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DTSTART;TZID=America/New_York:20181114T200000
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SUMMARY:Wild Nothing
DESCRIPTION:Presented by Bowery Boston \nDoors: 8:00 pm / Show: 9:00 pm \nTickets on sale Fri. 6/8 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*** \nWild Nothing \n \nWebsite\nFacebook\nTwitter \n“Our technology\, our machines\, is part of our humanity. We created them to extend ourselves\, and that is what is unique about human beings.” – Ray Kurzweil \nAlthough civilization’s transition into a cyborg world seems inevitable\, there are still those who recognize the beauty and power of a human touch to complement the circumvention. Jack Tatum understands this balance\, and through a decade making music as Wild Nothing he has learned to embrace both sides of that dynamic—but perhaps never as distinctly as on Indigo\, the fourth Wild Nothing album. On one hand\, it is a return to the fresh\, transcendent sweep of his debut\, 2010’s Gemini\, and on the other\, a culmination of heights reached\, paths traveled\, and lessons learned while creating the follow-ups\, Nocturne and Life of Pause. Indigo finds Tatum at his most efficient\, calculated\, and confident—resulting in an artful blend of hi-fi humanity and technology that fires on all circuits and synapses. \nWhereas Gemini was the sound of Tatum making the album he imagined in his bedroom and 2012’s Nocturne was the result of his first turn in a proper studio\, followed by 2016’s Life of Pause\, a multi-studio tinkering odyssey spanning time and spaces\, this 2018 maturation finds Tatum arriving at total creative openness. “My entire 20s have been spent on this project\, and in that sense you inherently find the limitations in what you make\,” Tatum says. “With the last record I was trying to stretch out as far as I could\, but with Indigo I’ve created something that has homed in on its own identity. My life has become less about chasing these creative bursts and more about learning to channel my creativity.” \nEvery note\, every sound\, every breath on a Wild Nothing release is intentional\, and Tatum admits to exhausting every possibility in his quest for perfection—an arc familiar to all artists. Like the novelist who admits to gratuitousness in their early works\, Tatum speaks to learning concision. “I’ve been a musician since age 10\,” he says. “It’s always been fun for me\, and there is always going to be a part of making music that feels like a puzzle: how do I put these pieces together to create something?” \nTo make Indigo\, Tatum confronted the Man vs. Machine dichotomy by seizing on the surrounding synergy. In his studio\, he would write pieces of songs on guitars\, with keyboards\, “in the box” with plug-ins and programs—whatever held his interest on any given day. Sticking to his routine\, he built a series of highly detailed demos\, intending to record the final package swiftly with a live band in a studio and—bucking against the trend of the rougher sound of Wild Nothing’s peers—in a clear\, bright\, 1980s-inspired fidelity. “I’ve finally accomplished a hi-fi sounding record\,” Tatum reflects. \nOn Indigo\, Tatum balances resources and influences. “I wanted it to sound like a classic studio record\, as close as I could get it there. It just boils down to me wanting to fit into some larger narrative\, musically\, in terms of these artists I love.” Tatum elaborates\, “The records that have influenced the actual sound of Indigo are by Roxy Music\, Kate Bush\, and Fleetwood Mac; Roxy Music’s Avalon is one of my favorite records ever. I think about how my music will age. Ideas of ‘timeless’ are going to be different—so if Indigo is not timeless then it’s at least ‘out of time.'” \nFinding the right people to work on the album was integral\, as was the proper place to record it. Tatum booked four days at Sunset Sound’s Studio and hired drummer Cam Allen and guitarist Benji Lysaght to track the record live while Tatum played bass. Afterwards\, producer Jorge Elbrecht (Ariel Pink\, Gang Gang Dance\, Japanese Breakfast) and Tatum built out the rest of the album’s sound by adding new parts and repurposing sounds from Tatum’s demos. The pair mixed the album in Denver in ten days\, and Tatum brought it back to his Glassell Park studio in Los Angeles for polishing. \nThe resulting Indigo is its own cyborg world\, utilizing the artful mechanisms of human touch with the precision of technology to create the classic\, pristine sound Tatum had been seeking his entire career. From the opening drum beat\, chiming guitar\, and sweeping synth of “Letting Go” to Tatum’s Bryan Ferry vocal turn on “Oscillation” to the ’80s-heavy blips\, clicks\, and strut of “Partners in Motion\,” it’s clear that Indigo is at once vintage Wild Nothing and a bold\, new leap into a bigger arena. As for the album’s title\, Tatum points to a lyric in the new song “The Closest Thing To Living”: “Breathe indigo\, it’s the closest thing to living.” “As I was writing that song I was thinking about the way we’ve merged ourselves with AI\, seeing that subtle\, blue iPhone glow on everyone’s faces\, and envisioning this color being representative of our effort to embrace this change in humanity. So it’s about the idea of this backlit reality we all live in\, and how to accept that.” \nThe album ends with the driving\, wide-open skies and epic beat of “Bend\,” solidifying Indigo as a grand achievement in scope and sound by a deft and exceedingly thoughtful artist. Beyond technique\, influence\, time\, and theme\, Tatum has succeeded in extending himself to his utmost capacity. “I don’t write songs because I have super specific things I want to say\, I write songs because I really care about the way instruments work together\, and I really care about being able to think about things as a whole\, sonically\,” Tatum says. “I write songs for the whole package.”
URL:https://royaleboston.com/event/wild-nothing/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20181115T183000
DTEND;TZID=America/New_York:20181115T183000
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CREATED:20180814T130051Z
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SUMMARY:Real Friends
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:30 pm / Show: 7:00 pm \nTickets on sale Thu 8/16 at noon! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: This show is open to all ages.  Opening acts and set times are subject to change without notice.  All sales are final unless a show is postponed or canceled.  All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue.  Please make sure necessary arrangements are made ahead of time.  All patrons subject to search upon venue entry. \n*** \n \n*** \nReal Friends \n \nWebsite\nFacebook\nTwitter \ncomposure [kuh m-poh-zher] noun.\n1. serene\, self-controlled state of mind; calmness; tranquility: \nComposure ultimately empowers. \nBy reaching that sphere of serenity and confidence\, we can achieve our full potential. Real Friends make a major leap towards this space on their appropriately titled third full-length album\, Composure [Fearless Records]. The Tinley Park\, IL quintet—Dan Lambton [vocals]\, Dave Knox [guitar]\, Eric Haines [guitar]\, Kyle Fasel [bass]\, and Brian Blake [drums]—perfect their patented one-two punch of punk and pop\, while penning their most personal tunes to date. \n“We wanted it to be the standout album and literally reclaim our composure\,” says Kyle. “In some ways\, it felt like we were on autopilot or something until now. We had a conversation. We didn’t hold anything back. We devoted one million percent to the music\, were present\, and showed who we truly are.” \nFollowing a whirlwind of touring in support of 2016’s The Home Inside My Head\, the boys dove into writing a year later. They headed to Los Angeles to record with producer Mike Green—who helmed a handful of tracks on The Home Inside My Head. Musically\, they built on this incredible foundation by pushing themselves as writers first and foremost. \n“For us\, it’s truly the definition of a new start\,” Kyle elaborates. “We’re not beating around the bush. On the whole\, we weren’t satisfied with the The Home Inside My Head. We felt like something got lost along the way. It was a really good lesson though. So\, the songwriting became the focus. We aimed to make the most energetic\, dynamic\, and catchiest anthems we could.” \nDespite harnessing instant chemistry with Green\, the process presented a myriad of challenges as Dan’s bipolar disorder worsened. \n“Everything was a huge clusterfuck while we were recording\,” sighs Dan. “I was bouncing off the walls and just losing my mind. I couldn’t control myself. It was hard to pin me down in one direction. I was smoking too much weed. I was getting into trouble. It was a big wakeup call. Everybody finally sat me down and asked\, ‘What the fuck is going on with you? We’ve got to fix something here’.” \nAfter he finished his parts\, Dan found a new psychiatrist in Illinois\, received a different prescription\, enrolled in an outpatient program\, and attended group therapy alongside his bandmates. The vocalist openly shared his journey and struggles on social media\, engendering empathy and eliciting similar stories from the fans. It strengthened the Real Friends community in the process and set the stage for Composure. \nThe album’s first single “From The Outside” hinges on an off-time riff that swings into a confessional chorus as Dan sings\, “From the outside\, I seem fine. On the inside\, I’m \nstill sick. The pill’s a temporary fix.” Each word immediately connects as the music reflects a frenetic and fiery feeling. \n“It’s about the use of medication\, how it doesn’t sometimes work out\, and the feeling of confusion\,” Dan goes on. “The uncertainty can extend to everything in life. We don’t always know what’s good or bad for us. We question why we feel certain ways when things may seem crazy. In bipolar disorder\, untreated mania and depression go wildly out-of-control. With the mania\, I feel invincible. On the other end of the spectrum\, it’s just the opposite. I think we all share similar feelings.” \nMeanwhile\, “Smiling On The Surface” builds from acoustic guitar into another high energy chant. The sweeping dynamic underscores a relatable message written by Kyle. \nWith many tunes about coming-of-age\, the boys tackled another phase of this struggle in the poignant slow burn of “Unconditional Love\,” which is “about how we end up taking care of our parents.” \nIn the end\, Real Friends have certainly come full circle\, found their composure\, and remain ready for their brightest chapter yet. \n“Emotionally\, I hope listeners feel connected to it\,” concludes Kyle. “On a guttural level\, I hope they think it’s our best release so far. That’s what we set out to make.” \n*** \nBoston Manor \n \nWebsite\nFacebook\nTwitter \n*** \nGrayscale \n \nWebsite\nFacebook\nTwitter \nSince forming in 2011\, when its band members were only in high school\, the Philadelphia-based quintet—composed of vocalist Collin Walsh\, guitarist/vocalist Dallas Molster\, guitarist Andrew Kyne\, bassist Nick Ventimiglia and drummer Nick Veno—has emerged quickly from the Philadelphia punk scene\, establishing a solid fan base and sharing stages with the likes of Cute Is What We Aim For\, Knuckle Puck\, Neck Deep\, Seaway\, and more. Working with producer Kyle Black (State Champs\, Handguns\, Hit The Lights) for their Fearless Records debut album\, Adornment\, Grayscale has honed their talent of constructing strong hooks\, relatable lyrics and catchy riffs\, all the while coming into their own distinguished sound. Through their unbarred emotion and unique blend of alternative rock and punk roots\, Adornment\, sees the band expand their sonic palette\, further illuminating their skill of creating well-narrated stories paired with palpable emotion that urges listeners to dive in and craft their own narratives. \n*** \nEat Your Heart Out \n \nWebsite\nFacebook\nTwitter \nHailing from Newcastle\, Australia\, Eat Your Heart Out—Caitlin Henry [vocals]\, Andrew Anderson [guitar]\, Will Moore [guitar]\, Dom Cant [bass]\, and Jake Cronin [drums]— carry on the tradition of Australia’s impressive history of musical outliers from Nick Cave and Silverchair to The Amity Affliction and Parkway Drive\, but they do so unequivocally on their own terms. The group’s grunge-y pastiche of emo energy\, punk power\, and pop palatability immediately ignited excitement around the world upon their emergence in 2012. Along the way\, the quartet released two EPs\, Distance Between Us (2015) and Carried Away (2017)\, inked a deal with Fearless Records\, and have supported artists such as Trophy Eyes\, Hands Like Houses\, Knuckle Puck\, Real Friends\, and many others. Everything paved way for the group’s 2017 EP\, Mind Games [Fearless Records]\, which shows the band aren’t afraid to open up. Their lyrical honesty ensures that the message resonates loudly in the end.
