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DTSTART;TZID=America/New_York:20190518T180000
DTEND;TZID=America/New_York:20190518T180000
DTSTAMP:20260404T192800
CREATED:20190130T170058Z
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SUMMARY:[SOLD OUT] PUP
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 open to all ages. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nPUP \n \nWebsite\nFacebook\nTwitter \n*** \nRatboys \n \nWebsite\nFacebook\nTwitter \nBorn out of fierce friendship and a mutual affection for melody\, Chicago’s Ratboys – anchored by the partnership of Julia Steiner and Dave Sagan – aim to ‘write songs that tell stories and honor the intimacy of memory\,’ according to Steiner.  \nGN\, the group’s second full-length album via Topshelf Records\, offers a bevy of tales\, laments and triumphs\, which recount near-tragedies by the train tracks\, crippling episodes of loneliness\, remembrances of a deceased family pet with freezer burn\, and on and on. The songs shift and breathe as worlds all their own\, tied together by the group’s self-proclaimed ‘post-country’ sound\, which combines moments of distortion and a DIY aesthetic with a devotion to simple songwriting and ties to the Americana sounds of years past. \nDrawing influence from the down-to-earth sincerity of late-90s Sheryl Crow and the confessional confidence of Kim Deal and Jenny Lewis\, the songs on GN (aka ‘goodnight’) “largely detail experiences of saying goodbye\, finding your way home\, and then figuring out what the hell to do once you’re back\,” says Steiner. The songs chosen to close both sides of the record – the slow-burning ‘Crying About the Planets’ and quizzical ‘Peter the Wild Boy’ – unpack the respective journeys of two real people who were quite literally lost and found. ‘’Crying’ tells the survival story of Antarctic explorer Douglas Mawson from a first-person perspective\, and ‘Peter’ reflects on the life of a feral child in Germany who was eventually adopted by the King of England\,’ according to Steiner. ‘Writing as and about these people is the best way I can attempt to empathize with them and really just wrap my mind around these bits of history that otherwise might not get talked about. And it helps me understand my own experiences a little bit better\,’ she says.  \nCertain personal stories – the tour adventures recapped in ‘GM\,’ the struggle to learn to show affection as divulged in ‘Molly’ – find Ratboys just as eagerly exploring subject matter that comes from within\, and then illustrating the highs and lows with soaring hooks and plaintive ones. Even in the moments that lie somewhere between bliss and misery\, a tension persists between Steiner’s sweet vocal delivery and Sagan’s physical\, almost-off-the-hinges guitar playing that lends each song a deeper sense of color and movement.  \n
Steiner and Sagan felt the impulse to make music together from the get-go – they first met as university students\, quickly put out an EP together\, and started performing as an acoustic two-piece in dorm rooms and backyards. During the next few years\, the friends traveled separately\, eventually reunited\, and recorded what would become the first Ratboys record\, AOID\, which the folks at GoldFlakePaint describe as ‘a gleaming\, joyous\, raucous display of melodic indie-rock.’  \n
After a year and a half of touring the US and Europe as a plugged-in full band (featuring the additions of drums\, bass\, and trumpet)\, the members of Ratboys returned to Chicago and holed up at Atlas Studios for two weeks to record with engineer Mikey Crotty (who had previously worked with the group on the songs ‘Not Again’ and ‘Light Pollution’). ‘This time around\, we were lucky enough to feature the talents of friends who play the pedal steel\, accordion\, cello and violin to give the songs an extra something\,’ says Steiner. ‘Dave finally got to show off his ridiculous skills on the pocket piano\, and the whole thing felt like one big loving experiment.’ \nRatboys keep the good times going in 2018 with a new EP called GL (aka Good Luck). Featuring four songs recorded shortly after the GN sessions\, this new companion piece expands upon themes of isolation and memory\, while focusing closely on the ups and downs of personal relationships.  \n‘Each of the songs on GL sounds like its own little world\, which is what we set out to do\,’ Steiner says. With each song sounding distinct from the rest\, the EP offers up four different takes on the sounds of heartache.  \nOn the heals of their newest release\, you can find Ratboys on the road\, playing songs old and new all over North America and Europe. \n*** \nCasper Skulls \n \nWebsite\nFacebook \nCasper Skulls burst forth from the Toronto exurbs in 2015. Described by MTV as a collection of  “confrontational art rock that bleeds with sincerity\,” and drawing comparisons to luminaries like Television\, The Fall (The Toronto Star)\, Pavement\, and Sonic Youth (Noisey)\, their debut EP\, Lips & Skulls (Buzz) attracted immediate attention from audiences in Toronto and up and down the Eastern seaboard. Riding the wave of rising excitement\, the band hit the road\, hard\, touring extensively and sharing stages with acts like Cloud Nothings\, Thurston Moore\, Suuns\, Weaves\, The Julie Ruin\, Solids\, Greys\, and Chastity Belt. \nFollowing the reverberating shout that was the band’s first EP\, Casper Skulls debut full length\, Mercy Works\, (out now on Buzz) is a startlingly ambitious statement of intent. The album was recorded in early 2017 with co-producer/engineer Josh Korody (Fucked Up\, Dilly Dally)\, and mixed by Alex Newport (At The Drive-In\, Death Cab For Cutie). While the rough and ready post-punk and lo-fi early ’90s indie influences present on the band’s first recordings still provide the foundation\, there is a sense of scale on display in their swelling guitar figures and sweeping string arrangements (provided by Toronto musician Paul Erlichman). Each of the album’s 11 songs are densely arranged\, intricately written and performed with an uncommon earnestness. \nDual songwriters and vocalists Melanie St. Pierre and Neil Bednis seek to represent lived experience in immense detail\, engaging with a diverse palette of references\, both musical and lyrical. Whether drawing on the poetry of William Blake (“What’s That Good For”)\, the dystopian sci-fi of Philip K. Dick (“Colour of the Outside”)\, or ruminating on mortality and evolving personal/cultural legacies through Elvis Presley and Paul Simon’s trips to Graceland (“You Can Call Me Allocator”)\, St. Pierre and Bednis collect pieces of the world around them and imbue them with new meaning as they attempt to understand their place in it.  \nSwirling standout “I Stared at ‘Moses and the Burning Bush’” deals with the role of religion in experiences of grief\, cleverly wrapped in a reference to a ’80s pop artist Keith Haring. “I like the idea of exploring biblical imagery without necessarily picking sides\,” says Bednis. “It’s rationed throughout the songs what my stance is\, if I even have a stance. I find that religion can be therapeutic when people in your life die….(It) doesn’t necessarily need to be a sacred thing.” \nDespite how swiftly they seemed to have reached songwriting maturity\, Casper Skulls still see themselves as being at the beginning of their journey – an enticing prospect given the self-assuredness that underpins their debut.  \n“We’re really only at the start of being a band\,” says St-Pierre agrees. “Our records don’t have to move mountains as long as we’re being true to our own ideas. We want to be a slow burning candle.”
URL:https://royaleboston.com/event/pup-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20190519
DTEND;VALUE=DATE:20190521
DTSTAMP:20260404T192800
CREATED:20190312T160601Z
LAST-MODIFIED:20190509T153208Z
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SUMMARY:Glykeria and Kostas Karafotis
DESCRIPTION:Sunday May 19th 2019 \n21+ \nDoors open at 8pm \n$50 general admission
URL:https://royaleboston.com/event/glykeria-and-kostas-karafotis/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20190528T190000
DTEND;TZID=America/New_York:20190528T190000
DTSTAMP:20260404T192800
CREATED:20190211T170047Z
LAST-MODIFIED:20190211T154949Z
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SUMMARY:The Distillers
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Thu. 2/14 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nThe Distillers \nFacebook \n*** \nStarcrawler \n \nWebsite\nFacebook\nTwitter \nStarcrawler are a Los Angeles rock & roll band formed one year ago when Arrow de Wilde first met Henri Cash on the high school yard in Echo Park. The rhythm section of Austin Smith and Tim Franco came soon after\, found on the streets of Hollywood. They play rock & roll music heavy and loud and their incendiary performances resemble the children of the Cramps\, the Yeah Yeahs Yeahs\, and Alice Cooper. \n“Ants\,” a song they recorded days after first playing together\, was quickly discovered by London DJ Matt Wilkinson and debuted on Apple Beats One radio just as the band were playing their first few shows. The DJ loved it so much\, he played it twice in a row. Soon after\, it found its way to Sir Elton John\, who spun it on his “Rocket Hour” radio program\, as well as to Zane Lowe\, who played it to further accolades. Much media interest both from the music and fashion worlds has quickly followed. “Ants” & the forthcoming “Used to Know” are from an early session recorded by Steven McDonald (Red Kross) and document the unhinged beginnings of the group taking their first steps into the public eye. They have only now found the time to take a breath and are recording their more fully realized debut LP at Pax Am studios in Hollywood with Ryan Adams producing\, due out later this year. \nAs a group\, Starcrawler embodies that strange archetypal mojo that one finds in certain gangs of young rockers\, only once or twice a generation; all the while still kicking and screaming as they sprint toward finding something new and entirely of their own. The band consists of Arrow de Wilde on lead vocals\, Henri Cash on guitar\, Austin Smith on drums\, and Tim Franco on bass.
URL:https://royaleboston.com/event/the-distillers/
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:20190530T190000
DTEND;TZID=America/New_York:20190530T190000
DTSTAMP:20260404T192800
CREATED:20190103T141741Z
LAST-MODIFIED:20190321T151923Z
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SUMMARY:6th Annual Battle of the Biotech Bands
DESCRIPTION:21+
URL:https://royaleboston.com/event/6th-annual-battle-of-the-biotech-bands/
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:20190531T180000
DTEND;TZID=America/New_York:20190531T180000
DTSTAMP:20260404T192800
CREATED:20181113T150023Z
LAST-MODIFIED:20190426T172447Z
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SUMMARY:Lady Lamb
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 6:30 pm \nTickets on sale Fri 11/16 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*** \nLady Lamb \n \nWebsite\nFacebook\nTwitter \n*** \nKatie Von Schleicher \n \nWebsite\nFacebook\nTwitter \nKatie Von Schleicher rose from intern to artist on Brooklyn label Ba Da Bing with Bleaksploitation\, a self-recorded 2015 mini album of irreverent\, fuzz-laden tunes. On her debut full-length\, Von Schleicher strikes again on the magic that comes from her warped and uncompromising sound. Shitty Hits channels the bright\, sunny radio burners of the 1970’s\, songs you drive to\, carefree\, and songs you can cry to\, which The Guardian describe as “Portishead meets the Beatles\,” and NPR’s Bob Boilen calls “one of those constant repeat records for me.” \nConjuring the home recorded sound of Paul McCartney’s McCartney or Jeff Buckley’s Sketches For My Sweetheart The Drunk\, Shitty Hits was created on a tape machine at Von Schleicher’s childhood home in Maryland. Where Bleaksploitation courted a kind of sonic nihilism\, Shitty Hits shows confidence\, growth and unflinching self-realization. Inhabiting the roles of producer and engineer\, Von Schleicher cements her voice as one to be reckoned with\, parsed and pored over\, on an album that is “never less than beguiling” (Pitchfork). \n*** \nAlex Schaaf \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/lady-lamb/
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:20190601T190000
DTEND;TZID=America/New_York:20190601T220000
DTSTAMP:20260404T192800
CREATED:20190222T175827Z
LAST-MODIFIED:20190222T175938Z
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SUMMARY:Zveri Live at Royale
DESCRIPTION:ZVERI The Best!\nOne of the biggest Russian Rock Bands is coming back to Boston.\nDoors 7pm/Show 8pm\n\nAdvance:\nGA 75\nVIP 105\n\nDay of:\nGA 85\nVIP 115
URL:https://royaleboston.com/event/zveri-live-at-royale/
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:20190603T190000
DTEND;TZID=America/New_York:20190603T190000
DTSTAMP:20260404T192800
CREATED:20190219T150010Z
LAST-MODIFIED:20190225T003820Z
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SUMMARY:[SOLD OUT] Empire of the Sun
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show is now 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*** \n \n*** \nEmpire of the Sun \n \nWebsite\nFacebook\nTwitter \nAlt/Electronic pioneer Empire of The Sun has been making waves across the world with phenomenal live shows and anthemic smash hits for the last decade. Across multiple countries\, touching more than 100 cities in recent years\, Empire of The Sun’s dynamic performances are like nothing else on earth. \nEmpire of The Sun has amassed more than 1.75 billion total streams and has reached multi-platinum status with global singles “Alive”\, “We Are The People”\, “Walking On A Dream” and “High & Low”. In celebration of Walking On A Dream’s tenth anniversary\, Empire Of The Sun re-released their album on a limited-edition vinyl\, which included a free download of newly released track “Chrysalis”. The third album\, Two Vines debuted at #1 on the US Dance/Electronic Albums Chart and #8 on the US Alternative Albums Chart. The single\, “Walking on A Dream\,” has more than 210 million Spotify streams and 87 million YouTube plays. Empire of The Sun has more than 650 million streams on Spotify and more than 300 million YouTube views.  \nThe last few years have been huge for the band with standout performances at the likes of Coachella\, for their third time\, Ultra Music Festival\, Outside Lands and Governors Ball. The 2015 US West Coast tour culminated in a spectacular sold-out headline performance at the legendary Hollywood Bowl venue in front of more than 17\,000 fans.
