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DTSTART;TZID=America/New_York:20190920T180000
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SUMMARY:Tinariwen
DESCRIPTION:Presented by Bowery Boston and Global Arts Live \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri 4/5 at noon! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nTinariwen \n \nWebsite\nFacebook\nTwitter \nThe new album by Tinariwen could well have been called Exile on Main Street.  But other people have already thought of that. It also could have been called A la recherché du pays perdu (‘Remembrance of a lost country’). Except that would have been a tad Proustian for musicians who grew up pretty much between a rock and a sand dune\, in the midst of their goat herds and camel caravans. But the idea is apt. As is the painful paradox\, if you consider that while Tinariwen were busy criss-crossing the globe on their recent triumphant tours (160 concerts played in the past three years)\, expanding their audience on all five continents\, becoming one of the latest musical phenomena of truly universal calibre\, the frontiers that encircle their desert home were closing down and double-locking\, forcing them into exile to record this their 8th album.  \nOver the past five years\, their beloved homeland in the Adrar des Ifoghas\, a Saharan mountain range that straddles the border between north-eastern Mali and southern Algeria has\, in effect\, been transformed into a conflict zone\, a place where nobody can venture without putting themselves in danger and where war lords devoted either to jihad or trafficking (sometimes both at the same time)\, have put any activity that contradicts their beliefs or escapes their control in jeopardy. Even though the 12 songs on this new record evoke those cherished deserts of home\, they were recorded a long way away from them. And\, as a result of this separation\, at a time when the political\, military and humanitarian situation in the region has never been so critical\, the feelings and the emotions that the band managed to capture on record have never been so vivid.   \nIn October 2014\, making use of a few days off in the middle of a long American tour\, the band stopped off at Rancho de la Luna studios in California’s Joshua Tree National Park. The place has become the favoured refuge of the stoner rock tribe. Josh Homme and his Queens of the Stone Age were the first to make it their hive\, and since then\, whether in use by P J Harvey or the Foo Fighters\, Iggy Pop or the Arctic Monkeys\, neither the mixing console nor the kitchen ovens have had a moment to cool down. For Tinariwen\, the geographical location of the studios – lost in the middle of that horizontal desert\, that mineral immensity\, where Man is reminded of his own insignificance in ways that can only\, in the end\, either kill him or sublimate him – proved to be particularly propitious in terms of creativity. \nAnd the human climate was just as favourable. As session followed session\, musicians who know the place well dropped by to add their own touch to that pre-industrial boogie which comes from a world where only the essential and metaphysical passions of space and time have any meaning. Such was the case of Matt Sweeny\, guitarist of fine pedigree (Johnny Cash\, Bonnie Prince Billy and Cat Power) and an avowed fan of the band. Kurt Vile\, ex-member of the duo War On Drugs\, now spearheading a noisy indi-folk combo\, also took part in the debate. As did Alan Johannes\, multi-instrumentalist\, sound engineer and producer of the first few albums by Queens of the Stone Age\, a band with whom Mark Lanegan\, the other guest on the album\, has also been a singer. From their angle\, one might have expected all these contributions to result in something pretty heavy\, with those American guitars coming into to reinforce the ishumar (name of the musical style of which Tinariwen precursors) guitars of Ibrahim\, Abdallah Hassan and Elaga. In effect\, lovers of those sensual yet abrasive riffs that are the band’s signature won’t be disappointed. But neither will those who love the funky\, danceable side of Tinariwen\, which comes through loud and clear courtesy of bassist Eyadou and percussionist Sarid\, a veritable rhythm machine in the mould of Sly and Robbie. All that potential has been wonderfully honed by the album’s mixing engineer Andrew Schepps\, who has previously worked with the Red Hot Chilli Peppers\, Johny Cash\, and Jay Z. \nThat happy encounter between Tamasheks and rockers was already in evidence back in 2011\, with the involvement of Wilco and TV On The Radio on the album Tassili\, which was recorded in the depths of the Sahara. It was as if those musicians\, coming from their world of high tech\, leisure and entertainment\, sought to reinvigorate the way they do things by working with artists who have been forced by necessity to reduce everything to its essence\, and who bear a different destiny. In that sense\, Ibrahim and his tribe restore meaning to an activity which has been partially drained all existential significance. In a cultural environment that has been overtaken by the petty and the superficial\, the members of Tinariwen fascinate because they incarnate a salutary break and come across as the ultimate heroes in the midst of an army of fleshless puppets.  \nHaving said that\, in M’Hamid El Ghizlane they’re heroes for real\, so much so that the youth of the area know how to sing their songs in the same way that people in other parts of the world know how to sing the Stones or Led Zep . It was there\, in that oasis in southern Morocco\, close by the Algerian frontier\, that the band set up their tents for three weeks in March 2016 to record this 8th album\, accompanied now and then by the local musical youth in question\, or by a local Ganga outfit (a group of Berber ‘gnawa’ trance musicians). The album is called Elwan (‘The Elephants’)\, not Exile On Main Street\, though it fits nicely into that ‘road record’ category nonetheless.  \nThere are road records just like there are road movies. In American cinema\, a road movie always unfolds the same way. Characters travel from one place to another in search of some truth\, of a future might offer them some kind of revelation. But they always end up reconnecting with their own past\, their origins. Of course\, it’s an impossible return\, because that past\, those founding origins have been irrevocably erased. It’s the same for this record\, so musically powerful and yet poignant in human terms: every song evokes a land that can no longer be found\, a lost world\, with all that this implies in terms of emotional range\, from nostalgia for a joyous past to the tragic recent loss of a territory\, and of the dream that it nourished. The emotional ‘bite’ of that loss imbues some of the songs by Ibrahim\, such as Imidiwan n-akal-in (Friends from my country)\, Hayati (My life) or Ténéré Takhal (What’s Happened to the Desert). It’s in that last song that the famous elephants of the album title make their appearance\, an animal metaphor to describe those ‘beasts’\, whether militias or multinational consortiums\, who have trampled everything in their path: kindness\, respect\, solidarity\, ancestral traditions and the values essential to life in the desert\, where both the human and ecological equilibriums are extremely fragile.  \nBut the songs written by Abdallah\, such as Sastanaqqam (I Question You)\, or those penned by Hassan\, the deeply disturbing Ittus (Our Goal)\, also evoke a similar sense of helplessness and disempowerment. The same goes for Nannuflay (Fulfilled)\, written by Eyadou\, one of the ‘kids’ in the band; it’s a song echoes that sense of absolute crisis. Having said that\, between the weariness of the old fighters of the Touareg rebellion of the 1990s (Ibrahim\, Hassan\, Abdallah) and the dynamism of a youth that’s still emerging (Eyadou\, Elaga\, Sarid\, Sadam)\, you get a wonderfully symbiotic mix. The meeting of two such disparate generations in one band is relatively rare in today’s musical world. In Tinariwen\, it’s a meeting that celebrates\, even more powerfully might otherwise be the case\, the capacity of music to make experiences as intense and cruel as exile beautiful and\, in some ways\, even attractive\, experiences that would surely end up destroying those who lived them\, if this form of aesthetic relief didn’t exist.  \nFrancis Dordor\nTranslated by Andy Morgan \n*** \nLonnie Holley \n \nWebsite\nFacebook\nTwitter \nLonnie Holley was born on February 10\, 1950 in Birmingham\, Alabama. From the age of five\, Holley worked various jobs: picking up trash at a drive-in movie theatre\, washing dishes\, and cooking. He lived in a whiskey house\, on the state fairgrounds\, and in several foster homes. His early life was chaotic and Holley was never afforded the pleasure of a real childhood. \nSince 1979\, Holley has devoted his life to the practice of improvisational creativity. His art and music\, born out of struggle\, hardship\, but perhaps more importantly\, out of furious curiosity and biological necessity\, has manifested itself in drawing\, painting\, sculpture\, photography\, performance\, and sound. Holley’s sculptures are constructed from found materials in the oldest tradition of African American sculpture. Objects\, already imbued with cultural and artistic metaphor\, are combined into narrative sculptures that commemorate places\, people\, and events. His work is now in collections of major museums throughout the country\, on permanent display in the United Nations\, and been displayed in the White House Rose Garden. In January of 2014\, Holley completed a one-month artist-in-residence with the Robert Rauschenberg Foundation in Captiva Island\, Florida\, site of the acclaimed artist’s studio. \nHolley did not start making and performing music in a studio nor does his creative process mirror that of the typical musician. His music and lyrics are improvised on the spot and morph and evolve with every event\, concert\, and recording. In Holley’s original art environment\, he would construct and deconstruct his visual works\, repurposing their elements for new pieces. This often led to the transfer of individual narratives into the new work creating a cumulative composite image that has depth and purpose beyond its original singular meaning. The layers of sound in Holley’s music\, likewise\, are the result of decades of evolving experimentation. \nHolley’s music caught the attention of Matt Arnett\, whose father has been collecting Holley’s art since the 1980s. In 2006\, Matt organized the first professional recordings of Holley’s music. In 2010\, Arnett set up a performance by Holley at his home. One of the people in attendance was Lance Ledbetter\, founder and owner of the record label Dust-to-Digital. Deeply moved by Holley’s keyboard playing and singing\, Ledbetter signed Holley to his record label. Soon after\, Holley found himself in the studio again\, and in 2010 and 2011\, more studio sessions ensued. The result was the album Just Before Music. More recordings continue to be made to celebrate and to document one of America’s most compelling musicians. In early 2014\, Holley recorded again with Richard Swift\, acclaimed musician and producer at his studio\, National Freedom\, in Cottage Grove\, Oregon. \nIn addition to the studio sessions\, Holley began touring as a musician. In August and September of 2013\, Holley toured the West Coast with Deerhunter. That tour was followed by a tour of the East Coast with Bill Callahan\, and in November and December of 2013\, Holley had his first tour through Western Europe (Spain\, Portugal\, Germany\, Denmark\, Belgium\, The Netherlands\, England\, and France). Holley has been joined on stage or in the studio by a variety of musicians\, including members of Deerhunter\, Black Lips\, The War on Drugs\, Animal Collective\, Dirty Projectors\, Bon Iver\, Julia Holter\, Megafaun\, as well as Ben Sollee\, Steve Gunn\, Jenny Hval\, Marshall Ruffin\, Daniel Lanois\, Laraaji\, Brian Blade\, Alexis Taylor (Hot Chip)\, Bill Callahan\, Dave Eggar\, Laraaji\, Kelly Pratt (Beirut/Arcade Fire/The Antlers)\, Sam Amidon\, Aaron Embry (Elliot Smith/Edward Sharpe and the Magnetic Zeros) and others. In 2013\, Holley’s first records were named to a number of Top Records of the Year lists\, including The Washington Post (#4) and The Chicago Sun Times (#2).  \nIn 2014\, Holley continued to tour\, completing another tour of Europe (Belgium\, Norway\, England\, Denmark\, the Netherlands\, and France) and a USA/Canada tour with Daniel Lanois. Also in 2014\, the Metropolitan Museum of Art announced that they had acquired three sculptures by the acclaimed artist and musician\, through the generosity of the Souls Grown Deep Foundation. \nHolley played a number of shows in 2015\, touring Europe again to audiences in England\, Germany\, Switzerland\, Belgium\, France\, and the Netherlands. That tour kicked off with a show at Queen Elizabeth Hall\, as part of David Byrne’s Meltdown Festival. In addition to his European tour\, Holley played shows at the Brooklyn Academy of Music\, The Hammer Museum in LA\, The American Folk Art Museum\, St. James Hall in Vancouver\, The Charleston Music Hall\, among many others\, but the majority of the year was not spent performing live. In 2015\, Holley recorded music for the film Five Nights in Maine\, which premiered at the Toronto International Film Festival and saw theatrical release in the summer of 2016. An exhibition of his visual art opened in the summer of 2015\, titled Something To Take My Place: The Art of Lonnie Holley\, at the Halsey Institute of Contemporary Art\, accompanied by a monograph of the same name. In the winter of 2015/16\, Supported By the Power: Lonnie Holley\, an exhibition of Holley’s sculptures opened at Duke University’s John Hope Franklin Center. \nLonnie Holley continues to make art\, record music\, and tour occasionally\, either alone or with collaborators. The songs and the shows are never the same\, as Holley never performs the same song twice. In the summer of 2016\, he embarked on a tour throughout the Southeastern United States\, this time with a full band of frequent collaborators that included Ben Sollee\, Stevie Nistor\, Kelly Pratt\, and Marshall Ruffin. On the tour\, the band visited artists\, art sites\, and museums\, and held workshops for adults and children along the way. \nIn late September\, 2016\, Holley’s music was sampled on the acclaimed third album (22\, A Million) from Bon Iver. That same month\, Holley was a featured visual artist at AfroPunk/Atlanta\, where his found object sculptures were on display. \nIn November of 2016\, Holley embarked on his fourth European tour\, playing a number of festivals and music venues\, culminating in a sold-out\, two-night residency at the acclaimed Café Oto in London. He returned to the States in time for the premiere of the short documentary about Holley\, The Man is the Music\, at Doc NYC in New York. \nHolley closed out 2016 with his final show of the year at Pioneer Works in Brooklyn\, sharing the stage with Bon Iver. \n2017 was also a busy year for the artist. In January\, an exhibition of his art\, Lonnie Holley: I Snuck Off the Slave Ship\, opened at the Atlanta Contemporary Art Center. In May\, an exhibition entitled Thumbs Up for the Mothership (a two-artist show with Dawn DeDeaux) premiered at MASS MoCA\, coinciding with the opening of the new Building 6. His work was also featured in two exhibitions at the de Young Museum (The Fine Arts Museums of San Francisco) and had two solo exhibitions at James Fuentes Gallery\, his New York gallery. \nAdditionally\, he made wood block prints with Paulson Fontaine Press\, collaborated on three etchings and a zine with artist Chris Johanson\, played a number of concerts\, spent a lot of time in the recording studio preparing for the release of his third album\, due out in the spring of 2018.
