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DTSTART;TZID=America/New_York:20191030T190000
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DTSTAMP:20260405T011103
CREATED:20190624T134910Z
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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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DTSTART;TZID=America/New_York:20191031T200000
DTEND;TZID=America/New_York:20191031T230000
DTSTAMP:20260405T011103
CREATED:20190814T183404Z
LAST-MODIFIED:20190827T175855Z
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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
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ORGANIZER;CN="Gay Mafia Boston":MAILTO:rafael@gaymafiaboston.com
GEO:42.3499959;-71.0656288
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20191101T183000
DTEND;TZID=America/New_York:20191101T183000
DTSTAMP:20260405T011103
CREATED:20190604T172339Z
LAST-MODIFIED:20191029T150203Z
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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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DTSTART;TZID=America/New_York:20191102T183000
DTEND;TZID=America/New_York:20191102T183000
DTSTAMP:20260405T011103
CREATED:20190807T160016Z
LAST-MODIFIED:20190807T154944Z
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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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DTSTART;TZID=America/New_York:20191103T190000
DTEND;TZID=America/New_York:20191103T190000
DTSTAMP:20260405T011103
CREATED:20190611T140003Z
LAST-MODIFIED:20190610T213422Z
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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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DTSTART;TZID=America/New_York:20191104T190000
DTEND;TZID=America/New_York:20191104T190000
DTSTAMP:20260405T011103
CREATED:20190625T140051Z
LAST-MODIFIED:20191010T153627Z
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SUMMARY:The New Pornographers
DESCRIPTION:Presented by WERS \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*** \nThe New Pornographers \n \nWebsite\nFacebook\nTwitter \nFor the last two decades\, The New Pornographers have been delivering infectious hooks\, sweet harmonies\, and a pile of power-pop riffs every time they take the stage. The critically acclaimed supergroup — A.C. Newman\, Neko Case\, Kathryn Calder\, Todd Fancey\, Blaine Thurier\, John Collins\, Joe Seiders and Simi Stone — embarks on a new tour in support of their brand new record In The Morse Code Of Brake Lights. The album is more of what The New Pornographers do best: “pure\, blissfully irresistible power-pop” (NPR Music).   \n*** \nLady Lamb \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/the-new-pornographers/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
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DTSTART;TZID=America/New_York:20191105T183000
DTEND;TZID=America/New_York:20191105T183000
DTSTAMP:20260405T011103
CREATED:20190805T160042Z
LAST-MODIFIED:20191104T220009Z
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SUMMARY:The Maine
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:30 pm / Show: 7:00 pm \nTickets on sale Fri 8/9 at noon! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: This show is open to all ages.  Opening acts and set times are subject to change without notice.  All sales are final unless a show is postponed or canceled.  All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue.  Please make sure necessary arrangements are made ahead of time.  All patrons subject to search upon venue entry. \n*** \n \n*** \nThe Maine \n \nWebsite\nFacebook\nTwitter \nSeven albums in\, and The Maine’s new release You Are Ok is arguably the band’s most considerable sonic leap in their twelve-year career. What makes The Maine\, The Maine is their ability and inspiration to take risks\, all while staying tuned in and consistently exceeding the expectations of their fans. 2019 is shaping up to be another milestone year for these desert dwellers\, which kicked off with their second ever headlining music festival in their hometown. You Are Ok marks The Maine’s first top 10 album in its premiere on the charts (peaking at #8)\, and also came in at #1 independent record\, #2 rock album\, #2 vinyl album\, and #3 alternative album. Known for their live show\, The Maine is taking You Are Ok around the globe this year including stops on their home continent\, across South America\, Europe\, and more. The band will spend their summer on the Sad Summer Festival\, co-headlining the inaugural year of a touring music festival in the US. \nThe Maine is John O’Callaghan\, Pat Kirch\, Jared Monaco\, Garrett Nickelsen\, and Kennedy Brock. \n*** \nTwin XL \n \nFacebook\nTwitter \nLos Angeles trio Twin XL is the creative brainchild of songwriters and producers\, Cameron Walker-Wright (vocals) and brothers Stephen Gomez (bass) and John Gomez (guitar). Walker-Wright is part of the synth-pop band Nekokat and the Gomez brothers rose to international fame in The Summer Set. Collectively\, the three have written and produced for artists such as All Time Low\, Lindsey Stirling and Life of Dillon\, as well as having their music featured in commercials and trailers such as Disney’s “Christopher Robin” and ABC’s “Lucifer.” \nThough Walker-Wright and the Gomez brothers have been working as full-time writer/producers\, a part of similar social circles and often ran into each other at random gigs across the country for years\, it wasn’t until early 2017 after another serendipitous meeting at a LA house party\, that they decided to try a day in the studio together. \nThe synergy between the three was clear and Twin XL was born — a perfect storm of the glistening retro synths\, catchy bass-lines\, memorable melodies and Walker’s smooth vocal. The EP\, entirely written and produced by the band\, is a balanced dichotomy of bright and summery and dark and mysterious\, fusing together an infectious anti-pop sound. \nFrom top-class performing musicians each in their own right\, writers\, producers\, friends\, and now band mates\, TwinXL are paving their way to the top turning a night out at a party into a nostalgic and distinctive musical sequel full of indelible anti-pop glory. \n*** \nNick Santino \nWebsite
URL:https://royaleboston.com/event/the-maine-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:20191106T183000
DTEND;TZID=America/New_York:20191106T183000
DTSTAMP:20260405T011103
CREATED:20190719T165619Z
LAST-MODIFIED:20191104T220726Z
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SUMMARY:Cavetown
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 7:30 pm \nSecond show added due to overwhelming demand! Tickets on sale Mon. 7/22 at noon! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: This show is 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*** \nCavetown \n \nWebsite\nFacebook\nTwitter \nRobin Skinner makes music by himself\, in his bedroom\, but his songs belong to the world.\nThe son of a professional flautist and Cambridge University’s director of music\, the 20-year-old UK singer/songwriter—who’s performed under the name  CAVETOWN  since 2013—has musical talent literally embedded in his DNA. But that underlying musical theory is nothing without the emotional underpinnings that take a song from technically proficient to transformatively powerful. \nMarrying the two is what makes Cavetown so captivating and resonant with fans. They see themselves in Skinner’s music: tales of love and loss\, of yearning to make sense of life and all the feelings that go along with it. For three minutes at a time\, listeners feel less alone inside his songs\, finding comfort in times of chaos and confusion.\n“I speak about very genuine things and very personal things that I find hard to say\,” Skinner explains. “That’s why I write a song about it. I think people relate to that: Sometimes they can’t put things into words\, but when they hear a song about it\, they can point to that.” \nThe direct through-line to fans’ emotions is the result of the barrier-free relationship Skinner has created with his audience. Outside of his deeply personal music\, Cavetown’s YouTube channel is full of day-in-the-life\, behind-the-scenes vignettes – along with covers of his favorite songs and other musical treats – that allow fans to get to know Skinner as more than just a voice filling their earbuds. \nAnd ultimately\, their appreciation for this beautifully symbiotic relationship is reflected back in their devotion\, as fans around the world have built and nurtured their own underground\, grassroots community centered around Cavetown. They line up for hours ahead of Cavetown shows\, coordinate homemade art projects\, and bring the own kazoos to play along with him. It’s an unbreakable\, authentic bond made all the more moving by how organically it’s developed over the years\, the result of the Skinner’s tireless and whole-hearted optimism taking roots amongst his listeners. \nWith a magnetic personality and such universally relatable songs\, Skinner is well on his way to expanding that musical family. Cavetown’s most recent full-length album\,  LEMON BOY \, has won over listeners far and wide with effortless\, bright melodies and economic songwriting on full display. From the looping folk-pop title track (with an inventive music video that’s racked up more than 7 million YouTube views) to the uke-meets-electronica “Fool” and jazzy “888\,” it’s an intimate\, calming collection that displays a songwriting craft far beyond his years. \nFollowing the breakthrough success of the  Lemon Boy  and worldwide tours – including multiple-night residencies in London\, Los Angeles\, and New York City – Skinner is venturing deep into the  ANIMAL KINGDOM \, a digital mixtape series that features new songs\, covers and re-imaginings of catalog material each month along with a song from a friend or peer that he’s had a hand in creating. \n“I love making music with friends\,” he says. “I love making music  period . I’m a very in-the-now kind of person and excited about every opportunity I have to create and write songs. I just go with the flow and see where it takes me. I want to make music forever”  XX \n*** \nField Medic \n \nWebsite\nFacebook\nTwitter \n“Any song that’s true is a good song in my mind\,” says Kevin Patrick\, the lo-fi bedroom folk artist better known as Field Medic. “That’s why I never find it necessary to add too much stuff to my recordings. I’m just into songs themselves.” \nThat principle is the guiding light behind Field Medic’s hypnotically beautiful and fearlessly honest new record\, ‘fade into the dawn.’ Patrick’s first proper full-length release for Run For Cover and his first since making the leap to full-time musician\, the collection features ten sparse\, acoustic tracks that reckon with our perceptions of success and self as they face down the inevitable complications that arise from realizing any hard-won dream. Patrick has always written candidly about doubt and darkness and anxiety\, but he digs deeper than ever before here\, blending black humor and bold introspection as he weighs fantasy against reality and searches for meaning in the mundane. “I used to be a romantic / Now I’m a dude in a laminate\,” he sings of life on perpetual tour\, encapsulating at once both the tantalizing allure and endless tedium of the road. \n“You always expect that in having some portion of your dreams fulfilled\, your life will get better on a day to day basis\,” reflects Patrick. “But I discovered that in the process of getting here\, my desire to drink ramped up and my own internal self was actually a lot darker than I thought. That felt like something I wanted to work on.” \nAt the time\, Patrick found himself going through a number of tumultuous changes: he relocated to Los Angeles from San Francisco\, where he’d lived and recorded on and off for several years; he left the world of day jobs behind in order to tour year-round; and he decided to quit drinking\, only to return to it halfway through a particularly grueling run of shows. It was the sort of emotional rollercoaster that he would normally work through in song\, but even the simple act of writing seemed profoundly more complicated than ever before.  \n“I struggled after I got signed because every time I started writing something\, I’d get nervous about whether it was good enough\, and that went against my entire initial philosophy\, which was to record and release absolutely everything\,” says Patrick. “I had to learn to let go again\, because the best songs are the ones that happen inexplicably\, that feel like they come out of me almost against my will.” \nWhile Patrick decided to record this album digitally for the first time (his self-released 2015 debut\, ‘light is gone\,’ and the 2017 Run For Cover-issued collection ‘Songs from the Sunroom’ were both recorded straight to a four-track)\, he managed to faithfully preserve his DIY ethos\, recording each song in a maximum of three live takes. The result is a collection that feels higher definition and more ambitious than ever before (live drums and lead guitar appear on this record for the first time)\, but still maintains the raw\, spontaneous character that’s defined Field Medic from the start. \n“Back in the beginning\, I’d record a song a few times\, walk away\, and then just choose a take and be done with it\,” says Patrick. “I tried to take that same approach this time around even though I was recording digitally and didn’t have the same restrictions as I did with the four-track. I just find that if I dwell too much on any recording\, it loses the feeling. You have to accept it for what it is in that moment.”  \nPatrick’s ability to capture specific moments in all their messy\, complicated ambiguity is a large part of what’s earned him both his devoted cult following and his widespread critical acclaim. Philadelphia NPR station WXPN hailed Field Medic as a “West Coast freak-folk poet who will capture your heart\,” while the San Francisco Chronicle praised his “intensely emotional” voice as a “melodic quiet storm\,” and the Chicago Reader swooned for his “charming\, unvarnished acoustic bedroom songs.” Patrick’s tracks racked up well over a million collective streams on Spotify\, and his captivating live performances (in which he’s accompanied by nothing more than his guitar and an old school boombox) landed him dates with everyone from The Neighbourhood and Wallows to HEALTH and Girlpool. \n“With the boombox\, I have a few different cassettes with beats for songs on them to back me up live\,” he explains. “I played in a band for a long time\, but I was always more into lyrics than anything else\, so when I started Field Medic\, I wanted to find a way to give my songs some rhythm without taking any focus off the words. Now when I’m out on the road\, the boombox is my bandmate.” \nThe road is precisely where “fade into the dawn” picks up\, with Patrick recounting a particularly brutal night on tour in the infectious album opener “clam chatter in the heart of brooklyn.” “I swore that I’d quit / But I need a drink tonight\,” he sings\, setting up the album’s central struggle between restraint and release\, moderation and obsession\, sobriety and surrender. The woozy “hello moon” calls to mind Jose Gonzalez as Patrick meditates on the nightly loss of control he felt when using alcohol to temper his anxiety\, while the waltzing\, Neil Young-esque “the bottle’s my lover\, she’s just my friend” confronts the ways in which escape can seem helpful even when it’s destructive\, and the tender “it helps me forget…” (recorded in a single take into an iPhone’s voice memo app) searches for relief from the pressures we impose upon and the walls we build around ourselves.  \n“It seemed like alcohol was popping up in every aspect of my life\,” says Patrick\, “whether it be during my career\, which is touring\, or during my love life\, when I felt like I’d rather be drinking than chilling with a girlfriend\, or just in the day-to-day\, when I was trying to forget all these things I felt anxious about.” \nRather than succumb to the siren song of oblivion\, though\, Patrick finds resolve and redemption in human connection. The banjo-driven “tournament horseshoe” draws strength from devotion to a lover\, while the charming “henna tattoo” (recorded once again on the trusty four-track and backed by a simple drum machine) throws worry to the wind for a chance at real love\, and the dreamy “songs r worthless now” spins a romantic fantasy about baring your soul at the end of the world.  \n“I had this thought recently that in my songs\, I feel like I’m this super version of myself\,” Patrick reflects. “In my day to day life I’m reserved and quiet and do my own thing\, but in my songs\, I can share how I really feel and say all the things that I’ve always wanted to say.” \nIn that sense\, Field Medic isn’t just a stage name for Patrick\, it’s a permission slip\, an invitation to shed his self-consciousness and become his truest self. And truth is what it’s all about\, after all. It’s where love and satisfaction and all the best songs come from. ‘fade into the dawn’ is proof positive of that. \n*** \nSpookyghostboy \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/cavetown-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:20191107T183000
DTEND;TZID=America/New_York:20191107T183000
DTSTAMP:20260405T011103
CREATED:20190603T160011Z
LAST-MODIFIED:20191104T220737Z
UID:10002776-1573151400-1573151400@royaleboston.com
SUMMARY:[SOLD OUT] Cavetown
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 7:30 pm \nThis show is sold out! A second show on 11/6 has been added due to overwhelming demand! Tickets for 11/6 are on salt Mon. 7/22 at noon here. \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*** \nCavetown \n \nWebsite\nFacebook\nTwitter \nRobin Skinner makes music by himself\, in his bedroom\, but his songs belong to the world.\nThe son of a professional flautist and Cambridge University’s director of music\, the 20-year-old UK singer/songwriter—who’s performed under the name CAVETOWN since 2013—has musical talent literally embedded in his DNA. But that underlying musical theory is nothing without the emotional underpinnings that take a song from technically proficient to transformatively powerful. \nMarrying the two is what makes Cavetown so captivating and resonant with fans. They see themselves in Skinner’s music: tales of love and loss\, of yearning to make sense of life and all the feelings that go along with it. For three minutes at a time\, listeners feel less alone inside his songs\, finding comfort in times of chaos and confusion.\n“I speak about very genuine things and very personal things that I find hard to say\,” Skinner explains. “That’s why I write a song about it. I think people relate to that: Sometimes they can’t put things into words\, but when they hear a song about it\, they can point to that.” \nThe direct through-line to fans’ emotions is the result of the barrier-free relationship Skinner has created with his audience. Outside of his deeply personal music\, Cavetown’s YouTube channel is full of day-in-the-life\, behind-the-scenes vignettes – along with covers of his favorite songs and other musical treats – that allow fans to get to know Skinner as more than just a voice filling their earbuds. \nAnd ultimately\, their appreciation for this beautifully symbiotic relationship is reflected back in their devotion\, as fans around the world have built and nurtured their own underground\, grassroots community centered around Cavetown. They line up for hours ahead of Cavetown shows\, coordinate homemade art projects\, and bring the own kazoos to play along with him. It’s an unbreakable\, authentic bond made all the more moving by how organically it’s developed over the years\, the result of the Skinner’s tireless and whole-hearted optimism taking roots amongst his listeners. \nWith a magnetic personality and such universally relatable songs\, Skinner is well on his way to expanding that musical family. Cavetown’s most recent full-length album\, LEMON BOY \, has won over listeners far and wide with effortless\, bright melodies and economic songwriting on full display. From the looping folk-pop title track (with an inventive music video that’s racked up more than 7 million YouTube views) to the uke-meets-electronica “Fool” and jazzy “888\,” it’s an intimate\, calming collection that displays a songwriting craft far beyond his years. \nFollowing the breakthrough success of the Lemon Boy and worldwide tours – including multiple-night residencies in London\, Los Angeles\, and New York City – Skinner is venturing deep into the ANIMAL KINGDOM \, a digital mixtape series that features new songs\, covers and re-imaginings of catalog material each month along with a song from a friend or peer that he’s had a hand in creating. \n“I love making music with friends\,” he says. “I love making music period . I’m a very in-the-now kind of person and excited about every opportunity I have to create and write songs. I just go with the flow and see where it takes me. I want to make music forever” XX \n*** \nField Medic \n \nWebsite\nFacebook\nTwitter \n“Any song that’s true is a good song in my mind\,” says Kevin Patrick\, the lo-fi bedroom folk artist better known as Field Medic. “That’s why I never find it necessary to add too much stuff to my recordings. I’m just into songs themselves.” \nThat principle is the guiding light behind Field Medic’s hypnotically beautiful and fearlessly honest new record\, ‘fade into the dawn.’ Patrick’s first proper full-length release for Run For Cover and his first since making the leap to full-time musician\, the collection features ten sparse\, acoustic tracks that reckon with our perceptions of success and self as they face down the inevitable complications that arise from realizing any hard-won dream. Patrick has always written candidly about doubt and darkness and anxiety\, but he digs deeper than ever before here\, blending black humor and bold introspection as he weighs fantasy against reality and searches for meaning in the mundane. “I used to be a romantic / Now I’m a dude in a laminate\,” he sings of life on perpetual tour\, encapsulating at once both the tantalizing allure and endless tedium of the road. \n“You always expect that in having some portion of your dreams fulfilled\, your life will get better on a day to day basis\,” reflects Patrick. “But I discovered that in the process of getting here\, my desire to drink ramped up and my own internal self was actually a lot darker than I thought. That felt like something I wanted to work on.” \nAt the time\, Patrick found himself going through a number of tumultuous changes: he relocated to Los Angeles from San Francisco\, where he’d lived and recorded on and off for several years; he left the world of day jobs behind in order to tour year-round; and he decided to quit drinking\, only to return to it halfway through a particularly grueling run of shows. It was the sort of emotional rollercoaster that he would normally work through in song\, but even the simple act of writing seemed profoundly more complicated than ever before.  \n“I struggled after I got signed because every time I started writing something\, I’d get nervous about whether it was good enough\, and that went against my entire initial philosophy\, which was to record and release absolutely everything\,” says Patrick. “I had to learn to let go again\, because the best songs are the ones that happen inexplicably\, that feel like they come out of me almost against my will.” \nWhile Patrick decided to record this album digitally for the first time (his self-released 2015 debut\, ‘light is gone\,’ and the 2017 Run For Cover-issued collection ‘Songs from the Sunroom’ were both recorded straight to a four-track)\, he managed to faithfully preserve his DIY ethos\, recording each song in a maximum of three live takes. The result is a collection that feels higher definition and more ambitious than ever before (live drums and lead guitar appear on this record for the first time)\, but still maintains the raw\, spontaneous character that’s defined Field Medic from the start. \n“Back in the beginning\, I’d record a song a few times\, walk away\, and then just choose a take and be done with it\,” says Patrick. “I tried to take that same approach this time around even though I was recording digitally and didn’t have the same restrictions as I did with the four-track. I just find that if I dwell too much on any recording\, it loses the feeling. You have to accept it for what it is in that moment.”  \nPatrick’s ability to capture specific moments in all their messy\, complicated ambiguity is a large part of what’s earned him both his devoted cult following and his widespread critical acclaim. Philadelphia NPR station WXPN hailed Field Medic as a “West Coast freak-folk poet who will capture your heart\,” while the San Francisco Chronicle praised his “intensely emotional” voice as a “melodic quiet storm\,” and the Chicago Reader swooned for his “charming\, unvarnished acoustic bedroom songs.” Patrick’s tracks racked up well over a million collective streams on Spotify\, and his captivating live performances (in which he’s accompanied by nothing more than his guitar and an old school boombox) landed him dates with everyone from The Neighbourhood and Wallows to HEALTH and Girlpool. \n“With the boombox\, I have a few different cassettes with beats for songs on them to back me up live\,” he explains. “I played in a band for a long time\, but I was always more into lyrics than anything else\, so when I started Field Medic\, I wanted to find a way to give my songs some rhythm without taking any focus off the words. Now when I’m out on the road\, the boombox is my bandmate.” \nThe road is precisely where “fade into the dawn” picks up\, with Patrick recounting a particularly brutal night on tour in the infectious album opener “clam chatter in the heart of brooklyn.” “I swore that I’d quit / But I need a drink tonight\,” he sings\, setting up the album’s central struggle between restraint and release\, moderation and obsession\, sobriety and surrender. The woozy “hello moon” calls to mind Jose Gonzalez as Patrick meditates on the nightly loss of control he felt when using alcohol to temper his anxiety\, while the waltzing\, Neil Young-esque “the bottle’s my lover\, she’s just my friend” confronts the ways in which escape can seem helpful even when it’s destructive\, and the tender “it helps me forget…” (recorded in a single take into an iPhone’s voice memo app) searches for relief from the pressures we impose upon and the walls we build around ourselves.  \n“It seemed like alcohol was popping up in every aspect of my life\,” says Patrick\, “whether it be during my career\, which is touring\, or during my love life\, when I felt like I’d rather be drinking than chilling with a girlfriend\, or just in the day-to-day\, when I was trying to forget all these things I felt anxious about.” \nRather than succumb to the siren song of oblivion\, though\, Patrick finds resolve and redemption in human connection. The banjo-driven “tournament horseshoe” draws strength from devotion to a lover\, while the charming “henna tattoo” (recorded once again on the trusty four-track and backed by a simple drum machine) throws worry to the wind for a chance at real love\, and the dreamy “songs r worthless now” spins a romantic fantasy about baring your soul at the end of the world.  \n“I had this thought recently that in my songs\, I feel like I’m this super version of myself\,” Patrick reflects. “In my day to day life I’m reserved and quiet and do my own thing\, but in my songs\, I can share how I really feel and say all the things that I’ve always wanted to say.” \nIn that sense\, Field Medic isn’t just a stage name for Patrick\, it’s a permission slip\, an invitation to shed his self-consciousness and become his truest self. And truth is what it’s all about\, after all. It’s where love and satisfaction and all the best songs come from. ‘fade into the dawn’ is proof positive of that. \n*** \nMICHELLE \n \nFacebook
URL:https://royaleboston.com/event/cavetown/
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:20191108T180000
DTEND;TZID=America/New_York:20191108T180000
DTSTAMP:20260405T011103
CREATED:20190219T170016Z
LAST-MODIFIED:20190226T184639Z
UID:10002030-1573236000-1573236000@royaleboston.com
SUMMARY:[SOLD OUT] The Bruisers
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 6:30 pm \nThis show is SOLD OUT! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nThe Bruisers \n \nFacebook \nThe Bruisers were pioneers of the American street punk movement. Formed in Portsmouth\, NH in 1988 the current lineup includes original singer Al Barr and original guitarist Jeff Morris along with longtime drummer Dan Connors\, bassist Keith Richards\, and guitarist Scotty Vieira. \nThey are credited by fans and critics as one of the most influential and important American street rock bands\, and continue to play sold out reunion shows. \n*** \nThe Take \nWebsite\nFacebook \n*** \nThe Hellbound Hitmen \nWebsite\nFacebook
URL:https://royaleboston.com/event/the-bruisers/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20191110T190000
DTEND;TZID=America/New_York:20191110T190000
DTSTAMP:20260405T011103
CREATED:20190912T161234Z
LAST-MODIFIED:20191108T172845Z
UID:10002100-1573412400-1573412400@royaleboston.com
SUMMARY:[SOLD OUT] Lil Tecca
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:30 pm \nDue to overwhelming demand\, this show has been moved from The Sinclair to Royale. All previously purchased tickets will be honored at the new venue. This 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*** \nLil Tecca \n \nWebsite\nInstagram\nTwitter \nPerforming a distinct melodic trap style but hailing from New York\, recording artist Lil Tecca is breaking through in 2019 releasing hit after hit and creating a genre of his own.\nRaised by Jamaican parents in Queens and recently Long Island\, you can hear the dancehall influence sprinkled in many of his songs. He first started rapping in his early teens when he got tired of roasting his friend while playing Xbox\, and wanted to diss him on a song instead. After making a couple of those diss tracks he had a passion for making songs and knew he was made for it. Inspired by Speaker Knockerz\, Chief Keef\, and a couple of others\, he has only been taking music seriously and releasing it for a year now.\nPrior to debuting on the Hot 100 chart with “Ransom\,” the 16-year-old rapper gained a following with buzzing hits like “Love Me\,” “Did It Again\,” and “Molly Girl.” “Did it Again” charted at #4 New & Hot Worldwide on SoundCloud and has over 14 million plays at #16 in the Top 50 Worldwide.\n“Ransom” has taken the world by storm and really showcases his catchy melodies\, effortless flows\, and unique voice. The song currently sits at #51 on the Billboard Hot 100 and #1 in the world on SoundCloud. The hype around Lil Tecca continues to grow with each new release\, and although it’s been a year since he’s been making music he shows no sign of slowing down any time soon. \n*** \nPi’erre Bourne \n \nWebsite\nTwitter \nPi’erre Bourne is an American record producer\, rapper\, songwriter\, and audio engineer. He is known for producing the singles “Magnolia” by Playboi Carti\, and “Gummo” by 6ix9ine\, which peaked at number 12 on the US Billboard Hot 100. His producer tag\, “Yo Pierre\, you wanna come out here?” which is a line sampled from an episode of The Jamie Foxx Show\, which after the release of American rapper Playboi Carti’s breakout track “Magnolia” from his eponymous debut commercial mixtape Playboi Carti (2017) became a viral phenomenon and an internet meme leading the tag to become widely known and Bourne to break out as a producer. He is signed to Interscope Records via his own imprint SossHouse Records and recently dropped his major label debut The Life of Pierre 4.
URL:https://royaleboston.com/event/moved-from-the-sinclair-lil-tecca/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20191114T200000
DTEND;TZID=America/New_York:20191114T200000
DTSTAMP:20260405T011103
CREATED:20190722T170032Z
LAST-MODIFIED:20191114T151104Z
UID:10002081-1573761600-1573761600@royaleboston.com
SUMMARY:Skizzy Mars
DESCRIPTION:Presented by Bowery Boston \nDoors: 8:00 pm / Show: 8:30 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*** \nSkizzy Mars \n \nWebsite\nFacebook\nTwitter \nFreedom catalyzes creativity. When unshackled from addictions\, expectations\, and fears\, art flourishes\, potential actualizes\, and energy awakens. Skizzy Mars undergoes such an awakening on his 2019 full-length debut\, Free Skizzy Mars. By way of verbal dexterity\, catchy confessions\, and upbeat cinematic presentation\, the New York-born rapper\, songwriter\, and artist documents a remarkable trip to the brink and back. The wisdom accrued\, perspective gained\, and experience earned enrich his vulnerable\, vivid\, and vital take on hip-hop. \n“I learned I’m honestly capable of anything I put my mind to\,” he exclaims. “I’m free from caring about what everybody thinks of me all the time. I’ve detached myself from results and focused on the process. I just want to deliver the best music possible. It’s a spiritual awakening. I’m at a different level of peace.” \nThis peace resulted from a seven-year grind. As the story goes\, Skizzy went from cooking up blog-approved songs in his bedroom to selling out shows coast-to-coast and clocking 300 million-plus total streams as of 2019. Early mixtapes — Phases [2013] and Pace [2014] — fueled excitement. 