URL:https://royaleboston.com/event/real-friends/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20181116T180000
DTEND;TZID=America/New_York:20181116T213000
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SUMMARY:Gregory Alan Isakov [Night 1 of 2]
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri. 7/13 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*** \nGregory Alan Isakov \nCredit: Rebecca Caridad \nWebsite\nFacebook\nTwitter \nBorn in Johannesburg\, South Africa\, and now calling Colorado home\, horticulturist-turned-musician Gregory Alan Isakov has cast an impressive presence on the indie-rock and folk worlds. With songs that hone a masterful quality\, telling a story of miles\, landscapes\, and the search for a sense of place\, he has been described as “strong\, subtle…a lyrical genius.” Isakov has recently released an album of his songs played in collaboration with the Colorado Symphony. \n*** \n Leif Vollebekk  \n \nWebsite\nFacebook\nTwitter \n“A friend told me it was Saturn returns and that may be true. I was about to turn thirty and I knew that if I didn’t change direction I was going to end up exactly where I was headed.” \nAt the end of Leif Vollebekk’s twenties\, his own songs didn’t sound right. He had spent an entire year on the road\, playing almost 100 shows\, but every night his favourite moment came only right at the end\, covering a song by Ray Charles or Townes Van Zandt. Every time he got home from tour he took a hot shower and lay still under a window\, listening to Nick Drake’s Pink Moon\, feeling saved\, wondering why his own music didn’t give him that. Why the songs he had written himself always felt like so much work. \nHe booked himself a secret show. One night only at a Montreal dive bar — not to play his own songs but other people’s. Leif found a rhythm section and they rehearsed once. Then midnight unspooled. Leif called it the most fun he had ever had playing music: Ray Charles and Tom Waits over a locked groove; Bob Dylan and Kendrick Lamar over a slow pulse. The light was dark blue and purple. \nIt was time\, Leif understood\, to make a dark blue and purple record. An album of locked groove and slow pulse\, heavy as a fever. And the lesson he learned from singing all those other people’s songs was that none of those other artists seemed worried about anything except laying down their own souls\, flat out. “I used to think\, ‘This will be kinda like a Neil Young song\,’ ‘This will be kinda like a Bob Dylan song\,'” he recalled. “I kinda ran out of people to imitate. And then there was just me.” \nHis first new song came to him on his bicycle. He wasn’t thinking\, wasn’t trying\, but the rhythm\, the chords\, the melody — it all just fluttered up. He tried at first to let it go: the song wasn’t meticulous enough\, it wasn’t studied or conceived. The next morning it still came back to him\, incontestable. “I told myself\, ‘You’re never saying no to a song ever again\,'” Leif said. “I realized I had been saying ‘no’ to a lot of songs\, over the years.” Twin Solitude is what happened when Leif stopped saying no. The songs started coming so fast: fully formed\, impossible. “Vancouver Time” took 15 minutes; “Telluride” took less. It was as if the songs were waiting for him. Instead of obsessing about the details of recording\, “I just showed up to the studio and went\, ‘Let’s see what happens.'” \nWhat happened was\, they got it: “Big Sky Country” and its patient\, coasting tranquility\, “Into the Ether\,” which rides to reverie with the Brooklyn string duo Chargaux. There’s “East of Eden\,” an interpolation of Gillian Welch\, which doesn’t seem like it ever ought to end. For a beautiful album\, Twin Solitude is deceptively brave\, filled with unexpected refrains. “When the cards get stuck together / so hard to pull them apart\,” Leif sings\, “I think your face is showing.” Then: “Ain’t the first time that it’s snowing.” \nYet in its heart\, above all\, Twin Solitude is a gesture back to Leif’s long nights under a pink moon\, when a record was the only thing that could keep him company. Besides a wink to Hugh MacLennan’s novel “Two Solitudes\,” this is the unlonely loneliness of the album’s title. “It isn’t a record I made for other people — it’s the one I made for myself\,” Leif said. “It’s the album I wish I could have put on.” \nListen to it in a rental car in cold weather\, with the windows all rolled up. Listen to it laying by an open window. Listen to it all the way through\, alone. “By the time the last notes die away\, all that’s left should be you\,” Leif told me. “And I’ll be somewhere else. And that’s Twin Solitude.”
URL:https://royaleboston.com/event/gregory-alan-isakov-night-1-of-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181117T180000
DTEND;TZID=America/New_York:20181117T213000
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SUMMARY:[SOLD OUT] Gregory Alan Isakov [Night 2 of 2]
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nThis show is now SOLD OUT! Tickets are available for night one on Fri. 11/16 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*** \nGregory Alan Isakov \nCredit: Rebecca Caridad \nWebsite\nFacebook\nTwitter \nBorn in Johannesburg\, South Africa\, and now calling Colorado home\, horticulturist-turned-musician Gregory Alan Isakov has cast an impressive presence on the indie-rock and folk worlds. With songs that hone a masterful quality\, telling a story of miles\, landscapes\, and the search for a sense of place\, he has been described as “strong\, subtle…a lyrical genius.” Isakov has recently released an album of his songs played in collaboration with the Colorado Symphony. \n*** \nReed Foehl \n \nWebsite\nFacebook\nTwitter \nBorn into a musical family\, Reed grew up in a small country town in New England\, listening to his parent’s bluegrass band rehearse in the living room every Thursday night for all of his childhood. From there Reed took to the streets at the early age of 11 performing at Boston’s own Fanuel Hall Marketplace. He then became the front man for the band Acoustic Junction which toured for ten years nationwide and eventually signed with Capricorn/Mercury records. In 2001 he began his solo career with the release of Spark which put him on the map in the publishing world\, garnering placements in both film and television. His 4th solo album\, Lost In The West was released in 2014\, which led him to tour with Gregory Alan Isakov\, Todd Snider and Anais Mitchell\, to name a few. Recently Reed was nominated for a Grammy for his song “Fly” which was covered by the country music star Lee Ann Womack.  Dusty and patient his music is genuine Americana\,  telling stories of the human condition with lyrics and a voice that push the boundaries while paying homage to tradition.  2018 is shaping up to be a big year for Reed as he plans to release his 5th solo record.  Stay tuned…
URL:https://royaleboston.com/event/gregory-alan-isakov-night-2-of-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181122T211500
DTEND;TZID=America/New_York:20181122T211500
DTSTAMP:20260405T045242
CREATED:20181108T195152Z
LAST-MODIFIED:20181108T195152Z
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SUMMARY:Annual Thanksgiving Night Gala: Lefteris Pantazis
DESCRIPTION:Doors @ 8:30pm \n21+ \nValid US Government-issued ID or international passport required.
URL:https://royaleboston.com/event/annual-thanksgiving-night-gala-lefteris-pantazis/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181123T180000
DTEND;TZID=America/New_York:20181123T213000
DTSTAMP:20260405T045242
CREATED:20180409T160820Z
LAST-MODIFIED:20180409T160820Z
UID:10001910-1542996000-1543008600@royaleboston.com
SUMMARY:Allen Stone
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri. 4/13 at noon! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n*** \nAllen Stone \n \nWebsite\nFacebook\nTwitter \nSoul/ R&B artist Allen Stone proves himself deeply devoted to making uncompromisingly soulful music that transcends all pop convention. His vocals and melodic style show the clear influence of classic soul and R&B of the 1960s and ’70s\, while his lyrics reveal an idealism and passion that recall the folk-inspired singer/songwriters of the same era. \nBorn in Chewelah Washington\, Stone started discovering those vocals as a kid\, thanks largely to his parents’ influence. “My father was a minister so I spent about half my childhood in church\, watching my mom and dad sing together and lead the congregation in song\,” he recalls. By the time he was 11 he’d picked up a guitar and written his first song\, and soon began self-recording demo tapes to pass along to classmates. Although Stone enrolled in Bible College after high school\, he quickly dropped out to move to Seattle and kick start his music career. “I had an ’87 Buick and I’d drive up and down the west coast\, playing any gig I could get just to try to put my music out there\,” he says. \nIn 2010\, Stone recorded an album called Last to Speak that he released digitally through his own Stickystones label. A second album\, simply titled Allen Stone\, followed in the fall of 2011\, and quickly became an independent success story. Online sales took the album to the top of the online charts\, and it placed on Billboard’s Heatseekers chart\, all without a formal distribution deal. The artist-friendly ATO Records label signed Stone in 2012\, and reissued his eponymous album in the summer of that year. He then signed to Capitol Records and worked extensively with fellow singer and songwriter Tingsek. The result\, Radius\, was released in May 2015. \nStone decided to return to ATO Records and released his latest album\, Radius Deluxe. As the New York Times recently said Stone’s lyrics “promise honest sentiments\, grooves built with physical instruments and a gospel-rooted determination to uplift … glimmers of Al Green\, Bill Withers\, Curtis Mayfield\, George Clinton\, Prince and a bit of Sting.” \nStone is currently working on his next album\, which is set be released on ATO Records later this year. \n*** \nNick Waterhouse \n \nWebsite\nFacebook\nTwitter \nNick Waterhouse is the New Breed – An R&B fanatic who combines an uncanny old-school sensibility with a charged\, contemporary style. At just 25\, He joins the ranks of a growing cabale of similar acts and producers of recent times – Mark Ronson\, Mayer Hawthorne\, the Daptone Crew et al – that are all moving forward into the past\, yet all quite different. For Waterhouse\, his muse is the over-modulated sound of vintage R&B\, and his take on such a time-honored tradition evokes the back-alley thrill of New Orleans\, Detroit and Memphis in their heyday. He combines an astute attention to detail with an honest desire to match the emotional impact of the music that inspires him. \nWhen asked to pinpoint the sound or style he strives for\, Nick Waterhouse simply shrugs and responds\, “American music. And I know that’s pretty general\, but it is what it is. I have spent so much of my life immersed in this stuff\, because I wanted to figure it out\, [yet] all I figured out was that there was no plan.” In other words\, whatever musical style Nick may choose to espouse\, it’s not done because someone else did it\, but done for the same reason someone else did it. “To me\, [the music I play] is not a ‘type’ of music\,” he emphasizes; “it IS music. The records I listen to ARE music. A record is a moment in time\, and something recorded in 1955 is the same as something recorded in 2010.” Growing up in the Southern California\, Waterhouse eschewed his surroundings and found emotional authenticity in the vintage wax of Ray Charles\, Roy Head\, Little Willie John and the whole panoply of American music\, where feel so often trumps technique. After the sold out release of his own self-produced 45\, the raunchy ‘Some Place’\, and a string of exciting shows with his live group The Tarots\, Nick went to work on his forthcoming full-length for Innovative Leisure – continuing an undeniably raw and rhythmic take on American music. \nHis approach to production – entirely vintage analog equipment\, open-reel tape machines\, lacquer cutting machines\, and even hand letter-pressed labels – has left a few fans wondering where and when he comes from; Long-lost deadstock Rhythm & Blues artifact? White or Black? New or old? It’s a fitting recall to the days of early Rock & Roll\, when rhythms crossed the tracks and no-one was quite sure WHAT or WHO this music was. As LA Record bears witness\, “You’ve gotta be one kind of maniac to produce like this\, and a whole other kind to shout like this\, and an even more frightening kind to make the first two maniacs work together. Nick pulling this all off simultaneously means preternatural powers in play”
URL:https://royaleboston.com/event/allen-stone-3/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181125T184500
DTEND;TZID=America/New_York:20181125T184500
DTSTAMP:20260405T045242
CREATED:20180611T155411Z
LAST-MODIFIED:20181026T214413Z
UID:10001933-1543171500-1543171500@royaleboston.com
SUMMARY:VNV Nation
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:45 pm / Show: 7:30 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*** \nVNV Nation \n \nWebsite\nFacebook\nTwitter \nVNV Nation is a European based alternative electronic project led by Ronan Harris in the roles of singer\, songwriter and producer. \nNever content with fitting in a category\, VNV Nation’s sound blends poetic and thought provoking lyrics with a sound that ranges from melodic dance beats and indie-electronic anthems\, to haunting ballads and post-classical soundtrack pieces. The live shows are legendary for their energy and positive emotion\, drawing a devoted fanbase from across the musical spectrum to sold out tours and headline appearances at festivals in Europe and America. \nOver the course of the project’s career\, VNV Nation has continued to reach new heights\, with its last 3 albums charting top 10 in Germany\, as well as top 5 Billboard Chart positions in the US. \nRonan Harris was born in Dublin\, Ireland and lives in Hamburg\, Germany \n*** \nHOLYGRAM \n \nWebsite\nFacebook \nHOLYGRAM walks the tightrope between New Wave\, Postpunk and Industrial Krautrock: driving and gloomy but still full of catchy moments. Music for the lost. \n*** \nThe Rain Within \nWebsite\nFacebook
URL:https://royaleboston.com/event/vnv-nation/
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:20181128T190000
DTEND;TZID=America/New_York:20181128T190000
DTSTAMP:20260405T045242
CREATED:20181002T140042Z
LAST-MODIFIED:20181127T170114Z
UID:10001986-1543431600-1543431600@royaleboston.com
SUMMARY:[CANCELLED] Adam Conover
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nDue to unexpected scheduling conflicts that have arisen with Adam Conover’s production schedule\, we regretfully have to cancel the Adam Conover: Mind Parasites Live! show at Royale on November 28\, 2018. \nRefunds will be issued at the point of purchase.