URL:https://royaleboston.com/event/empire-of-the-sun/
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:20190604T190000
DTEND;TZID=America/New_York:20190604T190000
DTSTAMP:20260404T192800
CREATED:20190225T165724Z
LAST-MODIFIED:20190225T165724Z
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SUMMARY:Empire Of The Sun
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nSecond show added due to overwhelming demand! Tickets are on sale Fri. 3/1 at 10am!  \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*** \nEmpire of the Sun \n \nWebsite\nFacebook\nTwitter \nAlt/Electronic pioneer Empire of The Sun has been making waves across the world with phenomenal live shows and anthemic smash hits for the last decade. Across multiple countries\, touching more than 100 cities in recent years\, Empire of The Sun’s dynamic performances are like nothing else on earth. \nEmpire of The Sun has amassed more than 1.75 billion total streams and has reached multi-platinum status with global singles “Alive”\, “We Are The People”\, “Walking On A Dream” and “High & Low”. In celebration of Walking On A Dream’s tenth anniversary\, Empire Of The Sun re-released their album on a limited-edition vinyl\, which included a free download of newly released track “Chrysalis”. The third album\, Two Vines debuted at #1 on the US Dance/Electronic Albums Chart and #8 on the US Alternative Albums Chart. The single\, “Walking on A Dream\,” has more than 210 million Spotify streams and 87 million YouTube plays. Empire of The Sun has more than 650 million streams on Spotify and more than 300 million YouTube views.  \nThe last few years have been huge for the band with standout performances at the likes of Coachella\, for their third time\, Ultra Music Festival\, Outside Lands and Governors Ball. The 2015 US West Coast tour culminated in a spectacular sold-out headline performance at the legendary Hollywood Bowl venue in front of more than 17\,000 fans.
URL:https://royaleboston.com/event/empire-of-the-sun-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190607T180000
DTEND;TZID=America/New_York:20190607T180000
DTSTAMP:20260404T192800
CREATED:20190219T150015Z
LAST-MODIFIED:20190405T171304Z
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SUMMARY:Ibeyi
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri 2/22 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*** \nIbeyi \n \nWebsite\nFacebook\nTwitter \nAshes typically have a funereal connotation\, and suggest a sense of crumbling. And it’s true that the two sisters of the electronic-soul duo Ibeyi\, Lisa-Kaindé and Naomi Díaz\, wrote the first song on their album Ash\, also entitled “Ash\,” during the American elections. Despite the heaviness in the air\, Ibeyi sought to write a song that plucked positivity from the very place where all hope seemed to be lost\, which\, in turn\, became an underlying theme for the album as a whole. “We can do positive things with ashes\,” Naomi says. “Ashes can fertilize\,” Lisa-Kaindé adds. “There’s still hope.” \nOn September 29th\, Ibeyi will release Ash via XL Recordings. Their first album\, the eponymous Ibeyi\, grappled with the past—the sister’s relationship\, origins\, loss\, and roots. It earned them fans and collaborators in some of the most iconic and crucial artists of today\, Beyoncé and Alvin Ailey included. By contrast\, Ash is a more visceral and potent political statement\, and while firmly rooted in Afro-Cuban culture and history\, finds itself entirely concerned with Ibeyi’s present: Who Lisa-Kaindé and Naomi are\, what’s important to them\, and how they live today\, especially given that the spheres\, both personally and politically\, are entirely different from when Ibeyi was recorded. It’s also a testament to their cathartic live performances\, where they’re able to transmute a vast array of emotions—sorrow\, anger\, sensuality\, happiness—to and through their fans. \nAsh is also a study in deft electronic production. The album’s rapturous opener “I Carried This For Years\,” awash with Lisa-Kaindé and Naomi’s voices interlacing with each other and a sampling of the “Dragan I Slavei” by the Bulgarian choir Le Mystere Des Voix Bulgares\, evokes the sense of both a mantra and a rallying cry. “This album was born because of feelings we had in our bellies\, whether it’s energy that wants to get out\, fear\, love\, anger\, joy and hope\,” Lisa-Kaindé says. “All the songs and the subjects that we’re talking about on this album\, we’ve actually been carrying them for years.” The meditative quality of single-line repetition also grounds mighty tunes like “No Man Is Big Enough For My Arms\,” which features samples of a speech given by former First Lady Michelle Obama and is drawn from a phrase in Jennifer Clément’s Widow Basquiat\, which Lisa-Kaindé was reading during one of the recording sessions. \nIbeyi worked once again alongside XL head Richard Russell\, a confidante and friend\, to produce Ash at his studio. “We absolutely wanted\, 100%\, to work with him again: It was not even a question\,” Lisa-Kaindé says. “Richard is an amazing producer…wherever you want to go\, he will guide you there. But it feels like you’re playing with him. You’re sharing ideas together and he has an amazing ear. It’s like a flow\, it’s really easy.” To that effect\, Naomi adds: “It’s like we produced the album too\, actually\, and it’s a good feeling.” Along with Russell’s stylized production sensibilities\, Ibeyi drew from a host of influences ranging from Kendrick Lamar\, Jay Electronica\, Meshell Ndegeocello\, Erykah Badu and Nina Simone and beyond\, to craft the wide-ranging musical landscape of Ash. Yet visual art also played a pivotal role here\, with the sisters particularly drawing inspiration from video artist Chris Cunningham for the striking “Numb.” \nThe sisters have never shied away from writing lyrics that reflect the depth of their shared history\, and include songs written in English\, French and Yoruban. Yet Ash also brings with it the first song the two have written that includes Spanish lyrics\, “Me Voy.” It’s not a coincidence that Lisa-Kaindé wrote the song when she was leaving Cuba\, a place where Ibeyi holds strong roots. The moving “Me Voy\,” which also features the vocal styling’s of the Spanish hip-hop artist Mala Rodríguez\, is also firmly intended to be a sensual song. “I feel when women talk about sensuality and it’s felt\, not only is it sexy but really powerful\,” Lisa-Kaindé says. “And also\, it’s really complicated: Sensuality is not being sexy.” \nInstrumentally\, Ash finds Naomi refining her skills at the cajón and the batá\, and Lisa on the piano\, and expands the use of electronics\, as well. It’s the idea of transmission\, though\, that lies at Ash’s core. “I think it’s one of the most important words that I know!” Lisa-Kaindé explains. “I wanted to be a music teacher when I was younger. So transmission has always been important for me. I feel like I was also raised by strong\, independent women and I think they transmitted that to me. I think that also artists saved my life through their art; that they transmitted to me. I feel like the most important thing you can do is transmit to people your truth and your energy and what you feel and how you feel when you’re a musician.” \nThis symbiotic exchange is writ large on Ash\, especially on the seven-minute-long epic and album centerpiece “Transmission/Michaelion.” It’s a song that Ibeyi wrote with their fans in mind\, and envision singing the song’s vivid chorus—“we sing and our tears dry / facing a clear sky”—at their cathartic live shows in a beautiful\, intense and symbiotic moment. The venerable Meshell Ndegeocello lends her talents on the bass for the song\, and it also features an excerpt from The Diary of Frida Kahlo\, as read by Maya Dagnino\, Lisa-Kaindé and Naomi’s mother (who also co-wrote many of the lyrical parts of Ash). “Richard has a seventh sense of knowing when a song needs a sample\,” Lisa-Kaindé explains. “And he said\, ‘It would be awesome to have a sample of a strong woman you admire\,’ and we said ‘Frida Kahlo!’” the two exclaim together. The two then asked Dagnino to choose a passage she felt connected with\, which resulted in the powerful Spanish mid-section of “Transmission/Michaelion.” Pies para qué los quiero / Si tengo alas pa’volar\,” she reads (“Feet\, what do I need them for / If I have wings to fly?”). \n“Transmission/Michaelion” also delves into a sample of the poet Claudia Rankine’s audiobook Citizen: An American Lyric\, in which she proclaims: “I don’t know what the water wanted.” This idea especially has resonance for Lisa-Kaindé\, who is the daughter of the Yoruban sea goddess Yemaya. “So she’s obsessed with water\,” Naomi says. “I love water. But my god\, I’m the thunder.” Naomi’s seismic presence has always been integral to the Ibeyi DNA\, especially where the duo’s production is concerned. But she has a more vocal presence on Ash; she shares lead vocal parts with her sister\, and on the likes of the lapping “Waves\,” which features just a synth and her raw vocals\, she steps completely into the spotlight. “I said to Lisa\, ‘I want to be more present\,” Naomi says. “I think when you see us\, we’re both doing the project. But for the first album\, you maybe thought Lisa was more in the front and I wanted to sing more on this one.” \nThe potency of Lisa-Kaindé and Naomi’s vocal interplay is especially evident on the barreling grooves of “Away\, Away\,” which Ibeyi released as Ash’s first single. It’s a song that demands to be listened to at top volume\, windows down\, as the two sing the tale of a girl who looks out the window\, sees the world falling down around her\, and doesn’t do anything about it. Until she begins to sing\, that is. “It’s the start of this fire that she feels in her belly and this energy that is going to make her do something\,” Lisa-Kaindé says of the girl in the song. It’s reflective of how a call to arms is a central theme on Ash. For instance “When Will I Learn\,” which features Chilly Gonzales on the piano\, deals with the idea of reversing past mistakes\, particularly concerning making others happy at the expense of your own-well-being. \nWhile Ash is an imprint of the sisters’ lives at this particular moment\, it’s also reflective of a lifetime of reckoning\, particularly with injustices not limited to the systematic oppression of police violence and racism. “Deathless\,” which features the incomparable Kamasi Washington on saxophone\, was written in the wake of an experience that Lisa-Kaindé had when she was sixteen that involved her being wrongly arrested by French police. “They were talking three centimeters away from my head saying\, ‘Are you fucking kidding me?’ and being really loud…he assumed I was obviously a drug addict or a dealer\,” she remembers. So he was really mean and rough\, and then he took my bag.” \nLisa-Kaindé mentioned the story to Russell\, who asked if she wanted to write a song about it. So she went home and wrote the emotive\, “Deathless\,” which describes her experience in unsparing detail\, and extends a hand towards anyone who has ever been made to feel inferior through an anthemic chorus. “I was writing ‘Deathless’ as an anthem for everybody!” Lisa-Kaindé says. “For every minority. For everybody that feels that they are nothing\, they are small\, who cares. And I want them to listen to that song and for three minutes feel large\, powerful\, deathless. I do have a huge amount of respect for people who fought for what I think are my rights today. And I think the fact that I’m saying ‘we are deathless’ is saying that they are living through me and trying to be in a better world.” \n*** \nSudan Archives \n \nWebsite\nFacebook\nTwitter \nSink\, the anticipated follow up to Sudan Archives’ self-titled debut\, continues to define the experimental R&B artist as a singular new voice. Her unique blend of ethereal R&B vocals\, violin figures and hip-hop beats has already won over the likes of Pitchfork\, the New York Times\, The Guardian\, NPR Music\, and more. “‘Sink’ describes the way I want my music to make you feel\,” she says\, “It’s inspired by my love of fluidity\, movement of jellyfish and water.” \nSudan Archives (Sudan for short) taught herself to play the violin in elementary school\, mostly by ear. After discovering the violin playing style of both Northeast and West African fiddlers and musicians like Asim Gorashi\, Ali Farka Touré and Juldeh Camarah\, her eyes opened to new ways of incorporating this instrument into her sound. “The way they played the violin was different from classical music. I resonated with their style\, and I was like\, maybe I can blend it with electronic music.” \nFusing folk music and electronic production was the turning point for Sudan. “I started mixing my violin into beats\,” she says\, “I’d just sing straight into the iPad.” She’s refined her early DIY style to a setup that centres on a midi violin\, and creates most of her songs\, synths and bass lines from the violin synthesizer. She moved to Los Angeles to study music technology at age 19\, and signed with Stones Throw in 2017. \nNow 24 and just beginning her career\, Sudan Archives is already winning fans around the world. After releasing her debut EP\, she toured the US (both solo and with Tune-Yards) and Europe. Her recent performances at SXSW were described by NPR Music\, Pitchfork\, the Chicago Tribune and more as highlights of the week. \nSudan Archives will make her Coachella debut this April before bringing her electrifying live show to Japan. This summer she’ll also return to Europe to perform at Field Day\, Best Kept Secret\, RUSH Festival\, and more.
URL:https://royaleboston.com/event/ibeyi-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:20190609T180000
DTEND;TZID=America/New_York:20190609T220000
DTSTAMP:20260404T192800
CREATED:20190314T165101Z
LAST-MODIFIED:20190314T165101Z
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SUMMARY:Pabllo Vittar - Live in Concert!