URL:https://royaleboston.com/event/tinariwen-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20190921T200000
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SUMMARY:Da “GAI” Ru Ci World Tour in Boston
DESCRIPTION:Hosted by Jinquan and VISM Entertainment\nSponsored by Sunnity  \nThis is a 18+ event\, VIP tables are 21+ only.  \nTickets $89/$199\nTicket link: https://event.vism.ca/events/gai19boston\nVIP Tables please contact:\nWechat: vismevent\nPhone: 1-7789855267\nE-mail: admin@vism.ca \nZhou Yan\, known as “GAI”\, is a Chinese rapper\, singer\, and songwriter.\nHis stage name GAI is a childhood nickname meaning “lid” that he was given because of his bowl cut. \nIn early days as an underground rapper\, GAI was leading his music label GO$H!\, a local label in Chongqing\, China. He is one of the few Chinese rappers actively producing trap and Gangsta rap and helped create a type of Trap music called “C-Trap”. His famous songs includes “Gangsta”\, “Empty Fort Strategy”\, “Hot Pot Soup”. \nIn 2017\, GAI’s music career began to boom after attending Hip-Hop reality show The Rap of China\, and winning the contest.
URL:https://royaleboston.com/event/da-gai-ru-ci-world-tour-in-boston/
LOCATION:MA
CATEGORIES:Concerts,Special Events
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DTSTART;TZID=America/New_York:20190922T200000
DTEND;TZID=America/New_York:20190922T200000
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CREATED:20190826T151216Z
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SUMMARY:Nikos Oikonomopoulos
DESCRIPTION:Doors at 8pm\nValid US government issued ID or international passport required for entry.\n21+
URL:https://royaleboston.com/event/nikos-oikonomopoulos/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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DTSTART;TZID=America/New_York:20190924T190000
DTEND;TZID=America/New_York:20190924T190000
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CREATED:20190506T150111Z
LAST-MODIFIED:20190520T150051Z
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SUMMARY:Cat Power
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 5/10 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nCat Power \n \nWebsite\nFacebook\nTwitter \nThere are few voices more deeply embedded in the iconography and mythology of American indie rock than that of Chan Marshall. Under the musical nom de plume of Cat Power\, Marshall has released music for nearly 25 years now and her prowess as a songwriter\, a producer\, and most notably—as a voice—has only grown more influential with time. On her 10th studio album\, Wanderer\, Marshall resets her dials\, offering a collection of songs that function as pristine examples of her still-evolving creative practice. Held aloft primarily by Marshall’s own guitar and piano\, Wanderer is a collection of winding\, wondering narratives all perfectly imbued with the kind of yearning and warmth that have made her one of the most distinctive and beloved artists of her generation.  \nProduced by Marshall and mixed by Rob Schnapf (Elliott Smith\, Beck)\, the album includes appearances by longtime friends and compatriots\, as well as guest vocals courtesy of friend and recent tourmate Lana Del Rey. Wanderer is\, in many ways\, a kind of quintessential Cat Power record\, with Marshall’s clarion voice front and center in a set of songs that are remarkably stark and straightforward. Tracks like “Black” and “Me Voy” have the kind of haunted quality that recall the most emotionally harrowing moments of Moon Pix or You Are Free\, while the elegant lilt of “In Your Face” and the minimalist blues of “You Get” (“You Know there’s nothing like time\, to teach you where you have been” Marshall sings on the latter) have the same kind of playful\, soulful timbre of The Greatest. Meanwhile\, the album also showcases Marshall’s uncanny abilities as one of the great interpreters of songs\, with a stunning version of Rihanna’s “Stay”. “I love the tradition of interpreting songs”\, she says. “I think it’s one of the highest compliments you can pay another artist. It’s one of the great traditions in American music and one of the great pleasures.”  \nWhile Wanderer represents a hard-won stability for Marshall\, it’s also evidence that stability —emotional\, physical\, financial —is often fleeting. It’s a thing that must be cared for\, protected\, and can easily evaporate. Songs like “Robbin Hood” and “Nothing Really Matters” confront duplicity and  hopelessness in equal measure\, examining what it means to be taken advantage of (“Who Robbing\, who robbing who?”) and the nihilism of trying to do the right thing in a world where it often feels as if it truly makes no difference. In stark contrast\, the album’s first single\, “Woman\,” (featuring backing vocals from Lana Del Rey) is a full-throated push back against doubters and critics\, as well as a righteous claiming of space. “The doctor said I was not my past\, he said I was finally free\,” sings Marshall\, “I’m a woman of my word\, or haven’t you heard? My word’s the only thing I’ve ever needed.” Defiant\, unbowed\, and fantastically steadfast\, the song ends with the perfect\, beautiful coda: “I’m a woman.”  \nIf old Cat Power records might have easily been viewed as repositories for pain\, Wanderer is\, at its heart\, a testament to the transformative nature of songs\, an album-length imagining of alternate paths\, redemptions\, connections\, and open-ended possibility. This is most evident on “Horizon”\, the album’s emotional centerpiece\, in which Marshall sings about the complicated\, emotionally elastic bonds between family members. For someone whose entire life has been predicated on movement —years of comings and goings with little time to pause and connect — the song offers a bittersweet reconciliation: “You’re on the horizon / I’m on my way / You’re on the horizon / I’m headed the other way.”  \n“This album is about my journey up to this point. Wanderer\, the album\, represents the course my life has taken in this journey – going from town to town\, with my guitar\, telling my tale; with reverence to the people who did this generations before me. Folk singers\, blues singers\, and everything in between. 
They were all wanderers\, and I am lucky to be among them.” – Chan Marshall\, 2018  \n*** \nArsun \n \nFacebook\nTwitter \nBuilding a studio in New York City\, Arsun is working with his band to select equipment best suited to creating his musical dream; creating the sound of the 1960s with the versatility of modern recording. \nWith a sound beyond his 19 years\, Arsun has developed a style worthy of timeless exultation
URL:https://royaleboston.com/event/cat-power/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20190925T190000
DTEND;TZID=America/New_York:20190925T190000
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SUMMARY:K.Flay
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 5/3 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nK.Flay \n \nWebsite\nFacebook\nTwitter \nWhen facing the daily maelstrom of concerns\, complaints\, and calamities in the news\, in conversation\, and in social media posts\, a smile signals real rebellion. Eschewing self-centered woe and melancholy-for-the-sake-of-melancholy\, happiness becomes the brashest\, boldest\, and ballsiest move—and the sought-after answer. Recognizing this truth\, two-time GRAMMY® Award-nominated singer\, multi-instrumentalist\, songwriter\, and producer K.Flay sticks to a powerful\, passionate\, and positive mission statement on her third full-length album\, SOLUTIONS [Night Street/Interscope Records].\nCatalyzed by a three-year whirlwind of world touring and prolific output\, she translates the simple pleasures into ten genre-blurring bangers… \n “When I got home from tour\, I was in a dark place\,” she admits. “Eventually\, I made a decision to focus on the things that actually make me happy: walking around my neighborhood\, drawing in notebooks with markers\, talking to my mom on the phone. I thought\, ‘What did I do as a kid to be happy?’ As a child\, you don’t have access to alcohol\, drugs\, sex\, caffeine. I looked back\, when I had fun just by making music. I remembered the first time I wrote a song\, burned a CD\, and played it in my car. It’s the closest thing I’ve ever had to a religious experience. I reconnected with that spirit and stopped taking shit so seriously.” \nShe certainly earned the right to do so…\nAs the culmination of a diligent decade-long grind marked by a series of independent EPs and shows\, the songstress carved up her own lane in the mainstream with major label debut Every Where Is Some Where. It garnered two nods at the 2018 GRAMMY® Awards in the categories of “Best Engineered Album\, Non-Classical” and “Best Rock Song” for “Blood in the Cut.” The latter generated 30 million-plus Spotify streams as “High Enough” surpassed the 20-million mark and “Giver” clocked 12 million and counting. In addition to praise from Billboard\, Nylon\, The Fader\, and more\, she landed syncs and soundtrack placements for Tomb Raider\, xXx: Return of Xander Cage\, NBA 2K\, Fifa\, This is the End\, and more. Not to mention\, everyone from legendary Rage Against the Machine and Audioslave guitarist Tom Morello and Linkin Park co-frontman Mike Shinoda to FIDLAR sought her out for collaborations. She also canvased the globe supporting Imagine Dragons. \nIn the Summer of 2018\, she re-teamed with frequent collaborators Tommy English [Ariana Grande\, Kacey Musgraves\, Thirty Seconds to Mars] and JT Daly [Mutemath]\, as well as Joel Little and CJ Baran. Recording in Los Angeles and Nashville\, she widened the scope of her signature style\, incorporating a variety of analog synths along with live bass and guitar\, bobbing and weaving between pop\, rock\, hip-hop\, and electronic moods. \n“The title SOLUTIONS came to me really early in the process\,” she goes on. “The solution to almost every problem is usually really simple. For me\, it’s so basic: staying connected to the people I love\, taking care of myself the way I’d want my friends to take care of themselves\, and doing things I know are going to make me happy – not what social media or strangers or society tells me. So many of my past records were about problems. Right now I’m in a place where I’m looking for some light. Balance is important. Life doesn’t have to be chaotic in order to be meaningful.” \nProduced by English\, the first single “Bad Vibes” slips clever quips—“You’re the sequel that sucks”—between a siren swell of synths\, thick percussion\, and an unshakable and undeniable chant\, “You give me bad vibes…” \n“My best friend recently had a kid\, and I was like\, ‘I don’t want this baby to grow up around sad people’\,” she recalls. “I saw this stupid prison-style tattoo that said\, ‘Born dead’. I thought\, ‘Fuck you\, man. I hate this tattoo’. With everything going on in the world right now\, I wanted to  make some positive music. The goal isn’t to be happy every minute; it’s just to move away from negative energy. Sonically\, it’s the perfect introduction to the record. Fuck being sad all the time!”\nPropelled by resounding piano and nimble rhymes\, “Good News” leaps over glitchy beats and into a reminder that we can be “our own best friend.” Something of a spiritual successor to “Blood in the Cut\,” the frosty and fiery anthem “Ice Cream” serves up “a breakup song that isn’t too heavy.” On the other end of the spectrum\, the uber-personal “Sister” delivers a heartfelt message of sisterhood as she claims\, “I wanna be your sister till the end.” \n“My sister and brother aren’t biologically related to me\, and I always wanted them to be my ‘real siblings’\,” she goes on. “It was important for me to dedicate this song to them. On a larger level\, I believe sisterhood should be available to everybody\, regardless of gender. Sisterhood is about creating your own family.” \nIn the end\, K.Flay makes happiness cool again…\n“When you listen to this\, I hope you walk away feeling like it’s okay to temper a little positivity in your life\,” she leaves off. “There’s so much out there we can’t control. As I mature\, I’ve been able to realize that. Do what makes you happy. Right now\, music makes me really happy.”  \n*** \nHouses \nWebsite\nFacebook\nTwitter \n*** \nYour Smith \n \nWebsite\nFacebook\nTwitter \nMinneapolis native Your Smith (aka Caroline Smith)\, relocated to Los Angeles after signing to Pulse Recording (DRAM\, Miike Snow\, Gallant\, et. al). Inspired by the history of Laurel Canyon and moving through a city that’s been immortalized in music throughout the ages\, Smith concocted her own sound\, bringing together the funk / R&B “Minneapolis Sound” of her roots and the classic songwriting of the LA folk heroes. \nYour Smith is currently wrapping up her debut EP\, produced by Tommy English (BØRNS)\, Stint (Gallant\, Aluna George\, NAO)\, and Nicky Davey (Internet\, Syd The Kid)\, arriving on Neon Gold Records (HAIM\, Christine & The Queens\, et. al) this fall and will commence a full US headline tour in September.