URL:https://royaleboston.com/event/adam-conover/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181130T080000
DTEND;TZID=America/New_York:20181130T170000
DTSTAMP:20260405T045242
CREATED:20181130T164823Z
LAST-MODIFIED:20181130T164823Z
UID:10002710-1543564800-1543597200@royaleboston.com
SUMMARY:Laboda: Superstar Tour
DESCRIPTION:21+\nValid US government issued ID or international passport required for entry.
URL:https://royaleboston.com/event/laboda-superstar-tour/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181201T180000
DTEND;TZID=America/New_York:20181201T213000
DTSTAMP:20260405T045242
CREATED:20180710T163006Z
LAST-MODIFIED:20180726T182651Z
UID:10001942-1543687200-1543699800@royaleboston.com
SUMMARY:Tall Heights
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 6:30 pm \nTickets on sale Fri. 7/13 at noon! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nTall Heights \n \nWebsite\nFacebook\nTwitter \nGetting there is half the fun\, as the old saying goes\, but the journey is really the whole point for Boston electrofolk duo Tall Heights. Singer/guitarist Tim Harrington and singer/cellist Paul Wright know where they’ve been\, and where they want to go. As for the route\, well\, “we’re just mapping it out as we take it\, day by day\,” says Harrington. \nThey’ve reached their biggest junction so far — Neptune\, out now\, is Tall Heights’ first album for Sony Music Masterworks\, and the latest step in the ongoing evolution of their sound and style. \nHarrington and Wright formed Tall Heights in 2010\, keeping their songs stripped down to their essential elements\, in part\, to make it simpler to perform on the streets of Boston. \nNeptune is a far lusher construct: along with pristine and emotive vocal harmonies\, there’s subtly chugging electric guitar and a spare descending bassline on “Iron in the Fire\,” ethereal synthesizers and a spacious drum part on “Spirit Cold\,” a brittle splash of percussion to open “Backwards and Forwards” and feedback created by two cellphones on “Cross My Mind.” \n“It was helpful and I think comforting to define ourselves as two vocalists\, guitar and cello\,” Wright says. “There was a beauty and a simplicity\, and stepping outside of that box is pretty scary\, because you’re forced to redefine yourself and do some sonic soul-searching. I think this record reflects the results of that scary step.” \nThe band’s broadening sound came from the musicians’ conscious effort to push themselves\, and each other\, to create in new ways. By relying on a few core elements at the start\, the duo learned to make the most of their minimalist set-up. “It taught us to be lean and mean and effective with just two voices and two instruments\,” Harrington says. “It made us consider vocal tone and the way voices can mesh and interact.” \nAs those lessons took root\, the pair essentially gave themselves permission to push their musical boundaries outward over three separate recording sessions at Color Study studio in tiny Goshen\, Vermont\, that yielded songs for their 2015 EP Holding On\, Holding Out\, and for Neptune. Not only did Harrington and Wright expand their sonic palette throughout the process\, they also altered their approach to writing. The musicians tend to develop ideas separately\, before one brings a new song to the other for further development. It’s a reflection of their early days sharing musical ideas\, when Wright was living overseas and Harrington was finishing up college. \n“We would send each other terrible sound-recorder voice memo files and we’d write these nice emails to each other about each other’s songs\, so creating concepts independently is something we’ve always done\,” says Wright\, who has been friends with Harrington since they were kids growing up in the central Massachusetts town of Sturbridge. \nThey changed the formula on Neptune. Four songs on the album — “River Wider\,” “Infrared\,” “Cross My Mind” and “Growing” — are the result of one musician looping a simple instrumental part and letting the other write lyrics for it. With the last recording session looming\, the duo worked faster than usual on those songs\, particularly the somber\, atmospheric “Cross My Mind.” “We were under the gun\, he was downstairs making one thing\, I was upstairs making another thing\, we put them together and then we workshopped it in the car on the drive up to the studio\,” says Harrington\, whose Boston apartment is literally upstairs from Wright’s. \nTheir ever-closer collaboration\, and the time they gave themselves in the studio to develop it\, is indicative of the band’s developing approach to making music. “I can hear the evolution happening\,” Harrington says. “I feel like we’re walking across a bridge from one place to another\, and maybe I’ll always feel that way\, but I’m really happy with how we’re moving.” \n“Intimate and arresting” – NPR \n“Tall Heights employ a collection of acoustic guitar\, cello\, and electronic drums\,​ ​reminiscent of contemporary indie folk giants like Justin Vernon and Fleet​ ​Foxes.”​​ – XPN \n“In addition to finger-picked guitar\, swelling cello and tight\,​ ​prismatic vocal harmonies\, ‘Spirit Cold’ boasts a bold\, airy drum part​ ​that propels the song through the peaks and troughs of the​ ​arrangement.”​ – Wall Street Journal​ \n“It’s a contemporary sound that is not without its ageless qualities.” – Chicago Sun Times \n“Certifiably unclassifiable” – Boston Herald \n“There have been many bands in recent years that have employed beautiful close harmonies\, but when you add the strings and the great songwriting\, Tall Heights is a notch above the pack.” – WBEZ \n“Call it simply gorgeous.” – WFUV \n*** \nFrances Cone \n \nWebsite\nFacebook\nTwitter \nFRANCES CONE is Christina Cone\, Andrew Doherty\, Adam Melchor\, and Aaron Hamel. The Nashville based indie-pop band\, fronted by Christina Cone\, is named after Christina’s father and great-grandfather\, both musicians themselves in South Carolina and both born on September 11th. The band has been praised for their compelling\, emotional live show and captivating recordings. In 2016\, FrancesCone released\, “Arizona\,” the first single from their forthcoming full-length album\, Late Riser\, which is set to release in 2018. Stereogum praised “Arizona” for “Cone’s melodic vocals\, rich harmonies\, and an electrifying guitar sound.” Written about her brother\, filmmaker Stephen Cone\, “Arizona’s” reach has extended far and wide at 9.5 million streams on Spotify. \nThe band’s second single\, “Leave Without You\,” released in March 2017\, is an emotional song about the band’s decision to leave Brooklyn. Cone says\, “it is the only place I’ve known as an adult person\, and (the song is about) what and who I’ll carry with me.” Billboard raved that the track “employs the band’s signature slow build before exploding with synth and drums into the song’s chorus.” \n*** \nOld Sea Brigade \n \nWebsite\nFacebook\nTwitter \nOld Sea Brigade is Atlanta raised\, Nashville based singer-songwriter\, Ben Cramer. He delivers a compelling\, heartfelt\, and atmospheric blend of folk\, country\, Americana\, and indie rock that CLASH music has described as “gorgeous\, meditative songwriting” with a “sense of Southern gothic.” \nIn 2016 after self releasing his debut EP\, Cramer embarked on his first U.S. tour landing key support slots for Julien Baker\, Hiss Golden Messenger and John Paul White. During this time he signed with Nettwerk Music Group and over the following year released two more EP’s\, “Wash Me Away” and “Cover My Own.” \nOld Sea Brigade continued to tour throughout 2017\,  including support for Joseph on their UK/EU tour in February and Lewis Watson in September. The singer/songwriter also saw support from major radio stations such as BBC Radio 1\, Radio X\, Virgin Radio and KEXP as well as having his music streamed over 20 million times on Spotify.  \nOld Sea Brigade will be releasing his debut full-length record in 2018.
URL:https://royaleboston.com/event/tall-heights/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181202T190000
DTEND;TZID=America/New_York:20181202T190000
DTSTAMP:20260405T045242
CREATED:20180904T150538Z
LAST-MODIFIED:20180904T150538Z
UID:10001968-1543777200-1543777200@royaleboston.com
SUMMARY:Draco Rosa
DESCRIPTION:Presented by Bowery Boston & World Music/CRASHarts \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 9/7 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nDraco Rosa \n \nWebsite\nFacebook \nBorn in Long Island\, NY\, Draco Cornelius Rosa was raised surrounded by an eclectic mélange of musical tastes: from his mother’s affinity to the rock of the Beatles\, Led Zeppelin\, the Who and the funk-ridden R&B of the seventies\, to his father’s propensity toward salsa—not just any salsa\, but\, as Rosa puts it\, “the dark\, aggressive kind.” At a young age\, his family moved him to Puerto Rico\, where he became a member of the increasingly popular band Menudo. \nWanting to extend the reach of his talents into other media\, Rosa moved to Los Angeles. A solo contract with Sony Latin in 1993 enabled him to record in Spain the first of his highly celebrated Spanish-language solo albums\, Frío. In between solo projects\, Draco worked with Ricky Martin\, Ednita Nazario and Julio Iglesias among other celebrated artists. He is the creator of unforgettable hits such as “A Medio Vivir”\, “María\,” “Vuelve”\, “La Copa De La Vida”\, “Livin’ La Vida Loca”\, “She Bangs”\, “Más Grande Que Grande”\, and many more.  \nPhantom Vox Studios\, Rosa’s own multi-media recording studio worked as Music Supervisor for Livin’ the Life\, an independent movie that won the Best Film Award in the 1999 New York Latin Film Fest. The studio filmed and edited the video for “Commitment #4\,” a track Draco composed and recorded in dedication to the freedom of the island of Vieques\, a municipality of Puerto Rico. \nIn 2004\, Draco released Mad Love. With most songs in English\, collaborations with musicians from all over the world and two videos included in the CD–for “Dancing in the Rain” and “Lie Without a Lover\,” both directed by Angela Alvarado Rosa.  \nIn 2008\, Draco released his second Spanish only album\, Vino which was a follow up to Vagabundo. Vino is included in his long awaited production DRACO: LIMITED COLLEC TOR’S EDITION. \nOutside of his personal investments\, musical and otherwise\, he has also contributed towards the improvement of artistic and cultural life in Puerto Rico\, sponsoring the island’s Museo de Arte and Museo de Arte Contemporáneo\, and setting up an annual scholarship for outstanding students at the Puerto Rico’s Music Conservatory.
URL:https://royaleboston.com/event/draco-rosa/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181204T190000
DTEND;TZID=America/New_York:20181204T190000
DTSTAMP:20260405T045242
CREATED:20180911T130038Z
LAST-MODIFIED:20181126T175941Z
UID:10002684-1543950000-1543950000@royaleboston.com
SUMMARY:[MOVED TO THE SINCLAIR] Wild Child
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show has been moved to The Sinclair. More info at the ticket link \nhere. \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM.