DESCRIPTION:Doors at 6pm \nShow at 8pm \nOver at 10pm
URL:https://royaleboston.com/event/pabllo-vittar-live-in-concert/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20190612T200000
DTEND;TZID=America/New_York:20190612T200000
DTSTAMP:20260404T192800
CREATED:20190301T170046Z
LAST-MODIFIED:20190401T193937Z
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SUMMARY:Feed Me
DESCRIPTION:Presented by Bowery Boston \nDoors: 8:00 pm / Show: 9:00 pm \nTickets on sale Fri 3/1 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*** \nFeed Me \n \nWebsite\nFacebook\nTwitter \nFitting in within the current world of electronic music might be something most producers have usually figured out after a decade plus on the scene\, but for British born DJ/ producer Jon Gooch\, fitting in has never been much of a priority. Moving through genres as Feed Me\, Spor and Seventh Stitch\, Jon has given himself the freedom to become whatever he wants to be\, and create as he sees fit.   \n“I have no idea how I fit into electronic music as a scene\, but I hope I can keep it that way.” he says\, “Shifting identities has let me pursue all these avenues\, create new places to exist. From the day I joined the internet I was an alias in some form or other\, and each time you can start again.” \nJon’s path into production was largely self-taught\, playing with software in a spare room of his family home\, whilst working as an online graphic designer (his passion for art is still present across his various projects\, designing artwork and Feed Me’s infamous green monster).  \nAn early fascination of sounds and influences from his parents collection of records (Tubular Bells\, Yes\, Pink Floyd) into Placebo\, Radiohead and Squarepusher\, resonated with him and piqued his interest around the way these sounds were created.  “I started hearing more and more music that made me wonder how the sounds were made. It’s that fascination – is it organic or synthetic? When sounds sit in that space I become really interested”.  \nTransforming between the electro/ house sounds of Feed Me\, the dark drum and bass of Spor and the more creative leftfield output of Seventh Stitch\, Jon has released multiple projects across labels such as Lifted Music\, his own imprint Sotto Voce and most notably deadmau5’s label mau5trap that launched his exponential rise as Feed Me.  \nLeaving behind university when music started to take off\, Jon got a few shows under his belt before pursuing it as a full time career\, “I quit in my fourth year and lied to my family that I was still going.” He admitted\, “It gave me about a year to make something of myself before they noticed!” \nBecoming the first outside act to sign with deadmau5’s label in 2010\, he released ‘Feed Me’s Big Adventure’\, ‘To The Stars’ and ‘Feed Me’s Escape from Electric Mountain’ as part of the mau5trap family. Followed by his debut album ‘Calamari Tuesday’ in 2012\, the project saw Jon’s profile (along with his little green monster) dramatically rise\, with the creation of the Teeth live show launching a sold out 20 date tour of the US.  \nA few releases followed on Jon’s Sotto Voce imprint\, 2014’s ‘Feed Me’s Psychedelic Journey’\, ‘A Giant Warrior Descends on Tokyo’\, and ‘Feed Me’s Family Reunion’\, before returning to mau5trap for ‘Existential Crisis’ along with another 30 date live bus tour across the US and festival appearances at Fuji Rocks Japan\, Creamfields\, EDC\, Reading & Leeds and Exit Festival. \nAfter a run of Feed Me releases\, in 2015 Jon returned to producing music as Spor. His 2015 album ‘Caligo’ became the focal point for the year\, giving Feed Me and the Teeth show a break.  Pushing the boundaries of a conventional album campaign\, the project was released via Sotto Voce/ Bit Torrent in a never been done before\, pay what you want scheme\, along with various bundles of artwork and extras.  \nIf Feed Me’s initial explosion in popularity had been brilliantly unexpected\, the next stage for Jon is set to be a completely new chapter. He explains\, “My life rearranged itself so drastically when I started touring Feed Me\, the first album was a product of pure momentum in the breaths between. With the second album it was written all across the world\, across a big expanse of time. Finishing it has felt like a catalyst for a lot of positive brain function”. With a new outlook and a more in control approach to the creation of his music\, Jon’s path into the creation of ‘High Street Creeps’ has been a lot more structured. \nNamed after an infamous Hertfordshire pheasant poaching gang of the 1980s\, ‘High Street Creeps’  features 10 tracks which span a variety of styles\, a lot of which differ from what he’s created in the past. Handpicking key vocalists for songs such as Rosie Doonan on ‘Feel Love’ as well tracks like ‘Sleepless’\, which was almost entirely produced from a Eurorack Modulator\, the album has been a long time in the making. He said\, “I’d amassed a lot of material since my last album\, but it took a long time for me to feel like it was the right time to do another.” \nA redesign of the Teeth stage and a host of upcoming shows planned for 2019 as well\, means that eager fans will get to see the producer doing what he does best\, “Building the ‘Teeth’ show is probably my proudest achievement\,” Jon explains. “It was the ultimate way to present what I do and a creative dream\, to combine a big array of memories and chaos into something fully structured. It represents me getting my lifestyle under control and I feel like I can move forward with more speed now\, it’s a total release.” \nNever shy of testing his creative limits\, Jon and his many aliases continues to grow and evolve\, “otherwise why the fuck am I here” he puts so succinctly. With the new album and shows marking a clear\, mature musical evolution for the producer\, Jon can continue to look forward to the future\, as can his fans. \n*** \nBlack Gummy \n \nWebsite\nFacebook\nTwitter \nBlackGummy began as the brainchild of Los Angeles-based electronic music producer Iman Marouf who discovered the entity called “BlackGummy” in 2013 during a trip to the Middle East and Asia\, and instantly formed a unique and inseparable bond with the alien-like idol. Since their first meeting\, the producer and the entity have virtually conjoined into an indivisible whole\, never leaving one another’s side. BlackGummy has an obsessive fascination for sound design and music production. He views his productions as checkpoints in a tireless quest to improve his mastery of this skill\, routinely spending 15 hours a day honing his craft. In 2015\, mau5trap discovered BlackGummy\, and immediately recognized his unique prowess for production and sound design. Later that year\, the label released BlackGummy’s first original — “Lullaby” — on mau5trap’s We Are Friends Vol. 4 compilation\, which Earmilk called a “can’t miss.”\nIn February 2016\, mau5trap released BlackGummy’s debut EP titled Singularity\, inspired by the concept of “technological singularity” – the idea that artificial intelligence will one day surpass human intelligence. Dancing Astronaut praised as the EP as “an intriguing artistic vision\,” which “moves uninhibited from dark industrial to uplifting progressive\, challenging the notion that producing one style necessitates ignoring the other.” Aside from the philosophical influence that was the basis for the EP’s title\, BlackGummy counts deadmau5\, Eric Prydz\, Feed Me\, Gesaffelstein\, Brodinski\, Knife Party\, and System of the Down among his chief musical influences.\nFollowing up with the unsettlingly cinematic “NeverDeader” on mau5trap’s We Are Friends Vol. 5 compilation\, BlackGummy dropped the 2nd EP of his mau5trap trilogy\, Impactor\, which\, “takes on the KT Extinction. You remember it as the asteroid that killed the dinosaurs and ultimately three-quarters of the Earth’s living beings. The asteroid caused a lot of death and destruction\, but it also lead to evolution by the species that managed to survive\,” he says. “It wasn’t just the asteroid that killed them\, but also the effect the impact had on the Earths’ atmosphere\, creating a condition in which only specific species could survive.”-Billboard\nIn January of 2017\, he released “Superhuman”\, his long-awaited collaboration with Colleen D’Agostino\, best known for her performance on deadmau5’s platinum record\, “Seeya”. They combined forces with an intense instrumental paired with an uplifting narrative inspired by experiences of the challenges that several of their close friends had to face. July of that year saw the release of Monolith\, the final EP in the mau5trap trilogy which was hailed as a “spiritually nuanced\, deeply perplexing\, challenging and entrancing project\,” and culminated in the Monolith Tour\, which featured US Festival stops at Electric Daisy Carnival Las Vegas\, Middlelands\, Electric Forrest\, Electric Zoo\, Escape Psycho Circus and more. His debut headline Mesophase Tour\, began in February 2018 supported by mau5trap artists ATTLAS\, Electrocado\, Monstergetdown\, Notaker and Rinzen\, and made 20 stops before ending in April including EDC Mexico and BUKU Music and Arts Festival. Following up on the Mesophase Tour\, BlackGummy’s 2018 summer saw performances at Lollapalooza\, Shambhala Music Festival\, Global Dance Festival\, Euphoria Festival\, as well as repeat performances at EDC Las Vegas and Electric Forrest.  \nSince the implicit convergence of the producer’s and idol’s identities into one amalgam\, BlackGummy spends almost all of his time off-the-road locked away with the idol in his in-home studio\, crafting new productions that attempt to lend a voice to the silent idol. He only withdraws from his studio in rare instances: first\, to perform alongside the idol in nightclubs and music venues\, and second\, to search the four-corners of the Earth for more clues as to the idol’s origins. His fascination with the latter arose from a Latin inscription that lay emblazoned beside the idol when he first discovered it.\nThe quote read\, “In perpetuum\, salutem in omnibus locis; In omni loco\, in omni tempore.”
URL:https://royaleboston.com/event/feed-me/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20190618T190000
DTEND;TZID=America/New_York:20190618T190000
DTSTAMP:20260404T192800
CREATED:20190419T140040Z
LAST-MODIFIED:20190418T195050Z
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SUMMARY:X Ambassadors
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 4/26 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 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*** \nX Ambassadors \n \nWebsite\nFacebook\nTwitter \nKIDinaKORNER/Interscope band X Ambassadors’ debut album\, “VHS\,” reflected on the events that shaped the lives of lead vocalist and lyricist Sam Harris and his older brother\, keyboardist Casey Harris\, growing up in Ithaca\, New York. The gold-certified album\, which Rolling Stone called “bombastic rock that’s as stomping as it is diaristic\, leavened by big-tent pop hooks and a hint of hip-hop swagger\,” debuted at No. 7 on Billboard’s Top 200 chart and spawned the platinum-selling “Renegades\,” which spent 12 consecutive weeks at No. 1 on the Alternative chart\, and the double-platinum “Unsteady.” The success of “VHS” sent X Ambassadors on a nearly two-year touring odyssey that found them winning over fans around the world and performing at the Lollapalooza\, Bonnaroo\, Life Is Beautiful and Shaky Knees festivals\, among others\, and establishing themselves as a world-class rock band. X Ambassadors released the impassioned “Ahead of Myself” last fall followed by “Joyful” and “Don’t Stay” in early 2018 before embarking on their JOYFUL headline tour.  The band returned to Ithaca for the second annual Cayuga Sound Festival this past September. X Ambassadors is currently working on their sophomore album. For more information visit www.xambassadors.com   \n*** \nYour Smith \n \nWebsite\nFacebook\nTwitter \nMinneapolis native Your Smith (aka Caroline Smith)\, relocated to Los Angeles after signing to Pulse Recording (DRAM\, Miike Snow\, Gallant\, et. al). Inspired by the history of Laurel Canyon and moving through a city that’s been immortalized in music throughout the ages\, Smith concocted her own sound\, bringing together the funk / R&B “Minneapolis Sound” of her roots and the classic songwriting of the LA folk heroes.  \nYour Smith is currently wrapping up her debut EP\, produced by Tommy English (BØRNS)\, Stint (Gallant\, Aluna George\, NAO)\, and Nicky Davey (Internet\, Syd The Kid)\, arriving on Neon Gold Records (HAIM\, Christine & The Queens\, et. al) this fall and will commence a full US headline tour in September.
