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DTSTART;TZID=America/New_York:20180804T150000
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DTSTAMP:20260404T200132
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SUMMARY:Bitch Sesh Live
DESCRIPTION:Second show added due to overwhelming demand! Tickets on sale NOW! \nDoors: 3:00 pm / Show: 4:00 pm \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nBitch Sesh \n \n[Facebook] \nCasey Wilson (Happy Endings) and Danielle Schneider (The Hotwives of Orlando) bring you a live version of their hilarious podcast Bitch Sesh. They’ll deep dive into all things Real Housewives\, unpack pertinent pop culture goings on and continue to process and hopefully come to accept Julia Roberts wig in “Mother’s Day.” One day at a time. Join them for dramatic reenactments\, audience questions\, clips and more. You won’t want to miss this very important\, nay – life altering\, evening.
URL:https://royaleboston.com/event/bitch-sesh-live-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180804T190000
DTEND;TZID=America/New_York:20180804T213000
DTSTAMP:20260404T200132
CREATED:20180201T180001Z
LAST-MODIFIED:20180201T180001Z
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SUMMARY:[SOLD OUT] Bitch Sesh Live
DESCRIPTION:This show is now SOLD OUT! \nNOTE: Due to overwhelming demand\, an early show has been added! Tickets for the early show are still available HERE. \nDoors: 7:00 pm / Show: 8:00 pm \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nBitch Sesh \n \n[Facebook] \nCasey Wilson (Happy Endings) and Danielle Schneider (The Hotwives of Orlando) bring you a live version of their hilarious podcast Bitch Sesh. They’ll deep dive into all things Real Housewives\, unpack pertinent pop culture goings on and continue to process and hopefully come to accept Julia Roberts wig in “Mother’s Day.” One day at a time. Join them for dramatic reenactments\, audience questions\, clips and more. You won’t want to miss this very important\, nay – life altering\, evening.
URL:https://royaleboston.com/event/bitch-sesh-live/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180814T190000
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SUMMARY:Jeremih / Teyana Taylor
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri. 6/15 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nJeremih \n \nWebsite\nFacebook\nTwitter \n“I can make a great sex song anytime I want\, without even saying a body part\, without saying anything that would be omitted on the radio. Somehow I’ve just been given that ability\,” Jeremih remarks matter-of-factly\, not even the hint of a mischievous grin on his face. The man knows his talent\, and his calling card. And as enviable as that talent is\, no man of Jeremih’s intelligence and versatility would be satisfied in a pigeonhole: “In no way do I feel that ‘Birthday Sex’ defines me as an artist\, or defined my first album. People are quick to make comparisons: ‘he’s the next R. Kelly\, he’s the next Dream.’ That’s flattering talk but we’re all different\, as people and as artists.” \nIndeed\, 23-year-old Jeremih Felton has planted his own flag among the glittering banner acts at Def Jam: “I feel like I’m on the best label I could be on; I’m not intimidated by anyone musically\, and I’m honored and inspired by the artists around me. There were a lot to choose from\, a lot of labels were interested in a short period of time\, but I didn’t get this far by making bad decisions. And to be blessed with L.A. Reid’s thoughts and even his critiques\, I couldn’t ask for anything more.” \nSo the stage is set for Jeremih’s sophomore album\, All About You\, dropping September 28th. The singer/ rapper/producer/multi-instrumentalist has again aligned with producer Mick Schultz to deliver eleven songs long on sophistication\, sex appeal\, and even some old soul. “Mick and I have a great chemistry; we entered the game together\, and we have albums’ worth of music\,” Jeremih imparts. “I want him to get known too; I’m not selfish like this has to be the Jeremih show. This album is a great showcase for his ability as well as my own. Once people hear this album\, others will recognize what I recognized in him and reach out for more of what we create.” \nWhat they create is a sonic palate ranging from subtle savoir-faire to unapologetic\, house-shaking climax. First single “I Like\,” featuring labelmate Ludacris and co-written by Keith James\, is pure babymaking bliss. Jeremih’s uncanny falsetto wends into Ludacris’ irresistible\, irrepressible flow\, bobbing and weaving with Schultz’s bubbly\, scaled-back rhythm. Elsewhere\, the titular track is a languid 4/4 offset by sawing high-octave synth riffs. But Jeremih’s vocals\, smacking of a young Michael\, steal the show. Rare is a falsetto this controlled\, this textured\, this evocative. Listen for it also on “Take Off\,” what Jeremih terms a relationship record told from the lesser-heard male point of view: “Guys have feelings too\, guys get hurt\, and this record expresses that. There’s a point when we feel like we’ve done enough in trying to work this out\, and now it’s best if I take off for the both of us. I can say I been there\, but I also hear this from a lot of peers. Women can relate to it too\, even if it’s not from their perspective.” \n“Down on Me” featuring 50 Cent is a supersmash in the waiting. 50 unleashes an insistent\, machine-gun flow\, while Jeremih contorts himself through some outrageous vocal acrobatics. His voice\, spiced with an island cadence\, bends and stretches about one of the nastiest hooks R&B has seen in quite some time. “Down on Me” is definitely a song to be up on. “I’ve always respected 50 and always wanted to work with him\,” Jeremih notes. “I wanted to reach out to a couple artists who could bring to the table what I know I do.”\nJeremih doesn’t lack for confidence. Nor should he. A native of the unforgiving Southside Chicago ―“a city full of talent”― streets\, Jeremih kept to a positive path\, honing his prodigious musical chops on saxophone\, drums\, and piano. He graduated high school a year early and enrolled at the University of Illinois as a prospective engineering major. Bookworm by day\, beatmaker by night. “I write off beats\,” Jeremih reveals. “I’m a producer myself\, that’s how I thought I’d initially get into the game. After a while\, I just got to writing to the beats. And at the time\, I was rapping\, not singing.” Indeed\, the U of I campus couldn’t hold Jeremih; he transferred to Columbia College\, one of Chicago’s preeminent creative schools.  \n“That’s where I met Mick Schultz and started vibing with him\,” he continues\, “And began singing over his beats\, because that’s what a lot of his stuff called for at the time. But singing and rapping both came natural; that stemmed from playing instruments growing up. Playing the piano taught me how to sing\, or at least how to sound out\, reach\, and hold notes.” \nJeremih holds notes\, and court\, on All About You. The album has a depth\, a sense of growth\, an exploratory side. “The Five Senses” is a slow\, sultry firestarter featuring Jeremih’s peerless tone. Then there’s “Broken Down\,” full of ominous piano chords and cadenced like a frozen moment in jazz or soul lore. And “Holding On\,” the subsequent track: “After being broken down\, you gotta keep holding on\,” Jeremih affirms. “It’s about trying to see the future when you’re going through something in the moment that’s getting you down. I played this for my Grandpops and a lot of older listeners and they really responded to it. I’m proud of this song and how far I’ve come as an artist.” \nJeremih has other reasons to be proud. Concurrent with his album release\, he’ll be appearing on the second season of BET’s popular series\, Rising Icons. Icons\, presented by Grey Goose vodka\, pulls back the curtains and chronicles the lives of rising stars\, both at home and on tour. Jeremih will share the spotlight with fast risers such as J. Cole\, Estelle\, Laura Izibor\, and B.O.B. Elsewhere\, he’s been honing his pen game for other ballyhooed newcomers\, including Jenna Andrews\, for whom he and Mick wrote “Tumblin’ Down\,” her debut single on Island Records. “I write what I feel\, and with the pitch of my voice\, I can write for a man or a woman\,” he states. “My voice just has the ability to do a lot of different things.” \nSpeaking of different things\, fans yearning for even more Jeremih can cop the Deluxe version of All About You\, available via iTunes and featuring several tracks not on the physical CD. Expect also a Jeremih mixtape\, on which the young star does as much spitting as singing: “I rapped a little on my last album with ‘Raindrops\,’ and people asked ‘Who was that?’ Now\, I have some new stuff that I went hard on that just didn’t fit with the theme of this album. So I’m looking forward to the mixtape to let people see that side of me. A lot of singers try to do it\, and it can either A) turn all your fans away like ‘You need to stick to singing\, fam’ or B) get you respect as being able to do both. I can put rhyme to a melody and have it accepted.” \nIt’s been a whirlwind couple years for Jeremih\, first setting the Midwest ablaze with his indy anthem “My Ride\,” following that up with the RIAA-certified platinum “Birthday Sex\,” a nomination for an American Music Award\, and now\, an imminent sophomore album. “I’ve almost traveled the world in a year\, and that’s an amazing experience. I now know what to expect this time around. When I do shows\, I perform every song off the last album. People still want to hear those songs live\, and those are from a year ago. So I’m excited to see the response to this material.” Jeremih recognizes that without his dedicated fans\, none of these amazing experiences would be possible. That is why\, on September 28th\, he would like to tell each and every one of them it’s “All About You”. \n*** \nTeyana Taylor \n \nFacebook\nTwitter \n*** \nDaniLeigh \n \nWebsite\nFacebook\nTwitter \nWhen the end of Summer hits\, the desire to rewind time kicks in\, reliving every magical moment from the season’s past. It’s a vibe that newcomer DaniLeigh has managed to encapsulate in her debut EP Summer With Friends\, coming soon. The 22-year-old singing and dancing phenomenon cut her teeth in the business when she directed a music video for her late mentor\, Prince. She enhanced her buzz with back-to-back jams “Play” (featuring Kap G) and “Lurkin’”\, and is here to continue her mission of making music that both sounds and feels good. \nThe South Florida native had music in her blood\, singing from a young age. As an early teen\, DaniLeigh recorded YouTube covers of songs like Musiq Soulchild’s “So Beautiful\,” though she wasn’t quite ready for the big time. “I was really shy\,” she admits\, “and I didn’t realize the unique sound of my voice until later on.” It wasn’t until a few years later when she moved to Los Angeles at 16 that DaniLeigh began harnessing her craft. In LA she found her footing in the music industry\, starting with dancing. “I was dancing in music videos\, commercials\, you name it\,” she recalls. “From there\, I met a lot of producers onset and just networked.” Singing became the secret weapon\, as DaniLeigh would reveal her chops and be invited to studios for recording sessions. However\, a life-changing encounter with the legendary Prince would be the real catalyst. \nAfter learning of DaniLeigh’s talents as a dancer (through a one-minute video clip)\, the Purple One reached out to have her direct his video for “Breakfast Can Wait” at just 18 years old. The video hit worldwide\, appearing on networks like MTV\, BET\, and REVOLT. Prince ultimately took DaniLeigh under his wing\, mentoring her budding singing career. His untimely death in 2016 left a void in DaniLeigh’s life\, though his presence is still felt as DaniLeigh’s star is only getting brighter. \n“Play” truly kicked things off. The high-energy single is described by DaniLeigh as an empowering anthem for women. “It’s a bold statement\,” she says of the cut\, which carries a message of “making a play” in all areas of life. “I’m a very positive person and this song I feel can help motivate people to put in that work\,” she says. Bringing Kap G (who is of Mexican descent) into the fold as a feature was her way of uniting more Latinos in music\, as DaniLeigh’s Dominican heritage is evident in both her style and sound. The single “Lurkin’” immediately followed\, as a slick nod to social those stalkers who don’t congratulate moves\, yet look on from the social media sidelines. The song even made its way to the HBO hit series Insecure. The stage is now set for DaniLeigh to show the diverse angles of her talent on a grander scale.  \nAptly titled Summer With Friends\, the upcoming EP sums up DaniLeigh’s past few months\, which she lightheartedly describes as “just having fun and working.” The relatable nature of the project brings forth the aforementioned singles\, along with feel good songs that channel the young artist’s inspirations including Aaliyah\, Missy Elliott\, and Drake while showing her ability to fuse hip-hop and R&B with poppier electronic-driven vibes. Songs like “Questions” playfully target those relationship interrogation sessions (Where were you? Who were you with?)\, while “Ex” is a self-explanatory track about the now-single artist’s previous romance. “He got one song\,” she jokes. Other cuts like the infectious “On” and “All I Know” show DaniLeigh’s versatility within the pop-urban landscape\, while “All Day” highlights her Dominican roots. “That’s a bachata beat underneath [the production]\,” she proudly points out. “The time right now is in alignment\, showing that things are going the right way.” As DaniLeigh unveils her debut Summer With Friends and the projects that follow\, she maintains her goal of positive music\, though has one wish involving one important angel by her side. “I always say I wish Prince was here to see all of this happening with me right now\,” she says. “It’s okay though. I know he’s watching.”
URL:https://royaleboston.com/event/jeremih/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180823T190000
DTEND;TZID=America/New_York:20180823T190000
DTSTAMP:20260404T200132
CREATED:20180529T160045Z
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SUMMARY:Belly
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri. 6/1 at noon! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nBelly \n \nWebsite\nFacebook\nTwitter \nAfter amicably exiting Throwing Muses and The Breeders\, Tanya Donelly formed Belly in 1991 with brothers Tom and Chris Gorman\, and were joined soon after by Gail Greenwood on bass. Belly released two albums ~ the first being Star\, which earned the band two Grammy nominations and eventually sold two million copies worldwide ~ and the second album being King\, which was produced by the legendary Glyn Johns and released in February 1995. After several extensive world-wide tours (including opening slots for REM\, U2\, and the Velvet Underground\, and tours with Radiohead\, Catherine Wheel\, and the Cranberries)\, Belly unfortunately fell prey to the all-too-common rock-and-roll cliché of industry pressure\, financial issues\, personal conflict and divergent creative ambitions. The band played its last show on Nov. 11\, 1995. Tanya went on to release five albums under her own name. Gail spent three years playing in L7\, then two years with Bif Naked\, and continues to play guitar in Benny Sizzler\, her band with her partner Chil. Chris and Tom opened a commercial and fine-art photography studio in New York City. In 2015\, Chris published his first children’s book\, Indi Surfs. Tom briefly played guitar and keyboards with both Buffalo Tom and Kristin Hersh. \nIn late 2015\, twenty years after last playing together\, the band decided it was ‘now or never’ and announced Belly would reunite for a limited tour in 2016. Falling right back into a laughter-fueled groove as they began rehearsing for the tour\, they decided to write a few new songs together. At the end of that joyful and successful tour\, they decided to expand on the idea and write a full album’s worth of music together and are now in the process of recording the new album with their old friend Paul Q. Kolderie at the board. Belly have partnered with Pledge Music\, and the album (not yet named) can be pre-ordered on vinyl\, CD\, or as a digital download\, or as part of a variety of “bundles” and exclusive limited-edition goodies. All advance orders through Pledge include member-only access to updates\, peeks into the studio\, and a soon to be released digital download of the band’s cover of “Hush-a-Bye Mountain\,” recorded just for fun while in the studio.