URL:https://royaleboston.com/event/wild-child-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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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:20181205T190000
DTEND;TZID=America/New_York:20181205T190000
DTSTAMP:20260405T045242
CREATED:20180619T155750Z
LAST-MODIFIED:20180619T155750Z
UID:10002654-1544036400-1544036400@royaleboston.com
SUMMARY:Reverend Horton Heat & Junior Brown
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri. 6/22 at noon! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nReverend Horton Heat \n \nWebsite\nFacebook\nTwitter \n*** \nJunior Brown \n \nWebsite\nFacebook\nTwitter \n*** \nThe Blasters \n \nWebsite\nFacebook\nTwitter \n*** \nBig Sandy \n \nWebsite\nFacebook
URL:https://royaleboston.com/event/reverend-horton-heat-junior-brown/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2018/06/RHH-admat-2018.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181206T200000
DTEND;TZID=America/New_York:20181206T200000
DTSTAMP:20260405T045242
CREATED:20180904T130044Z
LAST-MODIFIED:20181017T220122Z
UID:10002680-1544126400-1544126400@royaleboston.com
SUMMARY:[SOLD OUT] Khruangbin
DESCRIPTION:Presented by Bowery Boston \nDoors: 8:00 pm / Show: 9:00 pm \nSOLD OUT! \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nKhruangbin \n \nWebsite\nFacebook\nTwitter \nTexan trio Khruangbin is formed of Laura Lee on bass\, Mark Speer on guitar\, and Donald “DJ” Johnson on drums. Taking influence from 1960’s Thai funk – their name literally translates to “Engine Fly” in Thai. \nThe seeds of Khruangbin were sown when Mark and Laura were invited to tour with Ninja Tune’s YPPAH supporting Bonobo across his 2010 American tour. The tour galvanised the two to start making music together more seriously\, with DJ – he and Mark have played in the same gospel band for years – the natural choice for drums. Sharing their first recordings\, Bonobo included Khruangbin’s ‘A Calf Born In Winter’ on his 2013 Late Night Tales compilation. Subsequently signed to Late Night Tales offshoot Night Time Stories\, ‘A Calf Born In Winter’ was released as a single in May 2014 and saw support from DJs Zane Lowe\, Cerys Matthews\, Tom Ravenscroft\, Gideon Coe\, Don Letts and magazines as musically diverse as i-D\, The 405\, Clash\, Ransom Note\, Test Pressing and For Folk’s Sake. Four track EP ‘The Infamous Bill’ followed in October\, with covers EP ‘History Of Flight’ on Record Store Day 2015. The band’s debut album ‘The Universe Smiles Upon You’ was released in November 2015 to widespread acclaim. \n‘The Universe Smiles Upon You’ steeped in the bass heavy\, psychedelic sound of their inspiration\, Tarantino soundtracks and surf-rock cool\, was recorded at their spiritual home\, a remote barn deep in the Texas countryside. The band listened to a lot of different types of music on the long drives out to the country but their favorites were 60s and 70s Thai cassettes gleaned from the cult Monrakplengthai blog and compilations of southeast Asian pop\, rock and funk. This had a heavy impact on the direction of the band\, the scales they used and the inflection of the melodies; which coupled with the spaciousness of the Texan countryside culminated in Khruangbin forming their exotic\, individual sound.  \n2016 was a defining year for Khruangbin. After a chance meeting on BBC Radio\, Father John Misty invited the band to support him on his UK & European tour. They hit the road for a month experiencing some of Europe’s biggest stages – and they didn’t falter once. A summer of live shows followed which saw them play the Park Stage at Glastonbury\, a sunrise session at Love International Croatia\, BST Hyde Park London and supporting Massive Attack in landmark event The Downs to name just a few. Come the Autumn the band took to the road again for their first US headline tour\, this was followed by an appearance at Austin City Limits and a UK headline tour. They sold out shows including New York\, London\, San Francisco\, Berlin and the list goes on. \nHaving engaged early support from KCRW\, The New Yorker and named The Guardians Band Of The Week in the UK\, press and radio support for the band grows with every release and every tour. During their 2016 UK visit they were invited to play their first ever set on the prestigious Boiler Room. \nWhere they find the time for further projects no one is quite sure but this is a band whose creative interests extend beyond the confines of traditional formats. In 2016 the band released a short film “Two Fish and an Elephant” directed by Scott Dungate. This beautifully crafted film\, released to accompany the album track of the same name\, was funded in part by an innovative Kickstarter campaign\, so creative in its design it smashed its target and beyond. The resulting film had such impact it scored a premier on NPR. \nWhen you hear Khruangbins album it is likely you will fall in love with it\, its fair to say there is nothing else out there that sounds quite like it. You see them play live and you fall in love all over again when you experience the music translated to stage in a way you won’t have imagined. When Khruangbin play a show – they play a show! \n2017 kicks off with a US winter tour and a return to South By Southwest. The summer will include a variety of US festivals and a visit back to European soil. Will we see new material emerge this year? Knowing this band and how their artistry seems to effortlessly turn out new offerings it is very likely – and so we eagerly wait… \n*** \nWill Van Horn \n \nWebsite\nFacebook
URL:https://royaleboston.com/event/khruangbin/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181208T180000
DTEND;TZID=America/New_York:20181208T213000
DTSTAMP:20260405T045242
CREATED:20180730T143746Z
LAST-MODIFIED:20180730T143746Z
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SUMMARY:Phosphorescent
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 6:45 pm \nTickets on sale Fri. 8/3 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nPhosphorescent \n \nWebsite\nFacebook\nTwitter \nIn the five years since Matthew Houck’s last record as Phosphorescent he fell in love\, left New York for Nashville\, became a father\, built a studio from the ground up by hand\, and became a father again. Oh\, and somewhere along the way\, he nearly died of meningitis. Life\, love\, new beginnings\, death— “it’s laughable\, honestly\, the amount of ‘major life events’ we could chalk up if we were keeping score\,” Houck says. “A lot can happen in five years.” \nOn C’est La Vie\, Houck’s first album of new Phosphorescent material since 2013’s gorgeous career defining and critically acclaimed Muchacho\, he takes stock of these changes through the luminous\, star-kissed sounds he has spent a career refining. By now\, Houck has mastered the contours of this place\, as intimate as it is grand\, somewhere between dreamed and real\, where the great lyrical songwriters meet experimental pioneers and somehow distill into the same person. It is Houck’s own personal musical cosmos\, a mixture of the earthy and the wondrous\, the troubled and the serene\, and by now he commands it with depth and precision. When you ask Houck about the cumulative effect of all this life happening in such a short time\, he turns philosophical: ”These significant moments in life can really make you feel your insignificance\,” he says. “It’s a paradox I guess\, that these wildly profound events simultaneously highlight that maybe none of this matters at all…”  On this album\, Houck reckons with that void — the vanishing point where our individual significance melts into the stars — and sums it up thusly: C’est La Vie. \nFrom the album’s opening moments\, Houck sings of this newfound landscape. Of the discovery of new paradigms and the disposal of those no longer useful. After the wordless\, haunting Houck-choir opener of “Black Moon / Silver Waves”\, he pointedly begins the title track “C’est La Vie No. 2” with the albums first lyrics: “I wrote all night / Like the fire of my words could burn a hole up to heaven / I don’t write all night burnin’ holes up to heaven no more.” \n“I was always pursuing this thing of Phosphorescent and becoming the artist that I wanted to become\, that sometimes I didn’t even have a second for reflection\,” Houck says of the hectic years spent creating\, releasing and touring Muchacho. “I was plowing forward—just do\, do\, do and all else was secondary.” Not that this album exhibits any sense of settling down into complacency. On the contrary\, this collection contains some of Houck’s most devastating works to date\, but there’s a refreshing measured confidence that radiates throughout C’est La Vie. \nSonically\, C’est La Vie is his masterwork: Every sound\, including his famously frayed\, bemused voice\, rings out as inviting and clear as a koi pond. Working in a studio he built from scratch (which certainly came with its own set of challenges) Houck once again set off to produce his own record\, calling in musicians from his crack live band as well as friends new and old\, and enlisting veteran Vance Powell to help mix the completed project. The writing process was more intuitive\, less cerebral and with fewer revisions than anything he’d written before. It was a scary\, liberating new approach\, like painting with his eyes closed. “I let go of a lot of my writer-poet tricks\, and let the lyrics be what they wanted to be\,” he says. These lyrics marvel at life’s ability to uproot and re-deposit you into alien\, revelatory landscapes: “If you’d have seen me last year\, I’d have said\, ‘I can’t even see you there from here.’” he sings\, wryly\, on “There From Here.” This has been one of Phosphorescent’s constant themes—the ever-present possibility for transformation. \nBut for the first time\, Houck seems to be laying down some burdens. “These rocks\, they are heavy/I’ve been carrying them around all my days\,” he sighs on the album’s closing ballad “These Rocks.” On that same song he also muses\, with disarming forthrightness\, about drinking: “I stayed drunk for a decade/I’ve been thinking of putting that stuff away.” The lyric makes Houck somewhat uncomfortable\, both in its direct simplicity and its capacity to distract listeners into thinking he’d written a stereotypical “battle with the bottle” song. “I’m aware of how that verse resonates\, but for me those lines take a backseat to the main driver of that song\,” he says. “I originally assumed I’d rewrite and re-sing that lyric\,” he says. “But the bones of that song were recorded live and it was the first time I ever played it. It was the first time the band ever heard it and I think it captured something perfect. And it was\, y’know\, true.” So I had to ask myself\, again\, ‘Well\, what is the point of what I’m doing here? I could re-record it but why not just let it be?” To hear Houck\, he confronts this moment of mystery every time he records. “Oh yeah\, this process is positively filled with moments where you go ‘What exactly the hell is it that I’m doing here?’” Houck laughs. “And the answer always comes back a resounding\, ‘I don’t know.’” \nAin’t that just how it goes\, C’est La Vie. \n*** \n Liz Cooper and The Stampede  \n \nWebsite\nFacebook\nTwitter \nAh\, yes\, hello\, howdy and welcome to the about section of Liz Cooper & The Stampede. My name is Liz\, it’s a pleasure to meet you. Dream-folk psychedelic rock is what we’ve heard on the streets and we dig what the people think. I suppose the blending of my unique vocal texture with my no rules\, what-the-hell-am-I-doing picking and playing style from acoustic to electric guitar is the dream folk. The psychedelic is the way Grant Prettyman makes his v rare\, v sexy Red Lobster® red bass sometimes sound like a scary monster that lives in your basement\, or a beautiful melody that makes you wanna cry. And our rock? Ryan Usher. He’s always creatively thinking outside the box\, always bringing the vibe\, and is always there to reel us back in from a jam we’ve lost ourselves in. All together we like to sing sweet sweet harms\, we live to be wild\, we love getting weird\, and we always have fun. Pure bliss. We recorded our debut album\, “Window Flowers” in 2016 at Welcome to 1979 in Nashville\, TN and we are elated to finally be releasing these songs through our label Sleepyhead Records in conjunction with Thirty Tigers on August 10th.