URL:https://royaleboston.com/event/x-ambassadors-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:20190622T180000
DTEND;TZID=America/New_York:20190622T180000
DTSTAMP:20260404T192800
CREATED:20190408T160023Z
LAST-MODIFIED:20190408T151846Z
UID:10002761-1561226400-1561226400@royaleboston.com
SUMMARY:CHON
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri 4/12 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 open to all ages.  Opening acts and set times are subject to change without notice.  All sales are final unless a show is postponed or canceled.  All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue.  Please make sure necessary arrangements are made ahead of time.  All patrons subject to search upon venue entry. \n*** \n \n*** \nCHON \n \nWebsite\nFacebook\nTwitter \nOn their self-titled third album\, CHON find themselves at the confluence of a great push and pull. \nSince forming in 2008 in San Diego\, the trio — guitarists Mario Camarena and\nErick Hansel and drummer Nathan Camarena — have become one of the most buzzed-about acts in the new era of progressive rock\, on the back of more than 40 million Spotify streams and tours with the likes of Coheed and Cambria\, Animals As Leaders and Circa Survive. \nTheir debut full-length\, 2015’s Grow\, established their mathy\, forward-thinking take on the genre\, while 2017’s Homey furthered that sound while incorporating brand-new influences like effect-pedal-heavy elements of electronic music and trip-hop and debuted at No. 66 on the Billboard 200. Now\, with CHON\, set for release on June XX through Sumerian Records\, the trio once again have kicked down their musical guardrails — but in a way that balances their more eccentric impulses with a steadying dose of clarity and restraint. \n“We really wanted to make songs with more simplistic structures\, but also the craziest parts we’ve ever had musically\,” Mario Camarena explains. “I think our music is already so weird that when the structure is also crazy\, it can be hard to follow. I really wanted this album to appeal to people who maybe don’t listen to this style of music.” \nIt’s true that CHON streamlines some of the band’s grandiose\, free-flowing musicality in favor of more traditional sonic structures. But\, most importantly\, simplifying their sound doesn’t mean resorting to being boring. If anything\, CHON is brimming with some of the most forward-thinking\, intricate musings the band have ever attempted\, from the deep progressive propulsion of first single “Peace” to “Spike\,” which spins the band’s youthful tech and metal influences together into a flashy riff-athon. \nAll at once\, CHON respects the trio’s current listeners while inviting a broader swath of new ones in — the rare progressive rock album adroit enough to straddle that line. For the band\, it will be especially rewarding to bring this new musical mindset to crowds at festivals like Coachella\, Shaky Knees and Electric Forest. There will be\, of course\, CHON diehards in the audience\, but large-scale settings like these offer the band the opportunity to cultivate an even wider fanbase around their captivating sound.  \nOf course\, they’re coming prepared: While writing and recording the self-produced album in San Diego\, the band put a lot of thought into calibrating their new music to fit the expansive crowds they knew they’d soon be playing in front of. The result is a collection of songs that plays just as well to the front row as the very last. \n“We knew we were going to play these songs at big festivals\, and it was in the back of our minds\,” Mario says\, pointing to the tribal-inspired rhythms on “Gift.” “We were just thinking of Electric Forest when we wrote that song: It’s kind of psychedelic and hippy. It’s going to be really fun to see how big crowds react to these songs.” XX \n*** \nDOMi & JD Beck \nWebsite
URL:https://royaleboston.com/event/chon-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:20190625T193000
DTEND;TZID=America/New_York:20190625T193000
DTSTAMP:20260404T192800
CREATED:20190507T160054Z
LAST-MODIFIED:20190507T144734Z
UID:10002770-1561491000-1561491000@royaleboston.com
SUMMARY:Bad Books
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:30 pm / Show: 8:30 pm \nThis show has been upgraded from The Sinclair! All tickets for The Sinclair show will be honored at Royale\, and more tickets are available. \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*** \nBad Books \n \nWebsite\nFacebook\nTwitter \nWhen Bad Books — Andy Hull and Robert McDowell of Manchester Orchestra\, and indie rock spark plug Kevin Devine — made a surprise appearance at this year’s SXSW armed with an entire album’s worth of new songs called III\, the music world took notice. Those who were there bore witness to what Hull calls their new “Simon & Garfunkel in space” style—sparse structures\, simple harmonies\, and gorgeous sonic embellishments. But considering both their inter-personal dynamics and joyful congregation\, perhaps it would be more accurate to refer to the 2019 version of Bad Books as “Simon & Garfunkel as true friends.” Led by Devine’s song “I Love You\, I’m Sorry\, Please Help Me\, Thank You”—a profound meditation on maintaining a sense of self in the heady context of societal challenges like being a parent\, implementing thoughtfulness\, and navigating through excessive cerebral processing—III doesn’t exactly pick up where their previous work left off\, but rather takes a new approach to redefine Bad Books and to re-tally the sum of their parts.\n
\n“Bad Books was always peripheral in our minds because we really like doing it\,” Devine says. “We were waiting for the right time to circle back. It was never completely out of our sight lines\, but more often than not schedules and life would intervene.” When Bad Books originally formed in 2010\, little did anyone figure that in just a couple years any noise from the band would become as special as an eclipse. After releasing two proper Bad Books albums by 2012 and embarking on multiple tours\, following the band’s 2013 performance at Riot Fest in Chicago the signal turned to static\, leaving fans wondering if the band would ever return. Since then\, the three members have stayed incredibly busy focusing on their families and bands: Manchester Orchestra has released two studio albums — most recently 2017’s acclaimed A Black Mile To The Surface — and Hull and McDowell have scored several visual projects including the 2016 feature film Swiss Army Man; Devine has released four solo albums\, a live record\, and a dozen of his “Devinyl” split series releases with songwriters like Craig Finn and David Bazan.\n
\nIn April of 2017\, the stars finally aligned in their schedules and Devine found himself in Atlanta to write with Hull and McDowell for four days. Having made two catchy\, upbeat Bad Books records\, the trio felt the urge to try a new approach. The original plan for the trip was for each singer to write one song\, but once they were both in the same room Hull raised the stakes\, challenging Devine to trade songs one-for-one with him to create a 10-song\, Basement Tapes style record. Over the course of the long weekend they had fleshed out the bones of an album\, with just guitars\, vocals\, and sparse harmonizing. Embracing the freedom of the process in every capacity—from lyrics to attitude and scope—the band felt inspired and recognized that the only way to maintain that sensibility all the way through would be to simply take their time. And so\, they agreed to step away from the songs until they could reconvene in person again somewhere down the line.\n
\n“A cool thing about Bad Books is not overthinking it and doing what instinctually makes sense\,” Hull says. “Manchester is the opposite\, it’s all overthinking all the time. Songwriting is always about evolution and how you can do things differently\, and it was exciting to try to push ourselves and to embrace this space.” \n“It gave us a chance to stretch out and breathe\, and not fixate or obsess on them\,” Devine says. “No one was working in isolation; no one’s hand got too heavy. It felt like 10 individual sticks we tried to wrap up into a bundle and make them feel like they talk to each other.”\n
\nHaving kept their planned distance from the sketches\, they gathered again in February of 2018 to open the sonic time capsule and reexamine their work. At that point the singers began harmonizing on the tracks\, a moment they recognize as important. “When the harmonies start to happen on a Bad Books record\, that’s what locks it in\,” Hull says. “You start to feel the magic and see what else you need to complete the songs’ identities.” Having put on a second layer of paint in the winter\, they got together again in the fall\, pushing the material even further. 
 \nMcDowell\, who was present at each session\, led the charge of injecting the songs with texture and atmosphere. The decision to throw out a traditional rhythm section in favor of an organ and foot pedals as the low-end presented a new set of challenges\, but McDowell saw it as opportunity rather than restriction. “Robert’s a genius and I don’t say that lightly\,” Hull says. “Sonically\, he just has an ability to get the thing that is in your head to come out of the speakers. He’s the glue and always has been.” The stripped-back nature of the work also provided an opportunity to build subtle production onto the songs’ foundations; adding piano\, string arrangements\, and even fuzzed-out electric guitar\, the trio filled the spaces without overpowering any of the songwriting. After a fourth session where McDowell\, Devine\, and Hull maneuvered the tracking into near-completion\, they handed the reins to producer Ethan Gruska (Phoebe Bridgers\, The Belle Brigade) and mixer Catherine Marks for final “magic sprinkling.” The result is a complete cinematic landscape on par with the peaks of Manchester Orchestra’s past work\, but with the sly subtlety of Devine’s output—This is ground control to Majors Paul and Art.\n

\nDevine’s bundle is as inward-looking\, literate\, and acerbic as ever\, with his forthright honesty rubbing up against disbelief\, while Hull’s songs are filled with his trademark\, tragi-comic character-study examinations of the human condition. While Devine tends to be intricate with his song’s structures\, Hull admits his own can be more economical; the opposite can be true for their lyrical delivery. And while Devine’s Northern\, agnostic background lends to secular explorations\, Hull’s Southern\, Christian upbringing tends to create more spiritual material. The intrigue for the writers comes from the collision of the disparate threads\, and the opportunity to employ a trusted ear as a mirror. And while each half of these ten songs was written on a separate island by a separate brain\, it’s clear that Hull and Devine are songwriters who think in the same key\, and draw shared\, big-picture lessons from their distinctive lives to mine a fertile\, universal territory.\n
\n“If someone demanded to know what I write about\, I’d say\, ‘Not understanding myself and so by extension what it means to be a person but trying every day\,’” Devine says. “There’s a lot of that on this record—negotiations with the self\, the interconnectedness of everybody\, and trying to figure out your place and how that shifts.”\n
\n“My songs tend to always reflect on the same things—life\, love\, losing love\, god\, death\,” Hull says. “The last line of ‘Army\,’ ‘There’s nothing wrong with being alive\,’ is for me the overarching theme of this album. It’s all about trying to be better. Hopefully this can be therapeutic for people because ultimately that’s the point in it all\, to help people and bring joy.”\n
\nIf the lesson of III is in that optimistic approach\, the way it came to be clearly echoes such sentiments. Devine\, Hull\, and McDowell have succeeded by implementing a unique set of circumstances\, all with a sense of hope and a trust in the process. And by inserting so much space\, they have grown even closer—as artists\, as bandmates\, and as friends.\n
\n“Kevin and I come from such different places and approaches but we’re so similar in other ways\, and when I hear our records it sounds like us talking\,” Hull says. “Our conversations have always gone to that cosmic level—theology and theory—and it’s cool to hear it come out lyrically\, almost unintentionally. It’s what happens when our brains are on\, together.”\n
\n“The coolest thing about the Bad Books records is that they don’t feel like solo albums and there are discernible personalities\,” Devine says. “The band really is a triangle and every part of the base is strong. It’s better than the sum of its parts.”\n
\nThe stars have finally aligned and the triple-tailed comet has reappeared. Keep your ears to the skies for another momentous encounter with Bad Books III. \n*** \nBrother Bird \nWebsite\nTwitter
URL:https://royaleboston.com/event/bad-books/
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:20190629T180000
DTEND;TZID=America/New_York:20190629T180000
DTSTAMP:20260404T192800
CREATED:20190430T050047Z
LAST-MODIFIED:20190610T174717Z
UID:10002049-1561831200-1561831200@royaleboston.com
SUMMARY:The Starting Line
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri 5/3 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nThe Starting Line \n \nWebsite\nFacebook\nTwitter \n*** \nThe Hotelier \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/the-starting-line/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190904T190000
DTEND;TZID=America/New_York:20190904T190000
DTSTAMP:20260404T192800
CREATED:20190621T212119Z
LAST-MODIFIED:20190807T144006Z
UID:10002072-1567623600-1567623600@royaleboston.com
SUMMARY:Pinegrove
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nOn 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 open to all ages.  Opening acts and set times are subject to change without notice.  All sales are final unless a show is postponed or canceled.  All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue.  Please make sure necessary arrangements are made ahead of time.  All patrons subject to search upon venue entry. \n*** \n \n*** \nPinegrove \n \nWebsite\nFacebook\nTwitter \nPinegrove are a band from Montclair\, NJ \n*** \nStephen Steinbrink \n*** \nCommon Holly
URL:https://royaleboston.com/event/pinegrove-3/
LOCATION:MA
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/06/1200x1200-2.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190905T190000
DTEND;TZID=America/New_York:20190905T190000
DTSTAMP:20260404T192800
CREATED:20190618T160031Z
LAST-MODIFIED:20190905T221243Z
UID:10002070-1567710000-1567710000@royaleboston.com
SUMMARY:Pinegrove
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nLimited number of tickets have been released and will be available at the door! \nPlease note: This show is open to all ages.  Opening acts and set times are subject to change without notice.  All sales are final unless a show is postponed or canceled.  All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue.  Please make sure necessary arrangements are made ahead of time.  All patrons subject to search upon venue entry. \n*** \n \n*** \nPinegrove \n \nWebsite\nFacebook\nTwitter \nPinegrove are a band from Montclair\, NJ \n*** \nStephen Steinbrink \n*** \nCommon Holly
URL:https://royaleboston.com/event/pinegrove-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:20190907T180000
DTEND;TZID=America/New_York:20190907T180000
DTSTAMP:20260404T192800
CREATED:20190715T170048Z
LAST-MODIFIED:20190904T141159Z
UID:10002797-1567879200-1567879200@royaleboston.com
SUMMARY:Pink Sweat$
DESCRIPTION:Presented by JAM’N 94.5 \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri 7/19 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: This show is open to all ages.  Opening acts and set times are subject to change without notice.  All sales are final unless a show is postponed or canceled.  All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue.  Please make sure necessary arrangements are made ahead of time.  All patrons subject to search upon venue entry. \n*** \n \n*** \nPink Sweat$ \n \nWebsite\nFacebook\nTwitter \nPink Sweat$ is an artist/songwriter/producer from Philadelphia\, PA. Pink’s music is rooted in R&B and Soul\, stripping back the typical genre-specific production to showcase melodic intricacy and lyrical prowess. He began making music at the age of 19 as a demo vocalist\, and soon after found himself working at the legendary Sigma Sounds Studios where he began his career as a songwriter. After 7 years of working behind the scenes\, Pink Sweat$ launched as a solo artist in July of 2018. The rapid rise of his debut EP Volume 1 has earned him recognition from the New York Times\, Rolling Stone\, Billboard\, and Fader. \n*** \nPJ \n \nWebsite\nFacebook\nTwitter \nRaised in North Carolina and Atlanta\, singer-songwriter PJ moved to Los Angeles in 2014. She started her music career behind the scenes as a songwriter\, penning “Left Right Left” for Charlie Puth\, “I Don’t Know” for Meek Mill\, “True Colors” for Wiz Khalifa –among many more songwriting credits. Signed to Atlantic Records\, she transitioned to the spotlight by way of the 2015 EP Walking Around Pools followed by 2016’s Rare—which boasted collaborations with G-Eazy and Ty Dolla $ign. The project’s single “Tell Me”[feat. Jevon Doe] racked up over 3.5 million Spotify streams and garnered acclaim from Ones to Watch\, HipHopDX\, and many others.\nLife inevitably took a fewturbulent twists and turns\, so PJ a much-needed break. Emerging from these trials and tribulations in late 2018\, she embraced a newfound confidence. As part of this awakening\, she once again tapped into formative influences such as Kanye West\, Kid Cudi\, Stevie Wonder\, and Whitney Houston. She now draws inspiration from the sound and energy of Mary Blige to tell her story. She began bending genres and blending pop\, soul\, and country until the music began “dripping in soul\,” as she likes to say. PJ released her 2019 single “One Missed Call” as a reintroduction to her new artistry.\n“This is about me waking up and breathing for the first time as an adult\,” she leaves off. “I want people to see themselves in my songs. If you need to see what a real person looks like\, look at me. I don’t have shit figured out. I don’t pretend to either. It’s okay though. That’s who I am. That’s my music.”