URL:https://royaleboston.com/event/belly-3/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180907T180000
DTEND;TZID=America/New_York:20180907T213000
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CREATED:20180417T160054Z
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SUMMARY:The Jesus Lizard
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 6:45 pm \nTickets on sale Fri. 4/20 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nThe Jesus Lizard \n \nWebsite\nFacebook\nTwitter \nFollowing an instantly sold-out handful of US shows this past winter\, the Jesus Lizard have confirmed eight more dates.  Kicking off September 6 at Washington\, DC’s Black Cat the itinerary also takes the legendary band to Boston\, Philadelphia\,  Detroit\, Austin\, Atlanta\, Seattle and Portland.  Prior to this past December\, the band had not played live together since 2009 and these new shows represent the only new appearances planned.  \nTickets for all shows are on-sale Friday\, April 20 at 10am local time.    \n2017’s tour reminded all that saw the Jesus Lizard that their live show is unparalleled.  Brooklyn Vegan noted\, “…it would be hard to say The Jesus Lizard have mellowed in the 30 years since forming” and reviewing Houston’s Day For Night Festival\, the Houston Press declared\, “it was hard to deny that the Jesus Lizard was the best act on Sunday\, hands down.”  Stereogum have called them “one of the greatest live bands ever” and The New York Times has used the words “extravagantly good” while Rolling Stone speaks of the band’s “shattering live performances.”   \nThe Jesus Lizard formed in late 80’s Austin\, TX after David Yow (vox) and David Wm. Sims’ (bass) previous band Scratch Acid broke up.  They started the Jesus Lizard with Duane Denison (guitar) and a drum machine and recorded their debut EP Pure with Steve Albini in 1989.  A move to Chicago prompted the firing of the drum machine in favor of Mac McNeilly (drums) and in 1990 the band recorded their first full-length\, Head\, for Touch and Go.   \nWhile the labels “seminal” and “legendary” are often applied too easily\, they both accurately describe the Jesus Lizard.  They released five more remarkable LPs before disbanding in 1999\, the last being 1998’s Blue. During that time\, they toured endlessly and issued not only the critically acclaimed studio LPs but also assorted singles\, EPs\, compilations and a live album.  Pitchfork has said of them: “the Jesus Lizard raised a bar that few bands have reached since…Rarely does a band have each member adding something essential to such a united\, ferocious whole.”   \n*** \nAll Souls \n \nWebsite\nFacebook\nTwitter \nLife’s paths twist and turn\, but we always eventually end up where we’re meant to be. \nIn that respect\, the story of All Souls feels pre-destined. Way back in 1994\, Tony Tornay [Fatso Jetson\, The Desert Sessions\, Linda Perry] first met Tony Aguilar and Meg Castellanos [Totimoshi\, Alma Sangre] by introduction from Erik Trammel [Black Elk\, Wadsworth]. They kept in touch and always bandied the idea of “writing and jamming” about. \nIt took 21 years\, but a band finally became a reality in 2015 when these four artists sat around a table and discussed officially working together… \n“One of the things that we did in this band that I’ve never done before is have that discussion\,” recalls Aguilar. “Meg and I had always wanted to play with Tony as did Erik. It finally fell into place. Once we figured out what the lineup was going to be\, we sat around and discussed what we wanted to sound like artistically before even jamming. It gave us a really great grasp on the artistic angle. It was almost like forming the painting before it was brought to life.” \n“This is the culmination of thirty years as a professional musician\,” adds Tornay. “It’s everything I’ve wanted for as long as I can remember. When we get together\, it feels like home. This embodies every reason why I do what I do.” \nThroughout 2016\, the quartet—Aguilar [vocals\, guitar]\, Castellanos [bass\, vocals]\, Trammell [guitar]\, and Tornay [drums]—recorded what would become their self-titled full-length debut\, All Souls\, during intermittent sessions at Sound of Sirens Studio in Los Angeles with producer Toshi Kasai [Tool\, The Melvins\, Foo Fighters]. \nFor Aguilar and Castellanos\, the music spoke to a dormant primal need that harked back to their time in the fan favorite underground mainstay Totimoshi. \n“At the time\, we had been doing Alma Sangre\, which was our take on flamenco meshed with Ranchero\,” says Aguilar. “We’re rockers at heart though\, and we had been wanting to be in another rock band. It also reunited us with Toshi who did three of our Totimoshi records. He has his own approach. It’s almost like you enter into a different world with his production. Each song becomes like a journey\, and nobody curtailed that. We were all on the same page.” \nFollowing tours with the likes of Red Fang\, The Sword\, Kvelertak\, and Torche\, the band unleash All Souls in 2018 via Sunyata—the label founded by iconic Screaming Trees and Mad Season drummer Barrett Martin. Earmarked by Spaghetti Western-style expanse and rough-and-tumble riffing\, the music proudly bears the wild wear-and-tear of the nineties Palm Desert scene with a twist of psychedelic voodoo and metallic edge. \nIntroducing the album\, the first single “Never Know” barrels forward at full speed powered by gusty distortion and a psychedelically catchy refrain. \n“Lyrically\, I want to keep it a little mysterious\,” Aguilar reveals. “It’s about people in our society who feel like they own the world\, act accordingly\, and behave in ways that are completely derelict of social responsibility. They’ll never know love or understand that responsibility. They’ll never know anything.” \nElsewhere\, “Party Night” dements a surf rock-style gallop with punchy delivery and overcast production. The melancholy melodies of the seven-minute “Rename The Room” paint a stark picture of bipolar mood swings and abuse inspired by a dark day in Aguilar’s childhood home. Tool drummer Danny Carey kicks off the entrancing “Sadist/Servant” with a spirited cameo on Tabla Drums\, providing a tribal flare. \n“‘Sadist/Servant’ one never gets boring\,” smiles Tornay. “It’s always in your face and never falls back in the pocket. Danny killed it. He’s playing this really aggressive instrument on the quietest part of the song!” \nIn the end\, these four musicians were always meant for this band. That’s why All Souls is so easy to get lost in. \n“When you hear this\, I hope you have that experience where you’re just completely inside the music\,” Aguilar leaves off. “You can just fall into it.”
URL:https://royaleboston.com/event/the-jesus-lizard/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180913T190000
DTEND;TZID=America/New_York:20180913T190000
DTSTAMP:20260404T200132
CREATED:20180424T140045Z
LAST-MODIFIED:20180424T140045Z
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SUMMARY:[SOLD OUT] Car Seat Headrest
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nSOLD OUT! \nPlease note: this show is open to all ages. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nCar Seat Headrest \n \nWebsite\nFacebook\nTwitter \nToledo always knew he would return to Twin Fantasy. He never did complete the work. Not really. Never could square his grand ambitions against his mechanical limitations. Listen to his first attempt\, recorded at nineteen on a cheap laptop\, and you’ll hear what Brian Eno fondly calls “the sound of failure” – thrilling\, extraordinary\, and singularly compelling failure. Will’s first love\, rendered in the vivid teenage viscera of stolen gin\, bruised shins\, and weird sex\, was an event too momentous for the medium assigned to record it. \nEven so\, even awkward and amateurish\, Twin Fantasy is deeply\, truly adored. Legions of reverent listeners carve rituals out of it: sobbing over “Famous Prophets\,” making out to ‘Cute Thing’\, dancing their asses off as ‘Bodys’ climbs higher\, higher. The distortion hardly matters. You can hear him just fine. You can hear everything. And you can feel everything: his hope\, his despair\, his wild overjoy. He’s trusting you – plural you\, thousands of you – with the things he can’t say out loud. ” I pretended I was drunk when I came out to my friends\,” he sings – and then\, caught between truths\, backtracks: ” I never came out to my friends. We were all on Skype\, and I laughed and changed the subject.” \nYou might be imagining an extended diary entry\, an angsty transmission from a bygone LiveJournal set to power chords and cranked to eleven. You would be wrong. Twin Fantasy is not a monologue. Twin Fantasy is a conversation. You know\, he sings\, that I’m mostly singing about you. This is Will’s greatest strength as a songwriter: he spins his own story\, but he’s always telling yours\, too. Between nods to local details – Harper’s Ferry\, The Yellow Wallpaper\, the Monopoly board collecting dust in his back seat – he leaves room for the fragile stuff of your own life\, your own loves. From the very beginning\, alone in his bedroom\, in his last weeks of high school\, he knew he was writing anthems. Someday\, he hoped\, you and I might sing these words back to him. \n“It was never a finished work\,” Toledo says\, “and it wasn’t until last year that I figured out how to finish it.” He has\, now\, the benefit of a bigger budget\, a full band in fine form\, and endless time to tinker. According to him\, it took eight months of mixing just to get the drums right. But this is no shallow second take\, sanitized in studio and scrubbed of feeling. This is the album he always wanted to make. It sounds the way he always wanted it to sound. \nIt’s been hard\, stepping into the shoes of his teenage self\, walking back to painful places. There are lyrics he wouldn’t write again\, an especially sad song he regards as an albatross. But even as he carries the weight of that younger\, wounded Toledo\, he moves forward. He grows. He revises\, gently\, the songs we love so much. In the album’s final moments\, in those ” apologies to future me’s and you’s\,” there is more forgiveness than fury. \nThis\, Toledo says\, is the most vital difference between the old and the new: he no longer sees his own story as a tragedy. \nHe’s not alone no more. \n*** \nNaked Giants \n \nWebsite\nFacebook\nTwitter \n‘SLUFF’ is a word that means both everything and nothing\, but it definitely sums up the three distinct personalities that make up Naked Giants. Depending which member you ask\, SLUFF is either slang for the black gunk that comes off your shoes when it snows in the winter\, an acronym that stands for South Lake Union Fuck Face (a reference to the tech bros who have infiltrated Seattle in recent years) or what a snake does when it sheds its skin. It’s also the title – and a song on – the band’s debut full-length. \nFormed in 2015\, the Seattle trio – guitarist/vocalist Grant Mullen\, bassist/vocalist Gianni Aiello and drummer Henry LaVallee – put out debut EP R.I.P. the following year and have been steadily building up their reputation as a live act in the meantime\, and having as much fun as possible while doing it. Because as much as the three-piece – who are all in their very early 20s now – have their heads screwed on and are fiercely intelligent people\, they also want to let loose and enjoy being in a band. After all\, that’s kind of what being in a band with your closest friends is all about. \n“I just want to make as much noise and have as much fun and get as sweaty as I can\,” says LaVallee\, “and if that resonates with people\, that’s who I want in my life. That’s who I want to play music for.” \nThat clash of the cerebral and the intelligent – the desire to say something meaningful but also just have some fun – is what underpins the very essence of who Naked Giants is. It’s a band of contradictions. Their music\, which is simultaneously timeless and modern\, new and old\, is loud and brash and raw\, but there’s vulnerability there\, too. In fact\, debut album SLUFF is a melting pot of ideas and sounds that\, on paper\, don’t seem like they would go together\, but which form one phenomenally cohesive whole. \n“These are songs that we’ve played live for a long time\,” explains Mullen. “We wanted to showcase the different kinds of songs we’ve written and put them all onto an album that flows together\, making it tie together into something that means something.” \nThat’s exactly what they do on SLUFF’s twelve weird and wonderful songs. Recorded with producer Steve Fisk (Nirvana/Screaming Trees/Beat Happening/Car Seat Headrest/Low/Minus The Bear) in Seattle at Avast! and Soundhouse Studios over the course of two and a half weeks in October\, the record is a dizzying mélange of influences and ideas. It swirls with hyperactive restlessness as 1960s harmonies share space with 1970s riffs while at the same time battling an undercurrent of punk rock and more modern indie influences. The song “TV”\, for example\, is a kaleidoscope of sound that seems to take in the whole history of rock’n’roll but reframes it in a more contemporary context. \n“From our perspective as millennials where everything is accessible all at once\,” explains Aiello\, “there is no difference to us between punk and classic rock or anything like that because we’re all observing it at the same time through the same lens. And yes\, history exists\, but if you’re just flipping through something on the TV\, it all kind of conflates together – kind of like the song does.” \nNeedless to say\, that song simmers with tension\, and it’s not the only one. “Everybody Thinks They Know (But No One Really Knows)” is a jaunty\, upbeat jangle but with distinctly sinister undertones\, “Slow Dance II” is a sumptuous\, soulful track with a desperate\, raw and bluesy swagger. “Dat Boi” is a rash of brash guitars that’s soon swept by an off-kilter\, psychedelic melody while closer “Shredded Again” is a graceful\, lackadaisical comedown after the rush of energy that precedes it. Raucous and rabid\, but also considered and complex\, Naked Giants’ music is the sum of all their influences and then some. And then some more. \n“What’s really interesting to me\,” ponders Aiello\, “is we have very different influences\, so when we’re jamming it’s like it’s being pulled apart and pushed together in so many different directions. And I think that’s a good thing.” \nThen\, of course\, there’s the quasi-grunge title track\, which chugs along with an ominous yet uplifting attitude as its title is shouted with a fervent zeal – “SLUFF!” – and which carries with it both the weight of the world and the reckless abandon of youth. \nSo while Naked Giants are happy to play the role of the dumb\, hedonistic rock band\, don’t be fooled for a second – they’re one of the brightest\, smartest acts out there at the moment. And this is also just the beginning of what they’re already planning to be a long and rewarding career. Even at this early stage\, they’re taking it as seriously as they are just having a good time. They have a lot to say and they’re not afraid to say it\, but they also relish in what making music has\, even already\, given back to them. \n“Performing on a stage has been very purpose-giving\,” says LaVallee. “Being in a group of people all experiencing music together brings a strong sense of community\, which excites me. Hopefully going forward we’ll be playing to more and more people. I want us to spread respect and fun rock’n’roll music to a whole lot of people. That just seems like a good deal all around.” \n“We’re just here to play music\,” says Mullen\, “so the more it goes well the more we’ll be thinking about our own art and our own voices. And that’s really the progression of it – personal growth and artistic growth. And whatever people think of that on a greater scale when it reaches them is all kind of up to them.” \n“Not everyone gets to go onstage and have a microphone in front of their mouth\,” says Aiello\, “so that’s a certain amount of responsibility. If you’re given the responsibility of having a microphone then you better say something pretty important. The pressure is to learn and listen to as much as we can so we can say the right thing and hopefully impact people.”
URL:https://royaleboston.com/event/car-seat-headrest/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180919T200000
DTEND;TZID=America/New_York:20180919T200000
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CREATED:20180619T155921Z
LAST-MODIFIED:20180619T155921Z
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SUMMARY:The Growlers
DESCRIPTION:Presented by Bowery Boston \nDoors: 8:00 pm / Show: 9:00 pm \nTickets on sale Fri. 6/22 at noon! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nThe Growlers \n \nWebsite\nFacebook\nTwitter \nSince the release of their first LP Are You In or Out? In 2009\, The Growlers have forged their own twisted path on the global music scene. They’re the party band that grew into a traveling circus of psychedelia that spawned their own event\, Beach Goth. Lead singer Brooks Nielsen draws a particular devotion among Growlers fans\, as does chief cohort Matt Taylor\, The Growlers’ music director and chief guitarist. Their most recent LP was 2016’s City Club\,produced by Julian Casablancas\, which saw them expand their palette to include West African\, dance\, and electronic influences. The band is currently in the studio with Jonathan Rado (Foxygen) and Shawn Everett (The War On Drugs) and preparing for their Beach Goth World Tour 2018.
URL:https://royaleboston.com/event/the-growlers/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180921T180000
DTEND;TZID=America/New_York:20180921T213000
DTSTAMP:20260404T200132
CREATED:20180530T140033Z
LAST-MODIFIED:20180921T153859Z
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SUMMARY:[SOLD OUT] Alina Baraz
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 6:30 pm \nThis show is SOLD OUT! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nAlina Baraz \n \nFacebook\nTwitter \n*** \nCautious Clay \n \nWebsite\nFacebook\nTwitter \n“Ever since I started playing music\, it was always about the feel\,” says Josh Karpeh\, AKA Cautious Clay. “There are a lot of things in art that you can learn by practicing or studying\, but feel’s not one of them. It’s something you’ve just got to have.”          \nIt’s that feel\, that deep emotional intuition that fuels Cautious Clay’s sound. Blending R&B\, hip-hop\, and experimental indie\, his productions are dark and engrossing\, built upon a unique combination of organic instruments\, digital programming\, and soulful vocals. He writes with unflinching honesty\, engaging in deeply personal self-reflection with boldly vulnerable and vividly poetic lyrics. At times recalling contemporaries like James Blake or Sampha\, Cautious is a profoundly modern songwriter and a forward- thinking producer\, but he’s also steeped in the past\, quick to cite Burt Bacharach as an idol and credit Stevie Wonder and Quincy Jones as ever-present influences in his artful arrangements. \n“I used to think about songwriting and production as completely separate\,” he explains\, “but when I learned how to merge those two things\, that’s when I was able to start creating music that really connected with people.”  \nOriginally from Cleveland\, OH\, Cautious began his artistic journey at the age of seven when he picked up classical flute. His studies led him deep into the worlds of blues and jazz\, and by the time he hit college in Washington\, D.C.\, he’d added a number of other instruments to his repertoire in addition to songwriting and production. Now based in Brooklyn\, Cautious is currently preparing to release his debut EP\, Blood Type\, in February.