URL:https://royaleboston.com/event/k-flay-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190928T180000
DTEND;TZID=America/New_York:20190928T180000
DTSTAMP:20260405T042829
CREATED:20190625T140046Z
LAST-MODIFIED:20190821T143234Z
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SUMMARY:[CANCELLED] Emeli Sandé
DESCRIPTION:This show has been cancelled. Refunds are available at point of purchase. A note from Emeli Sandé here: \nDear All\, \nI am really sorry to have to announce that due to scheduling changes I need to move this years September / October tour in the States. When we booked this tour my album\, Real Life\, was due to be released in June. Since the date changed to September I have been trying my best to keep the US tour in place . I’m really disappointed that no matter how many different options we explored\, we were unable to make it work . I have been so excited to come over and sing for you for years. I’m working really hard to get new dates confirmed for early 2020 and will be in touch as soon as I have them.\nI’m so sorry to be writing this. Thank you all for your continued support\, it means so much. \nLove Emeli  \n*** \n \n*** \nEmeli Sandé \n \nWebsite\nFacebook\nTwitter \nFollowing Our Version of Events\, Emeli Sandé MBE’s first album that sold over 5.4 million copies to date\, as well as scoring the biggest selling album in the UK of 2012 and 2013\, Emeli Sandé had arrived. But her new album marks a brand-new chapter\, and with it\, a new sound. This sound is one that is bold\, confident and fearless\, it’s extraordinary. But she’s had to go on a life-changing journey of self-discovery to get there. \nHaving initially made her mark as a songwriter in the UK urban scene via acts such as Wiley\, Wretch 32 and Chipmunk\, Sandé’s solo success saw her became a highly sought-after writer for an array of international acts. Sandé wrote and co-wrote tracks for everyone from Alicia Keys to Rihanna (alongside friend Naughty Boy)\, Katy Perry and Tinie Tempah. She performed on Jools Holland and the X Factor\, supported Coldplay and played at both the opening and closing ceremonies of the London Olympics and at the White House for Barack Obama. With over 340 million video views\, 19 million singles sold including 3 x UK No.1 singles\, 6 million albums including Our Version of Events being certified platinum 7 times in the UK and Ireland you’d think that she had it all together. But\, while she dominated the music industry and captured the hearts of the nation\, there was a disconnect with the way she was feeling. Sandé already has some of the most impressive stats in music to her name under her belt\, though despite the success of the second album\, Long Live the Angels\,  four  BRIT awards (including Best female twice) and receiving an MBE for Services to Music in 2018\, Sandé’s foundations were shaky\, “I feel like with the second album there was kind of a mix of all that was happening. Dealing with a divorce that was going on and discovering who I was as a black female.” She says\, “I wasn’t grounded\, you know.” \nSandé had to step away and regroup\, to allow herself to come back stronger. The last five years have been a time to build the self-esteem and the confidence she didn’t realise hadn’t been there\, despite her previous two albums and her EP garnering the sort of critical acclaim that money couldn’t buy.  \n“I thought I was going to get married\, settle down and my life was going to be perfect\, no further questions. When really there was such a poverty of confidence. If you get famous so young\, that becomes who you are and what you believe is your worth\, and then you kind of forget that these songs are coming from you. And it’s such an incredible feeling to share them but that can’t be how you validate yourself.” She sighs. \n This regrouping was necessary for Sandé as a black woman\, as well as an artist. “I needed to learn I am beautiful’ she says\, “Only now I’m beginning to accept the feminine energy.  \nIt was taking the time to reach back into her heritage to find the foundations for the future that gave her the headspace to draw on her sound. Having grown up one of two mixed-race children in Alford\, a tiny town outside of Aberdeen\, her identity was split\, “Growing up mixed race meant I identified with the side of the family I spent most time with\, my mum’s side. But I knew I was different\, and this became more apparent when we travelled with people staring.” Because of the identity split\, she can truly understand those people who don’t have confidence because of who they’ve been told they are. She saw this through her father especially\, “My dad’s frustrations\, him as a black man\, what he really had to go through and the kind of injustices he experienced… I always saw that it was difficult to be black.”  \nGoing to Zambia and connecting with her father’s family was when she didn’t feel that question of identity.  It was a revelatory experience. ‘The strength of the women!” she laughs\, ‘They were running the village\, plus my grandma\, she was a matriarch; the kids all came to her\, it was really beautiful. It just made sense of who I was myself.” \nAnd with this renewed sense of self\, Sandé was able to create a long overdue message that people need to hear. Tapping into the tone of the disenfranchised state of the world\, the main purpose of this album is to give people confidence\, “Especially people who have been marginalised\, or forgotten or kicked down by this invisible oppression that’s always there.” She says\, “I just want to give people just this incredible superpower every time they play the album. Like a battery pack.” She smiles brightly. ‘They just plug it in and they know that however they’re feeling\, by the end of the album\, they’re going to feel better.” \nLaunching this new album is Sparrow\, the perfect introduction to this record and the empowerment that this new\, vibrant sound brings. ‘That one felt like a channeling song” she nods. “I want people to feel like there will be a struggle but there will be a release at the end\, and that’s when you can breathe finally\, when you’ve got through it.” Sandé believes that allowing love in is one of the most difficult things for a human being to do\, “Well love is kind of mocked now. If you love\, or if you’re kind to someone\, it’s weakness.” At a time where the world seems to pivot on being ‘the best’ or where everything is so sexualised\, especially for women\, Sandé knows that our worth and our voices need to be heard now more than ever.  ‘Human’\, a seventies sounding R&B tune\, is a song Sandé wasn’t planning on writing\, but one that spilled out when she heard the opening string chords of the track. It’s a song that\, in the midst of knife crime across the capital\, is a sobering and welcoming reminder of the humanity of us all. “It’s such a dark time” she says\, “I think it’s dangerously dark for young adults at the moment. We talk about crime rates\, but they’re having these conversations about it that aren’t getting to the depth of what’s going on. So much comes from self-esteem and what young people are shown they deserve and where they belong in society that dictates how little value their lives have now.” \nSandé found her community in music in the same London that has seen knife crime reach record numbers; it was through choirs that she found her sisterhood and met the black women that have allowed her to tap further into her identity. She sang with the London Community gospel choir before Christmas and understood the reality and strength and a sternness to it all\, but also felt a ‘very palpable love\, “It’s very real and it’s not going to be said all the time\, but not growing up here\, I feel privileged to be accepted into the community via music.”  ‘You Are Not Alone’\, an anchoring gospel anthem that speaks to the loneliness of life\, with Sandé’s stunning voice backed by a powerful gospel choir with rousing church beat running through it\, acts as a reminder that whatever you’ve been told\, ‘my friend\, you are not alone.’ Words we all need to hear. \nIt was collaborating with producer Troy Miller that allowed for a unique recording experience. Already feeling like she had complete freedom over what she was writing\, it was working with Miller at the back of his house that gave her the right vibe to create the best album she could\, “Every day I’m walking through his family home and feeling the energy of love\, you could really feel it. We were making this album and we wanted a pure message to be delivered to people.” \nWhen asked how she felt writing and recording this album\, the album that will remind people of the value of life and of love Sandé says\, “I feel grounded. I know exactly what I wanted to say and do. I’ve came out the other side more confident\, happier with more self-love.” Emeli’s new album is the sound of power; power of freedom\, power of growth\, and of authenticity. It was borne from the power of understanding who you are\, and of finally being able to give to others what you’ve learned for yourself. Emeli Sandé is an artist who can finally say that she’s the best version of herself she’s ever been.
URL:https://royaleboston.com/event/emeli-sande/
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:20190929T190000
DTEND;TZID=America/New_York:20190929T190000
DTSTAMP:20260405T042829
CREATED:20190220T180234Z
LAST-MODIFIED:20190521T190300Z
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SUMMARY:[SOLD OUT] Stereolab
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show is SOLD OUT! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nStereolab \n \nWebsite\nFacebook\nTwitter \n*** \nBitchin Bajas \n \nWebsite
URL:https://royaleboston.com/event/stereolab/
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:20191001T190000
DTEND;TZID=America/New_York:20191001T190000
DTSTAMP:20260405T042829
CREATED:20190501T160051Z
LAST-MODIFIED:20190927T171541Z
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SUMMARY:[SOLD OUT] Caravan Palace
DESCRIPTION:Presented by Bowery Boston and  Global Arts Live \nDoors: 7:00 pm / Show: 8:00 pm \nThis show is SOLD OUT! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nCaravan Palace \n \nWebsite\nFacebook\nTwitter \nCaravan Palace will release\, their third studio album\, on October 30th\, 2015. Created in their Parisian studios\, where the electro-pioneers fuse hedonistic house and old school jazz to glorious effect\, evokes the spirit of a modernistic Quintette du Hot Club de France. \nThe musical sound bed for the vocally explosive\, burlesque- blazoning Zoe Colotis is created by the band’s three founder members Hughes Paven (violin)\, Charles Delaporte (upright bass) and Arnaud Vial (guitar)\, plus Camille Chapelière (clarinet) & Antoine Toustou (trombone and electronics) over the beats provided by Paul-Marie Barbier (vibraphone\, washboard\, piano). The result is a decadent\, potent cocktail of jazz manouche\, hip-hop\, jive\, house and beats that defies simple categorization. \nThe band’s appeal has grown off-radar\, appreciated for both their musical virtuosity and their sheer ability to deliver a ballistic good time. \nHaving originally formed in 2005 the band’s eponymous debut album in 2008 set the tone – a rip-roaring party\, bursting with fun and good humor. This album went on to define a new sound called Electro Swing\, while charting in their native France where it quickly attained a platinum sales award.\nThe second album\, 2012’s ‘Panic’\, featuring the massive tunes ‘Clash’ and ‘Rock It For Me’ remains a treat to listen to\, whether in a burlesque bar or at home. Since its release the band’s live profile has risen unrelentingly\, their concert tickets flying out with minimum promotion and zero-hype across the USA\, a true word-of-mouth sensation that earned them a spot at Coachella last year.
URL:https://royaleboston.com/event/caravan-palace/
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:20191002T190000
DTEND;TZID=America/New_York:20191002T190000
DTSTAMP:20260405T042829
CREATED:20190306T155912Z
LAST-MODIFIED:20190606T200715Z
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SUMMARY:Whitney
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 3/8 at 11am! \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*** \nWhitney \n \nWebsite\nFacebook\nTwitter \nRestlessness is at the heart of Whitney’s resonant and stunning sophomore album Forever Turned Around. As Julien Ehrlich and Max Kakacek realized over the past three years\, life can change drastically. Priorities shift\, relationships evolve\, home can become far away\, and even when luck momentarily works out\, there’s still that underlying search for something better.  \nWhile the success of their 2016 debut Light Upon The Lake uprooted them away from Chicago to seemingly endless tours across the world\, Ehrlich’s and Kakacek’s partnership only strengthened. “Our friendship has kept us going even though so much has happened in the years since we started the band\,” says Ehrlich. Their bond has been the one constant as they’ve weathered the transitional period of their mid-twenties\, supporting each other through bouts of heartache\, loss\, and uncertainty. But lately\, as they’ve found home through themselves\, their romantic relationships\, and their friends\, there’s an uneasiness that comes from stability. When Ehrlich sings on “Valleys (My Love)\,” “There’s fire burning in the trees / Maybe life is the way it seems” it’s a mission statement of the existential questions raised throughout. \nThis is what Forever Turned Around grapples with: the anxiety and acceptance that time is limited. Across 10 songs\, Ehrlich and Kakacek skeptically yet masterfully navigate questions of mortality\, doubt\, love\, and friendship in a grander scope than they’ve attempted before. It’s an album about partnership — romantic\, familial and communal\, but most importantly a love in friendship: the bonds between two best friends and creative partners and the joy and stress that comes with it. As Ehrlich sings on “Used To Be Lonely:” ‘Well it made no sense at all / Until you came along.” It tackles the blissful confusion that comes from seeing the way things unexpectedly change over time.  \nForever Turned Around came together over several sessions across the country with its earliest material written during tour dates in Lisbon\, Portugal. Though Ehrlich is Whitney’s lead singing drummer while Kakacek is the lead guitarist\, when writing\, both transcend their roles to piece together each offering lyrically and compositionally. “The way it ends up working is one of us comes up with a basic idea for a song and the other person serves as the foil to complicate that idea. We ask\, ‘What can we change to make it more interesting?’” says Kakacek. Challenging each other is the core of their songwriting partnership. “A big thing for us is our ability to take criticism. We’re always open to new ideas. We approach it where we try to stretch a new idea as far as it can go\,” adds Kakacek. \nAfter a session with producers Bradley Cook (Bon Iver\, Hand Habits) and Jonathan Rado (Weyes Blood\, Father John Misty) helped color in the arrangements\, the album truly revealed itself when they reunited with original rhythm guitarist Ziyad Asrar in his basement Chicago studio—the same place where they hashed out much of Light Upon The Lake. “Getting down there was so important because we’ve always used that basement for music. The comfort and familiarity mattered but having Ziyad be a buffer between us was so helpful\,” says Ehrlich. With Asrar’s help\, songs like “Song For Ty” and “Forever Turned Around” effortlessly came together.  There\, the band enlisted Chicago musicians Lia Kohl and OHMME’s Macie Stewart to provide strings throughout the record and their lush swells colorfully accent the arrangements.  \nRisks and experiments make Forever Turned Around a triumph like opener “Giving Up.” The track started from a stream-of-conscious revelation when Ehrlich improvised the chorus while Kakacek played Wurlitzer. What began as a nod to Neil Young’s Live at Massey Hall 1971 in an afternoon turned into a heart-rending and relatable song about the ups and downs of long-term relationships. Over twinkling piano\, Ehrlich sings\, “Though we started losing touch / I’ve been hanging on because / You’re the only one I love.” He explains\, “In a relationship\, you don’t stay at the same level at all times. You go through periods where you’re closed off.”  \nWhitney has long been a full-fledged band with keyboardist Malcolm Brown\, guitarist Print Choteau\, bassist Josiah Marshall\, and trumpeter Will Miller backing them live\, along with Asrar who’s returning to the fold on their upcoming tour. On the album\, the wider and more maximalist songs match the tight-knit chemistry of their electric performances thanks to Tucker Martine’s immaculate mixes. “We’ve become such a well toured band and developed this groove that you can hear it all over the LP\,” says Ehrlich. Though the stoner instrumental freakout “Rhododendron” is the most obvious example of this vibe\, with its slinking guitar leads and Miller’s flailing trumpet lines\, other songs like “Before I Know It” evoke the breezy melancholy of Labi Siffre. \nForever Turned Around is an album about relationships. It deals with how they evolve or flounder and how loneliness can creep in unexpectedly. Penultimate track “Friend of Mine” captures this sentiment beautifully. The emotional centerpiece of the album\, it builds to a crescendo during the chorus with Ehrlich singing of an old acquaintance\,”While you’re drifting away / Like a cloud hanging over the pines.” Happiness can be fleeting but this album proves that even when it feels like time is turning on its head and there’s either a moment of clarity or crippling doubt\, there’s still beauty in figuring it all out. \n—–\nJosh Terry\nMay 15\, 2019\nChicago\, IL  \n*** \nhand Habits \n \nWebsite\nFacebook \nMeg Duffy grew up in a small town in Upstate New York and they cut their teeth as a session guitarist and touring member of Kevin Morby’s band. The Hand Habits project emerged after Meg moved to Los Angeles; it started as a private songwriting outlet but soon evolved into a fully-fledged band with Meg at the helm. Hand Habits’ debut album\, Wildly Idle (Humble Before The Void)\, was released by Woodsist Records in 2017. The LP was entirely self-produced and recorded in Meg’s home during spare moments when they weren’t touring. Wildly Idle (Humble Before The Void) is a lush\, homespun collection of folk songs that found Meg in an exploratory state as an artist moving out on their own for the first time.Two years later\, Hand Habits has returned with their sophomorealbum\, placeholder\, due out March 1st on Saddle Creek. To make this album\,Meg chose to work in a studio and bring in collaborators\, entrusting them with what had previously been a very personal creative process. Over the course of 12 tracks\, Meg emerges with new confidence as both a bandleader and singer. This albumis as tender and immediate as anything Meg’s ever written\, but it’s also intensely focused and refined\, the work of a meticulous musician ready to share their singular vision with the world. The name placeholder stems from Meg’s fascination with the undefinable. Their songs serve as openings —carved-out spaces waiting to be endowed with meaning. As a lyricist\, Meg is drawn to the in-between\, and the songs on this new album primarily confront the ways in which certain experiences can serve as a stepping stone on the road to self-discovery. “A big aspect of my songwriting and the way I move through the world depends on my relationships with people. The songs on placeholder are about accountability and forgiveness\,” Meg says. “These are all real stories. I don’t fictionalize much.” placeholder opens with the title track which on its surface is about a break-up. “Oh but I was just a placeholder/ A lesson to be learned\,” a scorned Meg sings over a lush bed of twangy guitars. The blame quickly shifts\, though\, as Meg begins to take on partial responsibility for the partnership’s collapse: “Oh but now you are just a placeholder/ Blinded by desire/ Oh now you’re just a placeholder for someone wasting time.” Nothing in Meg’s world is as simple as black and white\, right or wrong. An openness to nuance drives revelation in these songs. “I value the closeness I share with my chosen family and I’m interested in queering relationships in my music. The relationships in my life expand my capacity to love because the lines between romance and friendship are often blurred\,” Meg explains. The bonds Meg addresses on placeholder extend beyond the bounds of romance. On “can’t calm down\,” Meg contemplates inherited trauma and questions whether it’s possible for someone to upend patterns of familial suffering. Relatedly\, the closing track\, “book on how to change part II\,” refers back to Meg’s mother\, who died when they were young. It’s a simultaneously aching and reassuring song\, buoyed in part by a saxophone and Meg’s pointed harmonies that bring levity to painful subject matter.Wildfires raged in Southern California when Meg wrote the bulk of placeholder\, and the anxiety that came with living in L.A. during that time exposes itself throughout these songs. “Fire is such a powerful symbol. It’s destructive\, but it’s also generative\,” Meg says. References to that particular mindset abound on placeholder\, most notably on the stand-out track “wildfire\,” but it creeps into other songs\, too. Separating side A from side B is a MIDI interlude titled “heat\,” which finds Meg repeating\, “Heat beyond the lines of passion\,” a line borrowed from Jeanette Winterson’s novel The Passion.
