy. He never did complete the work. Not really. Never could square his grand ambitions against his mechanical limitations. Listen to his first attempt\, recorded at nineteen on a cheap laptop\, and you’ll hear what Brian Eno fondly calls “the sound of failure” – thrilling\, extraordinary\, and singularly compelling failure. Will’s first love\, rendered in the vivid teenage viscera of stolen gin\, bruised shins\, and weird sex\, was an event too momentous for the medium assigned to record it. \nEven so\, even awkward and amateurish\, Twin Fantasy is deeply\, truly adored. Legions of reverent listeners carve rituals out of it: sobbing over “Famous Prophets\,” making out to ‘Cute Thing’\, dancing their asses off as ‘Bodys’ climbs higher\, higher. The distortion hardly matters. You can hear him just fine. You can hear everything. And you can feel everything: his hope\, his despair\, his wild overjoy. He’s trusting you – plural you\, thousands of you – with the things he can’t say out loud. ” I pretended I was drunk when I came out to my friends\,” he sings – and then\, caught between truths\, backtracks: ” I never came out to my friends. We were all on Skype\, and I laughed and changed the subject.” \nYou might be imagining an extended diary entry\, an angsty transmission from a bygone LiveJournal set to power chords and cranked to eleven. You would be wrong. Twin Fantasy is not a monologue. Twin Fantasy is a conversation. You know\, he sings\, that I’m mostly singing about you. This is Will’s greatest strength as a songwriter: he spins his own story\, but he’s always telling yours\, too. Between nods to local details – Harper’s Ferry\, The Yellow Wallpaper\, the Monopoly board collecting dust in his back seat – he leaves room for the fragile stuff of your own life\, your own loves. From the very beginning\, alone in his bedroom\, in his last weeks of high school\, he knew he was writing anthems. Someday\, he hoped\, you and I might sing these words back to him. \n“It was never a finished work\,” Toledo says\, “and it wasn’t until last year that I figured out how to finish it.” He has\, now\, the benefit of a bigger budget\, a full band in fine form\, and endless time to tinker. According to him\, it took eight months of mixing just to get the drums right. But this is no shallow second take\, sanitized in studio and scrubbed of feeling. This is the album he always wanted to make. It sounds the way he always wanted it to sound. \nIt’s been hard\, stepping into the shoes of his teenage self\, walking back to painful places. There are lyrics he wouldn’t write again\, an especially sad song he regards as an albatross. But even as he carries the weight of that younger\, wounded Toledo\, he moves forward. He grows. He revises\, gently\, the songs we love so much. In the album’s final moments\, in those ” apologies to future me’s and you’s\,” there is more forgiveness than fury. \nThis\, Toledo says\, is the most vital difference between the old and the new: he no longer sees his own story as a tragedy. \nHe’s not alone no more. \n*** \nNaked Giants \n \nWebsite\nFacebook\nTwitter \n‘SLUFF’ is a word that means both everything and nothing\, but it definitely sums up the three distinct personalities that make up Naked Giants. Depending which member you ask\, SLUFF is either slang for the black gunk that comes off your shoes when it snows in the winter\, an acronym that stands for South Lake Union Fuck Face (a reference to the tech bros who have infiltrated Seattle in recent years) or what a snake does when it sheds its skin. It’s also the title – and a song on – the band’s debut full-length. \nFormed in 2015\, the Seattle trio – guitarist/vocalist Grant Mullen\, bassist/vocalist Gianni Aiello and drummer Henry LaVallee – put out debut EP R.I.P. the following year and have been steadily building up their reputation as a live act in the meantime\, and having as much fun as possible while doing it. Because as much as the three-piece – who are all in their very early 20s now – have their heads screwed on and are fiercely intelligent people\, they also want to let loose and enjoy being in a band. After all\, that’s kind of what being in a band with your closest friends is all about. \n“I just want to make as much noise and have as much fun and get as sweaty as I can\,” says LaVallee\, “and if that resonates with people\, that’s who I want in my life. That’s who I want to play music for.” \nThat clash of the cerebral and the intelligent – the desire to say something