2015’s The Red Balloon Project EP bowed in the Top 5 of the Billboard Top Rap Albums Chart and yielded “Time” [feat. G-Eazy & Olivver the Kid]\, which put up numbers to the tune of 34 million Spotify streams. In addition to rocking stages alongside Logic\, G-Eazy\, Lupe Fiasco\, and Ty Dolla $ign\, he packed houses as a headliner\, selling out dates on a regular basis. Not to mention\, he attracted the praise of The Fader\, NYLON\, Complex\, i-D\, Pigeons & Planes\, and HypeBeast\, to name a few. \nIn 2018\, he maintained a prolific pace\, teaming up with Prelow for the collaborative project I Can’t Take Me Anymore and dropping the cathartic Are You Ok? EP between another successful headline run. At the time\, he also made a series of significant life changes. \nIn the process\, his motivation recharged. \nHe admits\, “I also lost the hunger. I became complacent. The album started with me getting sober. I have a gratitude just to be able to create and do what I love for a living. It set the tone for how I approached everything. Free Skizzy Mars references this idea. I don’t think about creativity the same way. I was petrified I wouldn’t be able to make music anymore when I stopped doing drugs. I didn’t know why people would listen to — because I thought that’s what made me dope. It took me a while. I overcame fear and tapped into a different level.” \nIn order to do so\, he rewired the whole process. Instead of recording in New York\, he holed up on the West Coast in Los Angeles. He invited a bevy of new collaborators into the fold\, including Robbie Soukisyan\, Imad Royal\, Casio\, Ye Ali\, and more. For the first time\, he opened himself up to co-writing\, encouraging “a new attention to detail.” Rather than one-take songs\, he took his time and perfected each moment. Channeling uplifting vibes and choosing upbeat production\, he embraced a longstanding passion for the storytelling of hip-hop in terms of scope and cohesion. \n“I took chances\, and the sound evolved\,” he continues. “I dispelled all of these preconceived notions I had. Working with other people made me tap into things I didn’t know I was capable of. I was super productive and focused being in L.A. It was a change of pace. It slowed things down. It was an escape. I was out of my comfort zone. I regained my focus and motivation.” \nRenewed focus powers the first single “No Advice.” His airy delivery echoes off orchestral strings and a skittering beat before culminating on a chantable chorus\, “I don’t take advice.” \n“On the record\, I started freestyling melodies and putting words to them\,” he says. “I’ve never really done that. Once again\, it represents me experimenting and exploring hip-hop more. Lyrically\, it’s a representation of how I live my life. I’m pretty hardheaded. It’s a flex song to be honest with yourself. I talk my shit and get lyrical\, but I’m also having fun.” \nMeanwhile\, the sunny “Calabasas” bottles up a Southern California vibe between nimble rhymes and a hummable hook. He fittingly dubs it as “a feel-good track about girls I’m meeting who live in L.A.” \n“Demons” hinges on a masterful melody\, while the closer “Afraid” rattles off personal phobias over delicate clean guitar. In many ways\, “Skizz Again” encapsulates the entirety of the vision. Over a grainy buzz\, he reclaims his spark\, spirit\, and soul in a candid conversation with God that begins\, “Hey God\, what’s poppin’? It’s Skizz again. You kept me alive through the wildest shit — the girls and the drugs\, the low confidence\, so I got no choice to represent?” \n“I redefined what I think I’m capable of\,” he goes on. “I’m speaking to God directly. It’s a direct letter sharing my story from the last couple of years.” \nIn the end\, Skizzy remains free\, and he drops his defining statement to date. \n“I’d like for people to listen to Free Skizzy Mars for a long time\,” he leaves off. “I want them to get a better sense of who I am as a person and what I’ve been up to. It’s been a long time since I dropped a whole project — almost three years. I’m gracious my fans stuck with me. I hope they love it.” \n*** \nYoshi Flower \nWebsite\nFacebook\nTwitter \n*** \nZaia \nTwitter
URL:https://royaleboston.com/event/skizzy-mars/
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:20191115T183000
DTEND;TZID=America/New_York:20191115T183000
DTSTAMP:20260405T011103
CREATED:20190528T160025Z
LAST-MODIFIED:20191112T192449Z
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SUMMARY:Gus Dapperton
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:30 pm / Show: 6:45 pm \nTickets on sale Fri 5/31 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*** \nGus Dapperton \n \nWebsite\nFacebook\nTwitter \n*** \nSpencer. \n \nFacebook\nTwitter \nUsing his birth name\, Spencer. is the solo-project of Rochester-born teenager Spencer Allen. The self-taught singer\, songwriter\, and classically trained multi-instrumentalist first shared an instrumental STARCASTER EP on Soundcloud in 2016. His vocal debut VISCERAL LOVE followed in August 2017 with the breakout single ​”Open Wide​.” Curators such as Pigeons & Planes\, Evergreen\, and Lyrical Lemonade caught onto his follow up single “To Be You” and Spencer’s rise began. \nHe was picked out by Smokin Grooves Festival and played alongside Thundercat\, The Roots\, Erykah Badu\, and many of his idols on his first trip to California. By July he connected with Omar Apollo and supported the north east leg of his “W.A.N.T.E.D.” tour\, notably playing to an oversold Baby’s All Right crowd in Brooklyn\, NY. \nReleased on September 28th\, Spencer’s Want U Back EP earned 1\,000\,000 streams in just 3 weeks. It was picked up by FADER\, PAPER Mag\, Beats 1 (Matt Wilkinson)\, BBC Radio 1Xtra (Jamz Supernova)\, and playlisted across Spotify and Apple Music’s largest playlists such as POLLEN\, Ultimate Indie\, Alt R&B\, and The Plug. \nNow living in Brooklyn at 20 years old\, his sound fuses jazz freedom and R&B rhythm while pulling between indie\, hip-hop\, and lo-fi music\, creating something all his own. \n“One of the most promising young talents”​ – Lyrical Lemonade\n“Unafraid to wear his heart on his sleeve in front of the world”​ – PAPER Mag\n“A prodigious talent straight out of Rochester\, New York\, Spencer has glided into the spotlight with his debut release” ​- The Line of Best Fit \n*** \nYendawg
URL:https://royaleboston.com/event/gus-dapperton/
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:20191116T180000
DTEND;TZID=America/New_York:20191116T180000
DTSTAMP:20260405T011103
CREATED:20190722T170008Z
LAST-MODIFIED:20190822T182915Z
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SUMMARY:Sasha Sloan
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 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 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*** \nSasha Sloan \n \nWebsite\nFacebook\nTwitter \nCall her your new best friend…\nSasha Sloan is that girl you can chat about “deep cuts” with in a diner until four AM between cigarettes and coffee.\nSasha Sloan is a normal\, yet “completely complicated human.” Sasha Sloan is totally sad\, but exuberantly funny. Sasha Sloan is from South Boston\, but lives in Los Angeles. Sasha Sloan melted a Hershey bar on her laptop\, was too lazy to get a new one\, and writes all of her lyrics on a refurbished iPhone 5. Sasha Sloan describes her style as “Target chic.” Sasha Sloan is trying to speak to “the quiet girls at the party who struggle with what they look like.” Sasha Sloan writes songs you “can listen to late at night when you’re all fucked up and alone—and maybe feel better.”\nA self-proclaimed “low key masochist” who “isn’t happy all the time\,” Sasha Sloan is real.\n“I would say I’m just someone you can chill with and talk to\,” she affirms. “I’m someone who doesn’t have their shit together\, but is trying. I don’t know…you could also just say\, ‘I’m a loser’\,” she laughs.\nSelf-deprecation aside\, this kind of honesty quietly cemented her as an unassuming phenom. As the story goes\, a viral photo ironically kicked off her career after she started writing songs at just ten-years-old. At 18\, her parents decided to paint the house. They took the opportunity to write “dork” under her window with an arrow\, which was “super embarrassing.” Still\, she posted the pic on reddit\, and it exploded.\nSo\, she added her Soundcloud link to the post and landed a publishing deal with as a result. Dropping out of Berklee College of Music\, she moved to L.A. at 19-years-old. A whirlwind followed. As she primarily penned her own music\, she also wrote “Never Be The Same” and “OMG” for Camila Cabello and featured on Kygo’s “This Town” and “Falls” for ODESZA. In 2017\, she released the songs off her first EP sad girl independently prior to being signed. Within a year\, “Runaway\,” “Normal\,” and “Ready Yet” each surpassed 19 million Spotify streams\, while averaging over 4 million monthly listeners on the platform. Along the way\, she signed to RCA Records and assembled her 2018 EP loser alongside “Ready Yet” collaborator and producer King Henry.\n “It captures my life from nineteen until twenty-three\,” she goes on. “It’s more multi-faceted than sad girl was\, because I got more time to sit down and ask myself\, ‘What do I want to say and how do I want to say it?’ Some of it is loneliness. Some of it is about my parents. Some of it is about falling in love with a new person and being vulnerable to them. It deals with not feeling good enough as a songwriter. I’m always asking everyone around me\, ‘Does this sound like basic white girl pop?’ That’s my biggest fear. There’s a focus on lyrics and real instruments\, which I really love. It just covers every insecurity I’ve ever had.”\nIn doing so\, it might dispel some of those insecurities. Right out of the gate\, loser garnered acclaim from Billboard\, Flaunt\, and more. The opener “The Only” pairs her delicate delivery with sparse acoustic guitar as the lyrics detail\, “being lonely and not knowing what to do when I moved to L.A.” Meanwhile\, airy guitar and minimal production underscore the sweet “Chasing Parties” where she admits\, “My boyfriend and I found out we were so happy to just stay at home with each other instead of going out.”\n“Older” hinges on a heartbreakingly confessional\, yet catchy chorus\, “The older I get\, the more that I see\, my parents aren’t heroes\, they’re just like me…Lovin’ is hard\, it don’t always work\, just try your best not to get hurt…I used to be mad\, but now I know\, sometimes it’s better to let someone go. It just hadn’t hit me yet\, the older I get.”\n“It just means my parents aren’t perfect\, and my dad and I have a really strange relationship\,” she admits. “My mom and my dad married\, divorced\, and remarried—like a bunch of times. I never really understood why everything was always so off and fucked up. My dad was 24 when I was born. We have the same birthday. I’m turning 24 next year. I thought about how I could never take care of a child at 24. After my first big breakup\, I saw how hard relationships could be. I understood and sympathized with my parents more than ever. It hit me all at once and came out.”\nIn the end\, you’ll feel right at home hanging out with Sasha Sloan.\n“If one person out there is like\, ‘Oh shit\, I’ve felt like that\,’ that would be dope\,” she leaves off. “My favorite music makes me feel things and think about my own life. I hope you walk away feeling like you know me. That answer made no sense. I’m such a loser\, dude\,” she smiles. \n*** \nWinnetka Bowling League \nFacebook\nTwitter
URL:https://royaleboston.com/event/sasha-sloan/
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:20191117T190000
DTEND;TZID=America/New_York:20191117T190000
DTSTAMP:20260405T011103
CREATED:20190715T140000Z
LAST-MODIFIED:20191115T161137Z
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SUMMARY:(Sandy) Alex G