URL:https://royaleboston.com/event/phosphorescent/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181227T190000
DTEND;TZID=America/New_York:20181227T190000
DTSTAMP:20260405T045242
CREATED:20181129T154813Z
LAST-MODIFIED:20181220T221909Z
UID:10001998-1545937200-1545937200@royaleboston.com
SUMMARY:Christmas Queens
DESCRIPTION:VIP Entrance: 6pm\nGeneral Admission Entrance: 7pm\nShow: 8pm \nAll Ages
URL:https://royaleboston.com/event/christmas-queens-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181229T180000
DTEND;TZID=America/New_York:20181229T180000
DTSTAMP:20260405T045242
CREATED:20180911T130043Z
LAST-MODIFIED:20180911T161019Z
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SUMMARY:The Ballroom Thieves Home for the Holidays Tour
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri 9/14 at noon! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nThe Ballroom Thieves \n \nWebsite\nFacebook\nTwitter \nDarker times make for bolder and\, sometimes\, brighter art.  \nThe Ballroom Thieves – Calin “Callie” Peters (vocals\, cello)\, Martin Earley (guitar\, vocals)\, and Devin Mauch (percussion\, vocals) – mine immense melodies and hypnotic hooks from personal stories on their 2018 EP\, Paper Crown (Nettwerk Records). Under the cover of vintage jazz-style\, the five songs reflect feelings of rootlessness from four nomadic years\, bouts of depression\, and the ever-looming specter of political unrest hanging over the country.  \nNevertheless\, a noticeable glimmer of light always peeks through. \n“Our lifestyle has shaped our perspective\,” explains Martin. “We’ve toured so much that we haven’t been able to call anywhere home. A lot of the songwriting was done from this place of simply not having a home base. We were the perennial guests.” \n“Some of the more somber moments come from a darkness I carry\,” admits Callie. “I’m not an optimist\, and I suffer from insomnia and depression. Traveling around on highways and utilizing the faux likes of large cooperate hotels and chains can bring a person down. Songwriting is a way to speak about sad things in a pretty and concise way while providing a distraction from some of the realities of tour life. It’s not all dreary though\, and the enormous range of experiences give us the juxtaposition of happy\, easygoing vintage music and dark lyrics.” \nThat subtle balance has transformed The Ballroom Thieves into a quiet phenomenon. Following two EPs\, the group released their full-length debut A Wolf in the Doorway in 2015. Between marathons of touring\, 2016’s Deadeye would spawn a string of fan favorites. They claimed real estate on prime Spotify playlists (e.g. “Your Favorite Coffeehouse\,” “Relax & Unwind\,” “Morning Acoustic”) with “Bees” cracking 10 million streams on the platform. Along the way\, they sold out shows and delivered standout performances at festivals such as Boston Calling and Newport Folk Festival\, while landing features at NPR\, Baeble Music\, Boston Globe\, Paste\, Earmilk\, and many others.  \nIn late 2017\, they commenced work on Paper Crown\, collaborating with producer Ryan Hadlock (The Lumineers\, Brandi Carlile\, Vance Joy) in Washington for the first time. \n“Working with Ryan at Bear Creek was a completely new and unique experience\,” affirms Devin. “He naturally pushed us through our vulnerabilities\, challenging the band to grow and apply some of his more pop sensibilities to our traditional ‘Thieves sound.’ The rustic wooded environment at Bear Creek also had a serious impact on the band’s experience creating these songs as we found ourselves there at two very different times of year – once in the beautiful but smoky heat of August and again in February’s more frigid rain season. The result was a pretty stark contrast in the sounds\, tones\, textures\, colors\, and feel between each song\, which in itself is a reflection of this band and our journey. “ \nDuring the process\, The Ballroom Thieves dramatically expanded their sonic palette. Electric guitars figured prominently\, and the group wholeheartedly embraced the fifties and sixties pop and country influences such as Etta James\, Ella Fitzgerald\, Nina Simone\, and Willie Nelson in addition to religiously spinning Dan Auerbach. \n“It was an attempt to make contemporary music accessible for a large range of music lovers” explains Callie. “You can’t deny those classics are special\, and people across all generations have loved them for decades. Listeners keep coming back to them again and again for a reason.”  \nMartin elaborates\, “We liked mixing those old-school pop elements with our big harmonies and folk-sensible songwriting.” \nThe band introduced the EP with the haunting “Only Lonely.”  It quickly generated over 3.9 million streams. Meanwhile\, the single “Do Something” illuminates their evolution. Its smoky soul could very well have swooned right out of a Chicago jazz haunt and onto a California beach circa 1965. At the same time\, it encases fiery rhetoric within those sweet sonics. \nThe Ballroom Thieves culled the EP title Paper Crown from a lyric in “Do Something.” Representing the ephemeral nature of consumerism\, corporate greed\, and reality TV\, it’s symbolic of the fake coronation atop the country’s hierarchy. At the same time\, it proposes an alternative charge for unity in the face of this misdirection. \n“It’s a letter to this administration to do something kind\,” Callie exclaims. “This president is not a suitable representative for any human being\, but ironically\, many of the Americans rallying behind him are the ones who stand to suffer the most if he continues to bolster ideals that only work for people who look and live like him. For ‘Do Something’\, instead of focusing on my cynicism about it\, I was trying to have higher hopes\, and maybe scream a little about what most of us are thinking.” \nMartin goes on\, “It’s unifying rather than being divisive. It points towards the fact we’re all trying to navigate this situation together. We shouldn’t be doing that as two separate factions.” \nWhether it’s the hard-hitting “Can’t Cheat Death” or the tearful\, yet upbeat joy of “Almost Love\,” they make pronounced creative strides together. \n“To me\, this EP is a transition\,” Martin states. “It leads us towards the next project and stands as an evolution of our sound. Just like any band\, we keep evolving and writing new songs that require creativity in production. I hope we take our older fans with us while making some new ones along the way.” \nIn the end\, The Ballroom Thieves strain light through all the darkness. \n“We hope people find it catchy and inviting\,” Callie leaves off\, “but are also able to find a likeness and connection to any of the ideas we express and the music we love to create.” \n*** \nOdetta Hartman \n \nWebsite\nFacebook\nTwitter \nWith a heart – stopping voice & wide – ranging instrumental talent\, Odetta Hartman carries cowboy soul into an era where country can clash with computers\, and bluegrass isn’t afraid of bass. Her debut LP 222 — an experimental\, bedroom-produced hybrid of folk\, musique concrète and psychedelia — was released on Northern Spy Records in 2015 to critical acclaim. Alongside her partner\, sound artist & radio producer Jack Inslee\, Odetta continues to explore the sonic vernacular created by their uncanny collaboration: badass banjos\, detuned violins\, field recordings\, superstitious soundscapes\, and vocal stylings ranging from sensual to spooky. A new album\, Old Rockhounds Never Die\, is slated for release on Northern Spy Records in August of 2018.
URL:https://royaleboston.com/event/the-ballroom-thieves-home-for-the-holidays-tour/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190110T190000
DTEND;TZID=America/New_York:20190110T190000
DTSTAMP:20260405T045242
CREATED:20180928T145638Z
LAST-MODIFIED:20181219T003226Z
UID:10001982-1547146800-1547146800@royaleboston.com
SUMMARY:[SOLD OUT] Noname
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show is SOLD OUT! \nPlease note: This show is open to all ages.. Opening acts and set times are subject to change without notice.  All sales are final unless a show is postponed or canceled.  All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue.  Please make sure necessary arrangements are made ahead of time.  All patrons subject to search upon venue entry. \n*** \n \n*** \nNoname \n \nWebsite\nFacebook\nTwitter \nNoname (born Fatimah Warner) is an American artist from Chicago\, Illinois\, who blurs the lines of poetry and rap through the music she creates. \nNoname grew up in Bronzeville\, a historic neighborhood on the southside of Chicago that famously attracted accomplished black artists and intellectuals of all types. Noname first discovered her love for words while taking a creative writing class as a sophmore in highschool. \nShe became enamored with poetry and spoken word- pouring over Def Poetry Jam clips on YouTube and attending open mics around the city. Noname regularly attended and performed at an open mic at Harold Washington Library- YouMedia’s Lyricist Loft. \nAfter sessions at YouMedia\, Noname would participate in cyphers and started getting into freestyling. When she was just a senior in highschool\, she placed third in “Louder Than A Bomb”\, a poetry competition with 120 Chicago high schools in participation. She remained connected with the artists she met at YouMedia and in 2013\, her verse on Chance the Rapper’s “Lost” attracted the beginning of her large fan base\, most of whom have been following her every move since. \nOn July 31st Noname released her debut project entitled Telefone which was 3 years in the making and highly anticipated by fans and media alike. Instantly the project gained critical acclaim with a rave review by Pitchfork and landing her praise from major outlets like Rolling Stones\, Complex and Dazed & Confused. Noname has been hailed by The FADER\, Complex\, and Rolling Stone as one of the most exciting and important new artists of 2016. \nThanks to Telefone’s success\, Noname played some shows in support of Ms. Lauryn Hill\, who hand-picked Noname to open for her on tour. When first approaching the project\, Noname set out to emulate the feeling of talking on the phone with someone for the first time. She describes Telefone as “an introductory conversation with someone you’re interested in”. But as Noname continued to work on the tape\, it also transitioned a bit into mortality: the idea of life and death and the duality between those two things. \n*** \nElton \n \nWebsite\nFacebook \nElton began his musical journey with the Art of Cool\, a multi instrumentation jazz/hip hop group that included long time collaborator & friend Phoelix. This laid the groundwork for MDMC where we first see Elton’s lyrical prowess on display. After moving to Chicago & struggling to find his place both internally and artistically. Elton utilized his collaborative skills to team up with Chicago producers The Burns Twin’s & Bedows for their EP’s; ​Sun Shower & Side Eye​ . His growth during this time resulted in the completion of his Solo Project – ​Elevated​ . Released in August 2018. \nReaching from his past experiences\, and current realities. ​Elevated​ ​takes you on a whirlwind of intrinsic instrumentation\, while Elton’s delivery ​paints a portrait with poetic melodies\, wrapped in bedroom soul.
URL:https://royaleboston.com/event/noname-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190111T180000
DTEND;TZID=America/New_York:20190111T180000
DTSTAMP:20260405T045242
CREATED:20180914T145059Z
LAST-MODIFIED:20181219T003148Z
UID:10001970-1547229600-1547229600@royaleboston.com
SUMMARY:[SOLD OUT] Noname
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nThis show is SOLD OUT! A second show has been added due to overwhelming demand. Tickets are available here now! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: This show is open to all ages.. Opening acts and set times are subject to change without notice.  All sales are final unless a show is postponed or canceled.  All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue.  Please make sure necessary arrangements are made ahead of time.  All patrons subject to search upon venue entry. \n*** \n \n*** \nNoname \n \nWebsite\nFacebook\nTwitter \nNoname (born Fatimah Warner) is an American artist from Chicago\, Illinois\, who blurs the lines of poetry and rap through the music she creates. \nNoname grew up in Bronzeville\, a historic neighborhood on the southside of Chicago that famously attracted accomplished black artists and intellectuals of all types. Noname first discovered her love for words while taking a creative writing class as a sophmore in highschool. \nShe became enamored with poetry and spoken word- pouring over Def Poetry Jam clips on YouTube and attending open mics around the city. Noname regularly attended and performed at an open mic at Harold Washington Library- YouMedia’s Lyricist Loft. \nAfter sessions at YouMedia\, Noname would participate in cyphers and started getting into freestyling. When she was just a senior in highschool\, she placed third in “Louder Than A Bomb”\, a poetry competition with 120 Chicago high schools in participation. She remained connected with the artists she met at YouMedia and in 2013\, her verse on Chance the Rapper’s “Lost” attracted the beginning of her large fan base\, most of whom have been following her every move since. \nOn July 31st Noname released her debut project entitled Telefone which was 3 years in the making and highly anticipated by fans and media alike. Instantly the project gained critical acclaim with a rave review by Pitchfork and landing her praise from major outlets like Rolling Stones\, Complex and Dazed & Confused. Noname has been hailed by The FADER\, Complex\, and Rolling Stone as one of the most exciting and important new artists of 2016. \nThanks to Telefone’s success\, Noname played some shows in support of Ms. Lauryn Hill\, who hand-picked Noname to open for her on tour. When first approaching the project\, Noname set out to emulate the feeling of talking on the phone with someone for the first time. She describes Telefone as “an introductory conversation with someone you’re interested in”. But as Noname continued to work on the tape\, it also transitioned a bit into mortality: the idea of life and death and the duality between those two things. \n*** \nElton \n \nWebsite\nFacebook \nRenaissance Vocalist Elton (+-) is an artist\, writer and producer from “The Valley” referring to Fox River Valley a west Chicago Suburb. \nElton began his musical journey with the Art of Cool\, a multi instrumentation jazz/hip hop group that included long time collaborator & friend Phoelix. This laid the groundwork for MDMC where we first see Elton’s lyrical prowess on display. After moving to Chicago & struggling to find his place both internally and artistically. Elton utilized his collaborative skills to team up with Chicago producers The Burns Twin’s & Bedows for their EP’s; ​Sun Shower & Side Eye​ . His growth during this time resulted in the completion of his Solo Project – ​Elevated​ . Released in August 2018. \nReaching from his past experiences\, and current realities. ​Elevated​ ​takes you on a whirlwind of intrinsic instrumentation\, while Elton’s delivery ​paints a portrait with poetic melodies\, wrapped in bedroom soul.