URL:https://royaleboston.com/event/whitney/
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:20191003T190000
DTEND;TZID=America/New_York:20191003T190000
DTSTAMP:20260405T042829
CREATED:20190409T142406Z
LAST-MODIFIED:20190910T022016Z
UID:10002762-1570129200-1570129200@royaleboston.com
SUMMARY:Ladytron
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 4/12 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n\n*** \nLadytron \n06698_041 \nWebsite\nFacebook\nTwitter \nLou Rebecca\nFacebook
URL:https://royaleboston.com/event/ladytron/
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:20191004T180000
DTEND;TZID=America/New_York:20191004T180000
DTSTAMP:20260405T042829
CREATED:20190506T170033Z
LAST-MODIFIED:20190820T184340Z
UID:10002055-1570212000-1570212000@royaleboston.com
SUMMARY:Bombay Bicycle Club
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri 5/10 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nBombay Bicycle Club \n \nWebsite\nFacebook\nTwitter \n*** \nThe Greeting Committee \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/bombay-bicycle-club/
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:20191006T190000
DTEND;TZID=America/New_York:20191006T190000
DTSTAMP:20260405T042829
CREATED:20190408T144115Z
LAST-MODIFIED:20191001T170548Z
UID:10002760-1570388400-1570388400@royaleboston.com
SUMMARY:Mt. Joy
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 4/12 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nMt. Joy \n \nWebsite\nFacebook\nTwitter \n“These dreams are more than paper things\,” sings Matt Quinn on Mt. Joy’s infectious folk-rocker “Astrovan\,” a warm\, yearning bit of road-trip philosophy that posits the existence of a Deadhead Jesus cruising the dusty highways of the countryside\, nursing a roach on his way to only He knows where. It’s an auspicious line from a band predicated on the revival of teenage dreams. \nMt. Joy started off as a rekindling of shared musical ambitions between Philadelphia high school friends Matt Quinn (vocals\, guitar) and Sam Cooper (guitar). Reunited in Los Angeles thanks to the ebbs and flows of adult life\, the pair met multi-instrumentalist Michael Byrnes through a Craigslist ad. They named themselves Mt. Joy as an ode to a mountain in Valley Forge National Park near Sam’s childhood home\, and together\, with Byrnes’ roommate Caleb Nelson producing\, they recorded three songs and sent them out into the world\, hoping for the best. “I knew I still wanted to write songs\, but the realities of life made that dream seem pretty impossible\,” Quinn says. \nMuch to the band’s amazement\, “Astrovan” accomplished the impossible. Without initial promotion or fanfare\, the song took off on Spotify\, racking up 5 million streams to date. “The irony of ‘Astrovan’ was that song was really about being stuck in a life and wanting to have the opportunity to pursue a dream\, and in an instant it gave us that opportunity. ” Quinn says. Mt. Joy quickly transitioned from a part-time calling into a full-fledged band rounded out by Byrnes on bass\, Sotiris Eliopoulos on drums and Jackie Miclau on keyboard. \nCome 2017\, Mt. Joy hit the road\, and hit it hard: They played tour dates alongside the likes of The Shins\, The Head and The Heart\, The Lone Bellow\, and Whitney\, and popped up at some of the summer’s biggest festivals\, including Bonnaroo\, Newport Folk Festival\, Lollapalooza and Made In America. “We were put on some big shows very quickly\,” Quinn says. “The growth for us has been exponential – we’ve really just become a family that’s constantly pushing each other and the live show to be great.” They eventually caught the attention of Dualtone Records and began work on their debut album. \nSteeped in folk-rock tradition and powered by the intuitive creative connection between Quinn and Cooper\, the songs on ‘Mt. Joy’ depict Quinn wrestling with his own conscience\, where the mundane and the fantastic collide as he processes tragedy\, society\, and love. Opener “I’m Your Wreck” describes “monsters in (the) closet\, using up the wi-fi” as it cycles from its desperate\, spiraling verses to its swinging\, stubbornly optimistic coda\, while the loping\, plaintive chords of “Younger Days” meditate on a frayed psyche and the fear of choosing the wrong path. “Sheep\,” with its collapsing\, hoarse-voiced cry of “freedom was paid in blood\,” is a post-Trump salvo on the responsibilities of the fortunate to overcome political and social despondency. And on “Silver Lining\,” perhaps the album’s brightest moment\, Quinn surveys the damage of hard drugs and the vicious cycle of addiction\, as the song’s melancholic sentiment kicks into its fervid\, defiant chorus\, all shout-along vocals and trilling guitars. \nTaken together\, the self titled ‘Mt. Joy’ LP is a startlingly open document\, wracked with the anxieties and fears that come just as life seems to start working out. It’s a natural reaction from a wary band like Mt. Joy – the result of a sort of professional vertigo\, as they’ve gone from virtual unknowns to hot young commodity in little over a year. But there’s a sense of hope underlying everything\, girded by the fact that the Mt. Joy LP is an impressive\, honest portrayal of a young band facing that moment where dreams become reality\, and finding beauty in the exhilarating uncertainty of it all. \n*** \nMorningbird \nFacebook
URL:https://royaleboston.com/event/mt-joy-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:20191009T190000
DTEND;TZID=America/New_York:20191009T190000
DTSTAMP:20260405T042829
CREATED:20190507T150056Z
LAST-MODIFIED:20190913T204854Z
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SUMMARY:[SOLD OUT] Lewis Capaldi
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*** \n \n*** \nLewis Capaldi \n \nWebsite\nFacebook\nTwitter  \n*** \nSaint PHNX \n \nWebsite\nFacebook\nTwitter  \nThere’s nothing quite like the bond between siblings and this bond is at the heart of Saint PHNX – the Glaswegian born duo comprised of brothers Stevie and Alan Jukes. Shades of Imagine Dragons\, Bastille and X Ambassadors weave their way through Saint PHNX’s immense sound. A big helping of attitude\, a willingness to experiment and a knack for writing rousing choruses ensures they can rival any arena act and cut through to the top.
URL:https://royaleboston.com/event/lewis-capaldi/
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:20191010T200000
DTEND;TZID=America/New_York:20191010T200000
DTSTAMP:20260405T042829
CREATED:20190320T171301Z
LAST-MODIFIED:20191001T144231Z
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SUMMARY:Lost Frequencies (LIVE)
DESCRIPTION:Presented by Bowery Boston \nDoors: 8:00 pm / Show: 9:00 pm \nTickets on sale Fri 3/22 at 7am! \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*** \nLost Frequencies \n \nWebsite\nFacebook\nTwitter \nFelix De Laet\, better known by his moniker Lost Frequencies\, has soared to success in the international music industry on many levels. Releasing his global smash hit ‘Are You With Me’ back in 2014 and quickly cementing himself as a name to watch\, the track rapidly ascended by hitting multi-platinum status and taking the #1 spot in 18 countries and becoming the first Belgian artist to hit #1 in the UK. Proving that he is no one-trick pony in the studio\, ‘Reality’ evidenced as another major smash hit from the young prodigy that flew to platinum status in no less than 7 territories\, blossoming further to become one of the most Shazamed anthems of the year.  \nAs well as this\, a zig zag of global dates at the world’s most important festivals including Coachella\, Tomorrowland\, Lollapalooza\, closing down EDC Vegas in spectacular solo style\, and a hugely impressive arena run with fellow chart-dominators The Chainsmokers; another year sparkled bright for the superstar. And it didn’t end there… Solidifying himself further as a trailblazer in the scene\, in 2018 Lost Frequencies amassed over 1 billion streams and ripped up the rule book on his tropical-infused official remixes on Major Lazer\, Justin Bieber & MØ’s ‘Cold Water’\, Miley Cyrus’s ‘Malibu’ and LSD Labrinth / Diplo / Sia’s ‘Thunderclouds’\, showing that his unique electronic style can lend itself to multi-dimensional pop and still deliver an inimitable sound as the hits just kept on coming.   \nLost Frequencies also firmly established himself as one of the strongest\, fastest rising talents with his debut entry into the 2017 DJ Mag poll at #26\, the highest new entry of any artist that year\, when in 2018 he then surpassed this previous achievement by climbing up to #17. As the accolades multiplied including emerging victorious in the ‘Dance International’ and ‘Hit of The Year’ categories at the ECHO award ceremony (comparable with the U.S. Grammy’s)\, beating the likes of Adele on the latter to two.  \nAfter the successes of his Lost Frequencies and friends-curated parties globally\, he took the party to Tomorrowland for the third year\, which in 2017\, was the only stage to be closed down during the event as an unprecedented number of fans descended on the stage to view the fun\, showcasing the huge appeal held by Lost Frequencies not only in his home of Belgium\, but amongst the world-class\, diverse Tomorrowland crowd. \nBranching out with the launch of his label Found Frequencies\, featuring his own productions as well as a collaboration with James Blunt to name but one link-up on the imprint\, from show-stopping live appearances\, to career-making studio hits\, he’s soaring to a meteoric rise at his own accord. \n*** \nThrottle \nWebsite\nFacebook\nTwitter \n*** \nLost Frequencies \nWebsite
URL:https://royaleboston.com/event/lost-frequencies-live/
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:20191011T180000
DTEND;TZID=America/New_York:20191011T180000
DTSTAMP:20260405T042829
CREATED:20190715T160033Z
LAST-MODIFIED:20190714T170526Z
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SUMMARY:Shovels & Rope
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri 7/19 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 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*** \nShovels & Rope \n \nWebsite\nFacebook\nTwitter \nAs the Brontл sister wrote\, “The ties that bind us to life are tougher than you imagine.” Shovels & Rope\, the musical duo of Michael Trent and Cary Ann Hearst\, embody that bond. Married for a decade\, their covenant extends to blood and beyond: as parents\, bandmates\, and creative collaborators who can now add the pursuits of festival curators\, film subjects\, and children’s book authors to that mighty list. Having released four studio albums and two collaborative projects (Busted Jukebox\, Vol. 1 & 2) since 2008\, Trent and Hearst have built their reputation on skill\, sweat\, and\, yes\, blood. Now\, with the tough and elegant new record By Blood\, as well as their High Water Festival in their hometown of Charleston\, South Carolina\, “Shovels & Rope: The Movie”\, and the picture book “C’mon Utah!”\, Shovels & Rope are primed for their biggest year yet. \nAccomplished musicians in their own right prior to dedicating themselves full time to Shovels & Rope in 2011\, Trent and Hearst have made a career together by seizing opportunities and never resting on their laurels or being complacent in doing something just because. Carving out a niche in the music world with strong\, roots/indie/folk/rock-inspired efforts like 2012’s O’ Be Joyful\, 2014’s Swimmin’ Time\, and 2016’s inward-looking Little Seeds\, as well as their powerful live show\, far-reaching tours\, and myriad TV and festival appearances\, Shovels & Rope have earned the right to follow their own muse. And so\, in an effort to satisfy their numerous creative interests and adapt to a changing industry\, Trent and Hearst have firmly planted their flag in realms beyond recording and releasing albums. \nThe third annual High Water Festival curated by the band will be held over a weekend in April and will bring 10\,000 fans to a park in North Charleston to witness a lineup of artists comparable to some of the best in the country—including Leon Bridges\, The Head & The Heart\, Lord Huron\, Jenny Lewis\, Mitski\, and Shovels & Rope themselves. High Water benefits select organizations and water conservation charities in Charleston and aims to avoid the feeling of corporate inundation and discomfort that plagues many big-name music events. Trent and Hearst work with production companies and agencies to book acts\, then serve as on-site hosts in addition to performing throughout the weekend. \n“Shovels & Rope: The Movie” is a performance film that has been expanded into feature-length with an external narrative weaving through and connecting the live performances. Directed by their frequent visual collaborator\, Curtis Millard\, the ‘live show’ portion of the filming took place over two nights at The Orange Peel in Asheville\, North Carolina\, during the tour for Little Seeds. The rest of the film was shot in various locations in and around the Southeast. The result can be described as a David Lynch meets John Hughes (a fun\, silly\, and tongue-in-cheek film for fans to enjoy that also represents the band at the peak of their live power.) \nThe children’s book\, “C’mon Utah!”