BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Royale Boston - ECPv6.15.16//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Royale Boston X-ORIGINAL-URL:https://royaleboston.com X-WR-CALDESC:Events for Royale Boston REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20180311T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20181104T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20190310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20191103T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20200308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20201101T060000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/New_York:20191009T190000 DTEND;TZID=America/New_York:20191009T190000 DTSTAMP:20260404T103158 CREATED:20190507T150056Z LAST-MODIFIED:20190913T204854Z UID:10002769-1570647600-1570647600@royaleboston.com SUMMARY:[SOLD OUT] Lewis Capaldi DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show is SOLD OUT! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: This show is open to all ages. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nLewis Capaldi \n \nWebsite\nFacebook\nTwitter \n*** \nSaint PHNX \n \nWebsite\nFacebook\nTwitter \nThere’s nothing quite like the bond between siblings and this bond is at the heart of Saint PHNX – the Glaswegian born duo comprised of brothers Stevie and Alan Jukes. Shades of Imagine Dragons\, Bastille and X Ambassadors weave their way through Saint PHNX’s immense sound. A big helping of attitude\, a willingness to experiment and a knack for writing rousing choruses ensures they can rival any arena act and cut through to the top. URL:https://royaleboston.com/event/lewis-capaldi/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/05/Poster11x17.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191010T200000 DTEND;TZID=America/New_York:20191010T200000 DTSTAMP:20260404T103158 CREATED:20190320T171301Z LAST-MODIFIED:20191001T144231Z UID:10002042-1570737600-1570737600@royaleboston.com SUMMARY:Lost Frequencies (LIVE) DESCRIPTION:Presented by Bowery Boston \nDoors: 8:00 pm / Show: 9:00 pm \nTickets on sale Fri 3/22 at 7am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nLost Frequencies \n \nWebsite\nFacebook\nTwitter \nFelix De Laet\, better known by his moniker Lost Frequencies\, has soared to success in the international music industry on many levels. Releasing his global smash hit ‘Are You With Me’ back in 2014 and quickly cementing himself as a name to watch\, the track rapidly ascended by hitting multi-platinum status and taking the #1 spot in 18 countries and becoming the first Belgian artist to hit #1 in the UK. Proving that he is no one-trick pony in the studio\, ‘Reality’ evidenced as another major smash hit from the young prodigy that flew to platinum status in no less than 7 territories\, blossoming further to become one of the most Shazamed anthems of the year. \nAs well as this\, a zig zag of global dates at the world’s most important festivals including Coachella\, Tomorrowland\, Lollapalooza\, closing down EDC Vegas in spectacular solo style\, and a hugely impressive arena run with fellow chart-dominators The Chainsmokers; another year sparkled bright for the superstar. And it didn’t end there… Solidifying himself further as a trailblazer in the scene\, in 2018 Lost Frequencies amassed over 1 billion streams and ripped up the rule book on his tropical-infused official remixes on Major Lazer\, Justin Bieber & MØ’s ‘Cold Water’\, Miley Cyrus’s ‘Malibu’ and LSD Labrinth / Diplo / Sia’s ‘Thunderclouds’\, showing that his unique electronic style can lend itself to multi-dimensional pop and still deliver an inimitable sound as the hits just kept on coming. \nLost Frequencies also firmly established himself as one of the strongest\, fastest rising talents with his debut entry into the 2017 DJ Mag poll at #26\, the highest new entry of any artist that year\, when in 2018 he then surpassed this previous achievement by climbing up to #17. As the accolades multiplied including emerging victorious in the ‘Dance International’ and ‘Hit of The Year’ categories at the ECHO award ceremony (comparable with the U.S. Grammy’s)\, beating the likes of Adele on the latter to two. \nAfter the successes of his Lost Frequencies and friends-curated parties globally\, he took the party to Tomorrowland for the third year\, which in 2017\, was the only stage to be closed down during the event as an unprecedented number of fans descended on the stage to view the fun\, showcasing the huge appeal held by Lost Frequencies not only in his home of Belgium\, but amongst the world-class\, diverse Tomorrowland crowd. \nBranching out with the launch of his label Found Frequencies\, featuring his own productions as well as a collaboration with James Blunt to name but one link-up on the imprint\, from show-stopping live appearances\, to career-making studio hits\, he’s soaring to a meteoric rise at his own accord. \n*** \nThrottle \nWebsite\nFacebook\nTwitter \n*** \nLost Frequencies \nWebsite URL:https://royaleboston.com/event/lost-frequencies-live/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/03/Lost-Frequencies-admat-2019.