meaningful but also just have some fun – is what underpins the very essence of who Naked Giants is. It’s a band of contradictions. Their music\, which is simultaneously timeless and modern\, new and old\, is loud and brash and raw\, but there’s vulnerability there\, too. In fact\, debut album SLUFF is a melting pot of ideas and sounds that\, on paper\, don’t seem like they would go together\, but which form one phenomenally cohesive whole. \n“These are songs that we’ve played live for a long time\,” explains Mullen. “We wanted to showcase the different kinds of songs we’ve written and put them all onto an album that flows together\, making it tie together into something that means something.” \nThat’s exactly what they do on SLUFF’s twelve weird and wonderful songs. Recorded with producer Steve Fisk (Nirvana/Screaming Trees/Beat Happening/Car Seat Headrest/Low/Minus The Bear) in Seattle at Avast! and Soundhouse Studios over the course of two and a half weeks in October\, the record is a dizzying mélange of influences and ideas. It swirls with hyperactive restlessness as 1960s harmonies share space with 1970s riffs while at the same time battling an undercurrent of punk rock and more modern indie influences. The song “TV”\, for example\, is a kaleidoscope of sound that seems to take in the whole history of rock’n’roll but reframes it in a more contemporary context. \n“From our perspective as millennials where everything is accessible all at once\,” explains Aiello\, “there is no difference to us between punk and classic rock or anything like that because we’re all observing it at the same time through the same lens. And yes\, history exists\, but if you’re just flipping through something on the TV\, it all kind of conflates together – kind of like the song does.” \nNeedless to say\, that song simmers with tension\, and it’s not the only one. “Everybody Thinks They Know (But No One Really Knows)” is a jaunty\, upbeat jangle but with distinctly sinister undertones\, “Slow Dance II” is a sumptuous\, soulful track with a desperate\, raw and bluesy swagger. “Dat Boi” is a rash of brash guitars that’s soon swept by an off-kilter\, psychedelic melody while closer “Shredded Again” is a graceful\, lackadaisical comedown after the rush of energy that precedes it. Raucous and rabid\, but also considered and complex\, Naked Giants’ music is the sum of all their influences and then some. And then some more. \n“What’s really interesting to me\,” ponders Aiello\, “is we have very different influences\, so when we’re jamming it’s like it’s being pulled apart and pushed together in so many different directions. And I think that’s a good thing.” \nThen\, of course\, there’s the quasi-grunge title track\, which chugs along with an ominous yet uplifting attitude as its title is shouted with a fervent zeal – “SLUFF!” – and which carries with it both the weight of the world and the reckless abandon of youth. \nSo while Naked Giants are happy to play the role of the dumb\, hedonistic rock band\, don’t be fooled for a second – they’re one of the brightest\, smartest acts out there at the moment. And this is also just the beginning of what they’re already planning to be a long and rewarding career. Even at this early stage\, they’re taking it as seriously as they are just having a good time. They have a lot to say and they’re not afraid to say it\, but they also relish in what making music has\, even already\, given back to them. \n“Performing on a stage has been very purpose-giving\,” says LaVallee. “Being in a group of people all experiencing music together brings a strong sense of community\, which excites me. Hopefully going forward we’ll be playing to more and more people. I want us to spread respect and fun rock’n’roll music to a whole lot of people. That just seems like a good deal all around.” \n“We’re just here to play music\,” says Mullen\, “so the more it goes well the more we’ll be thinking about our own art and our own voices. And that’s really the progression of it – personal growth and artistic growth. And whatever people think of that on a greater scale when it reaches them is all kind of up to them.” \n“Not everyone gets to go onstage and have a microphone in front of their mouth\,” says Aiello\, “so that’s a certain amount of responsibility. If you’re given the responsibility of having a microphone then you better say something pretty important. The pressure is to learn and listen to as much as we can so we can say the right thing and hopefully impact people.”