\, sets the lyrics from the new song of the same name to illustrations by the artist Julio Cotto. It is an inspirational story\, set in the future aftermath of the building and subsequent destruction of the southern border wall. The separated and displaced families are figuring out how to start to put the pieces back together. Communities form to organize and support each other. The parents in these communities tell stories to lift the children spirits and maintain hope through sadness and despair. One such story is about a magic horse named Utah who has the power to help to reunite them with their families on the other side of the devastation. The book is intended as a conversation starter for parents and children to discuss immigration and diversity. \nTrent and Hearst have learned to juggle their busy schedules by relying on each other as well as their team\, and by seizing every chance for efficiency. They realized one such opportunity by building a modest studio at home\, which is where they began to record By Blood in May of 2018. The new space in their back yard provides a sanctuary where their gear can remain at the ready\, a luxury conducive to their creative process—especially when sharing a home with kids. \nBy Blood’s ten songs are vignettes that focus on vulnerable\, human characters laid bare\, while the textures are gritty\, sweeping\, and profound. These are tales of inherently good yet incomplete people whose faults are on the table in plain sight\, a trait that endears the subjects to the listener and that the songwriters recognize in themselves. \nThe first single “The Wire” is about accepting your own faults and learning to say you’re sorry. Its stylishly minimal verses and wall of sound chorus recall some raw\, girl-group era drama as well as timeless rock and roll. As the gorgeous\, dark lullaby of the title track brings the album to its end\, the beautiful\, cinematic journey of By Blood has left its mark.\nAnd so\, bound by blood\, by sweat\, and by love—of creativity\, craft\, and family—Shovels & Rope are coming out swinging. From the bind in their band name itself to the shared life they have built from scratch\, it’s clear that Trent and Hearst are in constant pursuit of their best selves—together. \n*** \nCedric Burnside \nWebsite\nFacebook \n“My school was a juke joint/From a kid till I was grown/And blues is really/All I ever known”\n“Ain’t Gonna Take No Mess” \nTake one glance at the iconic tintype photograph which serves as the cover to his new album\, Benton County Relic\, and you know immediately that Cedric Burnside is the real deal. “When I first saw it\, I thought I looked like an outlaw\,” he laughs. \nThe 39-year-old still lives on several acres not far from the Holly Springs\, Mississippi\, home where he was raised by “Big Daddy\,” his grandfather\, the late singer/songwriter/guitarist R.L. Burnside whom Cedric famously played with\, just as his own father\, drummer Calvin Jackson\, did.  Cedric was literally born to the blues\, more specifically\, the “rhythmically unorthodox” Hill country variant which emerged from Mississippi\, where he grew up surrounded (and influenced) by Junior Kimbrough\, Jessie May Hemphill and Otha Turner\, as well as delta musicians T-Model Ford and Paul “Wine” Jones. \nGrammy-nominated in 2015 for Best Blues Album for the Cedric Burnside Project’s Descendants of Hill Country\, as well as the recipient of the Blues Music Awards honor as Drummer of the Year for four consecutive years\, Cedric’s latest album offers a showcase for his electric and acoustic guitar\, recording 26 tracks in just two days with drummer/slide guitarist Brian Jay in the latter’s Brooklyn home studio in a rush of creativity. It’s his first release for Single Lock Records\, the Florence\, Alabama label headquartered across the Tennessee River from the legendary Muscle Shoals Sound Studio and responsible for critically acclaimed records by John Paul White\, Nicole Atkins\, Dylan LeBlanc and St. Paul & the Broken Bones. \nAnd while Cedric humbly refers to himself in the album’s title\, the music within is anything but ancient\, the rich tradition of Hill country blues dragged kicking and screaming into the modern-day with crackling electricity amid its nod to life’s essentials. If the blues has traditionally been about getting through hard times\, Benton County Relic offers the kind of deep baring of the soul that enables us to transcend oppression\, whether in the 19th century or in the precarious present. \nThere’s blood on these 12 tracks\, from the matter-of-fact recitation of his poverty-stricken childhood without running water\, radio or TV in “We Made It” (“I come from nothin’/I done been lower than low/I keep my head straight/No matter how low I go”) and the description of a “Typical Day” (“I wake up in the mornin’/Sun shinin’ on my face/I drink a cup of coffee/I might roll me a J”) to the loss of family endured in “Hard to Stay Cool” and the unrequited passion of “There is So Much.” \n“I write my music according to how I live my life\, the things I’m going through at the time\,” insists Burnside\, who lost both his parents\, an uncle and his younger brother Cody over the last few years. “I love music so much. It’s really something I can turn to when I’m feeling down and out\, and in pain.  Whether it’s the heartache of breaking up with a girlfriend\, or frustration at a dispute with a family member.” \nBurnside has brought a music that started as an expression of grief and a will to survive into a modern-day art form that is both timely and timeless\, a glimpse of myth and insight into the human condition. “Back in the day\, it wasn’t heard as music\, but more like ‘somebody help me\, I want to get out of this situation\,’” says Cedric. “These days\, anybody can have the blues. Some people deal with loss by going out and getting drunk or even killing themselves. The blues is about surviving through those hard times\, telling the world what you’ve been through\, and how you came out of it.” \nCedric’s blues cover a wide range of different emotions. “Give It to You” is an expression of pure sexual desire\, a traditional blues trope.  Burnside explains\, “That kind of stuff still goes on in the world today\,” he says. “It has happened to me\, and I’m sure it has happened to a lot more people. Whether it’s politically correct or not\, it’s the truth.  And that’s how I write my music. It might seem harsh or messed-up\, but it’s real.” \n“Call on Me” is a song penned for his three daughters\, ages 13 to 17\, about being there emotionally\, if not always in person\, given his hectic touring schedule. “I just want them to know\, what I do is not just for the fans\, but for them\, too.” \nThe traditional “Death Bell Blues” is a tribute to his own “Big Daddy\,” R.L. Burnside\, who used to perform the song\, once covered by Muddy Waters and countless others. “I did it the same way ‘Big Daddy’ did it\,” he says. “I want to let the people know where my music comes from.” \nOn “Ain’t Gonna Take No Mess\,” Cedric insists he’s performing the music he wants\, regardless of what anybody else says. “I’ve been playing almost 30 years now\,” he exclaims. “It’s who I am\, what I am.  I am Hill country blues. This is my whole life\, and I’m not going to listen to anyone who tells me what I can and can’t do. I just thank God that Single Lock Records let me be with my music.” \nCedric has both played and recorded with the North Mississippi Allstars (Luther Dickinson gave him his first electric guitar)\, Widespread Panic\, Jimmy Buffett\, Bobby Rush\, Hubert Sumlin\, Black Joe Lewis and the Honeybears and the Jon Spencer Blues Explosion. He was also featured playing drums alongside Samuel L. Jackson in Craig Brewer’s 2006 feature film\, Black Snake Moan\, which was in part a tribute to his grandfather R.L. and other iconic bluesmen. \nNow planning to tour with collaborator Brian Jay to promote the new album\, Cedric eschews politics in favor of the personal.  “I know there’s a lot going on in the world\,” he says. “But I try to give it all to God and let Him handle it.  Politics divides people. The blues brings them together. A bluesman has to find a way to make it through.” \nCedric Burnside isn’t content with just making it through. On Benton County Relic\, he brings the blues alive for a new generation of fans weaned on the likes of White Stripes and the Black Keys. And why not? That’s all he’s ever known.
URL:https://royaleboston.com/event/shovels-rope/
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:20191012T183000
DTEND;TZID=America/New_York:20191012T213000
DTSTAMP:20260405T042829
CREATED:20180620T175427Z
LAST-MODIFIED:20191002T154824Z
UID:10001937-1570905000-1570915800@royaleboston.com
SUMMARY:SuicideGirls: Blackheart Burlesque
DESCRIPTION:SuicideGirls: Blackheart Burlesque is the sexiest\, smartest\, geekiest\, and most fun definitive pop culture burlesque show! Featuring none other than SuicideGirls themselves\, the show has been performed hundreds of times\, delighted millions of fans in over six countries\, and has been touring since 2003! Don’t miss your chance to see it live during the 2019 US Tour! SuicideGirls has been redefining beauty since 2001 with its network of over 3\,000 SuicideGirls and almost 9 million pinup style photographs on the premier\, members – only social network SuicideGirls.com. Check out blackheartburlesque.com for more information about the tour and to see where the girls are headed next! \n18+
URL:https://royaleboston.com/event/suicidegirls-blackheart-burlesque/
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:20191016T190000
DTEND;TZID=America/New_York:20191016T190000
DTSTAMP:20260405T042829
CREATED:20190507T141302Z
LAST-MODIFIED:20190809T160643Z
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SUMMARY:[SOLD OUT] IDLES
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show is SOLD OUT! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nIDLES \n \nWebsite\nFacebook\nTwitter \n*** \nPreoccupations \n \nFacebook\nTwitter \nPreoccupations’ songs have always worked through themes of creation\, destruction\, and futility\, and they’ve always done it with singular post-punk grit. The textures are evocative and razor-sharp. The wire is always a live one. But while that darker side may have been well-explored\, that’s not quite the same as it being fully\, intensely lived. This time it was\, and the result is ’New Material’\, a collection that broadens and deepens Preoccupations to a true mastery of their sound. In it lies the difference between witnessing a car crash and crashing your own\, between jumping into an ocean and starting to swallow the water.   \n“It’s an ode to depression\,’ singer Matt Flegel says plainly. “To depression and self-sabotage\, and looking inward at yourself with extreme hatred.”   Typically resilient\, the months leading up to recording ‘New Material’ brought a new order of magnitude to feelings that had been creeping up on Flegel for some time. He’d written bits and pieces of lyrics through the course of it\, small snippets he hadn’t assigned to any one thought or feeling but were emblematic of a deeper issue\, something germinating that was dense and numb and fully unshakeable.  As the band began writing music\, that process gave shape to the sheer tonnage of what he’d been carrying.  With virtually nothing written or demoed before the band sat down together\, the process was more collaborative than before.  It was almost architectural\, building some things up\, tearing others down to the beams\, sitting down and writing songs not knowing what they were about. But for Flegel\, it led to a reckoning.  “Finishing ‘Espionage’ was when I realized\,” says Flegel. “I looked at the rest of the lyrics and realized the magnitude of what was wrong.”  \n‘New Material’ builds a world for that feeling\, playing through its layers and complexities while hiding almost nothing. That inscrutable side is part of the magic\, here\, and a necessary counterweight to the straight-jab clarity of Flegel’s lyrics. You can deep-dive the lyrics or zone into a riff; you can face it or you can get lost in it.  “My ultimate goal would be to make a record where nobody knows what instrument is playing ever\,” says multi-instrumentalist Scott Munro\, “and I think we’ve come closer than ever\, here. It shouldn’t sound robotic — it should sound human\, like people playing instruments. It’s just maybe no one knows what they are.”   \nOpener “Espionage” lives up to Munro’s goals\, kicking off with a clattering\, rhythmic echo that gives way to sprinting percussion and a melody in the orbit of Manchester’s classics. “Manipulation” explores the futility of going through the motions\, balancing a droney\, minimal march with a thunder roll that brings it to the brink\, and to the doomed romantic declaration\, “please don’t remember me like I’ll always remember you.” “Disarray” bursts up like a blackened confetti cannon\, the song’s undeniably bright melody dancing over a refrain of “disarray\, disarray\, disarray” and literally nothing else.  “A lot of this is about futility\,” he says\, “trying to find something where there’s nothing to be found.” That hunt turns into a search-and-destroy mission on “Decompose”\, a tense\, speedy\, “blow yourself up and start again” type of song\, the very picture of creation and destruction\, as Flegel writes “for better or worse\, we are cursed in the ways that we tend to be.”  And while calling an album ’New Material’ might seem like a smartass move\, the truth is it’s as matter-of-fact a title as Espionage\, Disarray\, or anything else on the record.  Why fight that?  \nIf the through-line unifying Preoccupations’ work is a furious\, almost punishing cyclical quality\, ‘New Material’ does offer some relief.  “This is somehow the most uptempo thing we’ve ever done\,” observes Flegel. That propulsive\, itchy quality rescues ‘New Material’ from the proverbial bottom of the pit. To write these songs is to force oneself to reignite\, to play them is to stand up and reengage. Closer “Compliance” may not seem revelatory on first listen\, but it is deeply elemental\, a crucial finale and the band’s first standalone instrumental. Original versions were built to death\, reexamined and re-destroyed until they landed on just two chords — something simple\, fundamental — and resolved to make meaning out of that\, to show instead of tell. Flegel acknowledges it is more affecting to him than any other song on the record. It’s not redemption\, more like a forced reprieve.