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 7:45 pm \nTickets on sale Fri 7/19 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: This show is open to all ages.  Opening acts and set times are subject to change without notice.  All sales are final unless a show is postponed or canceled.  All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue.  Please make sure necessary arrangements are made ahead of time.  All patrons subject to search upon venue entry. \n*** \n \n*** \n(Sandy) Alex G \n \nWebsite\nFacebook\nTwitter \nThere’s hardly a second when Alex Giannascoli’s voice can’t be heard in “Walk Away\,” the opener of his latest album\, House of Sugar. The distended\, pitched-up wail that introduces the track gives way to cascading layers of his more familiar intonations. “Someday I’m gonna walk away from you\,” he sings; “not today.” These are the song’s only words\, repeated again and again for more than four minutes. In the repetition\, emphasis shifts from “someday” to “not today” and back\, leaving the listener in a space of uncertainty. It’s in this space that Giannascoli—the 26-year-old artist better known as (Sandy) Alex G—lingers throughout the album’s thirteen songs: between backwards and forwards\, past and future\, one voice and another. On House of Sugar\, his third full-length for Domino and ninth overall\, Alex inhabits a diverse range of musical and emotional points-of-view (often simultaneously)\, in turn illuminating the tension that hides in the shadow of desire. \nGiannascoli began writing these songs in the fall of 2017\, having just finished a tour for House of Sugar’s acclaimed predecessor\, Rocket\, and moved into a new apartment in Philadelphia. Whereas with earlier efforts\, such as 2011’s self-released Winner or the landmark 2014 release DSU\, he’d write numerous songs fairly quickly\, with House of Sugar Giannascoli worked at a steadier pace\, concentrating on fewer songs and laboring over each one more than before. \nAfter building the tracks at home\, recording most of the guitars\, keyboards\, and vocals himself\, Giannascoli enlisted some recurring bandmates and collaborators to help realize further aspects of the album: Samuel Acchione’s wailing electric guitar on “Walk Away\,” John Heywood’s bass underneath “Taking\,” Tom Kelly’s drums giving “Hope” its bounce\, Molly Germer underscoring “Southern Sky” on violin. Throughout the process Giannascoli worked closely with Jacob Portrait\, who mixed both Rocket and its predecessor\, 2015’s Beach Music\, and here helped to balance each of House of Sugar’s dense\, multi-faceted tracks. As the product of extended focus and planning\, House of Sugar emerges as Giannascoli’s most meticulous\, cohesive album yet: a statement of artistic purpose\, showing off his ear for both persistent earworms and shifting textures. \nWhich is to say\, “cohesive” doesn’t imply that House of Sugar dispenses with the out-there sonic adventurism that’s made previous (Sandy) Alex G records so singular. Giannascoli recorded with a clone of the Neumann U87 microphone\, built by Tom Kelly—the first time he’d ever used a microphone other than the Samson Q1U USB mic that he got as a teenager. The new mic\, coupled with an updated version of Garageband that came with a replacement laptop\, provided Giannascoli a new toolkit for home-recording\, prompting him to analyze the types of sounds he’d been making and that he wanted to make. In addition to bolstering the rich\, polished mix of its rock-oriented songs\, the new equipment allowed for a broad range of unique technical experiments that provide each track emotional and tonal complexity. This includes not only the otherworldly vocals that haunt songs such as “Walk Away\,” “Taking\,” and “Bad Man\,” but also the more subtle hums and echoes that texture “Hope” and “Gretel\,” and the distorted soundscapes into which listeners of “Sugar” and “Near” are immersed. \nThroughout\, the multiplicity of Giannascoli’s voice evokes the hybrid existence of a science-fiction creature\, at once human and something else. Indeed\, in many ways\, hybridity defines House of Sugar. The lines between characters and narrators are perpetually blurry\, allowing room for artist and listener alike to move through the songs\, to access their shifting headspaces. On  “Southern Sky”\, we hear a voice other than Giannascoli’s own: frequent collaborator Emily Yacina\, who sang on Rocket’s “Bobby\,” among other (Sandy) Alex G songs. The pair’s voices intertwine as they follow the track’s meandering pathway. Its steady country-rock bounce belies the extent to which “Southern Sky” changes as it flows along—how it starts with a discordant piano run and ends with the lilting strum of a single acoustic guitar\, a disturbed (and unintentional) echo of Neil Young’s “Harvest Moon.” The distinction between beginning and end\, at first concealed by a tight composition\, is emblematic of the way House of Sugar works as a whole: throughout the album Giannascoli makes you think that something is one way before revealing\, often almost imperceptibly—maybe not until it’s too late—that it’s probably another.  \nThe stakes are often high in this regard. The dramatic action pose depicted on the album’s cover (as always\, painted by Giannascoli’s sister\, Rachel) points to the feelings of precarity evoked within. Just as the figure skater looks poised to either succeed or fall\, House of Sugar’s characters are constantly teetering on the edge of extremes\, approaching either bliss or violence—unless it’s both at the same time. They’re manipulated (“Gretel”) and manipulative (“Crime”); up in the sky (“Sugar”) and buried in the dirt (“Bad Man”). Caught in the ambiguous spaces of the songs\, House of Sugar’s characters are disposed toward the bad—“Music makes me wanna do bad things\,” sings Giannascoli on “In My Arms”—but seemingly reaching for the good. Or\, are they? Could bad be good\, sweet be sour? While each track hints at concrete situations derived from either Giannascoli’s life or a covert array of literary and filmic sources\, none excludes a host of oppositional possibilities that listeners can generate and regenerate themselves. \nThe album’s final track\, “SugarHouse\,” opens with applause: it was recorded at a 2018 concert in St. Louis\, with a saxophone overdubbed later\, the first time Giannascoli has implemented a live recording on a studio album. (In 2018\, though\, he released a Live at Third Man Records LP.) A brooding\, flowing anthem\, “SugarHouse” shares its name with a casino not far from Giannascoli’s home in Philadelphia; as the song unfolds\, the casino emerges as a suggestive site for the album as a whole. Its first verse echoes the various moments when a House of Sugar protagonist realizes that highs are always temporary\, that what seems sweet often isn’t. “SugarHouse is calling my bluff\,” Giannascoli sings. But\, in the second verse\, his character—unknown and broken—nevertheless professes faith in where he is and who he’s with. Nothing is definitive\, but after thirteen songs of being split apart and spread around\, through these relationships\, in the House of Sugar\, he might finally be “put together again.” \n*** \nTomberlin \n \nWebsite\nFacebook\nTwitter \n*** \nIndigo De Souza \n \nWebsite\nFacebook\nTwitter \nA cozy\, yet brutally honest safe haven\, laced in gut-wrenching heartbreak and the very best of love.
URL:https://royaleboston.com/event/sandy-alex-g/
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:20191118T183000
DTEND;TZID=America/New_York:20191118T183000
DTSTAMP:20260405T011103
CREATED:20190805T140952Z
LAST-MODIFIED:20191114T200700Z
UID:10002800-1574101800-1574101800@royaleboston.com
SUMMARY:[Moved to The Sinclair] Cannibal Corpse
DESCRIPTION:Presented by Bowery Boston &  Grayskull Booking \nDoors: 6:30 pm / Show: 7:30 pm \nThis show has been moved to The Sinclair! All tickets for the Royale show will be honored at The Sinclair \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*** \nCannibal Corpse \n \nWebsite\nFacebook\nTwitter \n*** \nThy Art is Murder \nWebsite\nFacebook\nTwitter \n*** \nPerdition Temple \nWebsite\nFacebook
URL:https://royaleboston.com/event/cannibal-corpse-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:20191119T190000
DTEND;TZID=America/New_York:20191119T190000
DTSTAMP:20260405T011103
CREATED:20190514T140001Z
LAST-MODIFIED:20190524T140140Z
UID:10002056-1574190000-1574190000@royaleboston.com
SUMMARY:Angel Olsen
DESCRIPTION:Presented by Bowery Boston and WERS  \nDoors: 7:00 pm / Show: 8:00 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*** \nAngel Olsen \n \nWebsite\nFacebook\nTwitter \n*** \nVagabon \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/angel-olsen/
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:20191122T180000
DTEND;TZID=America/New_York:20191122T180000
DTSTAMP:20260405T011103
CREATED:20190904T140014Z
LAST-MODIFIED:20191024T145945Z
UID:10002093-1574445600-1574445600@royaleboston.com
SUMMARY:[SOLD OUT] Kim Petras
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nThis show is SOLD OUT! Due to overwhelming demand\, a second show has been added for Sat. 11/23! Tickets are available for that show here. \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*** \nKim Petras \n \nWebsite\nFacebook\nTwitter \nKim Petras’ undeniable voice and imaginative artistry have skyrocketed her to international recognition as one of music’s most promising talents. Her 12-track project Clarity introduced a more personal\, grounded sound and kicked off with “Broken\,” which catapulted into the Top 10 of the iTunes Pop Chart and started Kim’s hot-streak of dominating the Spotify’s “New Music Friday” and Apple Music’s “Best of The Week” playlists for nine consecutive weeks. Traveling the world on her first-ever\, sold-out headline tour and garnering over 150 million streams with hits such as “I Don’t Want It At All” and “Heart To Break\,” Kim has earned major media praise as a one to watch and has collaborated with Charli XCX\, Cheat Codes\, SOPHIE\, Lil Aaron\, and more. \n*** \nAlex Chapman
URL:https://royaleboston.com/event/kim-petras/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20191123T180000
DTEND;TZID=America/New_York:20191123T180000
DTSTAMP:20260405T011103
CREATED:20190905T210033Z
LAST-MODIFIED:20191024T145927Z
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SUMMARY:Kim Petras
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nSecond show added due to overwhelming demand! Tickets on sale Fri 9/6 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: This show is 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*** \nKim Petras \n \nWebsite\nFacebook\nTwitter \nKim Petras’ undeniable voice and imaginative artistry have skyrocketed her to international recognition as one of music’s most promising talents. Her 12-track project Clarity introduced a more personal\, grounded sound and kicked off with “Broken\,” which catapulted into the Top 10 of the iTunes Pop Chart and started Kim’s hot-streak of dominating the Spotify’s “New Music Friday” and Apple Music’s “Best of The Week” playlists for nine consecutive weeks. Traveling the world on her first-ever\, sold-out headline tour and garnering over 150 million streams with hits such as “I Don’t Want It At All” and “Heart To Break\,” Kim has earned major media praise as a one to watch and has collaborated with Charli XCX\, Cheat Codes\, SOPHIE\, Lil Aaron\, and more. \n*** \nAlex Chapman
URL:https://royaleboston.com/event/kim-petras-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:20191128T200000
DTEND;TZID=America/New_York:20191128T200000
DTSTAMP:20260405T011103
CREATED:20191022T154355Z
LAST-MODIFIED:20191128T185321Z
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SUMMARY:CANCELLED - Trifonas Samaras & Sasa Basta
DESCRIPTION:*** THIS EVENT HAS BEEN CANCELLED. PLEASE CONTACT THE TICKETING AGENT FOR REFUNDS. *** \n21+\nValid US Government Issued ID or International Passport required for entry. No exceptions.