URL:https://royaleboston.com/event/car-seat-headrest/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180919T200000
DTEND;TZID=America/New_York:20180919T200000
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SUMMARY:The Growlers
DESCRIPTION:Presented by Bowery Boston \nDoors: 8:00 pm / Show: 9:00 pm \nTickets on sale Fri. 6/22 at noon! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nThe Growlers \n \nWebsite\nFacebook\nTwitter \nSince the release of their first LP Are You In or Out? In 2009\, The Growlers have forged their own twisted path on the global music scene. They’re the party band that grew into a traveling circus of psychedelia that spawned their own event\, Beach Goth. Lead singer Brooks Nielsen draws a particular devotion among Growlers fans\, as does chief cohort Matt Taylor\, The Growlers’ music director and chief guitarist. Their most recent LP was 2016’s City Club\,produced by Julian Casablancas\, which saw them expand their palette to include West African\, dance\, and electronic influences. The band is currently in the studio with Jonathan Rado (Foxygen) and Shawn Everett (The War On Drugs) and preparing for their Beach Goth World Tour 2018.
URL:https://royaleboston.com/event/the-growlers/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180921T180000
DTEND;TZID=America/New_York:20180921T213000
DTSTAMP:20260407T121320
CREATED:20180530T140033Z
LAST-MODIFIED:20180921T153859Z
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SUMMARY:[SOLD OUT] Alina Baraz
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 6:30 pm \nThis show is SOLD OUT! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nAlina Baraz \n \nFacebook\nTwitter \n*** \nCautious Clay \n \nWebsite\nFacebook\nTwitter \n“Ever since I started playing music\, it was always about the feel\,” says Josh Karpeh\, AKA Cautious Clay. “There are a lot of things in art that you can learn by practicing or studying\, but feel’s not one of them. It’s something you’ve just got to have.”          \nIt’s that feel\, that deep emotional intuition that fuels Cautious Clay’s sound. Blending R&B\, hip-hop\, and experimental indie\, his productions are dark and engrossing\, built upon a unique combination of organic instruments\, digital programming\, and soulful vocals. He writes with unflinching honesty\, engaging in deeply personal self-reflection with boldly vulnerable and vividly poetic lyrics. At times recalling contemporaries like James Blake or Sampha\, Cautious is a profoundly modern songwriter and a forward- thinking producer\, but he’s also steeped in the past\, quick to cite Burt Bacharach as an idol and credit Stevie Wonder and Quincy Jones as ever-present influences in his artful arrangements. \n“I used to think about songwriting and production as completely separate\,” he explains\, “but when I learned how to merge those two things\, that’s when I was able to start creating music that really connected with people.”  \nOriginally from Cleveland\, OH\, Cautious began his artistic journey at the age of seven when he picked up classical flute. His studies led him deep into the worlds of blues and jazz\, and by the time he hit college in Washington\, D.C.\, he’d added a number of other instruments to his repertoire in addition to songwriting and production. Now based in Brooklyn\, Cautious is currently preparing to release his debut EP\, Blood Type\, in February.