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191011T180000 DTEND;TZID=America/New_York:20191011T180000 DTSTAMP:20260404T103158 CREATED:20190715T160033Z LAST-MODIFIED:20190714T170526Z UID:10002794-1570816800-1570816800@royaleboston.com SUMMARY:Shovels & Rope DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri 7/19 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nShovels & Rope \n \nWebsite\nFacebook\nTwitter \nAs the Brontл sister wrote\, “The ties that bind us to life are tougher than you imagine.” Shovels & Rope\, the musical duo of Michael Trent and Cary Ann Hearst\, embody that bond. Married for a decade\, their covenant extends to blood and beyond: as parents\, bandmates\, and creative collaborators who can now add the pursuits of festival curators\, film subjects\, and children’s book authors to that mighty list. Having released four studio albums and two collaborative projects (Busted Jukebox\, Vol. 1 & 2) since 2008\, Trent and Hearst have built their reputation on skill\, sweat\, and\, yes\, blood. Now\, with the tough and elegant new record By Blood\, as well as their High Water Festival in their hometown of Charleston\, South Carolina\, “Shovels & Rope: The Movie”\, and the picture book “C’mon Utah!”\, Shovels & Rope are primed for their biggest year yet. \nAccomplished musicians in their own right prior to dedicating themselves full time to Shovels & Rope in 2011\, Trent and Hearst have made a career together by seizing opportunities and never resting on their laurels or being complacent in doing something just because. Carving out a niche in the music world with strong\, roots/indie/folk/rock-inspired efforts like 2012’s O’ Be Joyful\, 2014’s Swimmin’ Time\, and 2016’s inward-looking Little Seeds\, as well as their powerful live show\, far-reaching tours\, and myriad TV and festival appearances\, Shovels & Rope have earned the right to follow their own muse. And so\, in an effort to satisfy their numerous creative interests and adapt to a changing industry\, Trent and Hearst have firmly planted their flag in realms beyond recording and releasing albums. \nThe third annual High Water Festival curated by the band will be held over a weekend in April and will bring 10\,000 fans to a park in North Charleston to witness a lineup of artists comparable to some of the best in the country—including Leon Bridges\, The Head & The Heart\, Lord Huron\, Jenny Lewis\, Mitski\, and Shovels & Rope themselves. High Water benefits select organizations and water conservation charities in Charleston and aims to avoid the feeling of corporate inundation and discomfort that plagues many big-name music events. Trent and Hearst work with production companies and agencies to book acts\, then serve as on-site hosts in addition to performing throughout the weekend. \n“Shovels & Rope: The Movie” is a performance film that has been expanded into feature-length with an external narrative weaving through and connecting the live performances. Directed by their frequent visual collaborator\, Curtis Millard\, the ‘live show’ portion of the filming took place over two nights at The Orange Peel in Asheville\, North Carolina\, during the tour for Little Seeds. The rest of the film was shot in various locations in and around the Southeast. The result can be described as a David Lynch meets John Hughes (a fun\, silly\, and tongue-in-cheek film for fans to enjoy that also represents the band at the peak of their live power.) \nThe children’s book\, “C’mon Utah!”\, sets the lyrics from the new song of the same name to illustrations by the artist Julio Cotto. It is an inspirational story\, set in the future aftermath of the building and subsequent destruction of the southern border wall. The separated and displaced families are figuring out how to start to put the pieces back together. Communities form to organize and support each other. The parents in these communities tell stories to lift the children spirits and maintain hope through sadness and despair. One such story is about a magic horse named Utah who has the power to help to reunite them with their families on the other side of the devastation. The book is intended as a conversation starter for parents and children to discuss immigration and diversity. \nTrent and Hearst have learned to juggle their busy schedules by relying on each other as well as their team\, and by seizing every chance for efficiency. They realized one such opportunity by building a modest studio at home\, which is where they began to record By Blood in May of 2018. The new space in their back yard provides a sanctuary where their gear can remain at the ready\, a luxury conducive to their creative process—especially when sharing a home with kids. \nBy Blood’s ten songs are vignettes that focus on vulnerable\, human characters laid bare\, while the textures are gritty\, sweeping\, and profound. These are tales of inherently good yet incomplete people whose faults are on the table in plain sight\, a trait that endears the subjects to the listener and that the songwriters recognize in themselves. \nThe first single “The Wire” is about accepting your own faults and learning to say you’re sorry. Its stylishly minimal verses and wall of sound chorus recall some raw\, girl-group era drama as well as timeless rock and roll. As the gorgeous\, dark lullaby of the title track brings the album to its end\, the beautiful\, cinematic journey of By Blood has left its mark.