URL:https://royaleboston.com/event/trifonas-samaras-sasa-basta/
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:20191204T190000
DTEND;TZID=America/New_York:20191204T190000
DTSTAMP:20260405T011103
CREATED:20190910T160009Z
LAST-MODIFIED:20190910T155152Z
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SUMMARY:Lucy Dacus
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 9/13 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nLucy Dacus \n \nWebsite\nFacebook\nTwitter \nYou said\, “Don’t go changing. \nI’ll rearrange to let you in \nand I’ll be your historian \nand you’ll be mine. \nAnd I’ll fill pages of scribbled ink\, \nhoping the words carry meaning.” \nThen one day\, the motorcade\, \ncovered in flower wreaths\, \nfirst in a big parade\, \nwill come to take one of us away \nleaving the other with plenty to read. \nLucy Dacus is done thinking small. Two years after her 2016 debut\, No Burden\, won her unanimous acclaim as one of rock’s most promising new voices\, Dacus returns on March 2 with Historian\, a remarkably assured 10-track statement of intent. It finds her unafraid to take on the big questions — the life-or-death reckonings\, and the ones that just feel that way. It’s a record full of bracing realizations\, tearful declarations and moments of hard-won peace\, expressed in lyrics that feel destined for countless yearbook quotes and first tattoos.  \n“This is the album I needed to make\,” says Dacus\, who views Historian as her definitive statement as a songwriter and musician. “Everything after this is a bonus.” \nShe emphasizes that she does not take her newfound platform as a touring musician for granted.  “I have this job where I get to talk to people I don’t know every night\,” she remembers thinking on the long van rides across America to support No Burden. Realizing that she would have a dramatically expanded audience for her second album\, she felt an urgent call to make something worthwhile: “The next record should be the thing that’s most important to say.” \nThe past year\, with its electoral disasters and other assorted heartbreaks\, has been a rough one for many of us\, Dacus included. She found solace in crafting a thoughtful narrative arc for Historian\, writing a concept album about cautious optimism in the face of adversity\, with thematic links between songs that reveal themselves on repeat listens. “It starts out dark and ends hopeful\, but it gets darker in between; it goes to the deepest\, darkest\, place and then breaks\,” she explains. “What I’m trying to say throughout the album is that hope survives\, even in the face of the worst stuff.” \nDacus and her band recorded the album in Nashville last March\, re-teaming with No Burden producer Collin Pastore\, and mixed it a few months later with A-list studio wizard John Congleton. The sound they created\, with substantial input from multi-instrumentalist and live guitarist Jacob Blizard\, is far richer and fuller than the debut — an outward flowering of dynamic\, living\, breathing rock and roll. Dacus’ remarkable sense of melody and composition are the driving force throughout\, giving Historian the immersive feel of an album made by an artist in full command of her powers. \nThe album opens with a striking three-track run. First comes “Night Shift\,” the only breakup song Dacus has ever written: “In five years I hope the songs feel like covers\, dedicated to new lovers\,” she memorably declares. Next is the catchy\, upbeat first single “Addictions\,” inspired in part by the dislocated feeling of life on the road and the lure of familiarity (“I’m just calling cause I’m used to it/And you’ll pick up cause you’re not a quitter…”)\, followed by “The Shell\,” a reflection on (and embrace of) creative burnout. There’s nothing tentative about this opening sequence. Right away\, it’s clear that Dacus is on a new level of truth-telling and melodic grace. \nAnother key highlight is track five\, “Yours & Mine” — “the centerpiece where the whole album hinges in on itself\,” Dacus says. Using a call-and-response format\, she wrestles with the question of how best to participate in a community broken by injustice and fear while staying true to what one believes is right. “It’s about realizing your power as a person\, and deciding to do the less safe but ultimately more powerful move\, which is to move physically forward — show up and march — and move forward politically\,” says Dacus\, who began writing the song during the 2015 Baltimore Uprising against systemic racism.  \nHistorian closes with two stunning songs: “Pillar of Truth\,” a heartfelt tribute to Dacus’ late grandmother\, and “Historians\,” which sums up the album’s complex lessons about loss. “From the first song to ‘Pillar of Truth\,’ the message is: You can’t avoid these things\, so accept them. There’s ways to go about it with grace and gratefulness\,” she says. “Then ‘Historians’ says that even if you can say that\, there’s still fear\, and loss is terrifying. You still love things\, so it’s going to hurt. But dark isn’t bad. It’s good to know that.” \n*** \nHaley Heynderickx (solo) \n \nWebsite\nFacebook\nTwitter \nIt takes a mix of skill and luck to tend a garden well\, but it’s impossible without a certain amount of amount of kindness tended. While the cyclical nature of gardening seems inherent\, in some ways\, Heynderickx is just beginning. Her debut album\, named I Need to Start a Garden out of a search for calm through these waves of uncertainty and upheaval\, is due out March 2nd via Mama Bird Recording Co.\nFor the empathetic singer/songwriter\, the reasons for seeking such acceptance and understanding stem from a life of paradoxes. Heynderickx grew up in a religious household in Oregon\, closely identifying with her Filipino roots\, but also straddling multiple cultural identities. Now residing in Portland\, her faith is not overt\, but her introspection and continued struggle for self­actualization are easily accessible and relatable.\nLikewise\, the tracks on I Need to Start a Garden reflect these seemingly disparate elements. Through soft acoustic guitar picking and deftly accented trombone sighs\, Heynderickx’s music immediately recalls folk music of the ’60s and ’70s mixed with a love of jazz radio. But Heynderickx’s singing—her vocals that range from sultry to operatic—belie a tenacity in her soul.\nIt’s a balance\, then\, between exposing and protecting herself on I Need to Start a Garden. Heynderickx vacillates between between powerlessness (opener “No Face”) and empowerment (lead single “Oom Sha La La”). But her generosity of spirit remains the constant throughout the whole album.\nYou can hear that exceptional care in “Jo”\, as she whispers\, “You tended your garden like heaven and hell / and you built the birds houses to see if it helped at all.” Aware of the birds\, the garden\, and anyone listening acutely\, Heynderickx’s music serves as an invitation for all to join her. Because the beauty of a garden is that while it’s often started for deeply personal reasons\, its bounty is best consumed and shared with others.
URL:https://royaleboston.com/event/lucy-dacus/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20191206T180000
DTEND;TZID=America/New_York:20191206T180000
DTSTAMP:20260405T011103
CREATED:20190520T050050Z
LAST-MODIFIED:20190729T162411Z
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SUMMARY:CAAMP
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nSecond show added due to overwhelming demand! Tickets on sale NOW! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nCAAMP \n \nWebsite\nFacebook\nTwitter \n*** \nSavannah Conley \n \nWebsite\nFacebook\nTwitter \nEmerging singer/songwriter Savannah Conley was born and raised just outside Nashville. Influenced by musical parents – her father was a guitarist and her mother a background singer – she has been performing since the age of seven. Now 21\, Conley recently released her EP Twenty-Twenty\, featuring stand out track “All I Wanted.” Twenty-Twenty was produced by Grammy Award-winning producer Dave Cobb (Chris Stapleton\, Sturgill Simpson\, Anderson East) and is Conley’s first release in partnership with Cobb’s Low Country Sound imprint at Elektra Records. Twenty-Twenty received critical acclaim from the likes of Rolling Stone who referred to the release as an “emotionally rich collection of tracks full of moody instrumentation and whip-smart lines.” Rolling Stone also named Conley one of their “Artists You Need To Know” in March of this year.
URL:https://royaleboston.com/event/caamp-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:20191207T180000
DTEND;TZID=America/New_York:20191207T180000
DTSTAMP:20260405T011103
CREATED:20190509T190004Z
LAST-MODIFIED:20190729T162439Z
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SUMMARY:CAAMP
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 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*** \nCAAMP \n \nWebsite\nFacebook\nTwitter \n*** \nSavannah Conley \n \nWebsite\nFacebook\nTwitter \nEmerging singer/songwriter Savannah Conley was born and raised just outside Nashville. Influenced by musical parents – her father was a guitarist and her mother a background singer – she has been performing since the age of seven. Now 21\, Conley recently released her EP Twenty-Twenty\, featuring stand out track “All I Wanted.” Twenty-Twenty was produced by Grammy Award-winning producer Dave Cobb (Chris Stapleton\, Sturgill Simpson\, Anderson East) and is Conley’s first release in partnership with Cobb’s Low Country Sound imprint at Elektra Records. Twenty-Twenty received critical acclaim from the likes of Rolling Stone who referred to the release as an “emotionally rich collection of tracks full of moody instrumentation and whip-smart lines.” Rolling Stone also named Conley one of their “Artists You Need To Know” in March of this year.
URL:https://royaleboston.com/event/caamp/
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:20191210T190000
DTEND;TZID=America/New_York:20191210T190000
DTSTAMP:20260405T011103
CREATED:20190819T160033Z
LAST-MODIFIED:20190822T205524Z
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SUMMARY:TURNOVER & Men I Trust
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 8/23 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: This show is open to all ages.  Opening acts and set times are subject to change without notice.  All sales are final unless a show is postponed or canceled.  All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue.  Please make sure necessary arrangements are made ahead of time.  All patrons subject to search upon venue entry. \n*** \n \n*** \nTURNOVER \n \nWebsite\nFacebook\nTwitter \n*** \nMen I Trust \nWebsite\nFacebook\nTwitter \nA Brief Introduction to Men I Trust \nDreampop is leading us into the next century. It is one of the more progressive and ever-evolving sub-genres of the past decade. A relatively new genre that combines the ethereal and harmonic vocals from Shoegaze as well as the catchy and jangly melodies from pop. While the genre isn’t exactly narrowly defined this is one of more the common definitions I see across the music community. It is one of my favorite genres at the moment and the one I look out for the most when I’m exploring new music. The genre is ever-expanding and is one of the main sub-genre that is leading us into the new decade. I wanted to take this opportunity to talk about one of my favorite bands of this decade and their evolution to where they are now. \nThe story of Men I Trust’s rise to indie fame is a bit more abnormal than most. The group initially started without their lead singer. In 2014 producer Dragos Chiriac and bassist Jessy Caron\, both Quebec music graduates and high school friends reunited after college and came together to form a duo named Men I Trust. Their music was heavily inspired by the electronic movement of the 2000s. If you take for example a song from their self titled 2014 debut like Endless Strive and compare it to their most recent output you immediately hear the difference in their approach to production. The programmed robotic electronic drums alongside these boisterous synthesizers give you a closer look into how the duo looked at song creation. The basics where all there\, the dance-inducing\, funkiness and soothe demeanor coupled with great vocal performances by frequent guest collaborators offered a range of different song types. At that was really missing would soon be discovered. \nIn 2015 as they were working on their next project they came across a video on Facebook of their future lead singer Emmanuelle Proulx. They were so impressed by her voice they invited her on to their 2015 album Headroom. On the track Out In Myself\, we get a very subdued and reverb packed poetic performance from Emma with some lyrics I still can’t even understand myself. What the hell is a “dread cabalist night”? I’m not too sure but it slaps regardless. The other track she lends her voice to Curious Fish is a little dancier and energetic with these stabbing and interjecting strings that pop in from time to time. And the tale of a lone fish being attracted to love and pulled it by its shiny exterior. The album itself is fantastic\, with the first half being very feature heavy with every singer lending the best version of themselves and the bottom half taking bits and pieces from house music and 80’s style synthesizers reminiscent of the fairly new at the time Random Access Memories by French house duo Daft Punk. While I am a big fan of this record the band would later go on to say in many interviews that the sound of the album was almost too clear and pristine that it essentially dehumanized many of the aspects of the project and that they were naturally moving towards a more organic sound. Which would ring especially true as the marathon of singles began. \nSo what happened next? They haven’t been very clear in their interviews but one can only assume that sometime in between June of that year and March of the next Emma was asked to join the band as their official and full-time singer. In early March of 2016\, they released their first single as a full 3-piece band Humming Man. The song is magical\, beginning with a very simple loop and drum kick while Emma speaks in the perspective of an anxious and paranoid old man who has disconnected himself from the outside world. “Amid the gate\, he stares at my door. How long did I see him stay?” is one of the many lines that puts you in that old man’s shoes all while you bob your head alongside that groovy bass line. The vocals are brimming with reverb and tons of effects that give this song an out of body