URL:https://royaleboston.com/event/alina-baraz/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180922T180000
DTEND;TZID=America/New_York:20180922T213000
DTSTAMP:20260404T200133
CREATED:20180611T150901Z
LAST-MODIFIED:20180611T150901Z
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SUMMARY:Butch Walker
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri. 6/15 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nButch Walker \n \nWebsite\nFacebook\nTwitter \nman… Bios kinda suck. I’ve been doing these things for so long now\, that I feel like just when I have written the mother of all things informative and maybe funny\, I go and record a new record. Why does shit always have to evolve and the information change every time another year goes by? Why\, since the last bio (which I felt was an understated masterpiece) did I have to go and do shit to deem it necessary for an update? Just because between the last album\, “I Liked it Better When You Had No Heart” and now\, I have: shot a video for “Pretty Melody” from the album ILIBWYHNH\, wore a tv on my head in it and fought ninjas\, got it featured on YouTube and it got a half million views\, did a sold out headlining tour of the states last year\, supported Train on a sold out tour of the states\, then went and supported Pink on a sold out stadium tour of Europe all summer\, including sold out headlining club shows of our own over there. Hmmm… What else.. Oh! Taylor Swift heard a little version I did of her song\, “I Liked it Better When You Belonged With Me” (or was it “You Belong With Me”? I can’t freaking remember…). She called me and asked if she could play my version of it on the Grammys and would I mind playing along side her and Stevie Nicks for the performance. Then she fell in love with me and ran away to Barcelona to elope\, only to find out that while I was in the bathroom at the airport\, she fell in love with Jake Gylenhall (sp?)\, who stole my fucking seat next to her in the waiting terminal…. Ok… I made that last part up. Fun right? No? Ok.. Like the fans are always telling me\, don’t talk about politics\, religious views or Tay Tay Swift. \nI should mention the band i play in. Just like the last record\, this record was recorded\, written and produced by me and the Black Widows. It consist of my longtime bandmates\, Chris Unck on guitar\, lap and pedal steel. He’s a redneck from the north Georgia mountains who I think wrestled alligators at one time\, and built lighthouses. He also fronted Chris Unck and the Black Roses.. Until I stole him. Fran Capitanelli on lead guitar is also a friend of mine that resided in Atlanta during my tenure there\, and he played guitar and sang lead in a band I loved called The Tom Collins. Until I stole him. He is the Professor of Energy…. Ask him to explain. Jake Sinclair on bass is not only the tallest\, skinniest bassist I know\, but he’s also the best. He’s even better than me\, and I’m fucking awesome. I met Jake while producing a record for his band The Films…. Until I stole him. I bartered with him though. I told him he could also engineer the records I make in my studio with me (he’s also the best engineer I know) and that his singer/songwriter in the Films\, Mike Trent\, would have to join in on the Black Widows writing process. I kinda made out good on this whole deal\, because Mike is one of the most unsung singer/songwriters I know\, and the lyrical collaborations we have done on the last couple of records have been my favorites. Oh yeah\, Mike’s wife (Cary Ann Hearst) is also an amazing singer/songwriter that I produced a record for last year…. She sang backup vocals on the new Widows record. It’s a family affair… \nso this is the part of the bio where I’m supposed to describe the new record by us called “The Spade”. I’m supposed to inject words about the songs like “soaring”\, “pounding”\, “climactic”\, and maybe even a “unrivaled”…… But I just can’t talk like that about my own music. But what I can say is\, just like my bass paying skills….. It’s fucking awesome. we will be on the road this year a lot\, and probably sleeping at many KOA campgrounds this fall. More than likely\, you are reading this because you don’t know shit about me and you are about to interview me for your school paper or local radio station visit (yes\, im in the lobby) and you need to find out a few things about me to talk about. It’s ok. I’m not mad. I’m not very popular and I don’t blame you if you “just aren’t into the music”. You may not have read this far\, or been able to get past the bass playing part\, but if you have\, then I commend you. Let’s talk…. \nend of bio. \n*** \nGreg Holden \n \nWebsite\nFacebook\nTwitter \nGreg Holden is an accomplished musician with a myriad of talents\, but his unending perseverance\, selflessness\, and sincerity stand out.  \nThe British-raised\, Los Angeles-based singer/songwriter has garnered recognition as an independent artist for the past several years and is likely best known for writing American Idol winner Phillip Phillips’ hit debut single\, “Home\,” which sold over five million copies in the U.S. and earned Holden an ASCAP Pop Award. His music has also been featured on notable television shows including Sons of Anarchy\, Private Practice\, and One Tree Hill. In addition to earning praise from industry staples such as Cher\, Tom Hanks\, Josh Groban\, Sara Bareilles\, Michael Bublé\, Zane Lowe\, TIME\, NPR\, and more\, Holden has racked up critical acclaim in the press\, with BuzzFeed hailing his “soaring\, purpose-filled songs that carry real emotional weight\,” Paste lauding his “clear vocals” and “expressive lyrics\,” and Nylon applauding his unique ability to “actually touch the lives of another person with raw\, emotional lyrical poetry.” \nDespite his impressive accolades\, Holden nearly gave up on the music business in the early days of his career. After self-funding his Tony Berg-produced sophomore album\, I Don’t Believe You (2011)\, the label due to release it folded\, thus the promotional efforts for the record. He then went into debt during a sold-out tour of Europe\, so much so that he basically called it quits while on the road. Most artists would have thrown in the towel at this juncture\, but Holden persisted through these setbacks\, leading to the well-deserved\, massive success of “Home.” He then went on to self-fund his third studio album\, the critically acclaimed Chase The Sun (produced by Greg Wells\, 2015)\, later licensing the record through Warner Brothers Records. \nHolden is excited to be back in the ring with his impressive new single\, “On The Run\,” produced by the iconic Butch Walker (Katy Perry\, Panic! At The Disco\, Weezer). The track is an uplifting anthem complete with catchy hooks that perfectly mesh with Holden’s strong\, heartfelt vocals. “ ‘On The Run’ is one of a few songs that was bouncing around in my head when it came to the question of what to lead with after three years on the dark side of the moon\,” says Holden. “Ultimately\, this song felt like the most authentic\, whilst at the same time not being so typically subject heavy that I would scare my listeners away. I’ll save that for the second single…” \n“ ‘On The Run’ is an apology\, obviously. But it’s an apology to a number of people\, for a number of things\,” he adds. “For years I’ve been on the road\, either emotionally or physically absent\, and at times probably a nightmare for partners\, friends\, and family. I wanted to write something that in a way\, said sorry for all that. A way to relinquish some of the guilt perhaps. I recorded it last winter with Butch Walker\, along with some incredibly talented friends. It took a morning\, it was a blast\, and then we were done. It feels right to lead with this one as it came out so naturally.” \nThis summer\, Holden is also set to debut “The Power Shift\,” a political\, call-to-action earworm. Holden produced and wrote the song himself\, and it aligns with his rebellious spirit of pushing back against the status quo. “I was trying to manifest a collective call on the\, for lack of a better word\, bullshit. I think it’s important that when someone is lying to you\, you call them out\,” says Holden. Although there was no singular event or figure who inspired him to write the track\, he notes his frustration with a growing series events around the world. “I was getting tired of screaming into the social media echo chamber and really wanted to put my frustrations into a song that wasn’t so toxic. I’m under no illusion that this is just a song\, but it’s better than a tweet.” \nAdditionally\, Holden has not taken his success in the music industry for granted and at times has worked to prioritize philanthropy and establish his profile as a socially conscious artist. Standout track\, “The Lost Boy\,” (from I Don’t Believe You)\, inspired by a Dave Eggers’ novel about a Sudanese refugee\, was the theme for a Red Cross campaign in The Netherlands that raised over $50\,000 for the organization. His hit single from Chase the Sun\, “Boys In The Street\,” an acceptance anthem that discusses a gay son’s strained relationship with his father\, directly benefited LGBTQ youth by raising money for the Everyone Is Gay organization’s 2014 fundraiser\, The Gayest Compilation Ever Made II. It’s an emotional\, poignant track that Tom Hanks called “The perfect song.” \nNeedless to say\, Greg Holden is an artist to watch in 2018\, with more new music expected later this year. Stay tuned for exciting news to come.
URL:https://royaleboston.com/event/butch-walker/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180925T200000
DTEND;TZID=America/New_York:20180925T200000
DTSTAMP:20260404T200133
CREATED:20180615T163648Z
LAST-MODIFIED:20180615T163648Z
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SUMMARY:Whethan
DESCRIPTION:Presented by Bowery Boston \nDoors: 8:00 pm / Show: 9:00 pm \nTickets on sale Fri. 6/22 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*** \nWhethan \n \nWebsite\nFacebook\nTwitter \nEighteen-year-old Ethan Snorek\, best known as breakout electronic artist and producer Whethan\, captured critical and public attention after his innovative tracks began streaming in the millions on Soundcloud in 2016. In the intervening year and a half\, Whethan has established himself as a one of the hottest up-and-coming producers and released a collaboration with Dua Lipa\, “High” (on the “Fifty Shades Freed” soundtrack) “love gang” (ft. Charli XCX)\, “Savage” (ft. Flux Pavilion & MAX)\, and “Good Nights” (ft. Mascolo) (namesake of the 2018 42-city “Good Nights” North American headline tour). The Chicago-born\, Los Angeles-based producer has toured arena stages supporting The Chainsmokers and stood out as a solo performer during festival appearances at Lollapalooza\, Billboard Hot 100 Music Festival\, as well as at Coachella’s DoLab & Heineken House. This spring\, Whethan will wrap the European leg of the “Good Nights” tour (this time co-headlining with Louis the Child) to return to the Coachella stage. \n*** \nSweater Beats \n \nWebsite\nFacebook\nTwitter \nThe Philippines and suburban Maryland aren’t exactly R&B or dance music hot beds\, but they didn’t need to be for Antonio Cuna aka Sweater Beats to ingest both genres and spit out an exciting hybrid\, melding the sensuality of contemporary R&B with the immediacy of dance music. Born in the Philippines\, Cuna moved to Maryland\, adapting to his new environment by engaging with music and skate culture. But it wasn’t long before R&B entered the picture\, first as an obsession and later\, while Cuna was at university in New York\, as a creative outlet. Growing up in the 2000s\, it’s no surprise that Cuna’s heroes include R&B producer mavens like Pharrell and Timbaland\, as well as French dance music behemoths Daft Punk\, but it’s how he’s filtered those influences into the ingenious sonic aesthetic\, a sound equally fitting both the festival stage and bedroom play\, that makes Sweater Beats such an unavoidably intriguing project. \nSince bubbling up in the dance world with the premiere of his debut single “Mlln Dllr” on Annie Mac’s Radio1 show\, Sweater Beats has constantly pushed the limits of his own sound. With support from the likes of Diplo\, Omarion\, and JoJo\, plus tours with artists like Chance the Rapper\, Flume and Chet Faker\, the producer has clearly caught the eye some of a wide variety of tastemakers. Featured by the likes of Billboard\, Entertainment Weekly\, Boiler Room and The FADER\, Cuna has also received admiration from music journalists the world over\, drawing almost universal praise from disparate outlets. With countless collaborations\, mixes\, and remixes\, on top of a constant touring schedule\, Cuna has garnered a reputation for his incessant work rate and willingness to push his sound into new and uncharted territory. And that’s part of the reason why Cuna connects with his fan base on such a visceral level\, eschewing traditional industry methods for his own unique\, intimate manner of going about business. \n*** \nAndrew Luce \nWebsite \nWebsite\nFacebook\nTwitter \nVery few artists have truly been able to adapt to the constantly evolving electronic music landscape. Fewer have been able to organically rack up over 5.5 million plays\, blow the internet away on both original content and remixes\, gather support from some of the biggest players in the industry\, and make an appearance at the legendary Coachella Music Festival. Still\, even fewer have managed to do all of these things before their 18th birthday. Andrew Luce\, a Bay Area native\, has shown the talent of performers twice his age\, making waves with a distinct and well-executed sound design that consistently employs a powerful low end. Whether you’re dancing on the floor or trying to impress that special someone back at home\, Luce has you covered. It’s time you get familiar.
URL:https://royaleboston.com/event/whethan/
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:20180926T190000
DTEND;TZID=America/New_York:20180926T190000
DTSTAMP:20260404T200133
CREATED:20180424T140055Z
LAST-MODIFIED:20180424T140055Z
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SUMMARY:Mt. Joy
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri. 4/27 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+. Patrons under 18 admitted if accompanied by a parent or legal guardian. 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*** \nMt. Joy \n \nWebsite\nFacebook\nTwitter \n“These dreams are more than paper things\,” sings Matt Quinn on Mt. Joy’s infectious folk-rocker “Astrovan\,” a warm\, yearning bit of road-trip philosophy that posits the existence of a Deadhead Jesus cruising the dusty highways of the countryside\, nursing a roach on his way to only He knows where. It’s an auspicious line from a band predicated on the revival of teenage dreams. \nMt. Joy started off as a rekindling of shared musical ambitions between Philadelphia high school friends Matt Quinn (vocals\, guitar) and Sam Cooper (guitar). Reunited in Los Angeles thanks to the ebbs and flows of adult life\, the pair met multi-instrumentalist Michael Byrnes through a Craigslist ad. They named themselves Mt. Joy as an ode to a mountain in Valley Forge National Park near Sam’s childhood home\, and together\, with Byrnes’ roommate Caleb Nelson producing\, they recorded three songs and sent them out into the world\, hoping for the best. “I knew I still wanted to write songs\, but the realities of life made that dream seem pretty impossible\,” Quinn says. \nMuch to the band’s amazement\, “Astrovan” accomplished the impossible. Without initial promotion or fanfare\, the song took off on Spotify\, racking up 5 million streams to date. “The irony of ‘Astrovan’ was that song was really about being stuck in a life and wanting to have the opportunity to pursue a dream\, and in an instant it gave us that opportunity. ” Quinn says. Mt. Joy quickly transitioned from a part-time calling into a full-fledged band rounded out by Byrnes on bass\, Sotiris Eliopoulos on drums and Jackie Miclau on keyboard. \nCome 2017\, Mt. Joy hit the road\, and hit it hard: They played tour dates alongside the likes of The Shins\, The Head and The Heart\, The Lone Bellow\, and Whitney\, and popped up at some of the summer’s biggest festivals\, including Bonnaroo\, Newport Folk Festival\, Lollapalooza and Made In America. “We were put on some big shows very quickly\,” Quinn says. “The growth for us has been exponential – we’ve really just become a family that’s constantly pushing each other and the live show to be great.” They eventually caught the attention of Dualtone Records and began work on their debut album. \nSteeped in folk-rock tradition and powered by the intuitive creative connection between Quinn and Cooper\, the songs on ‘Mt. Joy’ depict Quinn wrestling with his own conscience\, where the mundane and the fantastic collide as he processes tragedy\, society\, and love. Opener “I’m Your Wreck” describes “monsters in (the) closet\, using up the wi-fi” as it cycles from its desperate\, spiraling verses to its swinging\, stubbornly optimistic coda\, while the loping\, plaintive chords of “Younger Days” meditate on a frayed psyche and the fear of choosing the wrong path. “Sheep\,” with its collapsing\, hoarse-voiced cry of “freedom was paid in blood\,” is a post-Trump salvo on the responsibilities of the fortunate to overcome political and social despondency. And on “Silver Lining\,” perhaps the album’s brightest moment\, Quinn surveys the damage of hard drugs and the vicious cycle of addiction\, as the song’s melancholic sentiment kicks into its fervid\, defiant chorus\, all shout-along vocals and trilling guitars. \nTaken together\, the self titled ‘Mt. Joy’ LP is a startlingly open document\, wracked with the anxieties and fears that come just as life seems to start working out. It’s a natural reaction from a wary band like Mt. Joy – the result of a sort of professional vertigo\, as they’ve gone from virtual unknowns to hot young commodity in little over a year. But there’s a sense of hope underlying everything\, girded by the fact that the Mt. Joy LP is an impressive\, honest portrayal of a young band facing that moment where dreams become reality\, and finding beauty in the exhilarating uncertainty of it all. \n*** \nArlie \n \nWebsite\nFacebook\nTwitter \nIt all started one ordinary day in the mines. \nThe year was 1816\, and times were tough in small-town Arlia. As The Whistler left for work that morning\, he wasn’t sure how he would afford to feed his standard poodle and his three beautiful\, slimy piglets that night if he didn’t strike gold. Nonetheless\, he turned the key\, started up his mammoth\, and rode off into the rising sun. \nBy late afternoon The Whistler had been chipping away at the subterranean rock walls for 7 sweltering hours\, praying to the rock gods he would hear the resonant “cling” of a shiny new bitcoin\, with each heave of his selfy stick– when all of the sudden\, as if straight from Donald Almighty himself\, a catchy little earworm wriggled its way into The Whistler’s temporal lobe. \nHe began whistling the tune aloud so that he would not forget it. As he went on\, whistling and hacking away\, he found himself smiling\, overcome with a feeling that there was hope for the human race. He knew he must preserve this melody and share it with the world above ground\, so that all might join in this bright hope. \nThose around him in the mineshaft took note of The Whistler’s cheerfulness. It greatly irritated them\, for there was certainly nothing to be cheerful about in 1816. They muttered to one another in disapproval\, and one of the men asked The Whistler to stop whistling. But The Whistler did not notice\, for he was so intently focused on his tune—one distraction and the melody might be lost forever. \nThe other miners\, growing increasingly irritated\, began to grumble and toss insults at The Whistler. Soon\, one pebble-sized insult hit The Whistler on the shoulder. But The Whistler did not even flinch. Aggravated by The Whistler’s continued composure\, the miners gathered around him\, throwing larger and heavier insults\, some leaving bruises and even breaking the skin. Yet The Whistler kept whistling away\, now more determined than ever. \nThe Whistler knew that the others would go on throwing whatever libels and taunts they could find on the filthy cavern floor\, until they ran out or grew tired. The Whistler knew the pain would be over soon. So he doubled down and maintained his focus. He was still faced away from the mob\, whistling and chiseling at the Groovy Rock wall. \nJust then\, up from the back of the horde came the biggest\, strongest\, and meanest of them all\, who was called Fork. Fork was not actually a miner himself\, but he took it upon himself to tell the other miners what to do\, and they all listened to his sharp words with trembling trepidation. \nFork approached The Whistler menacingly\, lifting up a 375-pound Judgment in his massive meathooks. The others wanted to stop him\, but they were afraid of Fork\, for he was bigger and stronger than any three of them combined. Besides\, they thought\, even such a giant as Fork would surely not be able to pitch such a tremendous stone. But Fork stepped closer and closer to The Whistler\, hoisting the great Ad Hominem higher and higher with each stride. When he was only two paces from The Whistler\, he heaved the great Normative Boulder high over his head\, ready to bring it down upon The Whistler by surprise. \nHowever\, there were four brave and noble souls among the miners\, who were known as The Squad. \nThe Squad knew that only as a foursome could they overpower the mighty Fork. And so\, seizing the moment\, The Squad rushed at Fork. Each grabbing a limb\, they tackled the giant to the ground with a heavy THUD! \nAt that very instant\, as if triggered by the impact\, a deep rumbling rose up from beneath the mine\, along with a low-pitched roar emanating from the surrounding walls in all directions. The ominous sound grew louder and louder\, the quaking stronger and stronger\, until… \nBUURRRRRP! A most foul wind with a force stronger than a hurricane swept the whole company off their feet. As they rocketed and spiraled through the cavern\, they discovered they were not in a mineshaft after all\, but inside of a Big\, Fat Esophagus. \nBefore this could all sink in\, they had passed through the Pharynx\, the Larynx\, and had to duck their heads as they whizzed under the Colossal Uvula and into the cavernous opening of a Big\, Fat Mouth. \nThey saw taste bud hills beneath them\, and white-capped\, molar mountains further off on either side. Up ahead\, blinding daylight shone through a wide opening\, which\, upon examination\, appeared to be shrinking by the second. The Projectile Miners appeared to have no chance of escaping before the great gates shut. But at the last second\, as if by a miracle\, these five chosen ones were propelled into the free air just before the upper and lower incisors touched! \nThe Whistler and his newfound Squad were utterly bewildered. As they stared at each other in exuberant disbelief\, they knew their lives would be forever changed. Beneath them was a new and unseen realm\, a vast expanse of possibility. \nThrough the sky they fell\, and they fell\, and they fell. For two hundred years\, they accelerated downward at 9.81 m/s^2. All the while\, The Whistler had not stopped reciting his melody. Soon\, The Squad joined in\, understanding the significance of The Whistler’s mission without a word of explanation needed. \nAs they whistled on\, it dawned upon the Five Falling Miners that they would never again see their old mountain home. So they named themselves “Arlie\,” as a tribute to their homeland. With no distractions\, Arlie had plenty of time to streamline their whistling embouchures for maximum volume output. By the time they’d been practicing only 100 years\, the Whistler’s tune was so greatly amplified that it could be heard as far as the moons of Tatooine. \nAt last\, in 2016 Arlie landed in a little town the locals liked to call “The Athens of the South\,” hitting the ground at a final velocity of 61\,875.6 x106 m/s\, and they disintegrated on impact\, right on 12th Avenue S. between Eldey’s Barbecue and Montrose Ave\, where their remains splattered onto a white brick wall.