URL:https://royaleboston.com/event/noname/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190124T190000
DTEND;TZID=America/New_York:20190124T190000
DTSTAMP:20260405T045242
CREATED:20181009T140028Z
LAST-MODIFIED:20181029T185826Z
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SUMMARY:Neko Case
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri. 10/12 at 10AM! \nNeko Case has partnered with PLUS1 so that $1 from every ticket will go to Peer Solutions and support their positive youth leadership and development program designed to prevent harm before it begins and engage lifetime ambassadors of positive change. \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nNeko Case \n \nWebsite\nFacebook\nTwitter \nFive years have passed since Case’s last solo project\, The Worse Things Get\, the Harder I Fight\, the Harder I Fight\, the More I Love You. In the interim\, she sang on Whiteout Conditions\, the 2017 release from longtime bandmates the New Pornographers. The year before that\, she released a vinyl box set of her solo work and joined k.d. Lang and Laura Veirs on the case/lang/veirs project. \nRecording that record was a revelation\, from Veirs’ innovative guitar tunings to Lang’s skills in studio. “I learned so much experiencing the work ethic of those two\,” Case says. She considers Lang “probably the most natural producer I’ve ever seen. Watching her work was awe-inspiring.” \nAfter their national tour together\, Case found similar transcendence in October 2016 sitting on a panel at the first-of-its-kind “Woman Producer” summit in Brooklyn\, NY. Between discussions and performances from a diverse group of women who produce music from around the world\, she wondered how it had taken such a long time to get to that moment\, and why so many female pioneers had been forgotten. \nShe felt lucky to have worked with the people she had encountered across her career—Darryl Neudorf\, Tucker Martine\, Craig Schumacher\, and Chris Schultz among them—who encouraged her to expand her own skills in studio. But she had also gotten fed up with a world in which women’s accomplishments seemed to vanish from public memory. “The George Martins and Quincy Joneses of the recording pantheon deserve every drop of praise and every project they have received\,” Case says. “But we can’t keep telling the same stories over and over. We need more stories\, more inspiration\, more flavors.” \nShe set to work on her next record looking for not just new stories but also new sounds. This time\, she wanted to put herself in a setting far away from everything she knew. She recalled Björn Yttling’s skill with Lykke Li\, Camera Obscura\, and his own band\, Peter Bjorn and John. “I’ve worked with the same people so long\, I never had to step outside my comfort zone\,” Case says. “In this instance\, I chose to.” \nThe two met over breakfast in Washington\, DC\, and decided to team up. By the time she went to Sweden in the fall of 2017\, Case had already written songs with longtime collaborator Paul Rigby\, laid down vocal and guitar tracks at WaveLab Studio in Tucson\, and built Carnacial Singing\, her recording space in Vermont. But in the middle of her stint in Stockholm\, with the finish line in sight\, she received a surreal 3am call telling her that her house was burning and would likely be completely destroyed. She felt panicked and helpless.  \nThe fire had started in the barn\, where she kept an assortment of belongings\, from artwork to old pianos. A friend had managed to get the dogs to safety. After the flames jumped to the house\, her home was engulfed\, too. \nA few hours later\, she went into a studio in Stockholm and laid down the vocals for “Bad Luck\,” singing the lines she had written long before she realized they would land on her. \nCase is now stoic about the fire. “If somebody burned your house down on purpose\, you’d feel so violated. But when nature burns your house down\, you can’t take it personally.” The month before the blaze\, Hurricane Harvey had slammed into Texas and flooded Houston. Her home burned just as Puerto Rico was plunged into a nightmare by Hurricane Maria and wildfires incinerated California. “In the big picture\, my house burning was so unimportant\,” she says. “So many people lost so much more: lives and lives and lives.” \nShe was hell-bent on not losing sight of the goal\, reminding herself there was still beauty in the world and in the process of making music. She had been reading a lot of ancient history\, including Adrienne Mayor’s The Amazons\, and thinking about how for millennia\, women have been more central to events than the average history class admits. “We were always there\, we were just erased. And I knew it. As a little girl I knew it. As a young person I knew it\,” Case says. “Now I know it anew with a ferocious\, righteous\, razor- sharp tribe of witnesses\, and it makes me feel like a super-powerful human being. It makes me feel joy. There’s an inheritance there that’s really important\, and I want to share it.” \nShe decided to climb inside her role as producer and wield it more directly. It just meant owning what she was already doing. \n*** \nThe record that came out of this reckoning with lost stories delivers both familiar Neko Case and something different. Death\, extinction\, exploitation\, tides\, animals\, and adoration all blend recognizably. Case’s trademark narrative gaps\, just large enough for listeners to enter each song\, likewise remain. As with Fox Confessor Brings the Flood and Middle Cyclone\, Hell-On spins away from conventions of story\, slipping into real life\, with its fierce mess and blind catastrophes. \n“I’m writing fairy tales\, and I hear my life story in them\, but they’re not about me\,” Case says. “I still can’t figure out how to describe it. But I think that’s why we make music or write things. You’ve got to invent a new language.” \nThere are differences\, too. The opening kalimba notes of the first track\, “Hell On\,” lead into a waltz of deep forces\, irresistible as gravity\, that refuse to be leashed or controlled (“You’ll not be my master / you’re barely my guest”). This tornado might not love you. \nCase planned this record with a commitment to big choruses and a goal of making them even bigger. The results appear in the anthemic “Last Lion of Albion\,” a requiem for every landscape and iconic creature (“last tiger of Tasmania / the last she-wolf to suckle Rome”) erased through massacre and marketing. \nRounding out the opening trilogy of false possession is “Halls of Sarah\,” a song for unwilling muses tormented by poets who love women “as lions love Christians.”  \n“Bad Luck\,” recorded from the ground up in Stockholm\, opens at a gallop and never breaks stride. A song always poses the challenge of when to move away from the groove and how to get back to it. But Yttling pointed out to Case that sometimes the whole song should be the hook—that there’s no shame in exploiting the catchiest part. That became the strategy for bringing “Bad Luck” to life. Longtime collaborators Kelly Hogan and Nora O’Connor came up with backing vocals that build a giddy\, knowing call and response into the song. \nFor “The Curse of the I-5 Corridor\,” former Screaming Trees frontman Mark Lanegan duets with Case on a ballad of memory and departure. Melancholy grooves “Gumball Blue” and “My Uncle’s Navy” mark Case’s first songwriting efforts with New Pornographers cofounder Carl Newman. And after performing it live for years\, Case has finally done a studio recording with Eric Bachmann of his song “Sleep All Summer\,” which moved her to pull over to the side of the road and cry the first time she heard it on the radio. \nThe labyrinthine “Dirty Diamond” opens onto room after room of shifting vocals that soar above a march- like rhythm. “Oracle of the Maritimes\,” perhaps the most fairy tale song on the record\, floats over a tuning invented by co-writer Laura Veirs\, carrying a love that longs to prove itself (“come on sweet girl let’s find you an ocean / that goes with your eyes”). \nClouds of mosquitoes rising out of hot tires\, a chest of drawers that rides out into the waves\, a box filled with unnamed newborn creatures: these songs are bursting with images that can only be understood through peripheral vision\, shards of imaginary lives wired into a mosaic. \nLater comes “Winnie\,” a pirate love song for a woman with a mouth “as sharp as the rib of a star.” The song came from the afterglow of reading Amazons. “There aren’t enough songs that are obviously about a woman loving another woman\, just loving her\, Sapphic or Platonic\,” Case says. “I thought there should be one\, because I know I sit around loving them all day.” \nThe record ends with “Pitch or Honey\,” winding its way through intimate verses sung over a drum machine before blooming into layered vocals\, a bigger beat\, and a wall of sound. “Am I making pitch or honey?” fades into repetition of “I love you better when you’re wild.”  \nThe record was born at the hands of some three dozen performers in all\, from k.d. Lang\, Laura Veirs\, Beth Ditto\, and Robert Forster on backing vocals\, to Joey Burns of Calexico and Doug Gillard of Guided by Voices on guitars\, and Barbara Gruska and Matt Chamberlain on drums. The sidelong perspective is part of the known Neko galaxy\, but the production is more expansive and edgier\, moving into new universes. These are songs that can swallow you. \n*** \nWhen Case returned to the US and walked through the ruins of her home\, the fire that had blazed after these songs were written became part of the record. For the cover\, she made a warrior’s helmet out of cigarettes. Interior and exterior shots of her incinerated house appear on the gatefold and booklet. And a tiny pop-open charred Brothers-Grimm cottage serves as the set for the video of “Bad Luck.” \nIt was as if nature invented a landscape for Hell-On after the fact: a melted ladder\, seared insulation dangling in ribbons\, the internal organs of pianos. She thought it should all be included in solidarity with those who had lost so much in the past year. \nAll the living creatures present at the time of the fire were found alive\, and so Case was able see beauty in the bleak scene. “It felt like this out-of-time Jacques Cousteau undersea expedition through a sunken World War II ship. Of course there’s some shit I miss\,” she says\, citing family photographs and a favorite sweater. “But none of it matters.”  \nAnd as for those fairy tales she’s writing and the history she’s remembering: “We need them now more than ever. We need stories from all sectors. Stories without endings. Stories with multiple endings. Stories that don’t end happily\, cautionary tales\, everything. We don’t need Disneyfied stories anymore.” \nA force of nature\, an act of a mercurial\, forgotten god\, Hell-On is a record sealed by fire\, filled with love and rage and dangers that might lay waste to everything at any moment. So if you wake up dazed in a smoking landscape\, walking through the detritus of your own lost civilization with the smell of ash in your hair\, your favorite sweater gone and a new song in your head\, don’t say you weren’t warned. \n*** \nMargaret Glaspy \n \nWebsite\nFacebook\nTwitter \nBorn Yesterday is a bookend to New York singer-songwriter\, Margaret Glaspy’s lauded 2016 debut Emotions and Math (ATO Records). “In releasing it\, I feel set free to sink deep into my new inspirations while taking a break from the road and make something entirely new.” Glaspy continues\, “These songs are the end of this chapter and mark a new beginning!” \nEmotions and Math was featured on many Year-End lists when it was released in 2016\, including The New York Times\, NPR Music\, Billboard\, Mother Jones\, and more. Glaspy toured the record intensely\, playing countless shows throughout North America\, Europe\, and Asia. This season on the road birthed her new EP released on ATO Records\, Born Yesterday. Margaret recalls\, “I wrote these songs on the road\, in my hotel\, on the plane\, and at soundcheck. They were the product of the little time that I had to myself – three songs about different sides of love: love gone wrong\, love gone right\, and love at a distance.” She continues\, “Born Yesterday is a bookend on the adventure that was my last record\, Emotions and Math.”  \nGlaspy self-produced the new EP\, which frames these love stories in catchy choruses\, dark harmony\, and her ever evolving sense of the electric guitar. Her finely tuned ear for production and tone shine on Born Yesterday.
URL:https://royaleboston.com/event/neko-case/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190125T180000
DTEND;TZID=America/New_York:20190125T180000
DTSTAMP:20260405T045242
CREATED:20181102T153045Z
LAST-MODIFIED:20190111T171438Z
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SUMMARY:[SOLD OUT] King Princess
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nThis show is SOLD OUT! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: This show is open to all ages.  Opening acts and set times are subject to change without notice.  All sales are final unless a show is postponed or canceled.  All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue.  Please make sure necessary arrangements are made ahead of time.  All patrons subject to search upon venue entry. \n*** \n \n*** \nKing Princess \n \nWebsite\nFacebook\nTwitter \nBorn and raised in Brooklyn\, NY\, King Princess is a vocalist\, multi-instrumentalist\, songwriter and producer. The product of a musical family\, she spent much of her childhood tinkering on the vintage Neve board in her father’s Brooklyn studio Mission Sound\, learning instrumentation along the way. At 11 she turned down a record deal in favor of finishing school\, which eventually led her to USC’s Thornton School of Music for college. She studied there for a year with legendary pianist and singer Patrice Rushen before leaving USC to pursue music full time. \n*** \nSeverity Stone \n \nFacebook \nSeverity Stone is a towering spooky drag entertainer hailing from Boston MA. She has been performing in and around the city for almost 8 years. Severity is best known for her commanding stage presence\, her ever-evolving witchy sense of style\, and sassy quick wit. She was crowned Scream Queen of Salem in 2014\, and Boston Comedy Queen in 2017. Severity is a regular performer at Machine Nightclub\, Jacques Cabaret and DADT at Great Scott. She also hosts Rupaul’s Drag Race viewing parties as well as Glam Brunch at Trophy Room! \n*** \nBanoffee \n \nWebsite\nFacebook\nTwitter \nAfter performing in Charli XCX’s band across the global Taylor Swift Reputation tour and curating three sold out Australian parties with Charli XCX\, Melbourne-born\, LA-based multidisciplinary artist Banoffee has released her new single ‘Bubble.’  \nPremiered on triple j’s Home & Hosed and Paper Magazine\, ‘Bubble’ exemplifies Banoffee’s unique style of subversive electronica-pop  \nBanoffee: “Bubble is my combat to bullies. It’s for the underdogs when they lose sight of their power. Being different\, being unheard or unseen is so dispiriting. I hope in those moments something like this song is a little pick me up. There’s power in difference. Don’t mistake vulnerability as weakness. What a typical doozy we all make.   \nI made the video to this song in my hotel room in Dallas. It was a funny week because I’d always imagined a big budget clip for this song. But without the funds or means to do anything accept something on the road\, I came to the realisation what we put together was perfect.   \nI don’t claim to represent everyone I hope this song can reach out to. The video is limited to the cast I had on hand which were my friends. But in all their beauty and pure love for the project we made something which shows who we are very clearly. The Dallas party we threw that night was full of such amazing strong characters\, all unique and proud of their identities.  I asked them to sing this with me\, and with them helping me along I think we made something really special. You can see that by the goofy smile on my face the whole way through.   \nNo lights\, not make up\, just us dancing in a pub\, sitting on the toilet\, jumping on our beds and singing to each other the lines I know I wish someone had sung to me at times when I thought I was a complete loser.   \nI hope you like this song\, it’s for you.”  \nBanoffee’s own brand of experimental electronica has been praised by FACT\, Clash Magazine\, DIY and BBC Radio 1 to name a few. A relocation to LA in 2017 offered up a fresh creative start for her without preconceptions\, a space filled with new collaborators\, an opportunity to flex muscles Banoffee didn’t even know were there. The past few months have seen her collaborate with the likes of SOPHIE\, HTML flowers\, l8loomer as well as join Charli XCX’s live band.  \nThis is Banoffee’s first batch of work that looks outside of self. The songs remain dark\, but instead of wallowing in dread\, they seek to inspire contentment. Banoffee is interested in the future of a more hyper textualised vein of pop\, one that pushes its listeners outside of their comfort zone.