URL:https://royaleboston.com/event/pink-sweat/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190908T190000
DTEND;TZID=America/New_York:20190908T190000
DTSTAMP:20260404T192800
CREATED:20190416T140035Z
LAST-MODIFIED:20190819T202648Z
UID:10002763-1567969200-1567969200@royaleboston.com
SUMMARY:[SOLD OUT] Avail
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show is SOLD OUT! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 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*** \nAvail \n \nWebsite\nFacebook\nTwitter \n*** \nAngel Du$t \nWebsite\nFacebook\nTwitter \n*** \nTied to a Bear \nWebsite\nFacebook
URL:https://royaleboston.com/event/avail/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190909T200000
DTEND;TZID=America/New_York:20190909T200000
DTSTAMP:20260404T192800
CREATED:20190404T135038Z
LAST-MODIFIED:20190710T171457Z
UID:10002758-1568059200-1568059200@royaleboston.com
SUMMARY:Hot Chip
DESCRIPTION:Presented by Bowery Boston \nDoors: 8:00 pm / Show: 9:00 pm \nTickets on sale Fri 4/12 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nHot Chip \n \nWebsite\nFacebook\nTwitter \nOn June 21st 2019\, British group Hot Chip will release their seventh studio album\, A Bath Full of Ecstasy. Their third album for Domino\, A Bath Full of Ecstasy is the group’s definitive release\, crystallising the sound they’ve become celebrated for – bridging euphoria and melancholy with colourful melodies\, idiosyncratic vocalisations and pounding electronic pop rhythms. The album also sees them open up to a more adventurous and collaborative song-writing process\, choosing to work with outside producers for the first time: Philippe Zdar\, the French maestro who’s shaped the magic of Cassius and Phoenix\, and Rodaidh McDonald\, the Scot who’s collaborated with The XX\, David Byrne and Sampha\, among others.  \nThe group (Owen Clarke\, Al Doyle Joe Goddard\, Felix Martin and Alexis Taylor) began working on A Bath Full of Ecstasy in the autumn of 2018\, the bulk of it written and recorded in three\, one-week long sessions. At his Motorbass studio in Paris\, Zdar played the role of co-producer\, mixing engineer and gentle eccentric\, and built much of the sonic space that the album occupies: a focus on drums and bass\, with minimal use of guitar and plenty of multi-layered\, arpeggiated keyboard melodies; shaping A Bath Full of Ecstasy with the “French Touch” he’s known for. When recording in London\, the analytical McDonald encouraged the group to make each song leaner\, more direct. “Rodaidh was really good at getting us to think about the song-writing\,” says Goddard\, “especially on ‘Melody of Love.’ He was quite ruthless – ‘is this verse too long? Do we have to write something stronger? We should get to the chorus faster.’ He pushed us to be more ambitious.”  \nThe album’s opener\, “Melody of Love” began as a 12-minute instrumental track and features a sample from the gospel group The Mighty Clouds of Joy. Under the eye of McDonald\, the group turned it into a bombastic explosion of Technicolor pop. A repeating sampled vocal\, cut-up to the point of abstraction\, follows the lyrical chorus and an uplifting synthesizer motif. This musical passage is the melody of love\, the summation of the song’s workings; by working together\, the group may be able to find the perfect gesture for their emotions. “Melody of Love” is about the importance of the transformative\, non-verbal moment – ecstasy as personal happiness\, but also of transcendence\, of being outside oneself.  \nThe sound of A Bath Full of Ecstasy has a breeziness to it that comes in large part from Zdar: “You have to put air in it!” he’d exclaim theatrically\, says Doyle\, “it needs more air!” His liberal use of a Grampian spring reverb unit for pleasant distortion made sure of that\, along with the group’s choice of machines. They were particularly drawn to a select few: the wooden polyphonic KORG PS3200 synthesizer (“It sounds like the gates of heaven opening\,” exalts Doyle)\, the Yamaha CS70-M and CS-80\, synonymous with Stevie Wonder\, and the Oberheim OB-Xa\, an analogue synthesizer with a bright\, celestial quality\, beloved by Prince\, Depeche Mode\, and Detroit techno originators. Alongside these classic synthesizers and keyboards\, modular synthesis plays an important role in the sound of A Bath Full of Ecstasy. After building up his own Eurorack system over the years\, Martin made a corner of each studio cosy with wires and outboards\, riffing off the looping melodies and physical gestures of the sessions to create gentle dopamine rushes of electronic ambience\, amplifying the song structures as well as sculpting the lead and background vocals.  \nTo better render the emotional honesty that colours much of Hot Chip’s output\, the advice Taylor gives himself is to not “speak or verbalise too much through the creative process. Act instead.” That desire to act is most keenly felt on lead single “Hungry Child.” For 6 glorious minutes\, Hot Chip fuse the uplifting soft pads and melodic keys of classic soulful house and the percussive swing of UK garage\, full of sweet vocalisations and rhythmic snaps\, to make an instant\, club-ready hit. “Hungry Child” moves with a tender power that feels classically Hot Chip\, its driving pace primed for full body–swings on heaving dance floors\, hands raised and singing in unison.  \nThroughout Hot Chip’s albums\, a light-touch vocal production process allowed for the nakedness of Taylor’s falsetto to become one of the group’s signatures. A Bath Full of Ecstasy\, though\, proves to be more experimental in this sense – delays and effects\, modular wizardry and a more playful dynamic range in the mixing process take Taylor’s voice in new directions\, blossoming and wilting with the flow of the music.  On “Spell\,” this comes to the fore: manipulating voices to be playful and free\, without obfuscating the words; even harking to Prince’s gender-bending infectious lust\, allowing Taylor to becoming less immediately recognisable at times. On “Bath Full of Ecstasy\,” there’s a delicate display of lilting vocalisations\, laid back ’70s pop-rock rhythms and gentle modular synthesis\, all washed through like watercolour.  \nIn his lyricism\, too\, Taylor steps out of his comfort zone on A Bath Full of Ecstasy. Though rooted in first person\, autobiographical tales of romance and friendship\, his storytelling here becomes more bodily\, and more open to new ideas. On “Spell\,” Goddard encouraged Taylor to transform his wistful tone into something more erotic and alive. On “Positive\,” he chooses to sing from another person’s perspective altogether. In trying to understand how someone copes with illness and sadness\, with living a lonely life on the streets\, “Positive” tackles a dark subject matter while offering the protagonist a moment of respite through music: a juxtaposition between the frenetic euphoria of the sound and the melancholy of one human being\, just hoping that someone\, somewhere\, cares.  \nIt cycles back to what Taylor sees as the epitome of Hot Chip: “To demonstrate musically what is needed to be said; often\, indeed\, what is too difficult to be spoken.” Through the deep bond that the group have cultivated\, expanding on their sonic experimentation and lyrical openness\, A Bath Full of Ecstasy became their most dazzling album yet. \n*** \nHoly Fuck \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/hot-chip/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20190912T200000
DTEND;TZID=America/New_York:20190912T200000
DTSTAMP:20260404T192800
CREATED:20190422T143311Z
LAST-MODIFIED:20190816T190901Z
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SUMMARY:Polo & Pan - Caravelle World Tour
DESCRIPTION:Presented by Bowery Boston \nDoors: 8:00 pm / Show: 9:00 pm \nTickets on sale Fri 4/26 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 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*** \nPolo & Pan – Caravelle World Tour \n \nWebsite\nFacebook \nIt’s a thriving end of the year for polo & pan:\nTheir debut album has sold +70k copies\,And they announced a new worldwide tour for 2019.\nTheir “caravelle” has crossed stages all over the world: Usa\, mexico\, canada\, asia\, middle-east and europe.\nAfter setting a tropical fire to great summer festivals\, they put together their new live show for a sold-out olympia in Paris\, another sold-out at oval space London\, and another one in amsterdam at melkweg closing the ade. They then moved to island Airswaves festival and to finish with\, a sold-out north america tour through Ny\, boston\, philly\, seattle\, vancouver and los angeles last december.\nThe duo will start 2019 by announcing its first us audiovideo show at coachella. \n*** \nMindchatter \n \nWebsite\nFacebook \nMindchatter is Bryce Connolly\, a producer and songwriter from New York City.
URL:https://royaleboston.com/event/polo-pan/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20190913T183000
DTEND;TZID=America/New_York:20190913T183000
DTSTAMP:20260404T192800
CREATED:20190611T140056Z
LAST-MODIFIED:20190806T174642Z
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SUMMARY:Grace VanderWaal
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:30 pm / Show: 7:00 pm \nTickets on sale Fri 6/14 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: This show is open to all ages.  Opening acts and set times are subject to change without notice.  All sales are final unless a show is postponed or canceled.  All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue.  Please make sure necessary arrangements are made ahead of time.  All patrons subject to search upon venue entry. \n*** \nGrace VanderWaal \n \nWebsite\nFacebook\nTwitter \nAward-winning singer\, songwriter\, actress\, model\, philanthropist\, high school freshman—Grace VanderWaal contains incredible multitudes. After her star-making turn as the winner of NBC’s America’s Got Talent in 2016\, VanderWaal has released a best-selling EP\, Perfectly Imperfect\, and full-length album\, Just The Beginning\, much to the delight of her millions-strong fanbase and critics alike. Now the New York Times-approved “mature songwriter” and “pop natural” is back with new music for 2019\, beginning with a new original song titled “Stray.” \n“When I write a song\, I don’t really know what they’re about until much later\, when I’m like ‘Oh\, that’s what my subconscious was trying to say\,’” says VanderWaal of her creative process\, which begins with songwriting and extends to musical arrangements and visual treatments. “Stray\,” which comes with a music video dreamt up by VanderWaal and brought to life with help from director Blythe Thomas\, eventually revealed itself to be about “the exhilarating fear and freedom of growing up.” The song features VanderWaal’s soulfully raspy vocals atop a moody\, searching sound that’s a departure from her signature airy ukulele riffs. \nIntrospection and vulnerability have always been hallmarks of VanderWaal’s songwriting\, and as she grows older\, the unique process of balancing stardom and adolescence has made its way into her work. “I’m maturing really fast and working a lot more\, and I feel like when this all first started happening\, I almost started to forget how to be myself\,” she says. “You only get one you. You get one shot when you’re born\, so if you forget\, what do you do?” For the time being\, the Rockland County-raised phenom is handling it all with aplomb. She’s as excited about her upcoming music as she is about her school’s prom\, and plans to work at her local movie theater’s concession stand this summer when she’s not headlining another tour\, following a string of sold-out headline shows last spring and a summer arena tour opening for Imagine Dragons that she did in 2018. \nAll throughout\, VanderWaal shares her day-to-day musings with nearly 10 million fans and counting via social media. In addition to snapshots\, videos\, and shoutouts\, her fan base can also keep tabs on Little Miracles\, the charity she created with the prize money she won on America’s Got Talent. The Little Miracles Foundation’s mission is to put music education back into marginalized school systems by spotlighting talented students\, and providing free musical instruments and audio equipment to local school districts and communities. \nVanderWaal’s ability to impact so many with her art marks an impressive trajectory from just a few years ago\, when the young artist was playing her ukulele and performing original songs at open mic nights where there were “15 to 20 people on a good night.” While America’s Got Talent was the vehicle that launched her into the national spotlight\, VanderWaal says that she only auditioned on a whim. \n“Me and my mom literally thought it would be like a bonding kind of thing\,” she explains. “You always see on TV the crazy lines and stuff\, so we were just going to wait in line\, take pictures\, bring a tent\, and stuff like that—and it just turned into something crazy. It just kept going.” VanderWaal’s astronomical rise has led to accolades (Billboard’s Women in Music 2017 Rising Star Award\, Teen Choice Next Big Thing Award\, and more)\, television performances\, (The Tonight Show with Jimmy Fallon\, The Ellen DeGeneres Show\, the Macy’s Thanksgiving Day Parade)\, and incredible partnerships with brands like Kate Spade and Fender\, who launched a Grace VanderWaal Signature ukulele\, making her their youngest ever Signature artist for Fender. \nIn addition to putting the finishing touches on more new music to be released later this year\, VanderWaal recently finished filming her first movie in New Mexico\, which is set to be released in early 2020. An adaptation of Jerry Spinelli’s New York Times best-selling young adult novel\, Stargirl\, VanderWaal will be playing the film’s title role of Stargirl Caraway\, a nonconformist\, homeschooled teen girl who plays the ukulele. “It’s all pretty surreal\,” she says. “It was so fun\, one of the best experiences of my life.” Fans hoping to connect with VanderWaal on the big screen before then can catch Wonder Park\, Paramount’s new animated feature coming out March 15—VanderWaal recorded a song titled “Hideaway” that will make an appearance in the film. \nAdd to this a full high school curriculum and it’s clear that VanderWaal is booked and busy for the foreseeable future\, but the three-time Billboard 21 Under 21 artist and youngest person ever included in Forbes’ 30 Under 30 list is taking it all in stride. As she puts it: “You can’t think about everything in the future right now. You just think about tomorrow. Being on stage and being at school\, it’s just two different parts of my personality.”   \n*** \nPatrick Martin \n \nWebsite\nFacebook\nTwitter \nRomance isn’t dead\, and we have Patrick Martin to thank for that. The Los Angeles-via-Wisconsin singer/songwriter’s debut single\, ‘Cinema Love\,’ is a picture-perfect evocation of new love’s impossible pleasures — a skyscraping pop song that doubles as a first taste of Martin’s debut album\, due later this year. Born and raised in Saukville\, WI\, Martin was introduced to music by his mom at an early age\, with classic-rock staples like the Beatles\, Fleetwood Mac\, the Allman Brothers\, and Crosby\, Stills\, Nash and Young on regular rotation. Inspired to learn guitar by an older cousin\, he practiced and played for years and eventually started dabbling in his own songcraft around the age of 16. Later\, while attending Marquette University\, a relationship during his sophomore year sparked a desire to write and play music on a broader scale. A semester studying abroad in London further encouraged him to pursue music full-time\, and soon after\, Martin moved to Los Angeles\, working on his music in between shifts at the Apple Store. Guided by his manager’s experience\, Martin eventually crafted his debut single\, ‘Cinema Love\,’ which was co-produced by longtime collaborator Jesse Mason. ‘Cinema Love’ is an expression of the emotion felt from one of Martin’s own most memorable relationships\, and it encapsulates the belief that real love can be as epic as it feels in the greatest romantic films of all time.