URL:https://royaleboston.com/event/mt-joy/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180927T190000
DTEND;TZID=America/New_York:20180927T190000
DTSTAMP:20260404T200133
CREATED:20180724T160029Z
LAST-MODIFIED:20180925T204053Z
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SUMMARY:Neal Brennan - Here We Go Tour
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Thu. 7/26 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*** \nNeal Brennan \n \nWebsite\nTwitter \nThree-time Emmy nominated Writer\, director\, producer\, and standup comedian Neal Brennan has become a force in the comedy world. An across-the-board talent\, Neal has found success in almost every creative vein in the comedy community. He has collaborated with the top writers and talent in the business and worked on several popular shows in various capacities. If there is a comedy that audiences are responding to\, Neal is often somewhere to be found. \nNeal is currently a writer\, Creative Consultant\, and on-air correspondent on Comedy Central’s The Daily Show with Trevor Noah. He served as Executive Producer on Chris Rock’s 2018 standup special Chris Rock: Tamborine and as Director on fellow Daily Show Correspondent Michelle Wolf’s 2017 HBO special Michelle Wolf: Nice Lady. He also co-wrote the 2017 feature film The Female Brain alongside comic Whitney Cummings. \nNeal’s critically acclaimed stand-up special 3 Mics premiered on Netflix in 2017\, with Paste Magazine offering “It will floor you in the best way possible.” In a break from traditional standup comedy\, 3 Mics sees Brennan alternating between three separate microphones; one for traditional stand-up\, one for one-liners\, and one for short confessional monologues covering everything from managing his depression to his difficult relationship with his father. The show enjoyed a successful off-Broadway run in NYC with superstar musician John Legend serving as Producer. \nHis first hour standup special Women and Black Dudes\, which he also directed\, premiered in 2014 on Comedy Central and was named one of the 10 Best Standup Specials of 2014 by Paste Magazine. His half hour standup special premiered in 2012 on the network’s series The Half Hours. In 2013 Neal directed several sketches on Comedy Central’s Inside Amy Schumer\, as well as episodes of FOX’s The Mindy Project and New Girl. He also wrote with Seth Meyers on The ESPY Awards and his White House Correspondents Dinner speech in 2011. Brennan has done stand-up on Late Night with Jimmy Fallon\, Late Night with Seth Meyers\, Conan\, Last Call with Carson Daly\, and Lopez Tonight. \nIn 2014\, Neal was the host of The Approval Matrix on SundanceTV\, a panel show inspired by the popular New York Magazine feature. In addition to ipanel discussions\, the series featured Brennan conducting interviews with Jon Stewart\, Amy Poehler and Chris Rock\, with The New York Times calling the show “intellectually risky and appealingly frisky.” \nNeal co-created Comedy Central’s legendary Chappelle’s Show\, for which he received three Emmy nominations; one for directing\, one for writing\, and one for producing. Together\, Brennan and Dave Chappelle wrote and produced virtually every sketch on the show themselves. In the second season\, Brennan also served as director on many episodes\, helming such classic sketches as “Charlie\nMurphy/Rick James\,” “The Racial Draft\,” “Charlie Murphy/Prince\,” and the “John Mayer Sketch.” Also with Chappelle\, Neal co-wrote the stoner cult classic film “Half Baked.” In 2009 Brennan went on to direct the feature film “The Goods” for producers Will Ferrell\, Adam McKay and Paramount. The film starred Jeremy Piven\, Ed Helms\, Ken Jeong\, Ving Rhames\, and Ferrell. In 2010\, Neal appeared as an actor in the feature film “Get Him To The Greek.” \nIn addition to standup\, writing\, directing\, and producing\, Brennan has also directed popular commercials for Sprite\, Netflix\, Best Buy and Nike. He has a huge presence on social media with 375\,000 followers on twitter\, and was named “One of the Funniest People on Twitter” by Time Magazine and Rolling Stone. \nAfter dropping out of the prestigious NYU Film School\, Neal began his career at the age of 20 as a writer on the MTV dating game show\, “Singled Out\,” (you’re welcome) and the Nickelodeon sketch show\, “All That.” Since then\, he has performed standup and lent his hand at writing and directing several TV shows and films\, developing what The New York Times calls his “hip-hop and Frontline aesthetic.” He regularly headlines the good standup venues in the good parts of America. \nHe does see Dave pretty often. Dave is fine. \n*** \nFahim Anwar \n \nWebsite\nFacebook\nTwitter \nFahim Anwar is a Los Angeles-based standup comedian\, actor and writer. Formerly an aerospace engineer at Boeing\, Fahim traded the cubicle for the stage and has never looked back. His parents however plead with him to look back nearly every day. “Is comedy worth throwing your life away for?” Fahim says\, yes!  \nOff the momentum of his one hour special THERE’S NO BUSINESS LIKE SHOW BUSINESS\, The New York Times listed Fahim as a “Most Promising Future Star.” He’s appeared on CONAN\, LATE NIGHT WITH SETH MEYERS and performed at the prestigious Just for Laughs Festival in Montreal. His recent FILM/TV credits include WHISKEY TANGO FOXTROT\, NEIGHBORS\, DRUNK HISTORY\, CARMICHAEL SHOW and SUPERIOR DONUTS to name a few. Currently\, Fahim is serving as head writer and starring on a sketch show for Comedy Central with his comedy group (GOATFACE) which includes Hasan Minhaj from THE DAILY SHOW. It is slated to air sometime in 2018.
URL:https://royaleboston.com/event/neal-brennan-here-we-go-tour/
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:20181002T190000
DTEND;TZID=America/New_York:20181002T190000
DTSTAMP:20260404T200133
CREATED:20180618T154901Z
LAST-MODIFIED:20180618T154901Z
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SUMMARY:Songs From The Hymnal: An Evening With Brian Fallon and special guest Craig Finn
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri. 6/22 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*** \nBrian Fallon \n \nWebsite\nFacebook\nTwitter \nSLEEPWALKERS sees Brian Fallon once again pushing timeless rock ‘n’ roll into the modern era\, recasting British Invasion rock\, first generation UK punk and American pop and soul into a near irresistible sound he’s dubbed “Heavy R&B.” Recorded earlier this year at New Orleans’ Parlor Recording Studio with producer Ted Hutt – the man behind the board for The Gaslight Anthem’s breakthrough\, THE ’59 SOUND – the album is perhaps the strongest example yet of Fallon’s always adventurous artistry\, with songs like “Forget Me Not” and the brass-blasting title track fit to burst with spirit and light\, an intangible magic that draws listeners to the dance floor while also striking chords within their hearts. \n“I haven’t had this feeling since THE ’59 SOUND\,” Fallon says. “When I wrote that record\, I was pure. I had no pre-conceived notions. I was following this thing and when it was done I knew it could stand against anyone.” \nKnown far and wide as singer/guitarist of The Gaslight Anthem\, as well as The Horrible Crowes\, Fallon made his long-anticipated solo debut with 2015’s masterful PAINKILLERS.  The album – which includes the hit singles\, “A Wonderful Life” and “Painkillers” – drew widespread critical applause upon its release\, with Rolling Stone noting\, “For a guy whose songs have always traded in the pains and pleasures of nostalgia\, the Fallon of PAINKILLERS seems to have arrived at a newfound\, forward-looking clarity.” \nFallon toured the world in support of PAINKILLERS\, during which time the New Jersey-based tunesmith began considering what might come next. Once again\, Fallon had a sound buzzing in his ear\, a modern marriage of rock and soul with the hard edge of punk\, ribboned with the “cool and kind of creepy” tones of the one and only Vox Continental\, the distinctive organ used by some of his favorite artists spanning The Animals and Tom Petty and the Heartbreakers to The Specials and Elvis Costello and the Attractions. \n“Believe it or not\, I started taking piano lessons\,” he says. “As a professional musician\, you think\, well\, taking lessons seems weird\, but then you remember there’s still a world of things you don’t know. I was okay with the idea that I didn’t know anything about playing piano so I was able to really learn.  And that opened up whole new worlds for me.” \nDespite his new skill set\, Fallon was still somewhat stuck\, unable to access the part of himself necessary to truly go deep in his songcraft. \n“It seemed like I had all the music in the world\, but couldn’t find the melody\,” he says. “The brakes were on. The muse had left the building. I was really struggling to get songs because I was still searching for something. I finally had to let go\, I had to stop trying to control it so much and just tell the truth. Once I did that\, once I let go of any preconceived notion of what it should be\, that’s when it all came out.” \nFallon knew he had the musicians needed to back his hard R&B in The Howling Weather – guitarist Ian Perkins\, bassist Nick Salisbury\, and drummer Dave Hidalgo – but the right studio partner was key to truly nailing his sound and vision. He decided to reach out to an old friend in GRAMMY® Award-winner Ted Hutt (Old Crow Medicine Show\, Dropkick Murphys)\, with whom he previously collaborated on The Gaslight Anthem’s landmark THE ’59 SOUND and AMERICAN SLANG LPs as well as The Horrible Crowes’ ELSIE. \n“I thought\, who’s going to understand what I’m trying to do\,” says Fallon\, “and not try to correct it. I thought\, there’s nobody who loves what I love\, the British rock\, the R&B and soul music\, there’s nobody who understands this music better than Ted. And no one draws the best out me like Ted. He pushed me hard on these songs\, it was like\, you’ve got to dig for this. He knew what I needed to do and how I needed to get there. It was great to be pushed liked that by someone you know cares for you.” \nFallon began writing about his real life\, his immediate family and closest friends\, baring himself to the bone freely and unguarded. The celebratory sound of songs like the opening “If Your Prayers Don’t Get You To Heaven” belies the heart of darkness that beats within Fallon’s always frank songwriting\, the fist-pumping choruses and body-rocking rhythms casting light against richly complex lyrics born of a recent “conversation with mortality.” \n“I’m not the same kid that wrote THE ’59 SOUND\,” Fallon says. “Things are very different now and I think I sort of lost my place\, like what do I write about now? I don’t want to write songs about taxes. You have to find your center and just write about where you’re at now. I decided to just write about me and my friends and my family\, I’m going to write about the things that I know right now.” \n“Proof of Life” and “See You On The Other Side” provide potent bookends to SLEEPWALKERS\, offering a glimpse of Fallon’s trepidation and desire to confront his own naked truth. “Forget Me Not\,” the album’s first single\, is an impassioned rush of ‘60s pop\, all urgent guitars and giddy handclaps\, though Fallon admits the glorious energy disguises a badly broken heart. \n“I was thinking how every song doesn’t have to be so serious\,” Fallon says. “It can just be fun. It can just be a song that I would want to play live. ‘Forgot Me Not’ came out in just a couple of minutes and actually ended up being pretty serious – it seems my subconscious had other plans.” \nRecording SLEEPWALKERS in New Orleans marked the culmination of a longtime dream of Fallon’s\, getting to spend real time in the Big Easy and truly absorb the culture. Indeed\, the special musical energy of the Crescent City infused the album with an even greater connection to the swinging garage R&B he and the Howling Weather were cooking up in Parlor Recording. “Etta James” is both heartfelt paean to the legendary singer and a universal celebration of pure artistic passion in the face of great personal difficulty while the title track conjures the soulful spirit of Sam Cooke with big brass from the one and only Preservation Hall Jazz Band – remarkably\, the first time Fallon has incorporated a horn section into his polyglot approach.  \n“At first I was very against it\,” Fallon says\, “ but I said\, you know what? I’m just going to go for it. Full on. So I had known Ben Jaffe – the Preservation Hall creative director – and the guys a little bit\, we did a song together once in Asbury Park\, and they invited me down to hang out and play some music. They were so cool\, I said\, hey\, we’re recording right down the street\, you’d be great on this one song I’ve got. They came down and they just started going full throttle\, they just went for it. It was done in about a half hour but that half hour was mindblowing. Just this incredible experience of hearing your own music be birthed and come to life. It was insane.” \nAs emotionally powerful as it is musically exultant\, SLEEPWALKERS is Brian Fallon at the very top of his game\, now as ever pushing and kicking the rock ‘n’ soul sounds he grew up on into the future.  \n“I think my job\, in one sentence\, is to carry on the tradition\,” says Fallon. “That’s all I’m doing. All I’m trying to do is take what I’ve learned\, give it my own spin\, and keep it living. Keeping the pulse going.” \n*** \nCraig Finn \n \nWebsite\nFacebook\nTwitter \nBe Honest. Stay Positive.
URL:https://royaleboston.com/event/songs-from-the-hymnal-an-evening-with-brian-fallon-and-special-guest-craig-finn/
LOCATION:279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20181003T180000
DTEND;TZID=America/New_York:20181003T180000
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SUMMARY:[CANCELLED] Joey Graceffa - Eden Tour
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nThis show has been cancelled. Refunds are available at point of purchase. \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**EVERY TICKET COMES WITH A SIGNED COPY OF REBELS OF EDEN**  \nELITE PACKAGE:\n**INCLUDES A SIGNED COPY OF REBELS OF EDEN**\nExclusive 45 minute PRE-SHOW Behind the Scenes Experience + Q&A with Joey & Daniel\nMeet & Greet + Photo with Joey\nReserved Elite Seating (in front rows)\nExclusive Tour-Only signed poster\nCommemorative VIP Laminate\nEarly Entry into venue + early access to merch shop\n**Parents/Guardians can accompany their child with General Admission Ticket**​ \nVIP PACKAGE:\n**INCLUDES A SIGNED COPY OF REBELS OF EDEN**\nPOST SHOW Meet & Greet + Photo with Joey\nReserved VIP Seating\nExclusive Tour-Only Poster\nCommemorative VIP Laminate\n**Parents/Guardians can accompany their child with General Admission Ticket**​ \nGENERAL ADMISSION:\n**INCLUDES A SIGNED COPY OF REBELS OF EDEN**\nGeneral Admission Access to Show\n**Parents/Guardians can accompany their child with General Admission Ticket**​ \n*** \nJoey Graceffa \n \nWebsite\nFacebook\nTwitter \nIn celebration of the release of Rebels of Eden\, the third and final chapter to the Eden series\, Joey Graceffa will be embarking on his FIRST major live tour! The Eden Tour will be the biggest and most unforgettable live production he’s ever created. Whether you haven’t yet read the series\, or have been a supporter since the beginning #TheEdenTour is a must-see event for all of Joey’s adoring supporters and avid readers alike! Joining Joey on tour is Daniel Preda\, his creative counterpart\, making this a tour you won’t want to miss!  \nHave you ever imagined what it would be like to step inside the world of Eden? At each tour stop\, Joey will be transforming venues and bringing to life the world of Eden in a fun\, interactive\, and immersive way.  On stage\, he’ll be taking part in themed games and challenges\, sharing exclusive content and behind the scenes stories\, answering fan questions\, and so much more. Come prepared to participate because Joey will be calling on his fans to help him throughout the show.  \nPrior to the show\, fans will be able to interact with Eden like never before\, with an immersive venue environment\, surprise characters\, photo and behind-the-scenes opportunities\, as well as access to the newly re-launched Crystal Wolf store pop-up shop with tour-only merchandise available. Who knows what other surprises Joey might have for you. \nGet your tickets now before it’s sold out! See you at the show!