experience. \nThe next single is a complete shift from their first song. Lauren is much more reliant on acoustic instrumentation and less vocal effects. While there is still a ever-present omniscient synth accompanying the track the absolutely killer bass playing is what carries this song. By elevating the bass and making it essentially the glue that sticks this song together you get a sound that isn’t all that common in the Dreampop or IndiePop genre. It’s so infectious it makes you want to get up and dance at any chance you get. The panning harmony is something you can’t help to sing along to every time. The song was originally what really put them on to more people as the song was spread all across popular sites like Bandcamp and the IndieHeads subreddit. The beginning of the rush of popularity for the band. \nLet’s fast forward a bit shall we? The year is now 2017 and after a few more singles we see the release of Tailwhip\, a song that would eventually surpass the popularity of Lauren and become the bands most well-known song. The song is chock-full of energy and while you think you’d eventually get real annoyed of the constant beeping synthesizer during the hook of this song I actually grew to love it\, it’s just one of the many examples of these tiny little additions that add to character to Men I Trust songs. The little piano breakdown before the hook is like a mini-countdown to get you pumped as fuck for the hook which is so catchy and so easy to sing along too you can’t help but do it. This is a perfect example of the band being able to combine their roots in electronic music with more organic instrumentation to perfectly compliment Emma’s voice\, a trend that would follow in their next singles. \nI Hope To Be Around is a more standard dream pop song with a very basic drum pattern and jangly guitar instrumentation\, but the real charm is in Emma’s lyrics. Everyone dreams of their future and finally hitting this state of self-realization\, finally realizing who you are what your purpose is. Truth is a topic that is ever-present in many of Men I Trust songs\, hell it’s even in their name. But being at peace with yourself and being able\, to be honest with yourself. Another reason why this song is so great is that it gave us this incredibly heartwarming viral video of a crowd singing along to the song and driving Emma to tears. it’s one of the pivotal moments for the band coming from Montreal all the way to New York and having people dedicated enough to know every single word to your song. I just needed to include this clip because it almost makes me cry every time I watch it. \nLet’s inch just a little closer to the present. While I’d love to touch on every song I want to speak a little more on another important moment in this run of amazing singles. Seven was released in late 2018 and was unlike anything I had heard at the time. You can\, of course\, hear the patented jangly dream-pop guitar providing assistance to the groovy and heavy bassline throughout the song what really pops in this song is once again the songwriting by Emma. The song is about a private moment that happened to the band at a party and their experience with someone who was always a little too curious and took things a little too far. While they won’t exactly name names in order to keep the event itself private safe to say there was definitely some sort of sexy undertones being presented in the song itself. And I would never live it down if I didn’t talk about that incredibly sensual guitar solo near the end of the track. A great ending to a fantastic track. \nAnd finally\, we get to the present day. Norton Commander is the newest of the singles and is one of my personal favorites. There is something about that guitar during the chorus that just blows my eardrums away. It’s so soft and smooth that is completely and totally compliments Emma’s silky comforting singing style. And just like in the music video\, It’s a perfect song to throw on with the top down cruising through the late-night streets of any metropolitan area\, just enjoying life like it was meant to be enjoyed. \nSo whats next? The band originally had an album due out in February of this year but has since been in a constant state of delay after delay. As Emma said in a podcast interview with Culture Creature\, touring can be a very stressful environment and it can be very difficult to create art when your headspace is full of other priorities. They initially announced that once touring had stopped they would work to put the finishing touches on the record and give it to the fans. Thankfully on the 24th of July\, they announced that their long-awaited 3rd album and debut with Emma as the lead Oncle Jazz would release in mid-September with a whopping 24 tracks many of which we have to yet to have heard. What I’m personally hoping for are songs just like the singles\, diverse yet poignant and connected. They all have a certain quality that in this genre is only being achieved by this band right now. It’s hard to explain but going through this bands singles will give you an idea for what I’m talking about. Men I Trust is leading the dream pop revolution and while I haven’t heard the album yet I’m sure if it’s anywhere near as good as their singles we are gearing up for one of the best projects of the year. \n*** \nRenata Zeiguer \nWebsite\nFacebook\nTwitter \nRenata Zeiguer is a Brooklyn-based multi-instrumentalist singer-songwriter\, the daughter of Argentinean and Philippine immigrants. An NYC native\, she grew up playing classical and jazz music\, beginning on the violin and the piano at age 6\, and listening to her grandmother play ragtime and tango music obsessively on a baby grand during family visits in Buenos Aires. \nShe began writing music as a kid\, with mostly instrumental compositions that evolved from hourslong improvisations while seated at the keys after school. Initially drawn to composers like Prokofiev and Debussy\, she grew to like songs that could be sung\, falling in love with the great early 20th century American jazz standards\, Brazilian tropicália\, and the Beatles. She eventually expanded her compositions into lyrical song writing while studying at NYU\, where she met long-time collaborator and producer of her upcoming debut\, Adam Schatz. Since joining New York’s independent rock scene as an original member of Schatz’s band\, Landlady\, Renata has sung and played violin and keys on many projects including Ava Luna\, Twin Sister\, Leapling\, Cassandra Jenkins\, The Relatives (Ian McLellan Davis)\, Christopher Burke (Beach Fossils)\, Quilt\, Skaters and Ex-Reyes.
URL:https://royaleboston.com/event/turnover-men-i-trust/
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:20191212T180000
DTEND;TZID=America/New_York:20191212T180000
DTSTAMP:20260405T011103
CREATED:20190122T160021Z
LAST-MODIFIED:20191107T185310Z
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SUMMARY:The Bouncing Souls
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri 1/25 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nThe Bouncing Souls \n \nWebsite\nFacebook\nTwitter \nThe Bouncing Souls are something of a punk rock institution. The band have been consistently churning out their beloved brand of anthemic punk since 1989\, and have earned an intensely loyal fanbase with tireless touring and an unrelenting love of making music. As the band approached the creation of their tenth full length\, they sought to make a record that captured the spirit of their earlier work\, while incorporating who they are today. That record is Simplicity and its 13 tracks of undeniably infectious punk rock prove that The Bouncing Souls have a lot more to say. \nIn making Simplicity\, The Bouncing Souls set out to write songs that\, first and foremost\, would translate into the live environment. With over 20 years worth of anthems under their collective belt\, it’s a challenge to write a setlist that incorporates newer material\, but Simplicity’s many standouts are more than up to the task. Next\, the band enlisted the help of producer John Seymour\, who manned the mixing boards for their fan favorite LPs How ISpent My Summer Vacation and Anchors Aweigh\, to record the album with all of the raw energy of the live performance. The production of Simplicity perfectly embodies the band’s bite and power\, the driving guitars\, prominent bass\, rock-solid drums\, and soaring vocals all cutting through with no unneeded studio shine. From speedy hardcore-influenced ragers\, to comparatively tender punk ballads\, Simplicity’s dynamics show every side of The Bouncing Souls. \nOn Simplicity\, The Bouncing Souls do what so few long-running bands are able to accomplish: they utilize all of the skills and lessons that come from over 20 years of making music\, while still capturing the reckless spontaneity of their past work. That delicate balance can only be found if there’s a sincerity in the songs that comes from genuine love of playing music together\, and The Bouncing Souls have that in spades. \n*** \nThe Bronx \n \nWebsite\nFacebook\nTwitter \n*** \nStrike Anywhere \nWebsite\nFacebook\nTwitter \n*** \nThe Bar Stool Preachers \n \nWebsite\nFacebook
URL:https://royaleboston.com/event/the-bouncing-souls/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20191229T190000
DTEND;TZID=America/New_York:20191229T190000
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CREATED:20190904T170003Z
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SUMMARY:Lotus
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 9/6 at 1pm! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nLotus \n \nWebsite\nFacebook\nTwitter \nLotus has always been difficult to define musically; an instrumental jamband that has favored groove-based improvisation instead of gaudy solos and noodling. Influences of classic electronic dance music\, funk\, post-rock and dance-rock have all made their way into the Lotus sound. Over the years\, their unique musical blend of electronica with jam music has helped forge a new path in the jamband landscape\, influencing many younger bands in the scene. Their latest studio effort\, Frames Per Second (December 2018)\, aims to showcase Lotus in a pure\, raw form performing live in the studio. Tracked live at Rittenhouse Soundworks in Philadelphia with cameras rolling\, the all-instrumental result is both an audio and video project. Instrumental jazz-funk\, Norwegian space-disco and other sounds make their way into the expansive 19-song album and documentary. For Frames Per Second\, Lotus aimed to incorporate pyschedelia into the album’s sound by combining hypnotic beats with unexpected harmonic or timbral turns. Approaching two decades together\, Lotus has toured actively throughout the US working their way up from dingy basement clubs to world-class venues such as Red Rocks. They’ve become festival favorites\, playing everything from Bonnaroo\, Camp Bisco and Outside Lands to Ultra Music Festival and Electric Forest\, building a hyper-loyal following along the way. A Lotus live show is an experience\, a uniquely crafted and improvised set taking everyone\, the crowd and band\, on a journey. \n*** \nLespecial \n \nWebsite\nFacebook\nTwitter \nlespecial carve their own sonic path in modern music\, creating their signature blend of “heavy future groove”. The power trio’s fresh synthesis of varied and divergent influences doesn’t underestimate the listener\, reflecting a post-modern cultural climate in which fans have space on their aural palette for J Dilla\, Radiohead\, King Crimson and Fela Kuti. Veering from hip-hop to metal\, prog to house\, pensive indie-rock to apocalyptic dub\, leaving room for head banging and hip swaying alike\, while still presenting a unified sound and vision. \n“That lespecial shit is crazy.” — Akil the MC (Jurassic 5)\n“Trap-metal.” — Nikki Glaspie (Beyonce / Nth Power)\n“One of the best bands I’ve ever seen live.” — Ott\n“My favorite band.” — Space Jesus \nThese three childhood friends from Connecticut play off of a lifetime of shared experience in their writing and performance. In a power trio\, it’s essential that each of the players can utterly captivate you at any given time. Each individual has a lot of weight to carry and is only as strong as the weakest link. In the studio\, as on stage\, it seems at first blush that Jon Grusauskas—delivering lyrics that call for your attention and seamlessly moving from guitar to keys to samples—is handling the entire upper end of the spectrum… until you consider how broad the melodic embrace of rhythmatist Rory Dolan and low end wizard Luke Bemand: injecting splashes of color and wicked chops into their heavy groove foundations or driving assaults\, this dynamic battery simultaneously eases and propels lespecial through fractious changes of mood and tempo. Additionally\, whether at the forefront or scattered throughout the mix\, all of them use live looping or triggered samples that contribute to a sound that is far greater than that generally created by three people as they seek to tap into a primitive past\, distorted through the lens of contemporary technology. \nThe band’s fearless pursuit of a synthesis of the musical idioms that inspire them has\, thus far\, culminated with the release of their second album\, cheen\, on October 31\, 2017. Pole vaulting over traditional genres\, cheen is a snapshot of a band flexing their remarkable creative muscles. In a traditional sense\, cheen is a risky album: it asks the listener to suspend a categorical approach and dig into their own eclectic unconsciousness\, to adapt a phrase\, and appreciate the flow of the record from start to finish\, as it moves guided by an unseen plan. If there is an underlying thematic structure\, it is one that is anchored—musically and lyrically—by horror flicks\, 1980s video games and lespecial’s indictment of the current cultural state of affairs. Not overtly political\, angry or morose\, cheen seems to observe the zeitgeist and respond to it. lespecial’s willingness to take this risk of presenting an album full of flavors and feels is a reflection of the respect they have for their fans\, present and future: they simply don’t underestimate the listener\, and that itself is refreshing.\nNever willing to sit back and settle into a groove\, lespecial pivoted quickly from touring in support of the release of cheen into a whole new format: collaborating with and supporting the iconic Bay Area hip-hop emcee and producer\, Zion I\, on tour dates and a forthcoming album. There are also plans to release remixes of cheen tracks from some of their producer friends who hold lespecial in the highest esteem.