\nAnd so\, bound by blood\, by sweat\, and by love—of creativity\, craft\, and family—Shovels & Rope are coming out swinging. From the bind in their band name itself to the shared life they have built from scratch\, it’s clear that Trent and Hearst are in constant pursuit of their best selves—together. \n*** \nCedric Burnside \nWebsite\nFacebook \n“My school was a juke joint/From a kid till I was grown/And blues is really/All I ever known”\n“Ain’t Gonna Take No Mess” \nTake one glance at the iconic tintype photograph which serves as the cover to his new album\, Benton County Relic\, and you know immediately that Cedric Burnside is the real deal. “When I first saw it\, I thought I looked like an outlaw\,” he laughs. \nThe 39-year-old still lives on several acres not far from the Holly Springs\, Mississippi\, home where he was raised by “Big Daddy\,” his grandfather\, the late singer/songwriter/guitarist R.L. Burnside whom Cedric famously played with\, just as his own father\, drummer Calvin Jackson\, did. Cedric was literally born to the blues\, more specifically\, the “rhythmically unorthodox” Hill country variant which emerged from Mississippi\, where he grew up surrounded (and influenced) by Junior Kimbrough\, Jessie May Hemphill and Otha Turner\, as well as delta musicians T-Model Ford and Paul “Wine” Jones. \nGrammy-nominated in 2015 for Best Blues Album for the Cedric Burnside Project’s Descendants of Hill Country\, as well as the recipient of the Blues Music Awards honor as Drummer of the Year for four consecutive years\, Cedric’s latest album offers a showcase for his electric and acoustic guitar\, recording 26 tracks in just two days with drummer/slide guitarist Brian Jay in the latter’s Brooklyn home studio in a rush of creativity. It’s his first release for Single Lock Records\, the Florence\, Alabama label headquartered across the Tennessee River from the legendary Muscle Shoals Sound Studio and responsible for critically acclaimed records by John Paul White\, Nicole Atkins\, Dylan LeBlanc and St. Paul & the Broken Bones. \nAnd while Cedric humbly refers to himself in the album’s title\, the music within is anything but ancient\, the rich tradition of Hill country blues dragged kicking and screaming into the modern-day with crackling electricity amid its nod to life’s essentials. If the blues has traditionally been about getting through hard times\, Benton County Relic offers the kind of deep baring of the soul that enables us to transcend oppression\, whether in the 19th century or in the precarious present. \nThere’s blood on these 12 tracks\, from the matter-of-fact recitation of his poverty-stricken childhood without running water\, radio or TV in “We Made It” (“I come from nothin’/I done been lower than low/I keep my head straight/No matter how low I go”) and the description of a “Typical Day” (“I wake up in the mornin’/Sun shinin’ on my face/I drink a cup of coffee/I might roll me a J”) to the loss of family endured in “Hard to Stay Cool” and the unrequited passion of “There is So Much.” \n“I write my music according to how I live my life\, the things I’m going through at the time\,” insists Burnside\, who lost both his parents\, an uncle and his younger brother Cody over the last few years. “I love music so much. It’s really something I can turn to when I’m feeling down and out\, and in pain. Whether it’s the heartache of breaking up with a girlfriend\, or frustration at a dispute with a family member.” \nBurnside has brought a music that started as an expression of grief and a will to survive into a modern-day art form that is both timely and timeless\, a glimpse of myth and insight into the human condition. “Back in the day\, it wasn’t heard as music\, but more like ‘somebody help me\, I want to get out of this situation\,’” says Cedric. “These days\, anybody can have the blues. Some people deal with loss by going out and getting drunk or even killing themselves. The blues is about surviving through those hard times\, telling the world what you’ve been through\, and how you came out of it.” \nCedric’s blues cover a wide range of different emotions. “Give It to You” is an expression of pure sexual desire\, a traditional blues trope. Burnside explains\, “That kind of stuff still goes on in the world today\,” he says. “It has happened to me\, and I’m sure it has happened to a lot more people. Whether it’s politically correct or not\, it’s the truth. And that’s how I write my music. It might seem harsh or messed-up\, but it’s real.” \n“Call on Me” is a song penned for his three daughters\, ages 13 to 17\, about being there emotionally\, if not always in person\, given his hectic touring schedule. “I just want them to know\, what I do is not just for the fans\, but for them\, too.” \nThe traditional “Death Bell Blues” is a tribute to his own “Big Daddy\,” R.L. Burnside\, who used to perform the song\, once covered by Muddy Waters and countless others. “I did it the same way ‘Big Daddy’ did it\,” he says. “I want to let the people know where my music comes from.” \nOn “Ain’t Gonna Take No Mess\,” Cedric insists he’s performing the music he wants\, regardless of what anybody else says. “I’ve been playing almost 30 years now\,” he exclaims. “It’s who I am\, what I am. I am Hill country blues. This is my whole life\, and I’m not going to listen to anyone who tells me what I can and can’t do. I just thank God that Single Lock Records let me be with my music.” \nCedric has both played and recorded with the North Mississippi Allstars (Luther Dickinson gave him his first electric guitar)\, Widespread Panic\, Jimmy Buffett\, Bobby Rush\, Hubert Sumlin\, Black Joe Lewis and the Honeybears and the Jon Spencer Blues Explosion. He was also featured playing drums alongside Samuel L. Jackson in Craig Brewer’s 2006 feature film\, Black Snake Moan\, which was in part a tribute to his grandfather R.L. and other iconic bluesmen. \nNow planning to tour with collaborator Brian Jay to promote the new album\, Cedric eschews politics in favor of the personal. “I know there’s a lot going on in the world\,” he says. “But I try to give it all to God and let Him handle it. Politics divides people. The blues brings them together. A bluesman has to find a way to make it through.” \nCedric Burnside isn’t content with just making it through. On Benton County Relic\, he brings the blues alive for a new generation of fans weaned on the likes of White Stripes and the Black Keys. And why not? That’s all he’s ever known. URL:https://royaleboston.com/event/shovels-rope/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/07/Shovels__Rope_by_Curtis_Millard.