URL:https://royaleboston.com/event/joey-graceffa-eden-tour/
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:20181005T180000
DTEND;TZID=America/New_York:20181005T213000
DTSTAMP:20260404T200133
CREATED:20180619T170058Z
LAST-MODIFIED:20180906T202013Z
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SUMMARY:The Frights
DESCRIPTION:Presented by Indie617 \nDoors: 6:00 pm / Show: 6:30 pm \nTickets on sale Fri. 6/22 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 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*** \nThe Frights \n \nWebsite\nFacebook\nTwitter \nA couple of months after graduating from high school\, Mikey Carnevale (vocals/guitar) and Richard Dotson (bass) got together as The Frights to play a one off 30 minute set as sort of a joke. The feeling they got from the crowd in their hometown of San Diego inspired them to become a “real” band almost in spite of themselves. Along the way\, they recruited Marc Finn (drums) and released You Are Going To Hate This (produced by Zac Carper of FIDLAR) in February 2016. Jordan Clark (guitar) added to the band’s musical prowess in the ensuing year of touring around North America. The fearsome foursome has now teamed up with Epitaph Records for the August 24th release of their new album\, Hypochondriac (with Zac Carper again at the helm). 2018 looks to be a year filled with drinks\, laughs\, tears\, miles in the van and on a plane and plenty of hours on the stage for The Frights. \n*** \nHUNNY \n \nWebsite\nTwitter \n*** \nHot Flash Heat Wave \n \nWebsite\nFacebook\nTwitter \nSan Francisco indie-rock quartet Hot Flash Heat Wave rose to prominence in the Bay Area music scene in 2015 with the release of their ‘Gutter Girl’ music video\, from their debut album Neapolitan\, which was uploaded to YouTube and eventually made its way to the front page of reddit. Their versatile sound\, at times reminiscent of golden 60s\, power pop\, dream pop\, post-punk and indie rock\, demonstrates a dynamic range of songwriting prowess centered around consistently infectious\, sun-soaked melodies and guitar hooks. HFHW formed in Davis\, California as a noise collaboration between Adam Abildgaard and Nick Duffy in 2010\, expanding to a full band when bassist Ted Davis and guitarist Nathaniel Blum joined the group in the following years. Renouncing the traditional front-manned format of most contemporary bands\, the four instead each contribute songs and share the lead. With the release of their sophomore album\, Soaked\, accompanied by a string of creative self-produced music videos in 2017\, the group embarked on its first nationwide tour. Their first single\, ‘Bye Bye Baby’\, appeared on Canada’s Viral 50 Spotify playlist. In 2017\, HFHW released their sophomore album Soaked with OIM Records\, which charted on college radio in the U.S. The band just finished up a national tour and SXSW visit with No Vacation to promote their new single ‘Glo Ride’ – a song released in collaboration with Broken Ent. Hot Flash Heat Wave will continue to release music and new videos throughout 2018.
URL:https://royaleboston.com/event/the-frights/
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:20181006T183000
DTEND;TZID=America/New_York:20181006T183000
DTSTAMP:20260404T200133
CREATED:20180427T151058Z
LAST-MODIFIED:20181002T160334Z
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SUMMARY:[SOLD OUT] HONNE
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:30 pm / Show: 7:30 pm \nSOLD OUT! \nPlease note: this show is open to ALL AGES. \nOpening 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*** \nHONNE \n \nWebsite\nFacebook\nTwitter \nIn 2018\, unless an artist has a Drake-like grip on the charts\, it’s tough to directly gauge success. Seven-digit streams don’t always translate to actual fans at shows. One act might draw the attention of every tastemaker going\, while still failingto sell more than a handful of physical records.In the case of London duo HONNE –Andy Clutterbuck and James Hatcher –their time in the spotlight has been disorientating. Success has paved every step\, but tracking where it comes from has proved a tough task. One week they’re selling out a 3\,000 capacity show in their hometown\, the next they’re headliners at a festival in South Korea\, playing to 20\,000 people\, and shortly after they’re jet-setting to LA to collaborate with other artists. In this age when anyone can access music from virtually anywhere\, HONNE’s 2016 debut LP ‘Warm on a Cold Night’ has been embraced by different corners of the globe (the album went triple-platinum in South Korea)\, a swarm of fans all equally obsessed with the pair’s skill in writing relatable\, emotion-fuelled\, romantic pop.For their next move\, instead of getting caught up in different audiences\, vast territories and the demands of a world-spanning fanbase\, they focused on themselves. Placing a microscope to their own lives –the jet-setting highs and lows of being in a band\, the relationships they tried to hold up back home –they emerged with a touching\, personal second album with its own universal appeal.‘Love Me / Love Me Not’-HONNE’s new album coming out on August 24th 2018 -captures the duality of life’s ups and downs\, and the balancing act of navigating between two states at once. Whether it’s the honeymoon period high of a relationship\, the frustration of a long-distance separation\, the fear of losing someoneclose\, Andy’s lyrics dial in at the reality of most people’s lives. The record acknowledges that for every peak\, a challenge is round the corner; and equally\, that whenever life throws everything at once\, better times are ahead.Take ‘Day 1 ◑’ and ‘Sometimes ◐’\, the first two tracks unveiled from the record. The former is a sunny-side-up ode to an everlasting love (“You’ll always be my day one\, day zero when I was no-one”)\, complete with gospel choir and candy-coated synths. ‘Sometimes ◐’\, meanwhile\, sits at the opposite end of the emotional spectrum. It was penned when Andy heard news of a London terror attack and couldn’t get hold of his girlfriend. The news turned out to be false\, but the frontman spent hours dwelling on what might have happened. “It’sthe same with everyone\, but your mind just starts to think the worst in a situation like that\,” he explains. Via a Kanye-like vocoder that conveys despair through digital strain\, he dwells on mistakes he might have made\, wondering out loud if he might ever see his girl again. It’s a touching reminder that we need to keep the ones we love close.Debut ‘Warm on a Cold Night’ found itself under the covers and in a loved-up\, blissed out state. ‘Love Me / Love Me Not’ instead looks outwards and considers thebigger picture. It also finds HONNE coming on leaps and bounds\, both as producers and lyricists. Swapping a bedroom production aesthetic for a richer\, more textured style\, they also explore more beat-driven territory\, nodding towards hip-hop royalty like Dr. Dre\, DJ. Dahi\, Pharrell and BadBadNotGood.Andy’s lyrics can be earnest\, funny and self-mocking in the space of the same verse. Not least on ‘306’\, a tribute to James’ knackered Peugeot car\, which he still drives today. The song jokes about the falsemirage of fame (“One record down and I’m riding in this piece of shit”)\, and the days the pair spent as fearless twenty-somethings\, driving round east London while blasting Kendrick Lamar’s ‘Money Trees’ with the windows down. “Every time I listen to it\, I get nostalgic memories of growing up\,” Andy says\, reflecting on the track.Sticking to their London flat-turned-studio\, HONNE worked with some of pop’s most diverse\, exciting talents on ‘Love Me / Love Me Not’. North London drummer/vocalist Georgia stars on the jet-lagged ‘Location Unknown’; Norwegian singer Anna of the North gets caught up in the fidgety dayglow of ‘Feels So Good’; Jazz-pop prodigy Tom Misch and pianist Reuben James also make timely appearances. For some acts\, collaboration is often a box-ticking exercise to cram big names into songs for the sake of it\, but HONNE have a different motive\, where they’ll only work with an artist who can provide something new. They scout out new music\, track the artists down and promptly slide into their DMs. “These people have a lot to offer\, a fresh perspective that maybe you wouldn’t otherwise see\,” states James. “It’s a shame to limit yourself purely for pride\, to limit it to just us two in a room.”In-between records\, the pair would spend hours on flights\, dreaming up their next steps. “We’d spent so long touring and listening to other music\, we just had loads of inspiration bottled up\,” James remembers. They drew up notes on their phones\, recorded voice memos on the go\, and by 2016’s debut release\, they were raring to go on new material. Before hitting record\, they seemed to have a clear idea on what they wanted to achieve: a lusciously-produced follow-up with an\nemotional depth that went beyond their first work. Andy also saw the band’s early ideals coming further into focus. He cites the band’s name (“Honne” meaning your true feelings\, those you keep to yourself) and the name of their early record label (“Tatemae”\, which reflects the other side: what you say and what you display in public). In time\, this dichotomy between an online persona and actual reality has become starker.“Those two sides have been rooted in us from the beginning. Perhaps we didn’t explore it completely on the first album\, but it’s been bubbling away\,” Andy says. “Finally with this next album\, we demonstrated it.” Honne’s early vision is more evident than ever\, and the remarkable songs on this second LP capture themes and feelings their debut only hinted at.Andy journeys back to this idea of duality\, something that’s defined HONNE since the beginning. “I love how one side doesn’t exist without the other. These songs have to be there together.” James agrees: “You can’t have good without the bad\, and we wanted to show that: not everything is always rosy. In your head\, you think everything you aspire to have doesn’t come with its own problems. Relationships\, work\, home life\, family –there’s two sides to it all. Films and TV shows either show the good or bad\, but we wanted to show a balance and the grey space.”‘Love Me / Love MeNot’ achieves exactly that. It’s a journey through grey space\, fears and doubts\, peaks and pitfalls and the in-betweens. These are soul-searching songs that make you look inwards\, to the point where it’s impossible not to relate to each moment of introspection. That\, in itself\, is a remarkable and rare quality in a band –this ability to make you listen closer to your own thoughts. A sign of success if ever there was one \n*** \nHablot Brown \n \nWebsite\nFacebook\nTwitter \nFormerly known as Linus Hablot\, Hablot Brown is comprised of Linus Lester-Hodges\, Austin Brown\, & John Brown who together form a fresh neo-soul/R&B band with a unique sonic polish. \nBringing an interesting blend of vastly contrasting genres\, the band borrows from musical influences such as Nick Hakim\, Ned Doheny\, & J.Dilla creating their own unique sound that is difficult not to fall in love with. \nIn their first 12 months of releasing music\, Hablot Brown was streamed over 7.7 million times on Spotify\, in addition to being featured on playlists like Global Viral 50\, Fresh Finds\, Sweet Soul Sunday\, Alternative R&B\, & Sin Estres. \nThe band just released their sophomore EP with Soulection and are gearing up to release three music videos along with several singles before the first of 2019.
URL:https://royaleboston.com/event/honne/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20181008T200000
DTEND;TZID=America/New_York:20181008T200000
DTSTAMP:20260404T200133
CREATED:20180515T140039Z
LAST-MODIFIED:20180515T140039Z
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SUMMARY:[SOLD OUT] Liz Phair
DESCRIPTION:Presented by Bowery Boston \nDoors: 8:00 pm / Show: 9:00 pm \nSOLD OUT! \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nLiz Phair \n \nWebsite\nFacebook\nTwitter \nLiz Phair is a Grammy-nominated singer songwriter whose debut album\, Exile In Guyville\, is considered by music critics to be a landmark of indie rock. She has been a recording artist and touring performer for twenty-five years\, paving the way for countless music artists\, particularly women\, who count her among their major influences.  Her deeply clever and often brutally candid songs have been garnering critical praise since she began her career in the early 1990s in Chicago by self-releasing audio cassettes under the name Girly-Sound.  The intense viral response to these early tracks led to Phair signing with the independent record label Matador Records. \nHer 1993 debut studio album Exile in Guyville was released to international acclaim; it has been ranked by Rolling Stone as one of the 500 Greatest Albums of All Time\, by Pitchfork as one of the 100 Greatest albums of the 90’s and is considered one of the most accomplished debut albums for any artist in any genre to date. She was featured on the cover of Rolling Stone Magazine\, topped SPIN’s 20 Best Albums of the Year\, and reached No.1 on the Village Voice Pazz and Jop Critics Poll. Phair joined Lilith Fair in 1998-9\, performing as a main stage headliner along with top female acts of the day like Sarah McLachlan\, Emmylou Harris\, Sheryl Crow and Missy Elliott. \nIn Spring 2016 Liz toured with The Smashing Pumpkins on their North American “In Plainsong” tour. Liz is currently working on a new record\, and will be touring in June. \n2018 marks the 25th Anniversary of Exile in Guyville. To celebrate\, Matador Records will be re-issuing the record along with a box-set. Phair has sold over five million records worldwide\, with three US gold albums and two Grammy nominations. More than two decades after the release of her debut\, Phair’s influence in contemporary music and particularly over female voices in alternative music can be felt today more than ever. \n*** \nSpeedy Ortiz \n \nWebsite\nFacebook\nTwitter \n“Necessary brattiness” is the motto for Speedy Ortiz’s dauntless new collection of songs\, Twerp Verse. The follow-up to 2015’s Foil Deer\, the band’s latest indie rock missive is prompted by a tidal wave of voices\, no longer silent on the hurt they’ve endured from society’s margins. But like many of these truth-tellers\, songwriter\, guitarist and singer Sadie Dupuis scales the careful line between what she calls being “outrageous and practical” in order to be heard at all. \n“You need to employ a self-preservational sense of humor to speak truth in an increasingly baffling world\,” says Dupuis. “I call it a ‘twerp verse’ when a musician guests on a track and says something totally outlandish – like a Lil Wayne verse – but it becomes the most crucial part. This record is our own twerp verse\, for those instances when you desperately need to stand up and show your teeth.” \nTwerp Verse was tracked in Brooklyn DIY space Silent Barn\, mixed by Omaha legend Mike Mogis (Bright Eyes\, Rilo Kiley) and mastered by Grammy-nominated engineer Emily Lazar (Sia\, Haim\, Beck). The record pulls from the most elastic pop moments in Squeeze’s Argybargy and the seesawing synth-rock of Deerhoof and the Rentals. With Dupuis on guitars\, vocals\, and synths\, supporting guitarist Andy Molholt (of psych pop outfit Laser Background) now joins Speedy veterans Darl Ferm on bass and Mike Falcone on drums – and together they accelerate the band’s idiosyncrasy through the wilderness of Dupuis’ heady reflections on sex\, lies and audiotape. \nDupuis\, who both earned an MFA in poetry and taught at UMass Amherst\, propels the band’s brain-teasing melodies with her serpentine wit. Inspired by the cutting observations of Eve Babitz\, Aline Crumb’s biting memoirs\, and the acute humor of AstroPoet Dorothea Lasky\, Dupuis craftily navigates the danger zone that is building intimacy and political allyship in 2018. Now as public pushback against the old guards reaches a fever pitch – in the White House\, Hollywood and beyond – the band fires shots in disillusioned Gen Y theme “Lucky 88\,” and casts a side-eye towards suitors-turned-monsters in the cold-blooded single “Villain.” Closing track “You Hate The Title” is a slinky traipse through the banality of this current moment in patriarchy – in which survivors are given the mic\, but nitpicked over the timbre of their testimonies. “You hate the title\, but you’re digging the song\,” Dupuis sings wryly\, “You like it in theory\, but it’s rubbing you wrong.” Tuned smartly to the political opacity of the present\, Twerp Verse rings clear as a bell.
URL:https://royaleboston.com/event/liz-phair/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20181010T190000
DTEND;TZID=America/New_York:20181010T190000
DTSTAMP:20260404T200133
CREATED:20180718T171024Z
LAST-MODIFIED:20180726T183046Z
UID:10002657-1539198000-1539198000@royaleboston.com
SUMMARY:Joyce Manor
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri. 7/20 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is open to ALL AGES.  \nOpening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n***
URL:https://royaleboston.com/event/joyce-manor-2/
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:20181011T190000
DTEND;TZID=America/New_York:20181011T190000
DTSTAMP:20260404T200133
CREATED:20180710T165136Z
LAST-MODIFIED:20181010T123102Z
UID:10001956-1539284400-1539284400@royaleboston.com
SUMMARY:Spafford
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale now! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nSpafford \n \nWebsite\nFacebook\nTwitter \nWe Jam \n*** \nDewpoint \n \nWebsite\nFacebook \nDewpoint(formerly Treehouse Live) is an eclectic four-piece instrumental jam band from Boston\, Massachusetts. Formed in early 2014 as house party staples in Boston\, they have quickly secured fans and made a name for themselves in the competitive northeast jam band scene. Pulling inspiration from such diverse acts as Phish\, Steely Dan\, Vulfpeck\, Lotus\, and countless others across the musical spectrum\, they have crafted a sound grounded in improvisational experimentation and soaring melodic lead lines. In the past year\, Dewpoint’s danceable combo of genre-bending jams have soared to new heights\, playing shows at the Middle East Downstairs\, Sonia\, and Brighton Music Hall. Guitarist Hamilton Kibbe\, keyboardist Alex Moran\, bassist Dalton Markrush\, & drummer Ryan Slobin have crafted melodic\, high-energy sets and are ready to take on the Northeast this Fall.