URL:https://royaleboston.com/event/king-princess/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190127T210000
DTEND;TZID=America/New_York:20190127T210000
DTSTAMP:20260405T045242
CREATED:20181207T165123Z
LAST-MODIFIED:20181207T165136Z
UID:10002716-1548622800-1548622800@royaleboston.com
SUMMARY:Eduardo Costa
DESCRIPTION:
URL:https://royaleboston.com/event/eduardo-costa/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190201T180000
DTEND;TZID=America/New_York:20190201T180000
DTSTAMP:20260405T045242
CREATED:20180907T130012Z
LAST-MODIFIED:20190118T173902Z
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SUMMARY:[SOLD OUT] NAO
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nThis show is sold out! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n***\nNAO \n \nWebsite\nFacebook\nTwitter \n***\nXavier Omär \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/nao/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190208T180000
DTEND;TZID=America/New_York:20190208T180000
DTSTAMP:20260405T045242
CREATED:20181016T140018Z
LAST-MODIFIED:20190208T220335Z
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SUMMARY:[SOLD OUT] Sharon Van Etten
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nThis show is SOLD OUT! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nSharon Van Etten \n \nWebsite\nFacebook\nTwitter \nSharon Van Etten’s Remind Me Tomorrow comes four years after Are We There\, and reckons with the life that gets lived when you put off the small and inevitable maintenance in favor of something more present. Throughout Remind Me Tomorrow\, Sharon Van Etten veers towards the driving\, dark glimmer moods that have illuminated the edges of her music and pursues them full force. With curling low vocals and brave intimacy\, Remind Me Tomorrow is an ambitious album that provokes our most sensitive impulses: reckless affections\, spirited nurturing\, and tender courage. \n“I wrote this record while going to school\, pregnant\, after taking the OA audition\,” says Van Etten. “I met Katherine Dieckmann while I was in school and writing for her film. She’s a true New Yorker who has lived in her rent controlled west village apartment for over 30 years. Her husband lives across the hall. They raised two kids this way. When I expressed concern about raising a child as an artist in New York City\, she said ‘you’re going to be fine. Your kids are going to be fucking fine. If you have the right partner\, you’ll figure it out together.’” Van Etten goes on\, “I want to be a mom\, a singer\, an actress\, go to school\, but yeah\, I have a stain on my shirt\, oatmeal in my hair and I feel like a mess\, but I’m here. Doing it. This record is about pursuing your passions.” The reality is Remind Me Tomorrow was written in stolen time: in scraps of hours wedged between myriad endeavors — Van Etten guest-starred in The OA\, and brought her music onstage in David Lynch’s revival of Twin Peaks. Off-screen\, she wrote her first score for Katherine Dieckmann’s movie Strange Weather and the closing title song for Tig Notaro’s show Tig. She goes on\, “The album title makes me giggle. It occurred to me one night when I\, on auto- pilot\, clicked ‘remind me tomorrow’ on the update window that pops up all the time on my computer. I hadn’t updated in months! And it’s the simplest of tasks!” \nThe songs on Remind Me Tomorrow have been transported from Van Etten’s original demos through John Congleton’s arrangement. Congleton helped flip the signature Sharon Van Etten ratio\, making the album more energetic-upbeat than minimal-meditative. “ “I was feeing overwhelmed. I couldn’t let go of my recordings – I needed to step back and work with a producer.” She continues\, “I tracked two songs as a trial run with John [Jupiter 4 and Memorial Day]. I gave him Suicide\, Portishead\, and Nick Cave’s Skeleton Tree as references and he got excited. I knew we had to work together. It gave me the perspective I needed. It’s going to be challenging for people in a good way.” The songs are as resonating as ever\, the themes are still an honest and subtle approach to love and longing\, but Congleton has plucked out new idiosyncrasies from Van Etten’s sound. \nFor Remind Me Tomorrow\, Van Etten put down the guitar. When she was writing the score for Strange Weather her reference was Ry Cooder\, so she was playing her guitar constantly and getting either bored or getting writer’s block. At the time\, she was sharing a studio space with someone who had a synthesizer and an organ\, and she wrote on piano at home\, so she naturally gravitated to keys when not working on the score – to clear her mind. Remind Me Tomorrow shows this magnetism towards new instruments: piano keys that churn\, deep drones\, distinctive sharp drums. It was “reverb universe” she says of the writing. There are intense synths\, a propulsive organ\, a distorted harmonium. \nThe demo version of “Comeback Kid” was originally a piano ballad\, but driven by Van Etten’s assertion that she “didn’t want it to be pretty”\, it evolved into a menacing anthem. Cavernous drones pull the freight for “Memorial Day\,” which fleshes out an introvert in warrior mode. The spangled “Seventeen” began as a Lucinda Williams-esque dirge but wound up more of a nod to Bruce Springsteen\, exploring gentrification and generational patience. Van Etten shows the chain reaction\, of moving to a city bright-eyed and hearing the elders complain about the city changing\, and then being around long enough to know what they were talking about. She wrote the song semi-inter-generationally with Kate Davis\, who sang on a demo version when the song was in its infancy. \nSince her last album\, Van Etten has had a young son\, and family life is joyful. Preparing and finishing these songs\, she found herself expressing deep doubts about the world around him\, and a complicated need to present a bright future for him. “There is a tear welling up in the back of my eye as I’m singing these love songs\,” she says\, “I am trying to be positive. There is strength to them. It’s— I wouldn’t say it’s a mask\, but it’s what the parents have to do to make their kid feel safe.” \nAlongside working on Remind Me Tomorrow\, Van Etten has been exploring her talents (musical\, emotional\, otherwise) down other paths. She’s continuing to act\, to write scores and soundtrack contributions\, and she’s returning to school for psychology. The breadth of these passions\, of new careers and projects and lifelong roles\, have inflected Remind Me Tomorrow with a wise sense of a warped-time perspective. This is the tension that arches over the album\, fusing a pained attentive realism and radiant lightness about new love.
URL:https://royaleboston.com/event/sharon-van-etten/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190209T180000
DTEND;TZID=America/New_York:20190209T180000
DTSTAMP:20260405T045242
CREATED:20181001T180012Z
LAST-MODIFIED:20190109T212304Z
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SUMMARY:[SOLD OUT] Mandolin Orange
DESCRIPTION:Presented by Bowery Boston & Newport Folk®️ \nDoors: 6:00 pm / Show: 7:00 pm \nThis show is now SOLD OUT! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nMandolin Orange \n \nWebsite\nFacebook\nTwitter \nMandolin Orange’s music radiates a mysterious warmth —their songs feel like whispered secrets\, one hand cupped to your ear. The North Carolina duo have built a steady and growing fanbase with this kind of intimacy\, and on Tides of A Teardrop\, due out February 1\, it is more potent than ever. By all accounts\, it is the duo’s fullest\, richest\, and most personal effort. You can hear the air between them—the taut space of shared understanding\, as palpable as a magnetic field\, that makes their music sound like two halves of an endlessly completing thought. Singer-songwriter Andrew Marlin and multi- instrumentalist Emily Frantz have honed this lamp glow intimacy for years. \nOn Tides of A Teardrop\, Marlin wrote the songs\, as he usually does\, in a sort of stream of consciousness\, allowing words and phrases to pour out of him as he hunted for the chords and melodies. Then\, as he went back to sharpen what he found\, he found something troubling and profound. Intimations of loss have always haunted the edges of their music\, their lyrics hinting at impermanence and passing of time. But Tides of A Teardrop confronts a defining loss head-on: Marlin’s mother\, who died of complications from surgery when he was 18. \nThese songs\, as well as their sentiments\, remain simple and quiet\, like all of their music. But beneath the hushed surface\, they are staggeringly straightforward. “I’ve been holding on to the grief for a long time. In some ways I associated the grief and the loss with remembering my mom. I feel like I’ve mourned long enough. I’m ready to bring forth some happier memories now\, to just remember her as a living being.” \nFor this album\, Marlin and Frantz enlisted their touring band\, who they also worked with on their last album Blindfaller. Having recorded all previous albums live in the studio\, they approached the recording process in a different way this time. “We went and did what most people do\, which we’ve never done before—we just holed up somewhere and worked the tunes out together\,” Frantz says. There is a telepathy and warmth in the interplay on Tides of A Teardrop that brings a new dynamic to the foreground—that holy silence between notes\, the air that charges the album with such profound intimacy. “This record is a little more cosmic\, almost in a spiritual way—the space between the notes was there to suggest all those empty spaces the record touches on\,” acknowledges Marlin. There are many powerful ways of acknowledging loss; sometimes the most powerful one is saying nothing at all. \n*** \nMapache \n \nWebsite\nFacebook \nMapache consists of Clay Finch and Sam Blasucci. Born and raised in Glendale\, California\, the duo’s breathtaking harmonies and heartfelt sound verges on cosmic West Coast Pop Americana. Just months after releasing their critically acclaimed self-titled debut\, the duo is back touring with a beguiling new EP titled ‘Lonesome LA Cowboy.’ \nConsisting of three charismatic covers\, ‘Lonesome LA Cowboy’ encompasses decades\, genres\, and even international borders. Tapping faithfully into an era that ended well before their births\, Mapache’s performances here conjure up dry desert breezes and lush coastal canyons with a distinctly southwestern brand of harmony-driven folk and country that’s at once vintage and contemporary. The pair relies on nothing more than acoustic guitars and enchanting vocals to work their magic\, pulling influence from the architects of American roots music as well as formative years spent living in Mexico and filtering it all through modern\, youthful sensibilities. It’s music with little regard for boundaries or barriers\, reverent of the past but fully immersed in the present. \n“We make music that’s reflective of the landscape we grew up with in southern California\,” says Finch. “It’s a big sweep of all the really rich influences you encounter around here: folk and psychedelic and country and Latin and rock and cowboy and Hawaiian. We’re drawing from a really deep well.” \nRecorded in a similarly stripped-down fashion with producer Dan Horne (Cass McCombs\, Allah-Las)\, Mapache’s self-titled debut introduced the duo’s timeless songwriting and airtight harmonies\, earning obvious comparisons to The Louvin Brothers in addition to more cosmic keepers of the flame like Graham Parsons and the Grateful Dead. Aquarium Drunkard hailed the duo as “a blazed up Everly Brothers” and raved that “the LP faithfully radiates the intimate warmth of their live shows\,” while No Depression said the album “weds lilting melodies to lyrics that often extol the beauties of nature\,” and Saving Country Music declared that the duo “can fill up a room with more soul soaring harmony than most symphonic assemblies.” The music helped earn the band festival appearances from Pickathon to Mountain Jam as well as tour dates with Chris Robinson\, Nikki Bluhm\, Beachwood Sparks\, and more. \nThough Mapache (Spanish for “raccoon”) only recently began recording\, the duo’s roots stretch all the way back to high school\, where Finch and Blasucci struck up a friendship over a shared love of skateboarding and classic songwriters. After graduation\, Finch headed north to study music at Chico State (birthplace of The Mother Hips\, who recently invited Mapache to perform at their beloved Hipnic festival in Big Sur)\, while Blasucci headed South to Mexico\, where he served as a missionary for two years. \nTheir sound is not an exercise in pop nostalgia\, but rather a distinctly independent link in a chain that stretches far behind and ahead of them.