URL:https://royaleboston.com/event/idles/
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:20191018T190000
DTEND;TZID=America/New_York:20191018T190000
DTSTAMP:20260405T042829
CREATED:20190430T162121Z
LAST-MODIFIED:20190430T162121Z
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SUMMARY:Foil Arms and Hog: Live
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Thu 5/2 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*** \nFoil Arms and Hog \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/foil-arms-and-hog-live/
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:20191020T190000
DTEND;TZID=America/New_York:20191020T190000
DTSTAMP:20260405T042829
CREATED:20190724T140006Z
LAST-MODIFIED:20190730T161551Z
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SUMMARY:Tank and the Bangas
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 7/26 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nTank and The Bangas \n \nWebsite\nFacebook\nTwitter \nComing from New Orleans\, Tank and the Bangas are surrounded by plenty of grand musical traditions. And the five-piece group has a rare knack for combining various musical styles—fiery soul\, deft hip-hop\, deep-groove R&B and subtle jazz—into one dazzling\, cohesive whole that evokes the scope of New Orleans music while retaining a distinctive feel all its own. \n“It’s music that can’t really be put in a box\,” says singer and poet Tarriona “Tank” Ball. She fronts the band with vivid charisma that helped Tank and the Bangas win NPR’s 2017 Tiny Desk Concert Contest by unanimous acclaim\, standing out among 6\,000 entrants because of what Bob Boilen called “the depth of their lyricism and the versatility of their players.” Those same qualities also attracted the attention of Verve Records\, which has signed the band. \nBall’s lyrical depth has been years in the making. She came up in the strong local slam poetry scene before meeting her bandmates: Merell Burkett on keyboards\, Joshua Johnson on drums\, Norman Spence on bass and synth keys and\, eventually\, Albert Allenback on alto sax and flute. “Growing up\, I always could sing\, but I wrote better than I sang\, so I focused on writing\,” she says. After her team won the National Poetry Slam Championship two years in a row\, Ball turned her full attention to Tank and the Bangas. \nWhat started as a loose collaboration at an open-mic night in 2011 has grown into a mesmerizing musical force that’s only picking up speed. After a featured set at the New Orleans Jazz & Heritage Festival early in the band’s career\, the musicians built a reputation outside their hometown by grinding it out on the road\, honing their live show and releasing the 2013 album Think Tank\, all the while converting audiences into passionate fans and garnering critical acclaim\, from the New Orleans Advocate to The New York Times. “It made us work hard\,” Ball says of playing Jazz Fest. “It made us want to feel deserving of it.” \nTheir hard work is paying off: The Huffington Post says Tank and the Bangas defy description onstage\, adding\, “It’s music that you have to experience.” The experience is subject to change from one night to the next. \n“One show will feel very electronic\, or hip-hop\, and another show will feel slow and vibe-y and jazzy\, and then another show will just be poetry and off-the-cuff riffs\,” says Johnson. “As a band\, we don’t like to hear ourselves do the same thing for too long\, so we might change a small thing here or there\, and if we change enough small things\, it seems like a big change.” \nTank and the Bangas won the Tiny Desk contest with “Quick\,” a riotous single they released in 2017 (and soon accompanied with a cheeky\, not entirely safe-for-work video). There’s more new music where that came from as the group works on the follow-up to Think Tank. “It’s going to be awesome\,” Ball says. “It’s going to be fun\, and a little vulnerable at the same time.” \nThe band’s ongoing evolution involves more than just music: Ball continues to grow and develop as a performer and writer. Even back in the open-mic days\, she was a force of nature. “I don’t know if there’s such a thing as too free\, but it was totally uninhibited. She was inspired\,” Spence says\, laughing at the memory. More recently\, Ball has become less of a dervish onstage—“I was running around so much I didn’t have time to sing at all\,” she say—while finding new ways of expressing herself as a writer. \n“I don’t just think about myself when I write now\,” she says. “Just being with my bandmates taught me to think more about other people. And when you have an audience of people ready to listen to you\, you’re excited to connect with them\, you really are.” \n*** \nPell \nWebsite
URL:https://royaleboston.com/event/tank-and-the-bangas/
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:20191021T190000
DTEND;TZID=America/New_York:20191021T190000
DTSTAMP:20260405T042829
CREATED:20190603T145533Z
LAST-MODIFIED:20190923T162011Z
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SUMMARY:[SOLD OUT] City and Colour (full band)
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show is SOLD OUT! Tickets are still available here for City and Colour’s solo show at the Berklee Performance Center on 10/22. \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*** \nCity and Colour \n \nWebsite\nFacebook\nTwitter \nCity and Colour\, the moniker of singer-songwriter Dallas Green\, is undeniably one of the biggest groundswell stories to emerge from Canada. Beyond his legacy as a co-founder of hardcore luminaries Alexisonfire\, he also teamed up with global icon Alecia Moore (a.k.a. P!nk) for You+Me.  \nOver the course of five studio albums\, Green has compiled a canon ripe with songs born of adoration and devotion amassing a legion of fans worldwide and garnering him 3 JUNOs\, including two SONGWRITER OF THE YEAR awards\, plus 3 Double Platinum\, 1 Platinum\, and 1 Gold certification at home in Canada.  Alongside these accomplishments\, Green has been awarded four Platinum-certified studio albums as a member of Alexisonfire. City and Colour’s last studio album If I Should Go Before You debuted at #1\, his third consecutive chart-topper in Canada. The LP also made serious waves internationally debuting at #16 on the U.S. Billboard 200 Chart and #5 in Australia where Green’s LP Little Hell was certified GOLD.  In 2014\, Green collaborated with international superstar Alecia Moore (aka P!nk) on a new project titled You+Me. The duo’s acclaimed Platinum-certified first record\, rose ave.\, debuted at #4 on the U.S. Top 200 Chart\, #1 in Canada\, #2 in Australia culminating in memorable performances on The Ellen Show and Jimmy Kimmel Live.  \nFans have much to look forward to in 2019. Green debuted a new single\, “Astronaut” June 3\, 2019. Lifting off on a dusty rumble of clean guitar and a steady beat\, Green’s voice immediately captivates as he carries a divine and dynamic hook before an echoing solo. It is the first original music from City and Colour in almost four years and is featured on his upcoming 6th studio album\, set to be released the fall of 2019\, on Green’s newly minted Still Records (an imprint of Dine Alone Records). The track was produced by three-time Grammy-winning Jacquire King (Kings Of Leon\, Tom Waits\, Modest Mouse\, Norah Jones) and mastered by Emily Lazar (Beck\, Coldplay\, Dolly Parton\, The Chainsmokers) the first female mastering engineer to win a Grammy for best engineered album (2019).  \n“I always think of the relationships in my life that have been fractured because I ended up doing what I do for a living\,” Green admits. “I’m always gone\, wandering around and singing my song. However\, it weighs on my family and friends. I’m asking for one more year. I left home at 21-years-old to go play my guitar. It’s lonely\, but it’s because I yearn to wander. I’m aware of how lucky I am.” \n*** \nRuby Waters \nWebsite\nFacebook
URL:https://royaleboston.com/event/city-and-colour-full-band/
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:20191022T190000
DTEND;TZID=America/New_York:20191022T190000
DTSTAMP:20260405T042829
CREATED:20190513T160021Z
LAST-MODIFIED:20191022T153312Z
UID:10002773-1571770800-1571770800@royaleboston.com
SUMMARY:Against Me!
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 7:45 pm \nTickets on sale Fri 5/17 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*** \nAgainst Me! \n \nWebsite\nFacebook\nTwitter \nAGAINST ME! – SHAPE SHIFT WITH ME \nLaura Jane Grace – vocals/guitar // James Bowman – guitar/vocals // Inge Johansson – bass // Atom Willard – drums \nFour years is a measurement of time that America has used for centuries to indicate change. Presidential terms last four years; high school diplomas and college degrees typically take four years apiece\, too. It’s not an arbitrary thing\, either: It typically takes that much time from the declaration of something changing for it to actually change. \nMeet Laura Jane Grace. Four years ago\, the Against Me! frontwoman came out as transgender; 18 months later\, she released the band’s sixth album\, the fiery Transgender Dysphoria Blues\, one which she began working on before her transition and helped document the struggles she was facing. It was an intensely personal record that took on a life of its own\, connecting with thousands of new listeners drawn to Grace’s honesty and complexity while still pleasing Against Me!’s dedicated fanbase. \nNow\, four years after Grace’s public reintroduction\, Against Me! is ready to release their new album\, Shape Shift With Me\, September 16 on Total Treble. While much has changed in the lives of Grace and her bandmates—guitarist James Bowman\, bassist Inge Johansson and drummer Atom Willard—in that time period\, it’s clear that those intervening years have done wonders for creativity. \n“Everything with Shape Shift With Me has been really about keeping momentum going\,” she says. “In between every tour we did for Transgender Dysphoria Blues\, I would have a couple songs I had written and we would demo them. At the end of two years of touring\, we had an album ready to record. Usually\, you come off of touring for a record and you’re back at square one. But this was so fully formed it felt like there was no choice but to go ahead and record the songs.” \nShape Shift With Me has the distinction of the first album Grace has written truly from the heart\, with no metaphorical cloaks cast over the lyrics. It’s an album about love\, that deceptively complex emotion we all struggle with yet has somehow eluded most of Grace’s songwriting for the past 20 years. \n“Tons of people have written about love. But while love is cliché\, it’s infinitely relevant. For me\, having always been in a punk band that was expected to be political\, I never felt like I had that option to write about feelings in that way. That’s what I ended up being drawn to this time. It’s writing in a way I thought I could never write before\, and not giving a shit about expectations.” \nAs such\, Shape Shift With Me is a loose concept album about traveling the world and falling in and out of love\, with Grace serving as the narrator. But even though she was opening herself up to new songwriting topics\, she knew what her mission was from the start. \n“Is there a record that is about relationships from a trans perspective?” she asks rhetorically. “There needs to be more records about trans rights and everything like that\, but feeling like I already did that\, I wanted to move on to write commentary on living from a trans perspective. I wanted to write the transgender response to the Rolling Stones’ Exile On Main St.\, Liz Phair’s Exile In Guyville and the Streets’ A Grand Don’t Come For Free. All those records are relationship records. There’s been an infinite amount of records talking about what love means from a cisgender perspective. I wanted to present the trans perspective on sex\, love and heartbreak.” \nWith Grace’s new motivation came a new outlook on the band\, as well. Previous albums found the songwriting process to be a largely solitary experience\, but she embraced the spirit of collaboration for Shape Shift With Me—so much so that when Cody Votolato of the Blood Brothers sent her some demos of songs he was working on for another project\, she became inspired and ended up co-writing “Boyfriend” and “Norse Truth\,” two of the album’s most memorable tracks\, with him. \n“It was just about opening up to whatever comes my way karmically\,” Grace says. “Whatever everyone in the band is willing to offer\, I just wanted to be open to it. I didn’t want it to be like what it was in the past where it may have felt closed. I want it to be different.” \nIn a career already full of classic punk records\, Shape Shift With Me feels like the definitive Against Me! album—it’s poppy and catchy (“Rebecca\,” “Suicide Bomber”)\, aggressive and in-your-face (“ProVision L-3\,” “Dead Rats”)\, sentimental and longing (“Crash\,” “All This And More”). Moreover\, it’s the culmination of four years of existence as Laura Jane Grace—there’s no going back now\, so she might as well embrace it. \n“While I’ve always wanted the moon and the stars\, I have a certain amount of humbleness\,” she admits. “I just want to play shows and make records and write songs. That’s what I’ve always wanted to do. Of course I always want the biggest and best things for those shows and records and songs\, but when it comes down to it\, I just love doing it. I have no other ambitions or career goals. \n“David Bowie put out 27 full-lengths. Prince put out 39 full-lengths\,” Grace remarks. “That is so inspiring to me—working\, creating art\, creating records and let everyone else sort it out. That’s what I’ve always wanted to do and that’s what I will keep on doing.” \n*** \nCursive \n \nWebsite\nFacebook\nTwitter \nOver the past two decades\, Cursive has become known for writing smart\, tightly woven concept albums where frontman Tim Kasher turns his unflinching gaze on specific\, oftentimes challenging themes\, and examines them with an incisively brutal honesty. 2000’s Domestica dealt with divorce; 2003’s The Ugly Organ tackled art\, sex\, and relationships; 2006’s Happy Hollow skewered organized religion; 2009’s Mama\, I’m Swollen grappled with the human condition and social morality; and 2012’s I Am Gemini explored the battle between good and evil. But the band’s remarkable eighth full-length\, Vitriola\, required a different approach — one less rigidly themed and more responsive as the band struggles with existentialism veering towards nihilism and despair; the ways in which society\, much like a writer\, creates and destroys; and an oncoming dystopia that feels eerily near at hand. \nCursive has naturally developed a pattern of releasing new music every three years\, creating records not out of obligation\, but need\, with the mindset that each record could potentially be their last. 2015 came and went\, however\, and the band remained silent for their longest period to date. But the members of Cursive have remained busy with solo records\, a movie (the Kasher-penned and directed No Resolution)\, and running businesses (the band collectively owns and operates hometown Omaha’s mainstay bar/venue\, O’Leaver’s). The band even launched their own label\, 15 Passenger\, through which they’re steadily reissuing their remastered back catalogue\, as well as new albums by Kasher\, Campdogzz\, and David Bazan and Sean Lane. And like many others\, the band members have been caught up in the inescapable state of confusion and instability that plagues their home country\, and seems to grow more chaotic with each passing day. \nWhich brings us to 2018 and Vitriola. For the first time since Happy Hollow\, the album reunites Kasher\, guitarist/singer Ted Stevens and bassist Matt Maginn with founding drummer Clint Schnase\, as well as co-producer Mike Mogis (Bright Eyes\, M. Ward\, Jenny Lewis) at ARC Studios in Omaha. They’re joined by Patrick Newbery on keys (who’s been a full-time member for years) and touring mainstay Megan Siebe on cello. Schnase and Maginn are in rare form\, picking up right where they left off with a rhythmic lockstep of viscera-vibrating bass and toms\, providing a foundation for Kasher and Stevens’ intertwining guitars and Newbery and Siebe’s cinematic flourishes. The album runs the sonic gamut between rich\, resonant melodicism\, Hitchcockian anxiety\, and explosive catharsis — and no Cursive album would be complete without scream-along melodies and lyrics that\, upon reflection\, make for unlikely anthems. \nThere’s a palpable unease that wells beneath Vitriola’s simmering requiems and fist-shakers. Fiery opener “Free To Be or Not To Be You and Me” reflects the album’s core: a search for meaning that keeps coming up empty\, and finding the will to keep going despite the fear of a dark future. The album directs frustration and anger at not only modern society and the universe at large\, but also inward towards ourselves. On “Under the Rainbow\,” disquiet boils into rage that indicts the complacency of the privileged classes; “Ghost Writer” has a catchy pulse that belies Kasher chastising himself for writing about writing; and “Noble Soldier/Dystopian Lament” is a haunting look at potential societal collapse that provides little in the way of hope but balances beauty and horror on the head of a pin. \nVitriola raises a stark question: is this it? Is everything simply broken\, leaving us hopeless and nihilistic? Maybe not. There can be reassurance in commiseration\, and the album is deeply relatable: Cursive may not be offering the answers\, but there is hope in knowing you’re not alone in the chaos. \n*** \nDilly Dally \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/against-me-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:20191023T190000
DTEND;TZID=America/New_York:20191023T190000
DTSTAMP:20260405T042829
CREATED:20190513T160025Z
LAST-MODIFIED:20191022T153322Z
UID:10002774-1571857200-1571857200@royaleboston.com
SUMMARY:Against Me!