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191012T183000 DTEND;TZID=America/New_York:20191012T213000 DTSTAMP:20260404T103158 CREATED:20180620T175427Z LAST-MODIFIED:20191002T154824Z UID:10001937-1570905000-1570915800@royaleboston.com SUMMARY:SuicideGirls: Blackheart Burlesque DESCRIPTION:SuicideGirls: Blackheart Burlesque is the sexiest\, smartest\, geekiest\, and most fun definitive pop culture burlesque show! Featuring none other than SuicideGirls themselves\, the show has been performed hundreds of times\, delighted millions of fans in over six countries\, and has been touring since 2003! Don’t miss your chance to see it live during the 2019 US Tour! SuicideGirls has been redefining beauty since 2001 with its network of over 3\,000 SuicideGirls and almost 9 million pinup style photographs on the premier\, members – only social network SuicideGirls.com. Check out blackheartburlesque.com for more information about the tour and to see where the girls are headed next! \n18+ URL:https://royaleboston.com/event/suicidegirls-blackheart-burlesque/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts,Special Events 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:20191016T190000 DTEND;TZID=America/New_York:20191016T190000 DTSTAMP:20260404T103158 CREATED:20190507T141302Z LAST-MODIFIED:20190809T160643Z UID:10002768-1571252400-1571252400@royaleboston.com SUMMARY:[SOLD OUT] IDLES DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show is SOLD OUT! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nIDLES \n \nWebsite\nFacebook\nTwitter \n*** \nPreoccupations \n \nFacebook\nTwitter \nPreoccupations’ songs have always worked through themes of creation\, destruction\, and futility\, and they’ve always done it with singular post-punk grit. The textures are evocative and razor-sharp. The wire is always a live one. But while that darker side may have been well-explored\, that’s not quite the same as it being fully\, intensely lived. This time it was\, and the result is ’New Material’\, a collection that broadens and deepens Preoccupations to a true mastery of their sound. In it lies the difference between witnessing a car crash and crashing your own\, between jumping into an ocean and starting to swallow the water. \n“It’s an ode to depression\,’ singer Matt Flegel says plainly. “To depression and self-sabotage\, and looking inward at yourself with extreme hatred.” Typically resilient\, the months leading up to recording ‘New Material’ brought a new order of magnitude to feelings that had been creeping up on Flegel for some time. He’d written bits and pieces of lyrics through the course of it\, small snippets he hadn’t assigned to any one thought or feeling but were emblematic of a deeper issue\, something germinating that was dense and numb and fully unshakeable. As the band began writing music\, that process gave shape to the sheer tonnage of what he’d been carrying. With virtually nothing written or demoed before the band sat down together\, the process was more collaborative than before. It was almost architectural\, building some things up\, tearing others down to the beams\, sitting down and writing songs not knowing what they were about. But for Flegel\, it led to a reckoning. “Finishing ‘Espionage’ was when I realized\,” says Flegel. “I looked at the rest of the lyrics and realized the magnitude of what was wrong.” \n‘New Material’ builds a world for that feeling\, playing through its layers and complexities while hiding almost nothing. That inscrutable side is part of the magic\, here\, and a necessary counterweight to the straight-jab clarity of Flegel’s lyrics. You can deep-dive the lyrics or zone into a riff; you can face it or you can get lost in it. “My ultimate goal would be to make a record where nobody knows what instrument is playing ever\,” says multi-instrumentalist Scott Munro\, “and I think we’ve come closer than ever\, here. It shouldn’t sound robotic — it should sound human\, like people playing instruments. It’s just maybe no one knows what they are.” \nOpener “Espionage” lives up to Munro’s goals\, kicking off with a clattering\, rhythmic echo that gives way to sprinting percussion and a melody in the orbit of Manchester’s classics. “Manipulation” explores the futility of going through the motions\, balancing a droney\, minimal march with a thunder roll that brings it to the brink\, and to the doomed romantic declaration\, “please don’t remember me like I’ll always remember you.” “Disarray” bursts up like a blackened confetti cannon\, the song’s undeniably bright melody dancing over a refrain of “disarray\, disarray\, disarray” and literally nothing else. “A lot of this is about futility\,” he says\, “trying to find something where there’s nothing to be found.” That hunt turns into a search-and-destroy mission on “Decompose”\, a tense\, speedy\, “blow yourself up and start again” type of song\, the very picture of