URL:https://royaleboston.com/event/spafford/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20181012T180000
DTEND;TZID=America/New_York:20181012T213000
DTSTAMP:20260404T200133
CREATED:20180604T153433Z
LAST-MODIFIED:20180904T180448Z
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SUMMARY:[SOLD OUT] Tyler Childers
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nSOLD OUT! \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nTyler Childers \n \nWebsite\nFacebook\nTwitter \nLike many great Southern storytellers\, singer-songwriter Tyler Childers has fallen in love with a place. The people\, landmarks and legendary moments from his childhood home of Lawrence County\, Kentucky\, populate the 10 songs in his formidable debut\, Purgatory\, an album that’s simultaneously modern and as ancient as the Appalachian Mountains in which events unfold. \nThe album\, co-produced by Grammy Award winners Sturgill Simpson and David Ferguson\, is a semiautobiographical sketch of Childers’ growth from wayward youth to happily married man\, told in the tradition of a Southern gothic novel with a classic noir antihero who may just be irredeemable. Purgatory is a chiaroscuro painting with darkness framing light in high relief. There’s catharsis and redemption. Sin and temptation. Murder and deceit. Demons and angels. Moonshine and cocaine. So much moonshine and cocaine. All played out on the large\, colorful canvas of Eastern Kentucky. \nChilders had been searching for a certain sound for his debut album for years as he honed his craft\, and was finding it elusive when his friend\, drummer Miles Miller\, introduced him to Simpson\, the Grammy Award-winning musician and fellow Kentuckian. Childers sent Simpson a group of his songs\, then went to visit him in Nashville. \n“And he said\, ‘There’s this sound. I know what you’re trying to get at\, the mountain sound\,'” Childers recalled. “‘So I asked\, ‘What are you doing?'” \nIntrigued\, Simpson enlisted the aid of Ferguson\, the Grammy Award winning sound engineer. They assembled a band that included multi-instrumentalists Stuart Duncan\, Michael J. Henderson and Russ Pahl\, bassist Michael Bub and Miller on drums\, of course\, and helped Childers make a debut album of consequence that announces an authentic new voice. \n“I was writing an album about being in the mountains\,” Childers said. “I wanted it to have that gritty mountain sound. But at the same time\, I wanted a more modern version of it that a younger generation can listen to — the people I grew up with\, something I’d want to listen to.” \n*** \nOna \n \nWebsite\nTwitter \nOna is an indie-rock band comprised of longtime friends Brad Goodall (keys)\, Bradley Jenkins (vocals/guitar)\, Zach Johnston (bass)\, Max Nolte (drums)\, and Zack Owens (guitar). \nThe band formed in late 2013 and are based in Huntington\, WV. Ona’s debut record ‘American Fiction’ reached critical success appearing on NPR best of lists\, SIRIUS Radio airplay\, and a spot on nationally syndicated radio program Mountain Stage. \nFrom New York City to Birmingham\, AL\, the five piece unit has garnered a faithful fan base on the east coast and Midwest regions. The band recently signed with New Frontier Touring based in Nashville\, TN and plans to expand their time on the road in 2018. \nCurrently the band is working with Athens\, GA-based producer/engineer\, Drew Vandenberg (Of Montreal\, Toro y Moi\, Drive By Truckers) at Chase Park Transduction Studio. Their forthcoming album will be released in 2018\, no official release date yet.
URL:https://royaleboston.com/event/tyler-childers/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20181016T200000
DTEND;TZID=America/New_York:20181016T200000
DTSTAMP:20260404T200133
CREATED:20180625T141903Z
LAST-MODIFIED:20180910T165606Z
UID:10001939-1539720000-1539720000@royaleboston.com
SUMMARY:Masego
DESCRIPTION:Presented by Bowery Boston \nDoors: 8:00 pm / Show: 9:00 pm \nTickets on sale Fri. 6/29 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*** \nMasego \n \nWebsite\nFacebook\nTwitter \n*** \nVanJess \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/masego/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20181018T200000
DTEND;TZID=America/New_York:20181018T200000
DTSTAMP:20260404T200133
CREATED:20180515T160058Z
LAST-MODIFIED:20180515T160058Z
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SUMMARY:Murder By Death
DESCRIPTION:Presented by Bowery Boston \nDoors: 8:00 pm / Show: 9:00 pm \nTickets on sale Fri 5/18 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*** \nMurder By Death \n \nWebsite\nFacebook\nTwitter \nMurder By Death is a Louisville\, KY quintet with a wry\, ominous name. But behind the geography and moniker is a band of meticulous and literary songwriters matched by a specific brand of brooding\, anthem-riding balladry and orchestral indie rock. \nMurder By Death’s path began in the early 2000s as most Midwestern college-town groups do\, by playing to small crowds at ratty venues and frenzied house parties. While many of their formative-year scene-mates failed to make it much further than campustown’s borders\, Murder By Death translated their anonymous beginnings into a 15+ year career founded on a bedrock of five full-length albums\, tireless D.I.Y. touring and performing ethics\, and\, most importantly\, a dedicated\, cult-like fanbase. \n*** \nWilliam Elliott Whitmore \n \nWebsite\nFacebook \nWilliam Elliott Whitmore is a singer-songwriter/banjoist/guitarist/drum-stompin’ solo act from Lee County\, Iowa. He has released six full-length albums that seamlessly meld country\, blues\, folk\, and punk styles – spanning from 2003’s Hymns for the Hopeless (Southern Records) to 2015’s Radium Death (ANTI-). His songs are haunting\, rustic\, powerful\, and real – byproducts of living his entire life on the family farm\, being involved in the hardcore-punk scene in the local community\, and touring hard across the country. His seventh album Kilonova (2018) is different from everything else in his catalog\, a collection of 10 cover songs from artists who have influenced his 15 plus-year career.\nA man armed only with a banjo and a bass drum can be a formidable force\, especially if his name is William Elliott Whitmore. With his powerful voice and honest approach\, Whitmore comes from the land\, growing up on a family farm in Lee County\, Iowa. Still living on the same farm today\, Whitmore has truly taken the time to discover where his center lies\, and from that he will not be moved. \nWhitmore has consistently carved his own path\, honoring the longstanding tradition of folk music throughout his nearly 20-year career\, while always allowing his blues\, soul\, and punk rock influences to shine through. Getting his first break opening for his friend’s hardcore band with just a banjo in hand\, he would discover bands like The Jesus Lizard\, Bad Brains\, Lungfish\, and Minutemen and soon learn to play his own brand of rural\, roots music with that same DIY ethic. \nWilliam Elliott Whitmore has been back and forth across the United States and to cities around the world. He’s toured with such diverse acts as Frank Turner\, Trampled By Turtles\, Clutch\, and Chris Cornell\, to name a few. He’s appeared on some of the biggest stages around the world including Stagecoach Fest\, Byron Bluesfest (Australia) and End of the Road Fest (UK). His willingness to take his show to any playing field has proved invaluable as he turned strangers to diehards with every performance.
URL:https://royaleboston.com/event/murder-by-death/
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:20181019T173000
DTEND;TZID=America/New_York:20181019T213000
DTSTAMP:20260404T200133
CREATED:20180724T170036Z
LAST-MODIFIED:20181010T222913Z
UID:10002663-1539970200-1539984600@royaleboston.com
SUMMARY:Joywave and Sir Sly
DESCRIPTION:Joywave and Sir Sly Present: An Evening With Sir Sly and Joywave \nPresented by Bowery Boston \nDoors: 5:30 pm / Show: 6:00 pm \nTickets on sale now! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nJoywave \n \nWebsite\nFacebook\nTwitter \n“Anxiety caused by feeling too content” is just the first aspect of the double-pronged paradoxical rumination that is Content\, the sophomore full-length album by Rochester\,\nNY-based indie quintet\, Joywave\, slated for release July 28 with a tour supporting Young the Giant and  Cold War Kids to follow. The title\, Content\, sees Joywave apply their trademark irreverence and  humor  to two large yet interrelated ideas springing from the dual meaning of the word\, “content”\, and  signaling a move  into a deeply personal terrain for Joywave frontman Daniel Armbruster.\nAbout the duality reflected in the album’s title (CONtent the noun  versus conTENT the adjective)\, Armbruster says:”I loved that the two words  were associated with completely opposite feelings for me  (one pure\, one not)\, and that only a human hearing the two words  in the English language could tell the difference between the ideas represented. To a search engine\, they are identical. How can you explain to Google that one of these things makes you happy  and helps fill the void in your soul\, and the other is just flooding your senses?”\nThree years have  passed since Joywave’s “Tongues”and their collaboration with Big Data on the hit song “Dangerous” first put the band on the map.  Creating their own imprint Cultco Music via Hollywood Records\, the five members of Joywave—Daniel Armbruster (vocals)\, Joseph Morinelli (guitar)\, Sean Donnelly (bass)\, Benjamin Bailey (keyboards)\, and  Paul Brenner (drums)— embarked on an intense tour schedule in support of their debut album\, sharing the stage with Foals\, The Killers\, Brandon Flowers\, Metric\, Silversun Pickups and  Bleachers. They played at Coachella\, Lollapalooza (US & Berlin)\, Reading & Leeds\, Okeechobee\, Osheaga\, Hangout and  Bumbershoot\, with appearances on Jimmy Kimmel and  Seth  Meyers’ shows. Glowing reviews followed in Rolling Stone\, Billboard\, Spin and  Entertainment Weekly.\nThis success enabled Armbruster to seriously adult on a whole new level\, and  this year he finally moved into a place of his own\, a few blocks away from his childhood home. For Armbruster\, who sold stationery and  paper goods at Staples before Joywave took off\, the musical dream born when  he started writing songs aged fifteen was finally coming true. The single “It’s A Trip!” began with two basic ideas in mind: “Haunting” versus “haunted”. “I wanted to make  something undeniably beautiful that would outlast me\,  but at times verged on the absurd  and snapped the listener out of a dreamy haze.  “It’s A Trip!” moves pretty  far in the absurd  direction\, juxtaposing a pretty  friendly arena-sized chorus against versus straight out of a haunted house. The song  is a little disorienting\, much like the past  few years of our lives have been”. The music video for “It’s A Trip!” features the band slowly aging as they ride jet skis in\nMiami and  underscores the sense of endlessly being on tour\, just getting older while the girl on the back  of the jet ski stays the same age.\nTouring—which Armbruster describes as “an episode of Louie where  it’s funny but somewhat soul crushingly sad at the same time”—took its toll on the band both  physically and emotionally but had  an upside.  “Playing our instruments was second nature at that point\,” notes guitarist Joey Morinelli\, that allowed us to focus and  interact with crowds\, and  each other  on stage\, in ways that we never  had  before.“\nPost tour\, Armbruster who had  been dealing with chronic illness was diagnosed with pancreatitis\, and  had  to stop drinking on doctor’s orders. Sobriety “really affected the sound of the record\,” he says. In contrast to Joywave’s playful debut\, the tone  of Content is more confessional\, sometimes combative\, as it questions how connected we really are in this hyper-connected world—which brings us to Content’s second theme\, stemming from the collective angst of a generation whose art (and very lives) are now mere  content for the Internet.  Sonically\, Content is more  cohesive than  Joywave’s LP1\, How Do You Feel Now?  It’s focused and  deliberate\, loud and  cinematic featuring a more  prominent vocal throughout LP2.\n As a clear example of conscious\, positive content; the title track  “Content” is accompanied with a video shot on vintage Super 8 on location at Kodak Tower in Rochester. The building\, once the global epicenter of film photography\, is a monument to the pre-Internet world in the Rochester skyline and  a place that’s close to the hearts of all bandmembers\, as most of their parents worked  there  before Kodak filed for bankruptcy. In addition\, Kodak has afforded the band the opportunity to utilize some of their iconic equipment which inspired Daniel to take  up film photography to help fill the existential void. “Film is slower and more  deliberate\, and that’s calming in a way. It’s not disposable\, it’s not easy\,  which in turn\, forces you to care. I like that.”\nAt the end  of the day music is at the core  of what Joywave is and  drives the creativity in every aspect.  Brenner sums it up\, “We’re always working on new music and  new ways to make  our live performance better and  better. Joywave will not be confined to a certain genre or niche. We do what we want.”\nContent is produced by Joywave’s Daniel Armbruster & Sean Donnelly and mixed by Rich Costey (TV On The Radio\, The Shins\, Interpol) and will be released on Hollywood Records/Cultco Music on 7.28. \n*** \nSir Sly \n \nWebsite\nFacebook\nTwitter \nThe triumphant lead single from Sir Sly’s Don’t You Worry\, Honey\, “High” turned a hotel-room panic attack into a creative breakthrough for the L.A.-based trio. “This album started out as an exploration of fear and anxiety\, over very minimal electronic music\, but ‘High’ really opened up the honesty of the record\,” says lead singer Landon Jacobs\, who co-founded Sir Sly with fellow multi-instrumentalists Hayden Coplen and Jason Suwito. With “High” emerging as “an upbeat anthem about ego death\,” in Jacobs’s words\, the song ultimately formed the heart of Sir Sly’s second full-length: a deliberately hopeful album born from an extraordinarily dark time. \nWritten in the aftermath of Jacobs’s divorce and his mother’s death\, Don’t You Worry\, Honey transforms heavy-heartedness into unlikely joy. The album finds Sir Sly expanding on the moody experimentalism of their 2014 debut You Haunt Me\, channeling a looser energy that closely shapes their more groove-driven sound. Self-produced and recorded in Suwito’s studio\, Don’t You Worry\, Honey also matches their delicately inventive alt-pop with a more granular approach to storytelling. “It was almost like writing a memoir of the past three years of my life\, but focusing on little snapshots rather than telling the complete story\,” Jacobs points out. \nThanks in part to that purposely detailed lyricism\, Don’t You Worry\, Honey hits with an undeniable urgency. “Musically and lyrically\, we wanted this album to be very much in-the-moment and paint a specific picture with each song\, as opposed to just setting a vibe\,” says Coplen. With that clarity of vision in place\, Sir Sly experienced a profound burst of inspiration. “There were all these sounds and textures that I was hearing in my head so strongly\, in a way that hadn’t ever happened before\,” says Coplen. “There was never any effort to try to make things feel fresh or new or surprising — that all just came from following our instincts and enjoying the process of bringing the music to life.” \nThroughout Don’t You Worry\, Honey\, Sir Sly strike a powerful contrast by embracing both the thrill of creation and the wistful undercurrent of each track. With its shivering synth lines and graceful acoustic guitar\, “And Run” reflects on the futility of regret. “That song came from being fascinated by the idea that\, of all the infinite possibilities in the world\, I ended up falling in love and getting married and then getting divorced\, and there’s nothing I could do to change that\,” says Jacobs. On “Astronaut\,” Sir Sly build off a majestic guitar riff supplied by Suwito and deliver an intensely danceable meditation on loneliness. “It’s trying to put a different spin on being alone\, because sometimes being alone can give you this great ability to see the world in a way that’s larger than life\,” Jacobs explains. Inspired by an ill-fated romantic encounter at a festival after-party\, the blissfully frenetic and beat-heavy “Trippin” perfectly captures the rush of instant infatuation. And on “Oh Mama\,” Sir Sly close out Don’t You Worry\, Honey with a hazy and soulful serenade to Jacobs’s mother\, a piano-laced piece that makes quietly heartbreaking use of a sampled voicemail. \nSince forming in 2012\, Sir Sly have forged their singular sound by drawing upon each member’s long-honed musical talents: Jacobs’s introspective yet infinitely searching lyricism\, Suwito’s in-studio ingenuity\, and Coplen’s sophisticated musicianship and sense of songcraft. Orange County natives and friends since high school\, Jacobs and Coplen connected with Suwito through the local music scene. Their early collaborations yielded songs like “Ghost\,” a Neon Gold release that quickly earned buzz online. After making their Cherrytree Records debut with the Gold EP in 2013\, Sir Sly put out You Haunt Me (which reached #14 on Billboard’s Alternative Albums chart) in September of the following year. \nWith Don’t You Worry\, Honey marking a major turning point for Sir Sly\, the band feels a stronger sense of artistic purpose than ever before. “As a person who mainly writes lyrics about himself\, sometimes I get caught up in this fear that it’s wrong or selfish to write so much about my own life\,” says Jacobs. “What snapped me out of that on this album was going back to the catalog of music that helped raise me\, where the songwriters were incredibly honest about their lives in a way that normalized a lot of what I went through growing up. If I can do that for other people\, by telling my story and not trying to sugarcoat it\, then hopefully I’m able to help them feel a little less out of place in the world.” \n*** \nDONNA MISSAL \n \nWebsite\nFacebook\nTwitter \nOn her debut album This Time\, L.A.