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 7:45 pm \nTickets on sale Fri 5/17 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*** \nAgainst Me! \n \nWebsite\nFacebook\nTwitter \nAGAINST ME! – SHAPE SHIFT WITH ME \nLaura Jane Grace – vocals/guitar // James Bowman – guitar/vocals // Inge Johansson – bass // Atom Willard – drums \nFour years is a measurement of time that America has used for centuries to indicate change. Presidential terms last four years; high school diplomas and college degrees typically take four years apiece\, too. It’s not an arbitrary thing\, either: It typically takes that much time from the declaration of something changing for it to actually change. \nMeet Laura Jane Grace. Four years ago\, the Against Me! frontwoman came out as transgender; 18 months later\, she released the band’s sixth album\, the fiery Transgender Dysphoria Blues\, one which she began working on before her transition and helped document the struggles she was facing. It was an intensely personal record that took on a life of its own\, connecting with thousands of new listeners drawn to Grace’s honesty and complexity while still pleasing Against Me!’s dedicated fanbase. \nNow\, four years after Grace’s public reintroduction\, Against Me! is ready to release their new album\, Shape Shift With Me\, September 16 on Total Treble. While much has changed in the lives of Grace and her bandmates—guitarist James Bowman\, bassist Inge Johansson and drummer Atom Willard—in that time period\, it’s clear that those intervening years have done wonders for creativity. \n“Everything with Shape Shift With Me has been really about keeping momentum going\,” she says. “In between every tour we did for Transgender Dysphoria Blues\, I would have a couple songs I had written and we would demo them. At the end of two years of touring\, we had an album ready to record. Usually\, you come off of touring for a record and you’re back at square one. But this was so fully formed it felt like there was no choice but to go ahead and record the songs.” \nShape Shift With Me has the distinction of the first album Grace has written truly from the heart\, with no metaphorical cloaks cast over the lyrics. It’s an album about love\, that deceptively complex emotion we all struggle with yet has somehow eluded most of Grace’s songwriting for the past 20 years. \n“Tons of people have written about love. But while love is cliché\, it’s infinitely relevant. For me\, having always been in a punk band that was expected to be political\, I never felt like I had that option to write about feelings in that way. That’s what I ended up being drawn to this time. It’s writing in a way I thought I could never write before\, and not giving a shit about expectations.” \nAs such\, Shape Shift With Me is a loose concept album about traveling the world and falling in and out of love\, with Grace serving as the narrator. But even though she was opening herself up to new songwriting topics\, she knew what her mission was from the start. \n“Is there a record that is about relationships from a trans perspective?” she asks rhetorically. “There needs to be more records about trans rights and everything like that\, but feeling like I already did that\, I wanted to move on to write commentary on living from a trans perspective. I wanted to write the transgender response to the Rolling Stones’ Exile On Main St.\, Liz Phair’s Exile In Guyville and the Streets’ A Grand Don’t Come For Free. All those records are relationship records. There’s been an infinite amount of records talking about what love means from a cisgender perspective. I wanted to present the trans perspective on sex\, love and heartbreak.” \nWith Grace’s new motivation came a new outlook on the band\, as well. Previous albums found the songwriting process to be a largely solitary experience\, but she embraced the spirit of collaboration for Shape Shift With Me—so much so that when Cody Votolato of the Blood Brothers sent her some demos of songs he was working on for another project\, she became inspired and ended up co-writing “Boyfriend” and “Norse Truth\,” two of the album’s most memorable tracks\, with him. \n“It was just about opening up to whatever comes my way karmically\,” Grace says. “Whatever everyone in the band is willing to offer\, I just wanted to be open to it. I didn’t want it to be like what it was in the past where it may have felt closed. I want it to be different.” \nIn a career already full of classic punk records\, Shape Shift With Me feels like the definitive Against Me! album—it’s poppy and catchy (“Rebecca\,” “Suicide Bomber”)\, aggressive and in-your-face (“ProVision L-3\,” “Dead Rats”)\, sentimental and longing (“Crash\,” “All This And More”). Moreover\, it’s the culmination of four years of existence as Laura Jane Grace—there’s no going back now\, so she might as well embrace it. \n“While I’ve always wanted the moon and the stars\, I have a certain amount of humbleness\,” she admits. “I just want to play shows and make records and write songs. That’s what I’ve always wanted to do. Of course I always want the biggest and best things for those shows and records and songs\, but when it comes down to it\, I just love doing it. I have no other ambitions or career goals. \n“David Bowie put out 27 full-lengths. Prince put out 39 full-lengths\,” Grace remarks. “That is so inspiring to me—working\, creating art\, creating records and let everyone else sort it out. That’s what I’ve always wanted to do and that’s what I will keep on doing.” \n*** \nCursive \n \nWebsite\nFacebook\nTwitter \nOver the past two decades\, Cursive has become known for writing smart\, tightly woven concept albums where frontman Tim Kasher turns his unflinching gaze on specific\, oftentimes challenging themes\, and examines them with an incisively brutal honesty. 2000’s Domestica dealt with divorce; 2003’s The Ugly Organ tackled art\, sex\, and relationships; 2006’s Happy Hollow skewered organized religion; 2009’s Mama\, I’m Swollen grappled with the human condition and social morality; and 2012’s I Am Gemini explored the battle between good and evil. But the band’s remarkable eighth full-length\, Vitriola\, required a different approach — one less rigidly themed and more responsive as the band struggles with existentialism veering towards nihilism and despair; the ways in which society\, much like a writer\, creates and destroys; and an oncoming dystopia that feels eerily near at hand. \nCursive has naturally developed a pattern of releasing new music every three years\, creating records not out of obligation\, but need\, with the mindset that each record could potentially be their last. 2015 came and went\, however\, and the band remained silent for their longest period to date. But the members of Cursive have remained busy with solo records\, a movie (the Kasher-penned and directed No Resolution)\, and running businesses (the band collectively owns and operates hometown Omaha’s mainstay bar/venue\, O’Leaver’s). The band even launched their own label\, 15 Passenger\, through which they’re steadily reissuing their remastered back catalogue\, as well as new albums by Kasher\, Campdogzz\, and David Bazan and Sean Lane. And like many others\, the band members have been caught up in the inescapable state of confusion and instability that plagues their home country\, and seems to grow more chaotic with each passing day. \nWhich brings us to 2018 and Vitriola. For the first time since Happy Hollow\, the album reunites Kasher\, guitarist/singer Ted Stevens and bassist Matt Maginn with founding drummer Clint Schnase\, as well as co-producer Mike Mogis (Bright Eyes\, M. Ward\, Jenny Lewis) at ARC Studios in Omaha. They’re joined by Patrick Newbery on keys (who’s been a full-time member for years) and touring mainstay Megan Siebe on cello. Schnase and Maginn are in rare form\, picking up right where they left off with a rhythmic lockstep of viscera-vibrating bass and toms\, providing a foundation for Kasher and Stevens’ intertwining guitars and Newbery and Siebe’s cinematic flourishes. The album runs the sonic gamut between rich\, resonant melodicism\, Hitchcockian anxiety\, and explosive catharsis — and no Cursive album would be complete without scream-along melodies and lyrics that\, upon reflection\, make for unlikely anthems. \nThere’s a palpable unease that wells beneath Vitriola’s simmering requiems and fist-shakers. Fiery opener “Free To Be or Not To Be You and Me” reflects the album’s core: a search for meaning that keeps coming up empty\, and finding the will to keep going despite the fear of a dark future. The album directs frustration and anger at not only modern society and the universe at large\, but also inward towards ourselves. On “Under the Rainbow\,” disquiet boils into rage that indicts the complacency of the privileged classes; “Ghost Writer” has a catchy pulse that belies Kasher chastising himself for writing about writing; and “Noble Soldier/Dystopian Lament” is a haunting look at potential societal collapse that provides little in the way of hope but balances beauty and horror on the head of a pin. \nVitriola raises a stark question: is this it? Is everything simply broken\, leaving us hopeless and nihilistic? Maybe not. There can be reassurance in commiseration\, and the album is deeply relatable: Cursive may not be offering the answers\, but there is hope in knowing you’re not alone in the chaos. \n*** \nDilly Dally \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/against-me-2-2/
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:20191026T180000
DTEND;TZID=America/New_York:20191026T180000
DTSTAMP:20260405T042829
CREATED:20190607T160039Z
LAST-MODIFIED:20190814T184118Z
UID:10002780-1572112800-1572112800@royaleboston.com
SUMMARY:Oliver Tree
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri 6/14 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 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*** \nOliver Tree \n \nWebsite\nFacebook\nTwitter \nGenre-defying singer-songwriter-producer-professional scooter rider Oliver Tree has been making waves with his unique high-energy sound and eccentric persona. Tree’s latest hit single\, “Hurt\,” is slated to be his biggest yet\, currently reaching the Top 10 at Alternative radio while simultaneously ascending Billboard’s “Rock Airplay” and “Alternative Songs” charts. The single is accompanied by an equally gripping companion video\, which sees Tree crucify himself on his signature Razor scooter while cruising around Ukraine. The video – shot in Ukraine by Tree and co-director Brendan Vaughan – premiered exclusively via HighSnobiety\, which raved\, “There’s no mistaking Oliver Tree for anyone else because the Los Angeles-based artist is truly one-of-a-kind.” Watch “Hurt” at Oliver’s official YouTube channel here. Oliver recently made his late-night television debut with a groundbreaking performance of “Hurt”  on The Late Late Show With James Corden\, where he performed atop a set of stilts and commanded the stage with his signature high-energy flair and unique hard-hitting sound. \nFollowing the release of his 2018 debut EP ALIEN BOY\, Tree has gone on to receive impressive critical acclaim. VICE applauds Tree stating\, “Everything is so seamlessly interconnected to his brand\, his image. You can’t have one thing without the other. It’s not a one-off\, or a string of one-offs. He’s a developing polymath…” Huffington Post has applauded his work as “an enigma of genre. While (Tree is) primarily a pianist\, guitarist and producer\, his real-instruments-based-production incorporates rap\, male and female vocal harmonies\, poetic lyrics\, strings and a hearty dose of synth…as much philosopher as musician\, and a big dreamer at that\, (Tree’s) goal is to push the art form forward\, and beyond the electronic scene\, he aims to have his work reach the world and in doing so\, better his listeners’ lives\,” while NYLON encourages everybody to “get weird to the sweet\, sweet sounds of Oliver Tree.” Hailed by Billboard as “alt-pop’s merry prankster\,” in a recent “Chartbreaker” feature\, Oliver is currently readying his massively anticipated full-length debut album\, UGLY IS BEAUTIFUL\, due later this year. \n*** \nTommy Cash \n \nWebsite\nFacebook\nTwitter \nTOMMY CASH is globally renowned Estonian conceptual artist and genre-bending musician\, Tommy’s cult following has grown at a rapid rate.\nAt the end of 2018 he released his long-awaited debut album ¥€$.\nAlbum features an eclectic collection of production credits from genre pushing artists including Boys Noize\, Amnesia Scanner\, A. G. Cook and Danny L Harle\, creating a unique musical landscape that Tommy traverses and ties together in a way only he can. His recent singles ‘Pussy Money Weed’ and ‘Little Molly’\, with videos both currently sitting with over 5 million views a piece\, both present Tommy as a singularly  creative individual.  He’s also garnered critical acclaim from press across Europe. Paper Magazine labelled him a “legitimate creator” while Clash Magazine described his music as “empowering” and Q Magazine declared him the “dark lord” of his own “postmodern mythos. He’s graced the cover of French style-bible Antidote and beat out bigger competition to finish #8 in Dazed Magazine’s infamous ‘Dazed 100’ list as well as performed with Charli XCX on her ‘Pop 2 tour. Over the past 12 months with sold out shows across Europe including London’s Scala and huge shows in Russia\, Budapest\, Berlin\, Paris\, Warsaw and elsewehere\, Tommy’s cult-like following is clearly growing.  \n*** \nNVDES \n \nWebsite\nFacebook\nTwitter \nNVDES is a world I created\,” says Josh Ocean of his multi-genre electronic collective. As producer and de-facto frontman\, Ocean ignites controlled chaos by\, he says\, “building songs around random moments.” “La Nvdité”— his creative process—is set into motion when Ocean invites different musicians into his Los Angeles studio to jam. They record whatever music or lyrics transpire\, which he pieces together into songs. Ocean prefers the thrill of uncertainty over perfectionism\, and this has made NVDES quite prolific. NVDES is less of a band and more of an ongoing art project. “There isn’t a songwriting process. It’s really like splattering paint and just seeing what happens.” NVDES has released 3 EPs and one full length album\, “Vibe City Utah” which has amassed over 20 million streams globally. NVDES’ music has prominently been featured in campaigns for Apple (2 iPhone commercials)\, Samsung\, Google\, T-Mobile\, New Balance\, Oakley\, Macy’s\, Royal Caribbean\, and more.