URL:https://royaleboston.com/event/grace-vanderwaal/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20190915T190000
DTEND;TZID=America/New_York:20190915T190000
DTSTAMP:20260404T192800
CREATED:20190514T140047Z
LAST-MODIFIED:20190911T143145Z
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SUMMARY:[SOLD OUT] The Band Camino
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show is SOLD OUT! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: This show is open to all ages.  Opening acts and set times are subject to change without notice.  All sales are final unless a show is postponed or canceled.  All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue.  Please make sure necessary arrangements are made ahead of time.  All patrons subject to search upon venue entry. \n*** \nThe Band Camino \n \nWebsite\nFacebook\nTwitter \n*** \nValley \nWebsite\nFacebook\nTwitter \nVALLEY is a band comprised of the four kids you used to know back in grade school. They were the ones talking excitedly about that classic band and some new artist in the same breath. They were the ones feverishly writing songs and rushing home to record them so you could finally understand what they were trying to say. \nMade up of Rob Laska (vocals)\, Michael Brandolino (guitar)\, Alex Dimauro (bass) and Karah James (drums) is forged from two bands who were accidentally double-booked for studio time. The born-and-raised Canadians seized the opportunity in disguise and began developing what would ultimately become one of the most refreshing and engaging new bands of the decade. \nVALLEY wrote and self-produced the acclaimed 2016 EP This Room Is White\, amassing over 10 million streams\, as well as garnering radio and TV placements for indie pop hit “Swim”. Now VALLEY have returned with two new singles. “Closer To The Picture” written and produced by the band in collaboration with Andy Seltzer (Maggie Rogers\, Tor Miller\, Penguin Prison)\, deals with the cycle of anxiety and self-reflection inherent in the deafening digital noise of 21st century living. The second single\, “Push For Yellow (Shelter)”\, rings as a declaration\, inviting listeners to embrace feelings of uncertainty\, knowing they’re not alone in their search for security. So far\, the new music has caught the attention of the indie music world with features on The 405\, Idobi Radio\, Indie88 and many more. \nBoth tracks are featured on their upcoming EP\, MAYBE – Side A\, the first installment of a full length project that VALLEY have been working on for the past two years and will be released in three parts over the next few months. \nThe timeless\, anthemic songcraft for which VALLEY has become known has been refined in their home studio in Toronto’s outer suburban rim\, the bright sunshine of Los Angeles\, and the gritty real of New York City. The group found a lot of inspiration for new music in the neighborhoods of Brooklyn and found a sound that is utterly contemporary and sophisticated\, but also\, in all the right ways\, a little bit throwback. VALLEY are the Toronto band with an undeniable New York sound that are about to be at the top of your radar.
URL:https://royaleboston.com/event/the-band-camino/
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:20190918T190000
DTEND;TZID=America/New_York:20190918T190000
DTSTAMP:20260404T192800
CREATED:20190618T140037Z
LAST-MODIFIED:20190802T193247Z
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SUMMARY:Frankie Cosmos
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 6/21 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: This show is open to all ages.  Opening acts and set times are subject to change without notice.  All sales are final unless a show is postponed or canceled.  All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue.  Please make sure necessary arrangements are made ahead of time.  All patrons subject to search upon venue entry. \n*** \nFrankie Cosmos \nFrankie Cosmos \nWebsite\nFacebook\nTwitter \nClose It Quietly is a continual reframing of the known. It’s like giving yourself a haircut or rearranging your room. You know your hair. You know your room. Here’s the same hair\, the same room\, seen again as something new. Close It Quietly takes the trademark Frankie Cosmos micro-universe and upends it\, spilling outwards into a swirl of referentiality that’s a marked departure from earlier releases\, imagining and reimagining motifs and sounds throughout the album. FC’s fourth studio release is a manifestation of the band’s collaborative spirit: Greta Kline and longtime bandmates Lauren Martin (synth)\, Luke Pyenson (drums)\, and Alex Bailey (bass) luxuriated in studio time with Gabe Wax\, who engineered and co-produced the record with the band. \nRecording close to home— at Brooklyn’s Figure 8 Studios— grounded the band\, and their process was enriched by working closely with Wax\, whose intuition and attention to detail made the familiar unfamiliar and allowed the band to reshape their own contexts. On opener “Moonsea\,” an unaccompanied Greta begins\, “The world is crumbling and I don’t have much to say.” Take that as a wink and a metonym for the whole album\, as her signature vocals are joined by Alex’s ascending bassline and Lauren’s eddying synths\, invoking a loungey take on Broadcast or Stereolab’s space-disco experimental pop. There’s much more than “not much” to say here\, and it’s augmented and expanded by experimentation with synth patches\, textures\, and other recording nuances courtesy of Wax. \nAs the lineup has solidified into the most permanent expression of full-band Frankie Cosmos\, the bandmates have felt more comfortable deviating from their default instruments and contributing bigger-picture ideas to continue pushing the sound forward. The synergy of its creation is clear upon listening: the multiple hands dipping and re-dipping into each song form a multifaceted whole. The band’s closeness and aesthetic consistency freed its members to take more musically-formal risks\, notes Luke: “Everything will sound like Frankie Cosmos because Greta has such a distinct voice (literally and figuratively). We have so much latitude to experiment with the instrumental music\, and this time around we really took advantage of that.”  \nThe album forms its own vortex of reinvention that’s embodied through both the tracks themselves and the recording and arranging processes. “A Joke” curls in on itself\, in word and in deed\, a series of undercuts defining negative space: “It’s just a joke I wasn’t trying to tell;” “It wasn’t really a game;” “I do not know what I am for/I wasn’t really keeping score.” Inverting technology’s human mimicry\, Luke impersonates a drum machine until the song’s end. “A Joke’s” tricks scratch at something bigger\, a small song embodying the laughability of attempting to neatly organize or adhere to any particular role. \n“Rings of a Tree” frees itself from its original context: released earlier this year on Greta’s solo piano album Haunted Items\, she didn’t initially anticipate a major deviation; then\, Luke says\, “Lauren and I had the same arrangement idea without talking about it. Like\, ‘let’s make this song funky. Let’s channel Orange Juice.’ We texted Greta and Alex before practice and Alex came in with a new guitar part that perfectly captured what Lauren and I heard in our heads.”  \n“I’m just fucking glad for my bubble/despite how often it is penetrated by evil” Greta sings on “Last Season’s Textures\,” taking to task the accusation that young people cloister themselves in complacency: she’s quick to point to\, thank\, and feel suspicious of that sphere all at once. The song explores the feeling of safety in her realm; reasonable despair re: reality (“the news is excruciating”); and a quick admission that darkness isn’t something a liberal-minded social network can block out. Kline notes how the song is “partly about misogyny and internalized misogyny–moments where I’ve felt betrayed by what is meant to be a safe space.”  \nWithout losing any intimacy of prior albums\, Close it Quietly is different\, is outer. The album functions as a benign doppelganger\, a shadow self of past releases; where other Frankie Cosmos records shine brightest looking inward\, Close it Quietly refracts the self into the world\, and vice versa\, miraculously echoing Thoreau’s assertion that “when I reflect\, I find that there is other than me.”  \nReflection–and refraction–isn’t tidy. “Flowers don’t grow/in an organized way/why should I?” Greta sings on “A Joke.” Growth isn’t linear. Change happens in circles. While recording the album\, Alex says\, “I closed my eyes a lot.” Stand in the sun\, listen to Close it Quietly\, and do the same. \n*** \nLina Tullgren \n \nWebsite\nFacebook \nLina Tullgren is from Southern Maine just over the border of the northernmost seacoast of New Hampshire. It’s an unexpected location for artistic incubation\, but if you grow up anywhere surrounded by family and friends and weirdos interacting at all times with their own interpretations of creative output\, osmosis is bound to occur. Shifting in trainings and traditions\, the 23 year old eventually found themselves a voice with the electric guitar\, uniquely flavored and shaped from the many years of fiddle lessons and classical technique. The shifts in genre and in instrumentation are stark\, but important. Lina’s morphing interaction with music has mirrored a growing determination to harness their ability to melodically and lyrically express complex emotions. \nWith 2016’s Wishlist EP – recorded to tape at the apartment of band mate Ty Ueda – Lina proved an ability to craft simple\, introspective and succinct songs\, each one a pulsing glow leaving you both hollow and whole\, alone but never lonely. It is on Lina’s debut album Won that we reap the full rewards of this newfound confidence in expression and rejection of internal hesitation. “The writing doesn’t necessarily get easier\, but I feel more comfortable tapping into emotions and going to those places that need to be written about. Won\, as it turned out\, is the product that I have been hearing and picturing in my head as I write and listen to music.” It is the product of what happens when you push past the fear of what it means to think out loud – to become accountable for your internal struggles by way of manifesting your ideas into songs that are then free to grow apart from you\, to exist on their own while always remaining specifically implicative of you. Now backed by a full band\, each track manages to remain piercingly intimate\, sometimes brief\, and always honest\, while gaining a wholly new sense of gestation both sonically and lyrically. \n“I am all the wiser now that I accept my fate” \n*** \nLocate S\,1 \nWebsite\nFacebook
URL:https://royaleboston.com/event/frankie-cosmos/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20190919T190000
DTEND;TZID=America/New_York:20190919T190000
DTSTAMP:20260404T192800
CREATED:20190611T170007Z
LAST-MODIFIED:20190913T195414Z
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SUMMARY:grandson
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 6/14 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*** \ngrandson \n \nWebsite\nFacebook\nTwitter \n*** \nnothing\,nowhere. \nWebsite\nFacebook\nTwitter \n*** \nZero 9:36 \nFacebook\nTwitter
URL:https://royaleboston.com/event/grandson/
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:20190920T180000
DTEND;TZID=America/New_York:20190920T180000
DTSTAMP:20260404T192800
CREATED:20190403T160036Z
LAST-MODIFIED:20190530T014901Z
UID:10002757-1569002400-1569002400@royaleboston.com
SUMMARY:Tinariwen
DESCRIPTION:Presented by Bowery Boston and Global Arts Live \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri 4/5 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*** \nTinariwen \n \nWebsite\nFacebook\nTwitter \nThe new album by Tinariwen could well have been called Exile on Main Street.  But other people have already thought of that. It also could have been called A la recherché du pays perdu (‘Remembrance of a lost country’). Except that would have been a tad Proustian for musicians who grew up pretty much between a rock and a sand dune\, in the midst of their goat herds and camel caravans. But the idea is apt. As is the painful paradox\, if you consider that while Tinariwen were busy criss-crossing the globe on their recent triumphant tours (160 concerts played in the past three years)\, expanding their audience on all five continents\, becoming one of the latest musical phenomena of truly universal calibre\, the frontiers that encircle their desert home were closing down and double-locking\, forcing them into exile to record this their 8th album.  \nOver the past five years\, their beloved homeland in the Adrar des Ifoghas\, a Saharan mountain range that straddles the border between north-eastern Mali and southern Algeria has\, in effect\, been transformed into a conflict zone\, a place where nobody can venture without putting themselves in danger and where war lords devoted either to jihad or trafficking (sometimes both at the same time)\, have put any activity that contradicts their beliefs or escapes their control in jeopardy. Even though the 12 songs on this new record evoke those cherished deserts of home\, they were recorded a long way away from them. And\, as a result of this separation\, at a time when the political\, military and humanitarian situation in the region has never been so critical\, the feelings and the emotions that the band managed to capture on record have never been so vivid.   \nIn October 2014\, making use of a few days off in the middle of a long American tour\, the band stopped off at Rancho de la Luna studios in California’s Joshua Tree National Park. The place has become the favoured refuge of the stoner rock tribe. Josh Homme and his Queens of the Stone Age were the first to make it their hive\, and since then\, whether in use by P J Harvey or the Foo Fighters\, Iggy Pop or the Arctic Monkeys\, neither the mixing console nor the kitchen ovens have had a moment to cool down. For Tinariwen\, the geographical location of the studios – lost in the middle of that horizontal desert\, that mineral immensity\, where Man is reminded of his own insignificance in ways that can only\, in the end\, either kill him or sublimate him – proved to be particularly propitious in terms of creativity. \nAnd the human climate was just as favourable. As session followed session\, musicians who know the place well dropped by to add their own touch to that pre-industrial boogie which comes from a world where only the essential and metaphysical passions of space and time have any meaning. Such was the case of Matt Sweeny\, guitarist of fine pedigree (Johnny Cash\, Bonnie Prince Billy and Cat Power) and an avowed fan of the band. Kurt Vile\, ex-member of the duo War On Drugs\, now spearheading a noisy indi-folk combo\, also took part in the debate. As did Alan Johannes\, multi-instrumentalist\, sound engineer and producer of the first few albums by Queens of the Stone Age\, a band with whom Mark Lanegan\, the other guest on the album\, has also been a singer. From their angle\, one might have expected all these contributions to result in something pretty heavy\, with those American guitars coming into to reinforce the ishumar (name of the musical style of which Tinariwen precursors) guitars of Ibrahim\, Abdallah Hassan and Elaga. In effect\, lovers of those sensual yet abrasive riffs that are the band’s signature won’t be disappointed. But neither will those who love the funky\, danceable side of Tinariwen\, which comes through loud and clear courtesy of bassist Eyadou and percussionist Sarid\, a veritable rhythm machine in the mould of Sly and Robbie. All that potential has been wonderfully honed by the album’s mixing engineer Andrew Schepps\, who has previously worked with the Red Hot Chilli Peppers\, Johny Cash\, and Jay Z. \nThat happy encounter between Tamasheks and rockers was already in evidence back in 2011\, with the involvement of Wilco and TV On The Radio on the album Tassili\, which was recorded in the depths of the Sahara. It was as if those musicians\, coming from their world of high tech\, leisure and entertainment\, sought to reinvigorate the way they do things by working with artists who have been forced by necessity to reduce everything to its essence\, and who bear a different destiny. In that sense\, Ibrahim and his tribe restore meaning to an activity which has been partially drained all existential significance. In a cultural environment that has been overtaken by the petty and the superficial\, the members of Tinariwen fascinate because they incarnate a salutary break and come across as the ultimate heroes in the midst of an army of fleshless puppets.  \nHaving said that\, in M’Hamid El Ghizlane they’re heroes for real\, so much so that the youth of the area know how to sing their songs in the same way that people in other parts of the world know how to sing the Stones or Led Zep . It was there\, in that oasis in southern Morocco\, close by the Algerian frontier\, that the band set up their tents for three weeks in March 2016 to record this 8th album\, accompanied now and then by the local musical youth in question\, or by a local Ganga outfit (a group of Berber ‘gnawa’ trance musicians). The album is called Elwan (‘The Elephants’)\, not Exile On Main Street\, though it fits nicely into that ‘road record’ category nonetheless.  \nThere are road records just like there are road movies. In American cinema\, a road movie always unfolds the same way. Characters travel from one place to another in search of some truth\, of a future might offer them some kind of revelation. But they always end up reconnecting with their own past\, their origins. Of course\, it’s an impossible return\, because that past\, those founding origins have been irrevocably erased. It’s the same for this record\, so musically powerful and yet poignant in human terms: every song evokes a land that can no longer be found\, a lost world\, with all that this implies in terms of emotional range\, from nostalgia for a joyous past to the tragic recent loss of a territory\, and of the dream that it nourished. The emotional ‘bite’ of that loss imbues some of the songs by Ibrahim\, such as Imidiwan n-akal-in (Friends from my country)\, Hayati (My life) or Ténéré Takhal (What’s Happened to the Desert). It’s in that last song that the famous elephants of the album title make their appearance\, an animal metaphor to describe those ‘beasts’\, whether militias or multinational consortiums\, who have trampled everything in their path: kindness\, respect\, solidarity\, ancestral traditions and the values essential to life in the desert\, where both the human and ecological equilibriums are extremely fragile.  \nBut the songs written by Abdallah\, such as Sastanaqqam (I Question You)\, or those penned by Hassan\, the deeply disturbing Ittus (Our Goal)\, also evoke a similar sense of helplessness and disempowerment. The same goes for Nannuflay (Fulfilled)\, written by Eyadou\, one of the ‘kids’ in the band; it’s a song echoes that sense of absolute crisis. Having said that\, between the weariness of the old fighters of the Touareg rebellion of the 1990s (Ibrahim\, Hassan\, Abdallah) and the dynamism of a youth that’s still emerging (Eyadou\, Elaga\, Sarid\, Sadam)\, you get a wonderfully symbiotic mix. The meeting of two such disparate generations in one band is relatively rare in today’s musical world. In Tinariwen\, it’s a meeting that celebrates\, even more powerfully might otherwise be the case\, the capacity of music to make experiences as intense and cruel as exile beautiful and\, in some ways\, even attractive\, experiences that would surely end up destroying those who lived them\, if this form of aesthetic relief didn’t exist.  \nFrancis Dordor\nTranslated by Andy Morgan \n*** \nLonnie Holley \n \nWebsite\nFacebook\nTwitter \nLonnie Holley was born on February 10\, 1950 in Birmingham\, Alabama. From the age of five\, Holley worked various jobs: picking up trash at a drive-in movie theatre\, washing dishes\, and cooking. He lived in a whiskey house\, on the state fairgrounds\, and in several foster homes. His early life was chaotic and Holley was never afforded the pleasure of a real childhood. \nSince 1979\, Holley has devoted his life to the practice of improvisational creativity. His art and music\, born out of struggle\, hardship\, but perhaps more importantly\, out of furious curiosity and biological necessity\, has manifested itself in drawing\, painting\, sculpture\, photography\, performance\, and sound. Holley’s sculptures are constructed from found materials in the oldest tradition of African American sculpture. Objects\, already imbued with cultural and artistic metaphor\, are combined into narrative sculptures that commemorate places\, people\, and events. His work is now in collections of major museums throughout the country\, on permanent display in the United Nations\, and been displayed in the White House Rose Garden. In January of 2014\, Holley completed a one-month artist-in-residence with the Robert Rauschenberg Foundation in Captiva Island\, Florida\, site of the acclaimed artist’s studio. \nHolley did not start making and performing music in a studio nor does his creative process mirror that of the typical musician. His music and lyrics are improvised on the spot and morph and evolve with every event\, concert\, and recording. In Holley’s original art environment\, he would construct and deconstruct his visual works\, repurposing their elements for new pieces. This often led to the transfer of individual narratives into the new work creating a cumulative composite image that has depth and purpose beyond its original singular meaning. The layers of sound in Holley’s music\, likewise\, are the result of decades of evolving experimentation. \nHolley’s music caught the attention of Matt Arnett\, whose father has been collecting Holley’s art since the 1980s. In 2006\, Matt organized the first professional recordings of Holley’s music. In 2010\, Arnett set up a performance by Holley at his home. One of the people in attendance was Lance Ledbetter\, founder and owner of the record label Dust-to-Digital. Deeply moved by Holley’s keyboard playing and singing\, Ledbetter signed Holley to his record label. Soon after\, Holley found himself in the studio again\, and in 2010 and 2011\, more studio sessions ensued. The result was the album Just Before Music. More recordings continue to be made to celebrate and to document one of America’s most compelling musicians. In early 2014\, Holley recorded again with Richard Swift\, acclaimed musician and producer at his studio\, National Freedom\, in Cottage Grove\, Oregon. \nIn addition to the studio sessions\, Holley began touring as a musician. In August and September of 2013\, Holley toured the West Coast with Deerhunter. That tour was followed by a tour of the East Coast with Bill Callahan\, and in November and December of 2013\, Holley had his first tour through Western Europe (Spain\, Portugal\, Germany\, Denmark\, Belgium\, The Netherlands\, England\, and France). Holley has been joined on stage or in the studio by a variety of musicians\, including members of Deerhunter\, Black Lips\, The War on Drugs\, Animal Collective\, Dirty Projectors\, Bon Iver\, Julia Holter\, Megafaun\, as well as Ben Sollee\, Steve Gunn\, Jenny Hval\, Marshall Ruffin\, Daniel Lanois\, Laraaji\, Brian Blade\, Alexis Taylor (Hot Chip)\, Bill Callahan\, Dave Eggar\, Laraaji\, Kelly Pratt (Beirut/Arcade Fire/The Antlers)\, Sam Amidon\, Aaron Embry (Elliot Smith/Edward Sharpe and the Magnetic Zeros) and others. In 2013\, Holley’s first records were named to a number of Top Records of the Year lists\, including The Washington Post (#4) and The Chicago Sun Times (#2).  \nIn 2014\, Holley continued to tour\, completing another tour of Europe (Belgium\, Norway\, England\, Denmark\, the Netherlands\, and France) and a USA/Canada tour with Daniel Lanois. Also in 2014\, the Metropolitan Museum of Art announced that they had acquired three sculptures by the acclaimed artist and musician\, through the generosity of the Souls Grown Deep Foundation. \nHolley played a number of shows in 2015\, touring Europe again to audiences in England\, Germany\, Switzerland\, Belgium\, France\, and the Netherlands. That tour kicked off with a show at Queen Elizabeth Hall\, as part of David Byrne’s Meltdown Festival. In addition to his European tour\, Holley played shows at the Brooklyn Academy of Music\, The Hammer Museum in LA\, The American Folk Art Museum\, St. James Hall in Vancouver\, The Charleston Music Hall\, among many others\, but the majority of the year was not spent performing live. In 2015\, Holley recorded music for the film Five Nights in Maine\, which premiered at the Toronto International Film Festival and saw theatrical release in the summer of 2016. An exhibition of his visual art opened in the summer of 2015\, titled Something To Take My Place: The Art of Lonnie Holley\, at the Halsey Institute of Contemporary Art\, accompanied by a monograph of the same name. In the winter of 2015/16\, Supported By the Power: Lonnie Holley\, an exhibition of Holley’s sculptures opened at Duke University’s John Hope Franklin Center. \nLonnie Holley continues to make art\, record music\, and tour occasionally\, either alone or with collaborators. The songs and the shows are never the same\, as Holley never performs the same song twice. In the summer of 2016\, he embarked on a tour throughout the Southeastern United States\, this time with a full band of frequent collaborators that included Ben Sollee\, Stevie Nistor\, Kelly Pratt\, and Marshall Ruffin. On the tour\, the band visited artists\, art sites\, and museums\, and held workshops for adults and children along the way. \nIn late September\, 2016\, Holley’s music was sampled on the acclaimed third album (22\, A Million) from Bon Iver. That same month\, Holley was a featured visual artist at AfroPunk/Atlanta\, where his found object sculptures were on display. \nIn November of 2016\, Holley embarked on his fourth European tour\, playing a number of festivals and music venues\, culminating in a sold-out\, two-night residency at the acclaimed Café Oto in London. He returned to the States in time for the premiere of the short documentary about Holley\, The Man is the Music\, at Doc NYC in New York. \nHolley closed out 2016 with his final show of the year at Pioneer Works in Brooklyn\, sharing the stage with Bon Iver. \n2017 was also a busy year for the artist. In January\, an exhibition of his art\, Lonnie Holley: I Snuck Off the Slave Ship\, opened at the Atlanta Contemporary Art Center. In May\, an exhibition entitled Thumbs Up for the Mothership (a two-artist show with Dawn DeDeaux) premiered at MASS MoCA\, coinciding with the opening of the new Building 6. His work was also featured in two exhibitions at the de Young Museum (The Fine Arts Museums of San Francisco) and had two solo exhibitions at James Fuentes Gallery\, his New York gallery. \nAdditionally\, he made wood block prints with Paulson Fontaine Press\, collaborated on three etchings and a zine with artist Chris Johanson\, played a number of concerts\, spent a lot of time in the recording studio preparing for the release of his third album\, due out in the spring of 2018.