URL:https://royaleboston.com/event/mandolin-orange-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190210T200000
DTEND;TZID=America/New_York:20190210T200000
DTSTAMP:20260405T045242
CREATED:20190206T174108Z
LAST-MODIFIED:20190206T174108Z
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SUMMARY:Panos Kiamos
DESCRIPTION:21+\nValid US Government issued ID or International Passport required for entry.
URL:https://royaleboston.com/event/panos-kiamos/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
GEO:42.3499959;-71.0656288
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190214T190000
DTEND;TZID=America/New_York:20190214T190000
DTSTAMP:20260405T045242
CREATED:20180731T140038Z
LAST-MODIFIED:20190123T210331Z
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SUMMARY:[SOLD OUT] Car Seat Headrest
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show is SOLD OUT! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: This show is open to all ages.  Opening acts and set times are subject to change without notice.  All sales are final unless a show is postponed or canceled.  All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue.  Please make sure necessary arrangements are made ahead of time.  All patrons subject to search upon venue entry. \n*** \nCar Seat Headrest \n \nWebsite\nFacebook\nTwitter \nToledo always knew he would return to Twin Fantasy. He never did complete the work. Not really. Never could square his grand ambitions against his mechanical limitations. Listen to his first attempt\, recorded at nineteen on a cheap laptop\, and you’ll hear what Brian Eno fondly calls “the sound of failure” – thrilling\, extraordinary\, and singularly compelling failure. Will’s first love\, rendered in the vivid teenage viscera of stolen gin\, bruised shins\, and weird sex\, was an event too momentous for the medium assigned to record it.  \nEven so\, even awkward and amateurish\, Twin Fantasy is deeply\, truly adored. Legions of reverent listeners carve rituals out of it: sobbing over “Famous Prophets\,” making out to ‘Cute Thing’\, dancing their asses off as ‘Bodys’ climbs higher\, higher. The distortion hardly matters. You can hear him just fine. You can hear everything. And you can feel everything: his hope\, his despair\, his wild overjoy. He’s trusting you – plural you\, thousands of you – with the things he can’t say out loud. “I pretended I was drunk when I came out to my friends\,” he sings – and then\, caught between truths\, backtracks: “I never came out to my friends. We were all on Skype\, and I laughed and changed the subject.”  \nYou might be imagining an extended diary entry\, an angsty transmission from a bygone LiveJournal set to power chords and cranked to eleven. You would be wrong. Twin Fantasy is not a monologue. Twin Fantasy is a conversation. You know\, he sings\, that I’m mostly singing about you.  This is Will’s greatest strength as a songwriter: he spins his own story\, but he’s always telling yours\, too. Between nods to local details – Harper’s Ferry\, The Yellow Wallpaper\, the Monopoly board collecting dust in his back seat – he leaves room for the fragile stuff of your own life\, your own loves. From the very beginning\, alone in his bedroom\, in his last weeks of high school\, he knew he was writing anthems. Someday\, he hoped\, you and I might sing these words back to him. \n“It was never a finished work\,” Toledo says\, “and it wasn’t until last year that I figured out how to finish it.” He has\, now\, the benefit of a bigger budget\, a full band in fine form\, and endless time to tinker. According to him\, it took eight months of mixing just to get the drums right. But this is no shallow second take\, sanitized in studio and scrubbed of feeling. This is the album he always wanted to make. It sounds the way he always wanted it to sound. \nIt’s been hard\, stepping into the shoes of his teenage self\, walking back to painful places. There are lyrics he wouldn’t write again\, an especially sad song he regards as an albatross. But even as he carries the weight of that younger\, wounded Toledo\, he moves forward. He grows. He revises\, gently\, the songs we love so much. In the album’s final moments\, in those “apologies to future me’s and you’s\,” there is more forgiveness than fury. \nThis\, Toledo says\, is the most vital difference between the old and the new: he no longer sees his own story as a tragedy. \nHe’s not alone no more. \n*** \nNaked Giants \n \nWebsite\nFacebook\nTwitter \n‘SLUFF’ is a word that means both everything and nothing\, but it definitely sums up the three distinct personalities that make up Naked Giants. Depending which member you ask\, SLUFF is either slang for the black gunk that comes off your shoes when it snows in the winter\, an acronym that stands for South Lake Union Fuck Face (a reference to the tech bros who have infiltrated Seattle in recent years) or what a snake does when it sheds its skin. It’s also the title — and a song on — the band’s debut full-length. \nFormed in 2015\, the Seattle trio — guitarist/vocalist Grant Mullen\, bassist/vocalist Gianni Aiello and drummer Henry LaVallee — put out debut EP R.I.P.the following year and have been steadily building up their reputation as a live act in the meantime\, and having as much fun as possible while doing it. Because as much as the three-piece — who are all in their very early 20s now — have their heads screwed on and are fiercely intelligent people\, they also want to let loose and enjoy being in a band. After all\, that’s kind of what being in a band with your closest friends is all about. \n“I just want to make as much noise and have as much fun and get as sweaty as I can\,” says LaVallee\, “and if that resonates with people\, that’s who I want in my life. That’s who I want to play music for.” \nThat clash of the cerebral and the intelligent — the desire to say something meaningful but also just have some fun — is what underpins the very essence of who Naked Giants is. It’s a band of contradictions. Their music\, which is simultaneously timeless and modern\, new and old\, is loud and brash and raw\, but there’s vulnerability there\, too. In fact\, debut album SLUFF is a melting pot of ideas and sounds that\, on paper\, don’t seem like they would go together\, but which form one phenomenally cohesive whole. \n“These are songs that we’ve played live for a long time\,” explains Mullen. “We wanted to showcase the different kinds of songs we’ve written and put them all onto an album that flows together\, making it tie together into something that means something.” \nThat’s exactly what they do on SLUFF’s twelve weird and wonderful songs. Recorded with producer Steve Fisk (Nirvana/Screaming Trees/Beat Happening/Car Seat Headrest/Low/Minus The Bear) in Seattle at Avast! and Soundhouse Studios over the course of two and a half weeks in October\, the record is a dizzying mélange of influences and ideas. It swirls with hyperactive restlessness as 1960s harmonies share space with 1970s riffs while at the same time battling an undercurrent of punk rock and more modern indie influences. The song “TV\,” for example\, is a kaleidoscope of sound that seems to take in the whole history of rock’n’roll but reframes it in a more contemporary context. \n“From our perspective as millennials where everything is accessible all at once\,” explains Aiello\, “there is no difference to us between punk and classic rock or anything like that because we’re all observing it at the same time through the same lens. And yes\, history exists\, but if you’re just flipping through something on the TV\, it all kind of conflates together — kind of like the song does.” \nNeedless to say\, that song simmers with tension\, and it’s not the only one. “Everybody Thinks They Know (But No One Really Knows)” is a jaunty\, upbeat jangle but with distinctly sinister undertones\, “Slow Dance II” is a sumptuous\, soulful track with a desperate\, raw and bluesy swagger. “Dat Boi” is a rash of brash guitars that’s soon swept by an off-kilter\, psychedelic melody while closer “Shredded Again” is a graceful\, lackadaisical comedown after the rush of energy that precedes it. Raucous and rabid\, but also considered and complex\, Naked Giants’ music is the sum of all their influences and then some. And then some more. \n“What’s really interesting to me\,” ponders Aiello\, “is we have very different influences\, so when we’re jamming it’s like it’s being pulled apart and pushed together in so many different directions. And I think that’s a good thing.” \nThen\, of course\, there’s the quasi-grunge title track\, which chugs along with an ominous yet uplifting attitude as its title is shouted with a fervent zeal — “SLUFF!” — and which carries with it both the weight of the world and the reckless abandon of youth. \nSo while Naked Giants are happy to play the role of the dumb\, hedonistic rock band\, don’t be fooled for a second — they’re one of the brightest\, smartest acts out there at the moment. And this is also just the beginning of what they’re already planning to be a long and rewarding career. Even at this early stage\, they’re taking it as seriously as they are just having a good time. They have a lot to say and they’re not afraid to say it\, but they also relish in what making music has\, even already\, given back to them. \n“Performing on a stage has been very purpose-giving\,” says LaVallee. “Being in a group of people all experiencing music together brings a strong sense of community\, which excites me. Hopefully going forward we’ll be playing to more and more people. I want us to spread respect and fun rock’n’roll music to a whole lot of people. That just seems like a good deal all around.” \n“We’re just here to play music\,” says Mullen\, “so the more it goes well the more we’ll be thinking about our own art and our own voices. And that’s really the progression of it — personal growth and artistic growth. And whatever people think of that on a greater scale when it reaches them is all kind of up to them.” \n“Not everyone gets to go onstage and have a microphone in front of their mouth\,” says Aiello\, “so that’s a certain amount of responsibility. If you’re given the responsibility of having a microphone then you better say something pretty important. The pressure is to learn and listen to as much as we can so we can say the right thing and hopefully impact people.”
URL:https://royaleboston.com/event/car-seat-headrest-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190217T180000
DTEND;TZID=America/New_York:20190217T220000
DTSTAMP:20260405T045242
CREATED:20190130T184750Z
LAST-MODIFIED:20190130T184935Z
UID:10002735-1550426400-1550440800@royaleboston.com
SUMMARY:Dragathon
DESCRIPTION:All ages
URL:https://royaleboston.com/event/dragathon/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190217T220000
DTEND;TZID=America/New_York:20190217T220000
DTSTAMP:20260405T045242
CREATED:20190130T200933Z
LAST-MODIFIED:20190131T171853Z
UID:10002737-1550440800-1550440800@royaleboston.com
SUMMARY:Gay Mafia Boston present - Dragathon Official After Party - Present DJ Alain Jackinsky
DESCRIPTION:21+ \nDoors at 10 \nDj Alain Jackisnky
URL:https://royaleboston.com/event/presidents-day-dragathon-official-after-party/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Nightclub
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190223T180000
DTEND;TZID=America/New_York:20190223T180000
DTSTAMP:20260405T045242
CREATED:20181009T170057Z
LAST-MODIFIED:20190207T191704Z
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SUMMARY:Jacob Banks
DESCRIPTION:Presented by The River \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri 10/12 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nJacob Banks \n \nWebsite\nFacebook\nTwitter \nBorn in Nigeria and based in England\, 25-year-old singer/songwriter Jacob Banks creates soul music that’s uncompromisingly honest but thrillingly cinematic. A self-taught musician who began singing\, playing guitar\, and writing songs at the age of 20\, Banks got his start at open mic nights around Birmingham in 2011 and quickly won major attention for his commanding vocal presence and daringly intimate songwriting. In early 2013 he released his powerful debut EP The Monologue\, earning feverish acclaim that soon saw him supporting such artists as Emeli Sandé and Alicia Keys on tour. \nNow at work on his Interscope Records debut (the follow-up to 2015’s self-released\, critically praised EP The Paradox)\, Banks thrives on constant innovation in the richly textured beats and grooves that give his music such intensity. “I think the epicness of my songs partly comes from being African — that really heavy\, four-on-the-floor\, foot-thumping\, warrior kind of vibe has a lot to do with where I’m from\,” notes Banks\, who moved to England at age 14. And with his nuanced yet arresting vocal delivery\, Banks proves himself attuned to the darker dimensions of the human experience while instilling each track with a profoundly hopeful spirit. “I’m never defeated in any of my songs; I always seem to win\,” he says. “I want to use that to empower everyday people\, to be their battery pack on a Monday morning and help them get through the day. All of these songs are about triumph\, and how to keep going when everyone and everything is telling you to stop.” \n*** \nABIR \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/jacob-banks/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
END:VCALENDAR