URL:https://royaleboston.com/event/oliver-tree/
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:20191027T183000
DTEND;TZID=America/New_York:20191027T183000
DTSTAMP:20260405T042829
CREATED:20190813T160011Z
LAST-MODIFIED:20191014T204143Z
UID:10002805-1572201000-1572201000@royaleboston.com
SUMMARY:[SOLD OUT] The Wonder Years
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:30 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*** \nThe Wonder Years \n \nWebsite\nFacebook\nTwitter \nThe Wonder Years are a band & they are a band from Philadelphia\, Pennsylvania & they came to life in 2005 & they write songs & those songs are sometimes about people they love & those songs are sometimes about people you might have loved & those songs are sometimes about a city that could be the city you live in or a neighborhood that feels like it could be your neighborhood & they put those songs on albums & they put those songs on The Upsides in 2010 & they put those songs on Suburbia I’ve Given You All and Now I’m Nothing in 2011 & on The Greatest Generation in 2013 & on No Closer to Heaven in 2015 & those albums were loved by critics & even more loved by fans & their shows are awash with a genuine emotional energy that only they can pull out of a room & The Wonder Years are a band made up of old friends & they play rock & roll music & they play it like they mean it & they have played it in a lot of places & in front of a lot of people & they have played it in dive bars & arenas & outside with the whole sky bowing & they have played it on five continents & they have played it in thirty countries & they are still counting & Sister Cities is their new album & it is an album about how all of our distance might not be so wide after all & it was written with the world on fire & all of the songs sound like they are trying to build you a bridge from somewhere bad to somewhere better & The Wonder Years are a band & they are also bridge builders. \n*** \nTrash Boat \n \nWebsite\nFacebook\nTwitter \n*** \nFuture Teens \n \nWebsite\nFacebook\nTwitter \nFUTURE TEENS COMMERCIAL PITCH DRAFT ONE WRITTEN BY: CLIFF DAZZLE BIG SHOT AD AGENCY  \nFADE IN: INT. COFFEE SHOP- DAY  \nWe open on an older man and woman in their\nseventies across the table from one another. The man looks pre-occupied and concerned.  \nALICE:  What’s wrong\, Joe? Something on your mind?  \nJOE:  Every since Cecil passed on\, I’ve been\nthinking a lot about life insurance. I want to be\nsure the kids aren’t burdened  when it’s my time. Do you and GLADYS have any? \nALICE:  We do. But what’s really been helping us feel secure lately  is FUTURE TEENS.  \nJOE:  FUTURE TEENS? I’ve never heard of that.  \nAlice slides a copy of HARD FEELINGS across the table.  \nALICE:  They’re a rock band from Boston\, MA and they’ve changed everything for Gladys and I. People call them BUMMER POP and it’s a label\nthey wear proudly.  \nJOE:  I’ve never even heard of BUMMER POP.\nwhat does that sound like?  \nALICE:  It sounds like it’s 1 am and you’re on the front stoop of a  party full of people you barely know talking with your best friend after you’ve\nboth had a really hard couple of weeks.   \nJOE:  That sounds comforting.   \nALICE:  It is! And more people are starting to hear about FUTURE TEENS. Just recently\, they’ve started working with TRIPLE CROWN RECORDS and have played alongside notable acts like   OSO OSO\, VUNDABAR\, AARON WEST\, FREE THROW AND BAD BAD HATS.  \nJOE:  Wow. Sounds like I should get on board\nbefore it’s too late!  \nDISOLVE TO:   Title Card appears on screen with a 1-800 number and rainbow text reading  \nFUTURE TEENS. Calming music plays and we hear a soothing\, strong voice read our tag line and ending. \nNARRATOR: FUTURE TEENS – A COMFORTING FRIEND IN A TERRIFYING WORLD. Call right away to reserve your FUTURE TEENS now. Don’t delay! Supplies are limited!  \nThe NARRATOR reads the disclaimer at a much more rapid pace:  \nNARRATOR  DISCLAIMER: While FUTURE TEENS may make you feel less alone\, in most cases they will not physically be present during\nyour listening. FUTURE TEENS formed in 2014 with little aspiration outside of playing a Fourthof July BBQ. In the subsequent years the band\nwrote and released more songs\, steadily growing more serious about their goals. In 2017\, they released HARD FEELINGS with TAKE THIS TO HEART   RECORDS. Use of FUTURE TEENS may lead to random and frequent crying\npunctuated with strangely joyful laughter.\nFUTURE TEENS is not liable for any emotional distress caused by listening.
URL:https://royaleboston.com/event/the-wonder-years/
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:20191029T190000
DTEND;TZID=America/New_York:20191029T190000
DTSTAMP:20260405T042829
CREATED:20190618T160016Z
LAST-MODIFIED:20190620T204037Z
UID:10002069-1572375600-1572375600@royaleboston.com
SUMMARY:Chelsea Wolfe
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 6/21 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*** \nChelsea Wolfe \n \nWebsite\nFacebook\nTwitter \n*** \nIoanna Gika \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/chelsea-wolfe-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20191030T190000
DTEND;TZID=America/New_York:20191030T190000
DTSTAMP:20260405T042829
CREATED:20190624T134910Z
LAST-MODIFIED:20191028T142447Z
UID:10002073-1572462000-1572462000@royaleboston.com
SUMMARY:Alejandro Aranda is Scarypoolparty
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 6/28 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*** \nScarypoolparty \n \nFacebook\nTwitter \n*** \nSucré \n \nWebsite\nTwitter \nSucré (pronounced soo-cray) is Stacy King.\nShe has been writing\, singing\, and touring her whole life.\nBorn and raised in Tyler\, TX she now lives in Nashville\, TN.\nHer primary influences include Thom Yorke\, Bjork\, and Beth Gibbons.\nOn stage she uses synth\, guitar and electronic drums along with her\nbeautiful voice to create an entrancing synth-pop sound that hangs in the balance\nbetween beauty and sorrow. For 2019 she has released a new song on the\nfirst Friday of each month.
URL:https://royaleboston.com/event/alejandro-aranda-is-scarypoolparty/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20191031T200000
DTEND;TZID=America/New_York:20191031T230000
DTSTAMP:20260405T042829
CREATED:20190814T183404Z
LAST-MODIFIED:20190827T175855Z
UID:10002806-1572552000-1572562800@royaleboston.com
SUMMARY:Dragathon Halloween Night Spooktacular
DESCRIPTION:ON SALE AUGUST 8TH @ NOON \nALL AGES!
URL:https://royaleboston.com/event/dragathon-halloween-night-spooktacular/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/08/dra.jpg
ORGANIZER;CN="Gay Mafia Boston":MAILTO:rafael@gaymafiaboston.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:20191101T183000
DTEND;TZID=America/New_York:20191101T183000
DTSTAMP:20260405T042829
CREATED:20190604T172339Z
LAST-MODIFIED:20191029T150203Z
UID:10002778-1572633000-1572633000@royaleboston.com
SUMMARY:Mumiy Troll
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:30 pm / Show: 7:15 pm \nTickets on sale Fri 6/7 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*** \nMumiy Troll \n \nWebsite\nFacebook\nTwitter \nThe band which identify themselves as Evergreen Far Eastern romantics\, was founded in Vladivostok (Russian biggest port on the Pacific coast) by Ilya Lagutenko.  \nSince then\, they have played gigs across the globe: from Siberia to the Baltics\, Mongolia to Greenland\, Shanghai open-airs to St Petersburg’s Palace Square. Being a successful band\, they are still fresh\, hungry\, and in search of new musical discoveries.  \nWhen\, in 1997 the 1st album “Morskaya” was released\, everyone who was seeking new revelations in Russian music\, became obsessed with “Mumiy-mania” and got addicted to the album. The story began in London\, at Alaska Studio under the Waterloo Station bridge\, where the album was first recorded. Afterwards Mumiy Troll (Мумий Тролль) rapidly became one of Russia’s most popular and influential bands. They were the first to appear on Russian MTV\, represented Russia at Eurovision\, and have won every award going in their native land. Furthermore\, they are often called “Russian Rolling Stones” — and with every gig and tour they prove it.  \nBeing the participants of famous festivals and music conferences in different countries (SXSW\, Culture Collide\, Zandari\, Mucon\, Sound City\, Visual Japan Summit\, etc.)\, in 2013 they founded their own showcase festival “Vladivostok Rocks” (V-ROX) which is held in Vladivostok annually and has become a massive cultural phenomenon recognized by NY Times as “A small Pacific Woodstock…”. In 2017 the festival was held for the 5th time and gathered the audience more than 120 000 people during 3 days.  \nIn 2016 Ilya Lagutenko became a music curator for the annual “Piens Festival” (Milk Festival) in Riga (Latvia). In collaboration with UCLA (University of California\, Los Angeles) he has established “Far From Moscow Festival”. In December 2016 it was held for the first time: an alternative brand of Russian culture in film\, music\, cuisine\, fashion\, and comics was presented in Los Angeles.  \nDuring their North American tour in 2018\, they played 8 sold-out gigs followed by several sold-outs in Australia. In the beginning of 2018 Mumiy Troll released their new album “EAST X NORTHWEST“ recorded in Los Angeles.  \n2019 will see Mumiy Troll play a series of gigs entitled “Morskaya.20”. The programme will feature the greatest hits of this celebrated record\, as well as other favoured tracks from their comprehensive back catalogue. Mumiy Troll will also play some songs from their latest record\, “EAST X NORTHWEST.”
URL:https://royaleboston.com/event/mumiy-troll/
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:20191102T183000
DTEND;TZID=America/New_York:20191102T183000
DTSTAMP:20260405T042829
CREATED:20190807T160016Z
LAST-MODIFIED:20190807T154944Z
UID:10002803-1572719400-1572719400@royaleboston.com
SUMMARY:Big Freedia
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:30 pm / Show: 7:15 pm \nTickets on sale Fri 8/9 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*** \nBig Freedia \n \nWebsite\nFacebook\nTwitter \n*** \nLow Cut Connie \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/big-freedia/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20191103T190000
DTEND;TZID=America/New_York:20191103T190000
DTSTAMP:20260405T042829
CREATED:20190611T140003Z
LAST-MODIFIED:20190610T213422Z
UID:10002783-1572807600-1572807600@royaleboston.com
SUMMARY:Kishi Bashi
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 6/14 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nKishi Bashi \n \nWebsite\nFacebook\nTwitter \nImagine being forced from your home. Imagine being sent to a prison camp with no trial\, and no promise of release. Imagine all this happened simply because of the language you speak\, the shade of your skin\, or the roots of your family tree. For over 120\,000 Japanese-Americans this was a reality during World War II. It’s a reality that Kishi Bashi seeks to reckon with on his latest release Omoiyari. \nOmoiyari is Kishi Bashi’s fourth album — following the acclaimed 151a (2012)\, Lighght (2014)\, and Sonderlust (2016)\, which have garnered serious acclaim from outlets including NPR Music\, The Wall Street Journal\, and The Guardian — and his most important yet. Many of the songs were initially inspired by history and oppression\, and he deftly weaves tales of love\, loss\, and wanting to connect listeners to the past. Channeling the hard-learned lessons of history\,  Omoiyari is an uncompromising musical statement on the turbulent sociopolitical atmosphere of present-day America.  \n“I was shocked when I saw white supremacy really starting to show its teeth again in America\,“ Kishi Bashi says. “My parents are immigrants\, they came to the United States from Japan post–World War II. As a minority I felt very insecure for the first time in my adult life in this country. I think that was the real trigger for this project.” \nKishi Bashi recognized parallels between the current U.S. administration’s constant talk of walls and bans\, and the xenophobic anxieties that led to the forced internment of Japanese-Americans in the months following the attack on Pearl Harbor. So he immersed himself in that period\, visiting former prison sites and listening to the stories of survivors\, while developing musical concepts along the way. The unique creative process behind Omoiyari will be documented in a film scheduled for release in early 2020. \n“I didn’t want this project to be about history\, but rather the importance of history\, and the lessons we can learn\,” Kishi Bashi reflects. “I gravitated toward themes of empathy\, compassion\, and understanding as a way to overcome fear and intolerance. But I had trouble finding an English title for the piece. Omoiyari is a Japanese word. It doesn’t necessarily translate as empathy\, but it refers to the idea of creating compassion towards other people by thinking about them. I think the idea of omoiyari is the single biggest thing that can help us overcome aggression and conflict.” \nThe strong conceptual elements of Omoiyari are driven by Kishi Bashi’s captivating musical score. Stepping away from his past loop-based production model\, he embraced a more collaborative approach when recording\, and for the first time included contributions from other musicians\, such as Mike Savino (aka Tall Tall Trees) on banjo and bass\, and Nick Ogawa (aka Takenobu) on cello. Kishi Bashi’s spectacular trademark violin soundscapes are still an essential component of his sound\, but the focus of Omoiyari is centered squarely on its songs. The result is his most potent and poignant collection of music to date. \nOn “Marigolds\,” Kishi Bashi contemplates the “differences between generations that are difficult to comprehend sometimes.” “I wish that I had met you when your heart was safe to hold\,” he sings over a bed of shimmering violins\, conveying a sense of deep melancholy over a soaring melodic line. \n“Summer of ’42” weaves a breathtaking orchestral score over a tale of love and loss in a Japanese incarceration camp. “While times were humiliating and difficult in these camps\, they would make time to find love and happiness amongst the adversity\,” Kishi Bashi observes. \n“Violin Tsunami” builds a single violin line into a cinematic wall of sound. “A Brazilian Japanese friend of mine is a violin maker\, and he presented me with a wonderful violin to play. He had named it Tsunami\, and had worked on it while the Fukushima Nuclear disaster was unfolding\,” Kishi Bashi explains. “This song is about the chaos that nature can create\, and also about the healing and rebuilding that the human spirit is capable of.” \nThe songs on Omoiyari overflow with rich sounds and complex emotions\, and challenge listeners to confront a difficult chapter in America’s past while acknowledging the injustices of the present. But there’s a yearning for better days threaded through several songs\, a perspective that mirrors Kishi Bashi’s own hopes for a better future. “Part of the project is saying that if you’re a minority there’s potentially still a lot to look forward to in this country. I believe there’s a paradigm shift coming\, especially for minorities and those who have felt oppression. America is changing.” \nBut a better future is not guaranteed\, and Kishi Bashi wants listeners who hold some economic or social privilege to be aware of their own role in creating change. “If you’re privileged you need to understand that this country is for everybody\, and we have to make that space for all people.”  \n“Sometimes when we look at history\, it feels far away and removed. But there are fundamental lessons of love\, compassion and fear that we can learn from the internment and apply to issues today concerning refugees\, immigration\, and minorities\,” he says. “There are so many tragedies and atrocities that have happened around the world at different times in history\, and I think it’s really important to have the compassion to understand the suffering that people endured before you\, to not repeat the past\, and to really be grateful for the life you have.” \nWhile the theme of Omoiyari is rooted in 1940s America\, the album’s message is timeless. In exploring the emotional lives of the innocent Japanese-Americans who were unjustly incarcerated\, Kishi Bashi hopes to nurture a sense of empathy\, or omoiyari\, in all who hear the album.
URL:https://royaleboston.com/event/kishi-bashi-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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