URL:https://royaleboston.com/event/alina-baraz/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180922T180000
DTEND;TZID=America/New_York:20180922T213000
DTSTAMP:20260407T121320
CREATED:20180611T150901Z
LAST-MODIFIED:20180611T150901Z
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SUMMARY:Butch Walker
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri. 6/15 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nButch Walker \n \nWebsite\nFacebook\nTwitter \nman… Bios kinda suck. I’ve been doing these things for so long now\, that I feel like just when I have written the mother of all things informative and maybe funny\, I go and record a new record. Why does shit always have to evolve and the information change every time another year goes by? Why\, since the last bio (which I felt was an understated masterpiece) did I have to go and do shit to deem it necessary for an update? Just because between the last album\, “I Liked it Better When You Had No Heart” and now\, I have: shot a video for “Pretty Melody” from the album ILIBWYHNH\, wore a tv on my head in it and fought ninjas\, got it featured on YouTube and it got a half million views\, did a sold out headlining tour of the states last year\, supported Train on a sold out tour of the states\, then went and supported Pink on a sold out stadium tour of Europe all summer\, including sold out headlining club shows of our own over there. Hmmm… What else.. Oh! Taylor Swift heard a little version I did of her song\, “I Liked it Better When You Belonged With Me” (or was it “You Belong With Me”? I can’t freaking remember…). She called me and asked if she could play my version of it on the Grammys and would I mind playing along side her and Stevie Nicks for the performance. Then she fell in love with me and ran away to Barcelona to elope\, only to find out that while I was in the bathroom at the airport\, she fell in love with Jake Gylenhall (sp?)\, who stole my fucking seat next to her in the waiting terminal…. Ok… I made that last part up. Fun right? No? Ok.. Like the fans are always telling me\, don’t talk about politics\, religious views or Tay Tay Swift. \nI should mention the band i play in. Just like the last record\, this record was recorded\, written and produced by me and the Black Widows. It consist of my longtime bandmates\, Chris Unck on guitar\, lap and pedal steel. He’s a redneck from the north Georgia mountains who I think wrestled alligators at one time\, and built lighthouses. He also fronted Chris Unck and the Black Roses.. Until I stole him. Fran Capitanelli on lead guitar is also a friend of mine that resided in Atlanta during my tenure there\, and he played guitar and sang lead in a band I loved called The Tom Collins. Until I stole him. He is the Professor of Energy…. Ask him to explain. Jake Sinclair on bass is not only the tallest\, skinniest bassist I know\, but he’s also the best. He’s even better than me\, and I’m fucking awesome. I met Jake while producing a record for his band The Films…. Until I stole him. I bartered with him though. I told him he could also engineer the records I make in my studio with me (he’s also the best engineer I know) and that his singer/songwriter in the Films\, Mike Trent\, would have to join in on the Black Widows writing process. I kinda made out good on this whole deal\, because Mike is one of the most unsung singer/songwriters I know\, and the lyrical collaborations we have done on the last couple of records have been my favorites. Oh yeah\, Mike’s wife (Cary Ann Hearst) is also an amazing singer/songwriter that I produced a record for last year…. She sang backup vocals on the new Widows record. It’s a family affair… \nso this is the part of the bio where I’m supposed to describe the new record by us called “The Spade”. I’m supposed to inject words about the songs like “soaring”\, “pounding”\, “climactic”\, and maybe even a “unrivaled”…… But I just can’t talk like that about my own music. But what I can say is\, just like my bass paying skills….. It’s fucking awesome. we will be on the road this year a lot\, and probably sleeping at many KOA campgrounds this fall. More than likely\, you are reading this because you don’t know shit about me and you are about to interview me for your school paper or local radio station visit (yes\, im in the lobby) and you need to find out a few things about me to talk about. It’s ok. I’m not mad. I’m not very popular and I don’t blame you if you “just aren’t into the music”. You may not have read this far\, or been able to get past the bass playing part\, but if you have\, then I commend you. Let’s talk…. \nend of bio. \n*** \nGreg Holden \n \nWebsite\nFacebook\nTwitter \nGreg Holden is an accomplished musician with a myriad of talents\, but his unending perseverance\, selflessness\, and sincerity stand out.  \nThe British-raised\, Los Angeles-based singer/songwriter has garnered recognition as an independent artist for the past several years and is likely best known for writing American Idol winner Phillip Phillips’ hit debut single\, “Home\,” which sold over five million copies in the U.S. and earned Holden an ASCAP Pop Award. His music has also been featured on notable television shows including Sons of Anarchy\, Private Practice\, and One Tree Hill. In addition to earning praise from industry staples such as Cher\, Tom Hanks\, Josh Groban\, Sara Bareilles\, Michael Bublé\, Zane Lowe\, TIME\, NPR\, and more\, Holden has racked up critical acclaim in the press\, with BuzzFeed hailing his “soaring\, purpose-filled songs that carry real emotional weight\,” Paste lauding his “clear vocals” and “expressive lyrics\,” and Nylon applauding his unique ability to “actually touch the lives of another person with raw\, emotional lyrical poetry.” \nDespite his impressive accolades\, Holden nearly gave up on the music business in the early days of his career. After self-funding his Tony Berg-produced sophomore album\, I Don’t Believe You (2011)\, the label due to release it folded\, thus the promotional efforts for the record. He then went into debt during a sold-out tour of Europe\, so much so that he basically called it quits while on the road. Most artists would have thrown in the towel at this juncture\, but Holden persisted through these setbacks\, leading to the well-deserved\, massive success of “Home.” He then went on to self-fund his third studio album\, the critically acclaimed Chase The Sun (produced by Greg Wells\, 2015)\, later licensing the record through Warner Brothers Records. \nHolden is excited to be back in the ring with his impressive new single\, “On The Run\,” produced by the iconic Butch Walker (Katy Perry\, Panic! At The Disco\, Weezer). The track is an uplifting anthem complete with catchy hooks that perfectly mesh with Holden’s strong\, heartfelt vocals. “ ‘On The Run’ is one of a few songs that was bouncing around in my head when it came to the question of what to lead with after three years on the dark side of the moon\,” says Holden. “Ultimately\, this song felt like the most authentic\, whilst at the same time not being so typically subject heavy that I would scare my listeners away. I’ll save that for the second single…” \n“ ‘On The Run’ is an apology\, obviously. But it’s an apology to a number of people\, for a number of things\,” he adds. “For years I’ve been on the road\, either emotionally or physically absent\, and at times probably a nightmare for partners\, friends\, and family. I wanted to write something that in a way\, said sorry for all that. A way to relinquish some of the guilt perhaps. I recorded it last winter with Butch Walker\, along with some incredibly talented friends. It took a morning\, it was a blast\, and then we were done. It feels right to lead with this one as it came out so naturally.” \nThis summer\, Holden is also set to debut “The Power Shift\,” a political\, call-to-action earworm. Holden produced and wrote the song himself\, and it aligns with his rebellious spirit of pushing back against the status quo. “I was trying to manifest a collective call on the\, for lack of a better word\, bullshit. I think it’s important that when someone is lying to you\, you call them out\,” says Holden. Although there was no singular event or figure who inspired him to write the track\, he notes his frustration with a growing series events around the world. “I was getting tired of screaming into the social media echo chamber and really wanted to put my frustrations into a song that wasn’t so toxic. I’m under no illusion that this is just a song\, but it’s better than a tweet.” \nAdditionally\, Holden has not taken his success in the music industry for granted and at times has worked to prioritize philanthropy and establish his profile as a socially conscious artist. Standout track\, “The Lost Boy\,” (from I Don’t Believe You)\, inspired by a Dave Eggers’ novel about a Sudanese refugee\, was the theme for a Red Cross campaign in The Netherlands that raised over $50\,000 for the organization. His hit single from Chase the Sun\, “Boys In The Street\,” an acceptance anthem that discusses a gay son’s strained relationship with his father\, directly benefited LGBTQ youth by raising money for the Everyone Is Gay organization’s 2014 fundraiser\, The Gayest Compilation Ever Made II. It’s an emotional\, poignant track that Tom Hanks called “The perfect song.” \nNeedless to say\, Greg Holden is an artist to watch in 2018\, with more new music expected later this year. Stay tuned for exciting news to come.
URL:https://royaleboston.com/event/butch-walker/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
END:VCALENDAR