-based singer/songwriter Donna Missal shows the elegant collision of elements at play in her music: a poet’s command of tone\, a soul singer’s boundless intensity\, a bedroom musician’s willful embracing of intimacy and experimentation. Along with channeling the raw passion she first ignited by playing in rock bands in her homeland of New Jersey\, This Time expands on the melodic ingenuity displayed in recent singles like “Driving” and “Thrills.” Above all the album is a testament to the sheer force of Missal’s voice\, a dynamic but delicate instrument that achieves a beautifully nuanced expression even as she belts her heart out. \nWith its title taken from a track Missal co-wrote with her frequent collaborator Sharon Van Etten\, This Time is an uncompromisingly honest look at living entirely on your own terms. “I’ve spent most of my life being hyper-focused on time\, which I think is something that a lot of women obsess over\,” says Missal. “We’re in such a rush to make things happen\, when really we should take the time to figure out what we actually want out of life. And even though it’s so fucking hard to have that kind of patience\, I think it’s so important to believe in yourself enough to let things develop in a way that feels right to you.” \nProduced by Tim Anderson (Solange\, BANKS\, Halsey)\, This Time matches that defiant spirit with a sound inspired by the rule-bending sensibilities of mixtape culture. Blending elements of soul and hip-hop and rock-and-roll\, Missal shaped This Time’s sonic landscape partly by laying live recordings down on tape\, then sampling those recordings to imbue her songs with a fresh yet timeless energy. Much of that live recording took place at the iconic Different Fur Studios in San Francisco\, with the sessions headed up by Missal and Nate Mercereau (a musician known for his work with Leon Bridges). “I really wanted this album to reference my history of playing in bands\,” Missal points out. “It’s all these very pure\, talented musicians playing together in a room\, but then we took that and sampled it and altered in a way that creates something totally new.” \nThroughout the album\, Missal brings her time-warping but gracefully arranged sound to songs that capture the most specific of emotions. Crafting her lyrics with the kind of idiosyncratic detail that instantly etches each line onto your heart\, Missal explores self-empowerment on tracks like “Transformer”—a fiercely charged anthem about “having the courage to take what you want from life\, without apology.” On “Thrills\,” with its softly swaying groove and dreamy guitar tones\, Missal’s voice soars and shatters as she muses on self-love and sexual confidence. “‘Thrills’ is about owning what makes you real\,” says Missal. “There is a shift happening in our societal standards of beauty and sexuality\, and the more we embrace our flaws the closer we become to effecting real change. I’d love for people to hear the song — and not just women\, but anyone who feels disenfranchised— and remember that being sexy and confident comes from self-acceptance.” \nElsewhere on This Time\, Missal infuses social commentary into songs like “Girl”: a stripped-back yet intricately textured track that unfolds with both gentle playfulness and piercing vulnerability. “I wanted to address this idea that women need to be pinned against each other in order to succeed\, or need to point out the flaws in other women just to feel good about themselves\,” says Missal. “That kind of thinking has been around forever\, and it doesn’t feel like it’s going away—but the more we talk about it\, the better it’s going to get.” And on “Driving\,” Missal delivers one of the album’s most mesmerizing moments\, with her flowing melody\, hypnotic rhythms\, and ethereal vocals merging with a quiet grandeur that’s simultaneously escapist and inspiring. “‘Driving’ is about being on the precipice of taking control over your life—that feeling of seeing something you want in the distance and making the decision to go for it\,” says Missal. “It’s about saying ‘Even if it takes a long time\, or I hit some bumps along the way\, it’s all okay because I’m the one behind the wheel.’” \nFrom song to song on This Time\, Missal shows a natural musicality she credits to her father\, a former session drummer and songwriter who ran his own studio in Manhattan. Born in New York\, Missal moved with her family to New Jersey as a kid\, and grew up playing with the vintage microphones and 16-track tape machine her dad kept in the basement. “Every year he’d have us make Christmas albums for my grandparents\,” recalls Missal\, who’s one of six children. “We’d go out and buy these instrumental CDs of Christmas songs and he’d record us singing over it\, and as we got older we moved onto making our own arrangements and playing the instruments ourselves\,” says Missal. “It was my first experience in singing and I just fell in love with it.” \nWhen Missal was 10\, her parents enrolled her and her siblings in a summer program at a local community theater\, mainly as a way for the home-schooled family to interact with other kids. That program immediately sparked a love of performance in Missal\, and helped her to develop the remarkable vocal range that now gives her music so much vitality. During her high school years she joined a theater program at a vocational school in a nearby town\, but decided against furthering her education at a conservatory. “I was looking at all these schools that cost up to 40 thousand dollars a semester\, and it just didn’t feel right\,” Missal says. “Senior year I told my teacher that I didn’t think that was my path\, so he graduated me four months early\, and then I joined a rock band.”  \nMissal stuck with her band for several years\, first playing basement shows around New Jersey and later booking gigs in Manhattan. As the band’s lyricist\, she discovered a deep love of songwriting\, and dedicated herself to honing her craft. Eventually moving to Brooklyn\, Missal balanced her time between bartending and writing\, and soon came up with “Keep Lying”—a soulful slow-burner showcasing her full-throated vocal delivery. “At the time I was struggling to understand what I wanted to do with my music\,” says Missal. “I didn’t have the confidence yet to stand behind my vision\, so I thought I could get other artists to cut my songs and just thrive that way.” Although she’d initially planned to use “Keep Lying” as part of her effort to score a publishing deal\, Missal ultimately self-released the demo and landed it in the hands of Zane Lowe\, who premiered it on Beats 1 (and\, in turn\, helped push the demo to the top of Spotify’s Viral charts).  \nWhile record companies quickly came calling\, Missal decided to focus on refining her vision\, in part by working with a series of co-writers and producers. After finding a strong creative chemistry with Tim Anderson\, she moved to L.A. and brought This Time to life by way of a deliberately unhurried process. “I allowed myself a lot of time to figure out what I wanted to say and how I wanted to say it\, and because of all that I ended up making a record that really reflects who I am\,” she notes. \nHaving signed her deal with Harvest Records in early 2018\, Missal has also recently appeared as a featured artist on Macklemore’s GEMINI\, written songs for the Netflix original series The Get Down\, and supported K.Flay at a pair of sold-out shows. And with the release of This Time\, one of her greatest hopes is for the album to impart the same sense of self-discovery that informed its creation. “This isn’t a record about love and loss and relationships\,” Missal says. “It’s about taking chances for yourself\, figuring out who you are and really standing behind that. I made a point of putting myself out there as a real person navigating this life at this moment in time\, because I want to do whatever I can as an artist to help people feel more confident in navigating their own lives. I’d love for the listener to receive the message that you can take your time to learn and love yourself. That’s been the most important discovery that I want to share with this album.”
URL:https://royaleboston.com/event/joywave-and-sir-sly/
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:20181021T190000
DTEND;TZID=America/New_York:20181021T190000
DTSTAMP:20260404T200133
CREATED:20180821T140040Z
LAST-MODIFIED:20180822T154425Z
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SUMMARY:Cory Henry & The Funk Apostles
DESCRIPTION:Presented by Bowery Bostonand Newport Jazz \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 8/24 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*** \nCory Henry & The Apostles \n \nWebsite\nFacebook\nTwitter \n“The human voice is so powerful\,” says Cory Henry. “When I’m singing\, it’s like this extra way of connecting and communicating with people beyond what I can do just playing the organ. I’m able to convey these messages that are really important and meaningful to me through my words. Being front and center like this every night\, it’s a challenge\, but I’m up for it.” \nOn the debut album with The Funk Apostles\, ‘Art of Love\,’ organ virtuoso Cory Henry demonstrates that’s he more up for the challenge\, moving from sideman to frontman with seemingly effortless grace and cool. Praised by AllMusic as “one of the finest Hammond B-3 organ players of his generation\,” Henry also proves himself to be a remarkable singer and songwriter here\, one of extraordinary depth and vision. He and the band whip up an intoxicating blend of blues\, soul\, R&B\, Afrobeat\, gospel\, and jazz on the record\, blurring genres and upending expectations at every turn. Simultaneously futuristic and retro\, experimental and classic\, it’s the sound of one of modern music’s most inventive minds coming fully into his own as a bandleader and storyteller. \nA Brooklyn native\, Henry may be best known for his role in Snarky Puppy\, the instrumental jazz-pop orchestra hailed by Rolling Stone as “one of the more versatile groups on the planet right now.” He’s won a pair of GRAMMY Awards for his work with the band since 2012\, but Henry’s deft keyboard skills have been blowing minds around the world for more than two decades now. At six\, he made his debut at Harlem’s legendary Apollo Theater\, and at nineteen\, he joined the touring band of jazz icon Kenny Garrett. Since then\, he’s toured or recorded with everyone from Bruce Springsteen and The Roots to P. Diddy and Yolanda Adams in addition to cracking the Top 10 on Billboard’s Jazz charts with a pair of solo albums. NPR called him “a master” and said his “musical charisma is a match for a nearly 400 pound organ\,” while Keyboard Magazine dubbed his playing “soulful\, church-y\, playful\, restrained\, and virtuosic\,” and The Boston Globe raved that “if anyone’s going to preach the gospel of the Hammond organ\, it should be Cory Henry.” \nThe gospel\, in fact\, is where it all began for Henry. He grew up performing and singing in church (a recent documentary titled ‘Gotcha Now’ features incredible footage of him tearing up the organ there at the age of four)\, but he refrained from sharing his voice with the world outside those holy halls for many years. \n“I just didn’t think my voice was good enough\,” he confesses. “I didn’t think anyone else would want to hear it. But now that I’ve overcome my fear of singing\, I’ve gotten comfortable with my voice\, and it’s become just like another instrument for me.” \nHenry’s vocals on the album are smooth and breathy\, with an intimate delivery that’s alternately understated and ecstatic. While his keyboard playing often draws comparisons to Oscar Peterson and Herbie Hancock\, Henry’s singing reveals a whole different side of his musical personality\, one that synthesizes everything from Michael Jackson and Marvin Gaye to Stevie Wonder and Prince. \n“Every influence that I could think of growing up is in this record\,” reflects Henry. “I’m trying to break the barriers. The word funk is in our name\, but I want people to know that this band is bigger musically than any one genre.” \nHenry pieced together The Funk Apostles’ lineup out of players he met on the road over the years\, and each member of the band is an all-star in their own right. Guitarist Adam Agati\, who co-wrote the album’s lyrics with Henry\, has worked with everyone from Booker T. Jones to Ludacris\, while bassist Sharay Reed has performed with Patti LaBelle\, Aretha Franklin\, Chakha Khan\, and more. Henry met drummer TaRon Lockett while he was playing with Snarky Puppy\, but he’s performed with some of the biggest names in R&B including Erykah Badu and Montell Jordan\, and keyboardist Nick Semrad’s credits include Miss Lauryn Hill\, Bilal\, and Gabriel Garzon-Montano. \nRecorded in Williamsburg\, Brooklyn\, ‘Art Of Love’ was tracked live to tape in an effort both to capture the inimitable energy of the band’s live shows and to channel the warm analog vibes of the 1970’s. While Henry may be renowned for his gifts as an improviser\, the album serves as a showcase for his skills as a songwriter and producer\, rich with intricate arrangements and memorable hooks. That’s not to say it’s without spontaneity\, though. The band worked with minimal rehearsal (Henry estimates they’ve had three in the two years since the band started playing together)\, and several tracks are actually first-take recordings. \nThe driving\, funky “In The Water\,” combines a relentlessly pulse-pounding rhythm section groove with swirling synthesizer underneath Henry’s insistent\, charismatic vocals. Like much of the album\, the song is an examination of love: what it means\, what it takes\, what makes it last. On lead single “Trade It All\,” he offers up a vulnerable\, honest account of the sacrifices he’d make for a lover\, while the sensual and smooth “Just A Word” sets a sultry mood for romance\, and the fluid\, elegant “Our Affairs” finds him asking\, “Babe tell me why / You put me through Hell when Heaven’s where true love resides?” \nAs a writer\, Henry is clearly interested in love beyond just the romantic sense of the word\, though\, often zooming out to take a big picture look at a world that seems to be sorely lacking in it. “Find A Way” is an anthem to making life better through compassion and empathy\, frequent show-closer “Give Me A Sign” is a blues and gospel-tinged love letter to music itself\, and the punchy “Takes All Time” is Henry’s true-life account of his journey to manhood\, his “testimony to love and not rushing to find it.” \nThe album ends on a more political note with “Free\,” a gritty tune inspired by current events that features Henry’s most impassioned vocal performance yet as he promises\, “we gonna fight / live or die for our rights / everywhere.” \n“I want to make music that really means something\,” he explains. “I think of the 60’s and 70’s as this golden era of music\, and if you look at some of the top artists then like Curtis Mayfield and Stevie Wonder\, they were singing about what was happening around them in this creative way that made people want to act. They used music as a tool to reach the world and bring about change to help make it a better place. I want to do that\, too.” \nIt’s an ambitious goal\, to be sure\, but if there’s one thing this album proves\, it’s that Cory Henry is up for the challenge.