creation and destruction\, as Flegel writes “for better or worse\, we are cursed in the ways that we tend to be.” And while calling an album ’New Material’ might seem like a smartass move\, the truth is it’s as matter-of-fact a title as Espionage\, Disarray\, or anything else on the record. Why fight that? \nIf the through-line unifying Preoccupations’ work is a furious\, almost punishing cyclical quality\, ‘New Material’ does offer some relief. “This is somehow the most uptempo thing we’ve ever done\,” observes Flegel. That propulsive\, itchy quality rescues ‘New Material’ from the proverbial bottom of the pit. To write these songs is to force oneself to reignite\, to play them is to stand up and reengage. Closer “Compliance” may not seem revelatory on first listen\, but it is deeply elemental\, a crucial finale and the band’s first standalone instrumental. Original versions were built to death\, reexamined and re-destroyed until they landed on just two chords — something simple\, fundamental — and resolved to make meaning out of that\, to show instead of tell. Flegel acknowledges it is more affecting to him than any other song on the record. It’s not redemption\, more like a forced reprieve. URL:https://royaleboston.com/event/idles/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/05/IDLES-admat-2019.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191018T190000 DTEND;TZID=America/New_York:20191018T190000 DTSTAMP:20260404T103158 CREATED:20190430T162121Z LAST-MODIFIED:20190430T162121Z UID:10002050-1571425200-1571425200@royaleboston.com SUMMARY:Foil Arms and Hog: Live DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Thu 5/2 at noon! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nFoil Arms and Hog \n \nWebsite\nFacebook\nTwitter URL:https://royaleboston.com/event/foil-arms-and-hog-live/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/04/Foil-Arms-and-Hog-lo-res.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191020T190000 DTEND;TZID=America/New_York:20191020T190000 DTSTAMP:20260404T103158 CREATED:20190724T140006Z LAST-MODIFIED:20190730T161551Z UID:10002086-1571598000-1571598000@royaleboston.com SUMMARY:Tank and the Bangas DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 7/26 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nTank and The Bangas \n \nWebsite\nFacebook\nTwitter \nComing from New Orleans\, Tank and the Bangas are surrounded by plenty of grand musical traditions. And the five-piece group has a rare knack for combining various musical styles—fiery soul\, deft hip-hop\, deep-groove R&B and subtle jazz—into one dazzling\, cohesive whole that evokes the scope of New Orleans music while retaining a distinctive feel all its own. \n“It’s music that can’t really be put in a box\,” says singer and poet Tarriona “Tank” Ball. She fronts the band with vivid charisma that helped Tank and the Bangas win NPR’s 2017 Tiny Desk Concert Contest by unanimous acclaim\, standing out among 6\,000 entrants because of what Bob Boilen called “the depth of their lyricism and the versatility of their players.” Those same qualities also attracted the attention of Verve Records\, which has signed the band. \nBall’s lyrical depth has been years in the making. She came up in the strong local slam poetry scene before meeting her bandmates: Merell Burkett on keyboards\, Joshua Johnson on drums\, Norman Spence on bass and synth keys and\, eventually\, Albert Allenback on alto sax and flute. “Growing up\, I always could sing\, but I wrote better than I sang\, so I focused on writing\,” she says. After her team won the National Poetry Slam Championship two years in a row\, Ball turned her full attention to Tank and the Bangas. \nWhat started as a loose collaboration at an open-mic night in 2011 has grown into a mesmerizing musical force that’s only picking up speed. After a featured set at the New Orleans Jazz & Heritage Festival early in the band’s career\, the musicians built a reputation outside their hometown by grinding it out on the road\, honing their live show and releasing the 2013 album Think Tank\, all the while converting audiences into passionate fans and garnering critical acclaim\, from the New Orleans Advocate to The New York Times. “It made us work hard\,” Ball says of playing Jazz Fest. “It made us want to feel deserving of it.” \nTheir hard work is paying off: The Huffington Post says Tank and the Bangas defy description onstage\, adding\, “It’s music that you have to experience.” The experience is subject to change from one night to the next. \n“One show will feel very electronic\, or hip-hop\, and another show will feel slow and vibe-y and jazzy\, and then another show will just be poetry and off-the-cuff riffs\,” says Johnson. “As a band\, we don’t like to hear ourselves do the same thing for too long\, so we might change a small thing here or there\, and if we change enough small things\, it seems like a big change.” \nTank and the Bangas won the Tiny Desk contest with “Quick\,” a riotous single they released in 2017 (and soon accompanied with a cheeky\, not entirely safe-for-work video). There’s more new music where that came from as the group works on the follow-up to Think Tank. “It’s going to be awesome\,” Ball says. “It’s going to be fun\, and a little vulnerable at the same time.” \nThe band’s ongoing evolution involves more than just music: Ball continues to grow and develop as a performer and writer. Even back in the open-mic days\, she was a force of nature. “I don’t know if there’s such a thing as too free\, but it was totally uninhibited. She was inspired\,” Spence says\, laughing at the memory. More recently\, Ball has become less of a dervish onstage—“I was running around so much I didn’t have time to sing at all\,” she say—while finding new ways of expressing herself as a writer. \n“I don’t just think about myself when I write now\,” she says. “Just being with my bandmates taught me to think more about other people. And when you have an audience of people ready to listen to you\, you’re excited to connect with them\, you really are.” \n*** \nPell \nWebsite URL:https://royaleboston.com/event/tank-and-the-bangas/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/07/1020-Royale-TATB-1200x1200.