URL:https://royaleboston.com/event/tinariwen-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:20190921T200000
DTEND;TZID=America/New_York:20190921T200000
DTSTAMP:20260404T192800
CREATED:20190905T185820Z
LAST-MODIFIED:20190905T185820Z
UID:10002096-1569096000-1569096000@royaleboston.com
SUMMARY:Da “GAI” Ru Ci World Tour in Boston
DESCRIPTION:Hosted by Jinquan and VISM Entertainment\nSponsored by Sunnity  \nThis is a 18+ event\, VIP tables are 21+ only.  \nTickets $89/$199\nTicket link: https://event.vism.ca/events/gai19boston\nVIP Tables please contact:\nWechat: vismevent\nPhone: 1-7789855267\nE-mail: admin@vism.ca \nZhou Yan\, known as “GAI”\, is a Chinese rapper\, singer\, and songwriter.\nHis stage name GAI is a childhood nickname meaning “lid” that he was given because of his bowl cut. \nIn early days as an underground rapper\, GAI was leading his music label GO$H!\, a local label in Chongqing\, China. He is one of the few Chinese rappers actively producing trap and Gangsta rap and helped create a type of Trap music called “C-Trap”. His famous songs includes “Gangsta”\, “Empty Fort Strategy”\, “Hot Pot Soup”. \nIn 2017\, GAI’s music career began to boom after attending Hip-Hop reality show The Rap of China\, and winning the contest.
URL:https://royaleboston.com/event/da-gai-ru-ci-world-tour-in-boston/
LOCATION:MA
CATEGORIES:Concerts,Special Events
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DTSTART;TZID=America/New_York:20190922T200000
DTEND;TZID=America/New_York:20190922T200000
DTSTAMP:20260404T192800
CREATED:20190826T151216Z
LAST-MODIFIED:20190909T141040Z
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SUMMARY:Nikos Oikonomopoulos
DESCRIPTION:Doors at 8pm\nValid US government issued ID or international passport required for entry.\n21+
URL:https://royaleboston.com/event/nikos-oikonomopoulos/
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:20190924T190000
DTEND;TZID=America/New_York:20190924T190000
DTSTAMP:20260404T192800
CREATED:20190506T150111Z
LAST-MODIFIED:20190520T150051Z
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SUMMARY:Cat Power
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 5/10 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*** \nCat Power \n \nWebsite\nFacebook\nTwitter \nThere are few voices more deeply embedded in the iconography and mythology of American indie rock than that of Chan Marshall. Under the musical nom de plume of Cat Power\, Marshall has released music for nearly 25 years now and her prowess as a songwriter\, a producer\, and most notably—as a voice—has only grown more influential with time. On her 10th studio album\, Wanderer\, Marshall resets her dials\, offering a collection of songs that function as pristine examples of her still-evolving creative practice. Held aloft primarily by Marshall’s own guitar and piano\, Wanderer is a collection of winding\, wondering narratives all perfectly imbued with the kind of yearning and warmth that have made her one of the most distinctive and beloved artists of her generation.  \nProduced by Marshall and mixed by Rob Schnapf (Elliott Smith\, Beck)\, the album includes appearances by longtime friends and compatriots\, as well as guest vocals courtesy of friend and recent tourmate Lana Del Rey. Wanderer is\, in many ways\, a kind of quintessential Cat Power record\, with Marshall’s clarion voice front and center in a set of songs that are remarkably stark and straightforward. Tracks like “Black” and “Me Voy” have the kind of haunted quality that recall the most emotionally harrowing moments of Moon Pix or You Are Free\, while the elegant lilt of “In Your Face” and the minimalist blues of “You Get” (“You Know there’s nothing like time\, to teach you where you have been” Marshall sings on the latter) have the same kind of playful\, soulful timbre of The Greatest. Meanwhile\, the album also showcases Marshall’s uncanny abilities as one of the great interpreters of songs\, with a stunning version of Rihanna’s “Stay”. “I love the tradition of interpreting songs”\, she says. “I think it’s one of the highest compliments you can pay another artist. It’s one of the great traditions in American music and one of the great pleasures.”  \nWhile Wanderer represents a hard-won stability for Marshall\, it’s also evidence that stability —emotional\, physical\, financial —is often fleeting. It’s a thing that must be cared for\, protected\, and can easily evaporate. Songs like “Robbin Hood” and “Nothing Really Matters” confront duplicity and  hopelessness in equal measure\, examining what it means to be taken advantage of (“Who Robbing\, who robbing who?”) and the nihilism of trying to do the right thing in a world where it often feels as if it truly makes no difference. In stark contrast\, the album’s first single\, “Woman\,” (featuring backing vocals from Lana Del Rey) is a full-throated push back against doubters and critics\, as well as a righteous claiming of space. “The doctor said I was not my past\, he said I was finally free\,” sings Marshall\, “I’m a woman of my word\, or haven’t you heard? My word’s the only thing I’ve ever needed.” Defiant\, unbowed\, and fantastically steadfast\, the song ends with the perfect\, beautiful coda: “I’m a woman.”  \nIf old Cat Power records might have easily been viewed as repositories for pain\, Wanderer is\, at its heart\, a testament to the transformative nature of songs\, an album-length imagining of alternate paths\, redemptions\, connections\, and open-ended possibility. This is most evident on “Horizon”\, the album’s emotional centerpiece\, in which Marshall sings about the complicated\, emotionally elastic bonds between family members. For someone whose entire life has been predicated on movement —years of comings and goings with little time to pause and connect — the song offers a bittersweet reconciliation: “You’re on the horizon / I’m on my way / You’re on the horizon / I’m headed the other way.”  \n“This album is about my journey up to this point. Wanderer\, the album\, represents the course my life has taken in this journey – going from town to town\, with my guitar\, telling my tale; with reverence to the people who did this generations before me. Folk singers\, blues singers\, and everything in between. 
They were all wanderers\, and I am lucky to be among them.” – Chan Marshall\, 2018  \n*** \nArsun \n \nFacebook\nTwitter \nBuilding a studio in New York City\, Arsun is working with his band to select equipment best suited to creating his musical dream; creating the sound of the 1960s with the versatility of modern recording. \nWith a sound beyond his 19 years\, Arsun has developed a style worthy of timeless exultation
URL:https://royaleboston.com/event/cat-power/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20190925T190000
DTEND;TZID=America/New_York:20190925T190000
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SUMMARY:K.Flay
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 5/3 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nK.Flay \n \nWebsite\nFacebook\nTwitter \nWhen facing the daily maelstrom of concerns\, complaints\, and calamities in the news\, in conversation\, and in social media posts\, a smile signals real rebellion. Eschewing self-centered woe and melancholy-for-the-sake-of-melancholy\, happiness becomes the brashest\, boldest\, and ballsiest move—and the sought-after answer. Recognizing this truth\, two-time GRAMMY® Award-nominated singer\, multi-instrumentalist\, songwriter\, and producer K.Flay sticks to a powerful\, passionate\, and positive mission statement on her third full-length album\, SOLUTIONS [Night Street/Interscope Records].\nCatalyzed by a three-year whirlwind of world touring and prolific output\, she translates the simple pleasures into ten genre-blurring bangers… \n “When I got home from tour\, I was in a dark place\,” she admits. “Eventually\, I made a decision to focus on the things that actually make me happy: walking around my neighborhood\, drawing in notebooks with markers\, talking to my mom on the phone. I thought\, ‘What did I do as a kid to be happy?’ As a child\, you don’t have access to alcohol\, drugs\, sex\, caffeine. I looked back\, when I had fun just by making music. I remembered the first time I wrote a song\, burned a CD\, and played it in my car. It’s the closest thing I’ve ever had to a religious experience. I reconnected with that spirit and stopped taking shit so seriously.” \nShe certainly earned the right to do so…\nAs the culmination of a diligent decade-long grind marked by a series of independent EPs and shows\, the songstress carved up her own lane in the mainstream with major label debut Every Where Is Some Where. It garnered two nods at the 2018 GRAMMY® Awards in the categories of “Best Engineered Album\, Non-Classical” and “Best Rock Song” for “Blood in the Cut.” The latter generated 30 million-plus Spotify streams as “High Enough” surpassed the 20-million mark and “Giver” clocked 12 million and counting. In addition to praise from Billboard\, Nylon\, The Fader\, and more\, she landed syncs and soundtrack placements for Tomb Raider\, xXx: Return of Xander Cage\, NBA 2K\, Fifa\, This is the End\, and more. Not to mention\, everyone from legendary Rage Against the Machine and Audioslave guitarist Tom Morello and Linkin Park co-frontman Mike Shinoda to FIDLAR sought her out for collaborations. She also canvased the globe supporting Imagine Dragons. \nIn the Summer of 2018\, she re-teamed with frequent collaborators Tommy English [Ariana Grande\, Kacey Musgraves\, Thirty Seconds to Mars] and JT Daly [Mutemath]\, as well as Joel Little and CJ Baran. Recording in Los Angeles and Nashville\, she widened the scope of her signature style\, incorporating a variety of analog synths along with live bass and guitar\, bobbing and weaving between pop\, rock\, hip-hop\, and electronic moods. \n“The title SOLUTIONS came to me really early in the process\,” she goes on. “The solution to almost every problem is usually really simple. For me\, it’s so basic: staying connected to the people I love\, taking care of myself the way I’d want my friends to take care of themselves\, and doing things I know are going to make me happy – not what social media or strangers or society tells me. So many of my past records were about problems. Right now I’m in a place where I’m looking for some light. Balance is important. Life doesn’t have to be chaotic in order to be meaningful.” \nProduced by English\, the first single “Bad Vibes” slips clever quips—“You’re the sequel that sucks”—between a siren swell of synths\, thick percussion\, and an unshakable and undeniable chant\, “You give me bad vibes…” \n“My best friend recently had a kid\, and I was like\, ‘I don’t want this baby to grow up around sad people’\,” she recalls. “I saw this stupid prison-style tattoo that said\, ‘Born dead’. I thought\, ‘Fuck you\, man. I hate this tattoo’. With everything going on in the world right now\, I wanted to  make some positive music. The goal isn’t to be happy every minute; it’s just to move away from negative energy. Sonically\, it’s the perfect introduction to the record. Fuck being sad all the time!”\nPropelled by resounding piano and nimble rhymes\, “Good News” leaps over glitchy beats and into a reminder that we can be “our own best friend.” Something of a spiritual successor to “Blood in the Cut\,” the frosty and fiery anthem “Ice Cream” serves up “a breakup song that isn’t too heavy.” On the other end of the spectrum\, the uber-personal “Sister” delivers a heartfelt message of sisterhood as she claims\, “I wanna be your sister till the end.” \n“My sister and brother aren’t biologically related to me\, and I always wanted them to be my ‘real siblings’\,” she goes on. “It was important for me to dedicate this song to them. On a larger level\, I believe sisterhood should be available to everybody\, regardless of gender. Sisterhood is about creating your own family.” \nIn the end\, K.Flay makes happiness cool again…\n“When you listen to this\, I hope you walk away feeling like it’s okay to temper a little positivity in your life\,” she leaves off. “There’s so much out there we can’t control. As I mature\, I’ve been able to realize that. Do what makes you happy. Right now\, music makes me really happy.”  \n*** \nHouses \nWebsite\nFacebook\nTwitter \n*** \nYour Smith \n \nWebsite\nFacebook\nTwitter \nMinneapolis native Your Smith (aka Caroline Smith)\, relocated to Los Angeles after signing to Pulse Recording (DRAM\, Miike Snow\, Gallant\, et. al). Inspired by the history of Laurel Canyon and moving through a city that’s been immortalized in music throughout the ages\, Smith concocted her own sound\, bringing together the funk / R&B “Minneapolis Sound” of her roots and the classic songwriting of the LA folk heroes. \nYour Smith is currently wrapping up her debut EP\, produced by Tommy English (BØRNS)\, Stint (Gallant\, Aluna George\, NAO)\, and Nicky Davey (Internet\, Syd The Kid)\, arriving on Neon Gold Records (HAIM\, Christine & The Queens\, et. al) this fall and will commence a full US headline tour in September.
URL:https://royaleboston.com/event/k-flay-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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