URL:https://royaleboston.com/event/lotus/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTEND;TZID=America/New_York:20200104T180000
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SUMMARY:Parmalee
DESCRIPTION:
URL:https://royaleboston.com/event/parmalee/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20200131T180000
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SUMMARY:[SOLD OUT] Midland
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nThis show is SOLD OUT! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nMidland \n \nWebsite\nFacebook\nTwitter \nHailing from Dripping Springs\, TX lead vocalist Mark Wystrach fronts Midland’s rich sound that is rounded out with lead guitarist Jess Carson and bass player Cameron Duddy. Rooted in tradition in both sound and style\, the trio initially garnered attention playing clubs in the region. Their critically-acclaimed freshman album\, ON THE ROCKS (Big Machine Records)\, features 13 tracks with songwriting credits from each member alongside hitmakers Shane McAnally and Josh Osborne. Launching to rave reviews from notable outlets such as the Los Angeles Times and Rolling Stone Country\, ON THE ROCKS was declared “the year’s best Country album” by Washington Post.  The Dann-Huff produced album earned the No. 1 position on Billboard’s Top Country Album Sales chart upon release. Their debut No. 1 single “Drinkin’ Problem\,” which offers an intentional nod to Country music reminiscent of the 1970s and 80s\, earned the band their first GRAMMY® Awards nominations for Best Country Song and Best Country Duo/Group Performance. Midland was also named New Vocal Group of the Year at the 2018 ACM Awards. The band just released “Mr. Lonely\,” the first single off their highly-anticipated upcoming second album. While the song has quickly gained a following and was touted as most added at Country radio upon release\, they also released the video which stars acclaimed actor Dennis Quad starring as “Mr. Lonely.” Midland’s ELECTRIC RODEO TOUR has wrapped. For a full list of tour dates and more\, visit MidlandOfficial.com. \n*** \nJonathan Tyler \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/midland/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20200203T190000
DTEND;TZID=America/New_York:20200203T190000
DTSTAMP:20260405T011103
CREATED:20190923T143917Z
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SUMMARY:Metronomy Forever – North American Tour 2020
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 9/27 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ 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*** \nMetronomy \n \nWebsite\nFacebook\nTwitter \nHey\, did you ever notice how Metronomy\, the Joe Mount-fronted electronic indie pop group releasing their sixth album Metronomy Forever this September\, sounds a bit like time keeping tool ‘metronome’? You did? Boy oh boy. \nThe metronome reference was but a musical in-joke before: now it contains more meaning. The steady tick-tocking of the pendulum represents continuation\, stability\, endlessness\, and consistent familiarity. It understands that while we all ultimately return to the goo from whence we came\, time marches on furiously\, like a bull aiming for a matador. Your last breath will be another click on the machine. \nMetronomy Forever in name represents a similar ethos: something looking backwards and forwards simultaneously\, like Janus\, something fated and eternal. You were made from dust and to dust you will return\, that sort of thing.  \n“What happens is when you’re making music and you enter a world where you have achieved some sort of celebrity no matter how large or small you start to think about yourself in terms of legacy and what you’re going to leave behind\,” says Mount. “And then you realise that’s limited to the interest people have in you. In the end I feel completely comfortable with it. The less importance you place in any art the more interesting it can become in a way… I’m making music\, I’m going to do some concerts\, I need to feed my children.”  \nMetronomy Forever is the follow-up to 2016’s Summer 08\, and contains 17 tracks. Its length is born from a desire for breathing room\, from not wanting to stuff the hits together like a bouquet of petrol station roses. In between the sauna-sweat-soaked funk of songs like It’s Automatic\, and the beach funeral of Walking In The Dark\, lie pretty\, glistening ambient tracks. It evokes the feeling of being sat in a nursing home\, Swiss-cheese-brained\, recalling joyous flashes of a past life while the fugue states of comforting confusion wash over you. \nIt also comes from a desire to replicate the feeling of listening to the radio\, with sumptuous songs of different types and styles helping lighten your mood\, and stifle retches as you inhale scrambled egg steam from the saucepan you’re scrubbing. “The radio never stops\,” as Joe puts it. “It doesn’t really matter how emotionally deep the music that comes on is\, it’s entirely your situation that gives the music it’s emotional leaning.” \n“For so long I was concentrating on trying to make these snappy songs\, and when they were all sat together it didn’t make for some impressive thing. It wasn’t until I started thinking about the past several years\, realising that in that time there’ve been periods of drifting\, and looking around for ideas. When I started including these bits of instrumental music and bits of sound\, to which I genuinely felt some kind of connection\, I put them in amongst these little flowers.” \nFlowers are apt metaphor. Mount has moved away from the bustle of his former Parisian home to take up residence atop a hill in the garden of England. It was a necessary change\, he says\, and one that has soldered a bond with him and nature. \n“I think it has everything to do with me at the moment\, being in this environment – and I literally mean the environment. I feel properly more connected with nature. And I’m embracing myself getting into it\, because I think it’s a really important part of being a person – and I haven’t even read that Sapiens book.” \nAnd a good thing he hasn’t\, as it seems Sapiens has been widely discredited by academics the world over.  \nMetronomy Forever is a record that exudes a green tranquillity. Mount was concerned that the relative happiness of his existence might stifle his creativity\, having no great tragedy to draw from\, but discovered the opposite was true.  \n“To be jealous of having that stuff going on is a bit dangerous\,” he says. “I look at successful musicians who\, as they get older\, struggle to remain relevant. I’m at this point where I feel like\, my attitude towards what I do is healthy. With this record I wanted to make a very pure expression of what I’m about right now\, and I think for me that makes for better music.” \nAnd while the music itself promotes a sense of calm joy\, it’s in the lyrics that we remember that even idyllic circumstances require their own maintenance\, an oiling of the cogs to keep them crunching along. Mount reminds us of this on Lately\, desperately singing “That is love and it’s hard to do\, it’s a job for two. What do I do if I don’t get nothing from you?” \nIt’s not just the physical space and distance from stress and life on the Rue De Dogshit in the French capital that has had its effect on the creative process.  Mount spent much of the last four years working with Robyn on her acclaimed and deeply personal record Honey. 48 months of vicarious agony was exhausting\, but ultimately extremely fulfilling. \n“In the space of time since the last Metronomy record I’ve had a very large part in writing an album based on a traumatic experience for her. I knew the whole experience was going to be this massive cathartic thing. When it got to the point of finishing\, I remember telling her how good it was and how people are really going to respond to it in the way you want them to. Working with someone and being able to tell someone that is quite an enjoyable thing\, being able to know that everything’s cool. It’s a nice feeling to have.” \nThose glimmers of emotional\, intense\, carnal mania seem to have rubbed off on Mount in their own way\, too. On Sex Emoji\, the subconscious throbbing purple of the erotic digitised aubergine comes to life\, a refrain of ‘love\, honey\, sex\, money’ sang in a coital squeal.  \nSalted Caramel Ice Cream brings this to the fore too\, but more in the vein of Lipps Inc’s Funkytown\, and evokes the sapid pleasure and delights of love\, but also the panics and anxieties (‘Oh god\, she’s coming\, don’t look up’). \nBut when the shagging is over you’re left only with the despair of your sweaty reflection. The moments of pain and sadness on Metronomy Forever are just as real\, but also surmountable\, much like most of the torture of existence ultimately is. It’s the scope of experience of someone who has decided that agony\, while perhaps a good palette from which to scrape your paints\, is just not really that much fun. We’re here for a good time\, not a long time\, and\, as Homer Simpson once said\, “You could wake up dead tomorrow.” Get on your hands and knees\, plunge your fingers in the soil and scream thanks at the moon for making the waves crash warm foam at the feet of our children.  \nJoe Bish. \n*** \nJoy Again \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/metronomy-forever/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20200206T190000
DTEND;TZID=America/New_York:20200206T190000
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SUMMARY:Spafford
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 11/15 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nSpafford \n \nWebsite\nFacebook\nTwitter \nOn New Year’s Eve in 2009\, guitarist Brian Moss and bassist Jordan Fairless joined up to play a show in their home state of Arizona and ring in a new decade. Moss and Fairless had been playing the same open mic nights and after their first successful joint effort decided to team up and officially form a band: Spafford. After playing shows in their home state\, the pair found themselves on the hunt for a new partner to help them round out their group. They found keyboard player Andrew “Red” Johnson and asked him to voyage out to Las Vegas in the run up to their 2011 New Year’s show in Prescott. Johnson agreed\, and has been with the band ever since. Now\, with drummer Nick Tkachyk\, the band brings their vibrant\, dynamic music to the world at large and pushes the boundaries of what a jam band can be.\nSpafford is known for their astonishing improvisational ability\, which they’ll use to play live off the cuff extended jams. Each song is a blank canvas\, and Spafford paints a picture in real time each night with a musical palette known only to each other. It’s a private language comprised of their talent as musicians\, and of their formidable catalog of influences – ranging from Steely Dan\, electronic acts like The Crystal Method\, to 90’s alt rock radio hits. Every show is a sonic pilgrimage – the journey of a team of musicians so in tune with each other that a single note communicates intent and purpose.\nEven though the band thrives off the electric pulse of live shows\, the same energy also translates into their studio efforts. Their 2018 release “For Amusement Only” hits to the heart of Spafford – tight\, inventive\, and dexterous musicianship coupled with clever retro-pop inspired songwriting. Songs like “Leave The Light On” highlight their influences – from the melodic styles of Alanis Morissette to the rhythmic bounce of Bob Marley. Other tracks like “Ain’t That Wrong” and “Slip and Squander” are rich with other signature Spafford signs: vibrant vocal harmonies\, complex and catchy arrangements\, and sparkling\, powerful performances.\nSince forming\, Spafford has achieved what some groups only dream of. The group is in high demand at music festivals like Bonnaroo and Firefly and consistently play sold out shows across the United States. After the successful release of “For Amusement Only” in 2018\, they are eager to play new songs and evolve their sound on the road. \n*** \nEggy \n \nWebsite\nFacebook\nTwitter \nEggy is the group that brings balance to your musical diet. The band offers timeless songwriting both lyrically and in composition creating works worthy of repeated consumption. Drawing influences from classics like Bruce Hornsby\, CSNY\, Herbie Hancock\, & the like; Eggy is the fresh but familiar music you’ve been craving. In a live setting moving lyrics & four piece harmonies coupled with eclectic improvisations create performances that take on a life of their own. Eggy’s music offers the full pallet of emotion & style and invites you to share in the experience! Their debut album “Watercolor Days” (released March 2019) reflects the band’s fine palate & musical breadth. \nMichael Goodman (bass/vocals)\, Jake Brownstein (guitar/vocals)\, Dani Battat (keys/vocals) and Alex Bailey (drums/vocals) work in tandem\, sending sizzling musical ideas across the stage from years of sharpening their craft together. The result is an original & organic musical blend inspired by their heroes of the past and present.
URL:https://royaleboston.com/event/spafford-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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