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191021T190000 DTEND;TZID=America/New_York:20191021T190000 DTSTAMP:20260404T103158 CREATED:20190603T145533Z LAST-MODIFIED:20190923T162011Z UID:10002777-1571684400-1571684400@royaleboston.com SUMMARY:[SOLD OUT] City and Colour (full band) DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show is SOLD OUT! Tickets are still available here for City and Colour’s solo show at the Berklee Performance Center on 10/22. \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nCity and Colour \n \nWebsite\nFacebook\nTwitter \nCity and Colour\, the moniker of singer-songwriter Dallas Green\, is undeniably one of the biggest groundswell stories to emerge from Canada. Beyond his legacy as a co-founder of hardcore luminaries Alexisonfire\, he also teamed up with global icon Alecia Moore (a.k.a. P!nk) for You+Me. \nOver the course of five studio albums\, Green has compiled a canon ripe with songs born of adoration and devotion amassing a legion of fans worldwide and garnering him 3 JUNOs\, including two SONGWRITER OF THE YEAR awards\, plus 3 Double Platinum\, 1 Platinum\, and 1 Gold certification at home in Canada. Alongside these accomplishments\, Green has been awarded four Platinum-certified studio albums as a member of Alexisonfire. City and Colour’s last studio album If I Should Go Before You debuted at #1\, his third consecutive chart-topper in Canada. The LP also made serious waves internationally debuting at #16 on the U.S. Billboard 200 Chart and #5 in Australia where Green’s LP Little Hell was certified GOLD. In 2014\, Green collaborated with international superstar Alecia Moore (aka P!nk) on a new project titled You+Me. The duo’s acclaimed Platinum-certified first record\, rose ave.\, debuted at #4 on the U.S. Top 200 Chart\, #1 in Canada\, #2 in Australia culminating in memorable performances on The Ellen Show and Jimmy Kimmel Live. \nFans have much to look forward to in 2019. Green debuted a new single\, “Astronaut” June 3\, 2019. Lifting off on a dusty rumble of clean guitar and a steady beat\, Green’s voice immediately captivates as he carries a divine and dynamic hook before an echoing solo. It is the first original music from City and Colour in almost four years and is featured on his upcoming 6th studio album\, set to be released the fall of 2019\, on Green’s newly minted Still Records (an imprint of Dine Alone Records). The track was produced by three-time Grammy-winning Jacquire King (Kings Of Leon\, Tom Waits\, Modest Mouse\, Norah Jones) and mastered by Emily Lazar (Beck\, Coldplay\, Dolly Parton\, The Chainsmokers) the first female mastering engineer to win a Grammy for best engineered album (2019). \n“I always think of the relationships in my life that have been fractured because I ended up doing what I do for a living\,” Green admits. “I’m always gone\, wandering around and singing my song. However\, it weighs on my family and friends. I’m asking for one more year. I left home at 21-years-old to go play my guitar. It’s lonely\, but it’s because I yearn to wander. I’m aware of how lucky I am.” \n*** \nRuby Waters \nWebsite\nFacebook URL:https://royaleboston.com/event/city-and-colour-full-band/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/06/cc_portraits_credit-RENEE-RODENKIRCHEN_2019-05-08_day22943_cropped.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191022T190000 DTEND;TZID=America/New_York:20191022T190000 DTSTAMP:20260404T103158 CREATED:20190513T160021Z LAST-MODIFIED:20191022T153312Z UID:10002773-1571770800-1571770800@royaleboston.com SUMMARY:Against Me! DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 7:45 pm \nTickets on sale Fri 5/17 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nAgainst Me! \n \nWebsite\nFacebook\nTwitter \nAGAINST ME! – SHAPE SHIFT WITH ME \nLaura Jane Grace – vocals/guitar // James Bowman – guitar/vocals // Inge Johansson – bass // Atom Willard – drums \nFour years is a measurement of time that America has used for centuries to indicate change. Presidential terms last four years; high school diplomas and college degrees typically take four years apiece\, too. It’s not an arbitrary thing\, either: It typically takes that much time from the declaration of something changing for it to actually change. \nMeet Laura Jane Grace. Four years ago\, the Against Me! frontwoman came out as transgender; 18 months later\, she released the band’s sixth album\, the fiery Transgender Dysphoria Blues\, one which she began working on before her transition and helped document the struggles she was facing. It was an intensely personal record that took on a life of its own\, connecting with thousands of new listeners drawn to Grace’s honesty and complexity while still pleasing Against Me!’s dedicated fanbase. \nNow\, four years after Grace’s public reintroduction\, Against Me! is ready to release