URL:https://royaleboston.com/event/cory-henry-the-funk-apostles/
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:20181023T190000
DTEND;TZID=America/New_York:20181023T190000
DTSTAMP:20260404T200133
CREATED:20180807T130052Z
LAST-MODIFIED:20180904T180520Z
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SUMMARY:[SOLD OUT] Tank and The Bangas / Big Freedia
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nSOLD OUT! \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nTank and The Bangas \n \nWebsite\nFacebook\nTwitter \nOriginating in New Orleans\, Tank and The Bangas have all the qualities that relates them\, to the city that birth them but a flair that separates them as well. Their performances range from being “One of the most energetic shows you’ll ever see” to “A gospel tent in Mississippi”. Rummaging through their sound like a thrift store hippie\, you’ll find the Bangas to provoke a musical reference of Rhythmic Soul and Spoken word among other genres such as Rock\, Gospel\, Funk\, and Folk. Combining the various musical techniques among the Bangas\, coupled with the instilling play on lyrics from the lead vocalist; Tank and The Bangas have quilted a unique sound that singles them as one of the most distinctive groups to come out of New Orleans. The group has graced the cover of one of New Orleans most recognized magazines\, “OffBeat” and recently won band of the year at the New Orleans Big Easy Awards. The group has opened for acts such as LiAnne LaHavas\, PJ Morton\, Galactic\, Big Freedia\, The Revivalist\, and The Soul Rebels. Most recently the band was titled as the 2017 NPR Tiny Desk Contest winners.  \n*** \nBig Freedia \n \nWebsite\nFacebook\nTwitter \nThe scope of Big Freedia’s impact is undeniable. Over the past few decades\, the New Orleans native has catapulted herself from local favorite to becoming the anointed Queen of Bounce\, sharing some of her high energy flavor on massive hit tracks like Beyoncé’s Grammy-winning “Formation” and Drake’s “Nice For What” while shaping contemporary culture by bringing twerking\, shaking and wiggling to a national platform. \n“I just want to inspire people to understand that New Orleans culture is very special\, it’s a phenomenal place and that we’re on a rise to bigger and better things and we speak it through our music and everyday living down here\,” says Freedia\, who was born and raised in the city’s 3rd Ward. “The pain and suffering that we go through here in New Orleans\, we take it and we flip it around.” \nIt’s the heartbeat of her Asylum Records debut 3rd Ward Bounce\, a fiver-track EP releasing this June. Aerobic\, ceaseless and a touch more mainstream than prior releases\, the project has all the signifiers of Freedia’s brand of Bounce— throbbing instrumentals\, booming vocals\, frenetic handclaps—with even sharper songwriting that pushes her sound into new territory. Lead single “Rent” is all attitude\, rebuffing the type of people who occupy a space in your mind\, while “Karaoke” featuring Lizzo pounds along with robust horns\, intended to become the freewheeling type of anthem that soundtracks a night out of singing. Elsewhere\, the Goldie-assisted “Play” nods to the “slay” echoed on Freedia’s “Formation” collab with Beyoncé\, and “Bomb” plays like a chest-thump\, a nod to all that Freedia’s accomplished. \nIn fact\, it’s hard not to feel Freedia’s presence in pop culture. In addition to high-level appearances on culturally-defining tracks and a string of her own impacting releases\, Freedia has become one of the strongest voices from the South\, in part thanks to Big Freedia Bounces Back on Fuse TV\, a weekly docu-series that’s been on for six seasons and become the network’s highest rated original series. \nIn addition to living life as a member of the LGBTQ community\, she’s consistently used her music to lift listeners of all gender and sexual identity\, using music as a bridge to unite. “I’m a voice for different communities\,” she says. “Live your life and live the best way you know how. Love whoever you choose to love. Be whoever you want to be\, do whatever you want to do. It’s a much broader mission for me to encourage people all over—not just the LGBTQ community but heterosexuals as well to live out they life loud and proud.” \nA former choirboy\, Freedia cut her teeth on the bounce circuit in New Orleans\, quickly garnering national acclaim and becoming a staple on the touring circuit. In the past\, she’s dazzled crowds at festivals spanning Outside Lands to FYF\, as well as sprinkled her Bounce magic on songs from Diplo\, Spank Rock\, Galactic and Elliphant. She’s shared her life in other facets of media as well\, including the critically-acclaimed memoir Big Freedia: God Save the Queen Diva! on Gallery Books/Simon & Schuster. \nBut at the core\, Bounce music is where Freedia got her start\, and where she continues to touch people most. “When people come to visit New Orleans\, it’s an infectious city: the culture\, the people\, the food\, the whole city\,” she says. “We have so many talented musicians here and people want to taste a little piece of it every time they go somewhere. Bounce is getting ready to keep making a part of history and keep opening doors for the music industry. We are on our rise to people recognizing the music that has been captivating for so long locally here in New Orleans\, and now the world has got a taste. It’s just so infectious\, baby.” \n*** \nNaughty Professor \n \nWebsite\nFacebook\nTwitter \nNaughty Professor is an iconoclastic New Orleans-based jazz-funk sextet whose adventurous recordings and horn-charged\, high-energy live performances have earned them an enthusiastic fan base\, critical acclaim\, and widespread attention from their musical peers. \nTheir diligent roadwork has established Naughty Professor as a beloved live act.  Weaving together complex\, inventive compositions and loose\, organic improvisation\, the band honors their hometown’s jazz\, R&B and brass-band traditions while looking to the future. \nNaughty Professor raises the stakes on its new album Identity (Release date June 23\, 2017).  Where their prior four releases showcased the group’s knack for self-contained instrumental experimentation\, Identity finds the band teaming with a stellar assortment of more than a dozen cutting-edge collaborators\, whose vocal\, instrumental and compositional contributions expand the music into new musical territory. \nIdentity’s prestigious gallery of guests includes Jurassic 5’s Chali 2na\, who’s featured on a pair of tracks\, “Darker Daze” and “Sugar Coat\,” which also features contributions from New Orleans legend Ivan Neville. David Shaw of the Revivalists lends his vocals on “Stray” and singer/guitarist Dexter Gilmore contributes on “I Can’t Sleep At Night.” Additional special collaborators include trumpet player Eric “Benny” Bloom of Lettuce\, percussionist Mike Dillon\, much-lauded jazz vocalist Sasha Masakowski and members of the renowned New Orleans horn outfit Soul Rebels\, who turn up the brass on the album-closer “Funk 4 Lunch.” \n“They’re not just guests\,” explains Naughty Professor drummer Sam Shahin.  “The collaborators on this album were chosen because we respected what they do and felt that they could be a complement to our ensemble.” \n“When these kids first started coming up on the scene\, I could tell right away that there was something very special about their energy and music\,” David Shaw comments on his excitement to collaborate with Naughty Professor.  “I believe that the sky has no limit for these boys.” \n“My first impression of Naughty Professor was one of amazement\,” Chali 2na notes.  “New Orleans is full of musicians that are masters of their craft\, and Naughty P is no exception.  They are also perfectionists and students of the game.  This is immediately apparent once you hear them play. \n“I am loving the resurgence of jazz combined with this youthful mindstate that musicians have today\,” Chali continues\,” and Naughty Professor is pushing that envelope.” \nThe band recorded each track on Identity live in the studio\, heightening the immediacy of the performances and solidifying the band’s connection with the guest collaborators.  The sessions were also documented on video\, with an eye towards releasing a video version of the album. \nA wide range of musical impulses has driven Naughty Professor ever since the band members first convened in 2010\, having met while students at Loyola University’s jazz program.  The musicians’ potent collective chemistry quickly won attention on the New Orleans music scene.  After graduating\, they began touring\, expanding their audience nationwide. \nNaughty Professor’s first three albums—2013’s Until the Next Time\, 2015’s Out On A Limb and 2016’s live In the Flesh—further raised the band’s national profile. Lauded by critics for having a musical “depth and vision far beyond their young years\,” Naughty Professor’s name regularly appears alongside New Orleans’ veteran luminaries. In 2013\, the band was nominated by Gambit’ Weekly’s Big Easy Music Awards for “Best Emerging Artist\,” and for “Best Funk Band” every year since. Naughty Professor was also nominated in 2015\, 2016 and 2017 by Offbeat Magazine’s Best of the Beat Awards for “Best R&B/Funk Artist.” In the magazine’s most recent poll\, bassist Noah Young and Drummer Sam Shahin were named finalists as the “Best at their Instruments\,” furthering the band’s stellar musical reputation. \nIdentity continues Naughty Professor’s unyielding exploration of their home city’s eclectic musical landscape.  “New Orleans is the reason that we were all able to come together\, and it’s the reason we’ve been able to continue making music together\,” says alto and baritone saxophonist Nick Ellman. “We all were drawn to the city\, and we all have a tremendous respect for the history of the music culture in New Orleans. In no way are we a traditional New Orleans band\, and this is not a traditional New Orleans record\, but New Orleans’ musical and cultural traditions have everything to do with how we make music.” \nNew Orleans’ vital spirit is present throughout Identity\, which combines artfully-crafted studio creations with material developed through live performance. “We like being adventurous and cerebral\, but fun is also important\,” Shahin concludes. “We operate with a jazz mentality\, but we like verse/chorus structures.  We definitely embrace the idea that we’re bridging the gap between the more thought-provoking side of jazz and popular mainstream music\, and making the whole thing fun and accessible.” \nThe result is Identity\, Naughty Professor’s most potent and ambitious musical statement to date. It is a record that\, by collecting together diverse and disparate musical voices into a seamless whole\, simultaneously honors the past and pushes into the future. \nNaughty Professor are:\nIan Bowman – tenor saxophone\nJohn Culbreth – trumpet\nBill Daniel – guitar\nNick Ellman – alto and baritone saxophones\nSam Shahin – drums\nNoah Young – bass
URL:https://royaleboston.com/event/tank-and-the-bangas-big-freedia/
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:20181026T180000
DTEND;TZID=America/New_York:20181026T213000
DTSTAMP:20260404T200133
CREATED:20180529T160057Z
LAST-MODIFIED:20180820T170324Z
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SUMMARY:[SOLD OUT] Yacht Rock Revue - Night 1 of 2
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nSOLD OUT \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nYacht Rock Revue \n \nWebsite\nFacebook\nTwitter \nThe Yacht Rock Revue is the greatest show on Surf and the finest tribute to ’70s light rock to ever perform anywhere. Ever. Their spot-on renditions of Hall & Oates\, Michael McDonald\, Steely Dan\, and the rest of the Time-LifeInfomercial Catalog have enthralled fans across the United States. It goes without saying they have taken their act to the high seas\, performing showcase sets on music cruises with Weezer\, Kid Rock\, Train\, Zac Brown Band\, Sister Hazel\, and fitness guru Jillian Michaels. \nBy blurring the lines between a tribute\, an original act\, and a comedic troupe\, the Yacht Rock Revue has forged a unique niche market and a special bond with their fans. The band attacks each song as if it were their own\, and the energy exchanged between the band and the crowd has more in common with a stadium U2 show than that of a typical bar band.\nThe band has won accolades ranging from “Best Place to Get Drunk With Your Dad” to “Best Overall Music Act in Atlanta” to “Best Place to Start an Extramarital Affair\,” and has been name-dropped by the New York Times\, Pitchfork\, the Guardian UK\,Spin\, TimeOut New York\, Billboard\, MTV.com\, and (probably) your mom at her last cocktail party. \nSpeaking of name-dropping\, members of the band have played on-stage with members of Weezer\, Billy Joel\, Walter Egan\, .38 Special\, John Mayer\, Zac Brown Band\, Little River Band\, Sheryl Crow\, Noel Gallagher\, Starbuck\, Sarah McLachlan\, Don Henley\, Lynyrd Skynyrd\, Neil Finn\, Jellyfish\, Devo\, Nine Inch Nails\, Joan Jett\, Wet Willie\, Bon Jovi\, Skid Row\, and the Saturday Night Live Band. (None of those were a joke.)
URL:https://royaleboston.com/event/yacht-rock-revue-night-1-of-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:20181027T180000
DTEND;TZID=America/New_York:20181027T213000
DTSTAMP:20260404T200133
CREATED:20180529T160015Z
LAST-MODIFIED:20180820T170205Z
UID:10002641-1540663200-1540675800@royaleboston.com
SUMMARY:[SOLD OUT] Yacht Rock Revue - Night 2 of 2
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nThis show is SOLD OUT! Tickets for the Fri. 10/26 show still available HERE. \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*** \nYacht Rock Revue \n \nWebsite\nFacebook\nTwitter \nThe Yacht Rock Revue is the greatest show on Surf and the finest tribute to ’70s light rock to ever perform anywhere. Ever. Their spot-on renditions of Hall & Oates\, Michael McDonald\, Steely Dan\, and the rest of the Time-LifeInfomercial Catalog have enthralled fans across the United States. It goes without saying they have taken their act to the high seas\, performing showcase sets on music cruises with Weezer\, Kid Rock\, Train\, Zac Brown Band\, Sister Hazel\, and fitness guru Jillian Michaels. \nBy blurring the lines between a tribute\, an original act\, and a comedic troupe\, the Yacht Rock Revue has forged a unique niche market and a special bond with their fans. The band attacks each song as if it were their own\, and the energy exchanged between the band and the crowd has more in common with a stadium U2 show than that of a typical bar band.\nThe band has won accolades ranging from “Best Place to Get Drunk With Your Dad” to “Best Overall Music Act in Atlanta” to “Best Place to Start an Extramarital Affair\,” and has been name-dropped by the New York Times\, Pitchfork\, the Guardian UK\,Spin\, TimeOut New York\, Billboard\, MTV.com\, and (probably) your mom at her last cocktail party. \nSpeaking of name-dropping\, members of the band have played on-stage with members of Weezer\, Billy Joel\, Walter Egan\, .38 Special\, John Mayer\, Zac Brown Band\, Little River Band\, Sheryl Crow\, Noel Gallagher\, Starbuck\, Sarah McLachlan\, Don Henley\, Lynyrd Skynyrd\, Neil Finn\, Jellyfish\, Devo\, Nine Inch Nails\, Joan Jett\, Wet Willie\, Bon Jovi\, Skid Row\, and the Saturday Night Live Band. (None of those were a joke.)
URL:https://royaleboston.com/event/yacht-rock-revue-night-2-of-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181028T190000
DTEND;TZID=America/New_York:20181028T190000
DTSTAMP:20260404T200133
CREATED:20180507T140045Z
LAST-MODIFIED:20181001T145058Z
UID:10001919-1540753200-1540753200@royaleboston.com
SUMMARY:[CANCELLED] Gallant
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show has been cancelled. Refunds are available at point of purchase. \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*** \nGallant \n \nWebsite\nFacebook\nTwitter \n*** \nJamila Woods \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/gallant/
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:20181029T190000
DTEND;TZID=America/New_York:20181029T190000
DTSTAMP:20260404T200133
CREATED:20180604T160002Z
LAST-MODIFIED:20181026T200637Z
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SUMMARY:[SOLD OUT] Dermot Kennedy
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*** \nDermot Kennedy \n \nWebsite\nFacebook\nTwitter \nThere’s a sign on the house Dermot Kennedy has called home for 25 years. “Cois Coille\,” it reads: Irish for “beside the forest\,” a nod to the vast mountains and huge sprawl of trees not far from his front door. “Whenever I’ve been away\, eventually I need to come back and reset\,” admits the fast-rising star\, who grew up here in Rathcoole\, a village nestled between the wilderness of County Kildare and the frantic bustle of Dublin. It’s a contrast that also exists at the heart of his music: rustic\, tender singer-songwriter laments full of scenic beauty\, set to urban\, electronic beats. “I really like that clash\,” he explains of his acclaimed mix of intimate\, guitar-led storytelling and hip-hop-inspired production. “Making those two worlds collide is really exciting to me.”  \nHe’s not the only one who’s excited. Since the release of his stunning April 2017 EP\, Doves and Ravens\, and follow-up single ‘Moments Passed’\, Kennedy has shot to over 80m plays on streaming platforms\, been hailed as a “big\, beautiful and bold” new voice by Beats 1’s Zane Lowe\, won praise from everyone from TIME Magazine to Wonderland. He’s also supported Lana Del Rey and worked his way on the radar of rap super producer Mike Dean\, best known for his work with Kanye West and Travis Scott\, with whom he’s currently cooking up a mixtape.  \nRegularly compared to Bon Iver – whose For Emma Forever Ago album was a turning point in Kennedy’s musical adolescence (“he just blew my mind”) – the 25-year-old describes his songs as struggles between two extremes: light and dark\, love and loss\, life and death\, happiness and sorrow. “All my tracks sort of toggle between two themes\, even within the same song: it can go back and forth from line to line\,” he says. The deeply personal ‘Moments Passed’\, for example\, was dragged from the rubble of a time of simultaneous pain and blossoming romance for the young Irishman\, who was both mourning the death of a friend and falling in love when he wrote it. “Sometimes it’s hard to pin a song down. More often it’s a battle between two opposites like that.” \nKennedy got his first guitar aged 11\, and “got serious” aged six years later\, before a chance encounter with another of his musical heroes gave him his first big break. Beloved Irish songwriter Glen Hansard had been walking through Dublin when Kennedy spotted him one day in the street\, around the time of his first recordings. “I invited him to the studio\,” Kennedy recalls. “He couldn’t make it\, but he called back and offered me ten minutes onstage at his sold-out Christmas show.” The youngster performed his 2016 single ‘After Rain’ and the response was immediate: the track went on to rack up a staggering 33m million streams on Spotify. ‘Moments Passed’ – now with a spectacular video directed by Frank Ocean and Kendrick Lamar collaborator Nabil – won’t be far behind. \nWith new music set for release in early 2018 and bigger\, better live shows around the corner\, momentum is building quickly behind Kennedy. Not that he’s really noticed: the 25-year-old is too focused on pushing his artistic boundaries on his upcoming debut album to pay attention to any hype. “Having spent a lot of time in the acoustic world\, it felt really good to do something new and push myself out of my comfort zone on these recent tracks\,” he says of his increasing electronic experimentation. “I’d be letting myself down if I didn’t chase that\, if I just did what came easy to me.”  \nJust don’t expect him to abandon his roots entirely. “I don’t want to go too far. The trick is to be able to strip a song of all its production and for it to still tell a good story that makes you feel something. Certain things run through all sorts of music that appeal to me\, whether that’s a hip-hop artist or a singer-songwriter: honesty and a good story.” Dermot Kennedy’s story\, you get the feeling\, is just beginning.  \n*** \nThe Oh’My’s \n \nWebsite\nFacebook\nTwitter \nFormed by Maceo Haymes and Nick Hennessy\, Chicago soul band The O’My’s have etched out an important place in the city’s music scene. From collaborations with Chance The Rapper and BJ The Chicago Kid to TDE’s Ab-Soul\, The O’My’s bring a traditionally vintage sound to a new era of music in seamless fashion. With a new project slated for 2018\, The O’My’s are ready to capture the hearts of music fans\, both old and young.
URL:https://royaleboston.com/event/dermot-kennedy/
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:20181030T190000
DTEND;TZID=America/New_York:20181030T190000
DTSTAMP:20260404T200133
CREATED:20180717T163933Z
LAST-MODIFIED:20180907T211307Z
UID:10001945-1540926000-1540926000@royaleboston.com
SUMMARY:Violent Femmes
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri. 7/20 at 1PM! \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*** \nViolent Femmes \n \nWebsite\nFacebook\nTwitter \nViolent Femmes formed in 1981 as an acoustic punk band playing on the streets of Milwaukee. Their main influences at that time were Gene Vincent and the Blue Caps\, and The Velvet Underground. Their goal was to rock harder than any other acoustic act on the planet. \nThey were rejected for an audition by a local nightclub and set up outside a Pretenders gig. Chrissie Hynde asked them to open that night’s show. This gave the early Femmes a publicity boost which led to them being invited to play in NYC supporting Richard Hell. A rave review in the New York Times led eventually to a record deal\, which in turn spawned worldwide touring. \nTheir eponymous first album became the first and only album in Billboard history to enter the charts as a platinum album\, eight years after its release. The Femmes became a mainstay of festivals\, clubs and theatres in over 30 countries worldwide in the ensuing three decades. \nMTV’s “Unplugged” show was inspired by the Femmes\, although they never actually appeared on it. Their raw sound and honest lyrical perspective has been cited as an influence by artists as diverse as Pink\, Keith Urban\, The Smiths\, Nirvana\, Lou Reed\, John Cusack\, Mark Morris\, and Wim Wenders. \nViolent Femmes are currently touring in commemoration of the thirtieth anniversary of the release of their first album.  \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. Your 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 spring. She also recently appeared as a featured artist on alt rapper Rejjie Snow’s debut.
URL:https://royaleboston.com/event/violent-femmes/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VCALENDAR