their new album\, Shape Shift With Me\, September 16 on Total Treble. While much has changed in the lives of Grace and her bandmates—guitarist James Bowman\, bassist Inge Johansson and drummer Atom Willard—in that time period\, it’s clear that those intervening years have done wonders for creativity. \n“Everything with Shape Shift With Me has been really about keeping momentum going\,” she says. “In between every tour we did for Transgender Dysphoria Blues\, I would have a couple songs I had written and we would demo them. At the end of two years of touring\, we had an album ready to record. Usually\, you come off of touring for a record and you’re back at square one. But this was so fully formed it felt like there was no choice but to go ahead and record the songs.” \nShape Shift With Me has the distinction of the first album Grace has written truly from the heart\, with no metaphorical cloaks cast over the lyrics. It’s an album about love\, that deceptively complex emotion we all struggle with yet has somehow eluded most of Grace’s songwriting for the past 20 years. \n“Tons of people have written about love. But while love is cliché\, it’s infinitely relevant. For me\, having always been in a punk band that was expected to be political\, I never felt like I had that option to write about feelings in that way. That’s what I ended up being drawn to this time. It’s writing in a way I thought I could never write before\, and not giving a shit about expectations.” \nAs such\, Shape Shift With Me is a loose concept album about traveling the world and falling in and out of love\, with Grace serving as the narrator. But even though she was opening herself up to new songwriting topics\, she knew what her mission was from the start. \n“Is there a record that is about relationships from a trans perspective?” she asks rhetorically. “There needs to be more records about trans rights and everything like that\, but feeling like I already did that\, I wanted to move on to write commentary on living from a trans perspective. I wanted to write the transgender response to the Rolling Stones’ Exile On Main St.\, Liz Phair’s Exile In Guyville and the Streets’ A Grand Don’t Come For Free. All those records are relationship records. There’s been an infinite amount of records talking about what love means from a cisgender perspective. I wanted to present the trans perspective on sex\, love and heartbreak.” \nWith Grace’s new motivation came a new outlook on the band\, as well. Previous albums found the songwriting process to be a largely solitary experience\, but she embraced the spirit of collaboration for Shape Shift With Me—so much so that when Cody Votolato of the Blood Brothers sent her some demos of songs he was working on for another project\, she became inspired and ended up co-writing “Boyfriend” and “Norse Truth\,” two of the album’s most memorable tracks\, with him. \n“It was just about opening up to whatever comes my way karmically\,” Grace says. “Whatever everyone in the band is willing to offer\, I just wanted to be open to it. I didn’t want it to be like what it was in the past where it may have felt closed. I want it to be different.” \nIn a career already full of classic punk records\, Shape Shift With Me feels like the definitive Against Me! album—it’s poppy and catchy (“Rebecca\,” “Suicide Bomber”)\, aggressive and in-your-face (“ProVision L-3\,” “Dead Rats”)\, sentimental and longing (“Crash\,” “All This And More”). Moreover\, it’s the culmination of four years of existence as Laura Jane Grace—there’s no going back now\, so she might as well embrace it. \n“While I’ve always wanted the moon and the stars\, I have a certain amount of humbleness\,” she admits. “I just want to play shows and make records and write songs. That’s what I’ve always wanted to do. Of course I always want the biggest and best things for those shows and records and songs\, but when it comes down to it\, I just love doing it. I have no other ambitions or career goals. \n“David Bowie put out 27 full-lengths. Prince put out 39 full-lengths\,” Grace remarks. “That is so inspiring to me—working\, creating art\, creating records and let everyone else sort it out. That’s what I’ve always wanted to do and that’s what I will keep on doing.” \n*** \nCursive \n \nWebsite\nFacebook\nTwitter \nOver the past two decades\, Cursive has become known for writing smart\, tightly woven concept albums where frontman Tim Kasher turns his unflinching gaze on specific\, oftentimes challenging themes\, and examines them with an incisively brutal honesty. 2000’s Domestica dealt with divorce; 2003’s The Ugly Organ tackled art\, sex\, and relationships; 2006’s Happy Hollow skewered organized religion; 2009’s Mama\, I’m Swollen grappled with the human condition and social morality; and 2012’s I Am Gemini explored the battle between good and evil. But the band’s remarkable eighth full-length\, Vitriola\, required a different approach — one less rigidly themed and more responsive as the band struggles with existentialism veering towards nihilism and despair; the ways in which society\, much like a writer\, creates and destroys; and an oncoming dystopia that feels eerily near at hand. \nCursive has naturally developed a pattern of releasing new music every three years\, creating records not out of obligation\, but need\, with the mindset that each record could potentially be their last. 2015 came and went\, however\, and the band remained silent for their longest period to date. But the members of Cursive have remained busy with solo records\, a movie (the Kasher-penned and directed No Resolution)\, and running businesses (the band collectively owns and operates hometown Omaha’s mainstay bar/venue\, O’Leaver’s). The band even launched their own label\, 15 Passenger\, through which they’re steadily reissuing their remastered back catalogue\, as well as new albums by Kasher\, Campdogzz\, and David Bazan and Sean Lane. And like many others\, the band members have been caught up in the inescapable state of confusion and instability that plagues their home country\, and seems to grow more chaotic with each passing day. \nWhich brings us to 2018 and Vitriola. For the first time since Happy Hollow\, the album reunites Kasher\, guitarist/singer Ted Stevens and bassist Matt Maginn with founding drummer Clint Schnase\, as well as co-producer Mike Mogis (Bright Eyes\, M. Ward\, Jenny Lewis) at ARC Studios in Omaha. They’re joined by Patrick Newbery on keys (who’s been a full-time member for years) and touring mainstay Megan Siebe on cello. Schnase and Maginn are in rare form\, picking up right where they left off with a rhythmic lockstep of viscera-vibrating bass and toms\, providing a foundation for Kasher and Stevens’ intertwining guitars and Newbery and Siebe’s cinematic flourishes. The album runs the sonic gamut between rich\, resonant melodicism\, Hitchcockian anxiety\, and explosive catharsis — and no Cursive album would be complete without scream-along melodies and lyrics that\, upon reflection\, make for unlikely anthems. \nThere’s a palpable unease that wells beneath Vitriola’s simmering requiems and fist-shakers. Fiery opener “Free To Be or Not To Be You and Me” reflects the album’s core: a search for meaning that keeps coming up empty\, and finding the will to keep going despite the fear of a dark future. The album directs frustration and anger at not only modern society and the universe at large\, but also inward towards ourselves. On “Under the Rainbow\,” disquiet boils into rage that indicts the complacency of the privileged classes; “Ghost Writer” has a catchy pulse that belies Kasher chastising himself for writing about writing; and “Noble Soldier/Dystopian Lament” is a haunting look at potential societal collapse that provides little in the way of hope but balances beauty and horror on the head of a pin. \nVitriola raises a stark question: is this it? Is everything simply broken\, leaving us hopeless and nihilistic? Maybe not. There can be reassurance in commiseration\, and the album is deeply relatable: Cursive may not be offering the answers\, but there is hope in knowing you’re not alone in the chaos. \n*** \nDilly Dally \nWebsite\nFacebook\nTwitter URL:https://royaleboston.com/event/against-me-2/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/05/4_am_oct19_Boston.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191023T190000 DTEND;TZID=America/New_York:20191023T190000 DTSTAMP:20260404T103158 CREATED:20190513T160025Z LAST-MODIFIED:20191022T153322Z UID:10002774-1571857200-1571857200@royaleboston.com SUMMARY:Against Me! DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 7:45 pm \nTickets on sale Fri 5/17 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nAgainst Me! \n \nWebsite\nFacebook\nTwitter \nAGAINST ME! – SHAPE SHIFT WITH ME \nLaura Jane Grace – vocals/guitar // James Bowman – guitar/vocals // Inge Johansson – bass // Atom Willard – drums \nFour years is a measurement of time that America has used for centuries to indicate change. Presidential terms last four years; high school diplomas and college degrees typically take four years apiece\, too. It’s not an arbitrary thing\, either: It typically takes that much time from the declaration of something changing for it to actually change. \nMeet Laura Jane Grace. Four years ago\, the Against Me! frontwoman came out as transgender; 18 months later\, she released the band’s sixth album\, the fiery Transgender Dysphoria Blues\, one which she began working on before her transition and helped document the struggles she was facing. It was an intensely personal record that took on a life of its own\, connecting with thousands of new listeners drawn to Grace’s honesty and complexity while still pleasing Against Me!’s dedicated fanbase. \nNow\, four years after Grace’s public reintroduction\, Against Me! is ready to release their new album\, Shape Shift With Me\, September 16 on Total Treble. While much has changed in the lives of Grace and her bandmates—guitarist James Bowman\, bassist Inge Johansson and drummer Atom Willard—in that time period\, it’s clear that those intervening years have done wonders for creativity. \n“Everything with Shape Shift With Me has been really about keeping momentum going\,” she says. “In between every tour we did for Transgender Dysphoria Blues\, I would have a couple songs I had written and we would demo them. At the end of two years of touring\, we had an album ready to record. Usually\, you come off of touring for a record and you’re back at square one. But this was so fully formed it felt like there was no choice but to go ahead and record the songs.” \nShape Shift With Me has the distinction of the first album Grace has written truly from the heart\, with no metaphorical cloaks cast over the lyrics. It’s an album about love\, that deceptively complex emotion we all struggle with yet has somehow eluded most of Grace’s songwriting for the past 20 years. \n“Tons of people have written about love. But while love is cliché\, it’s infinitely relevant. For me\, having always been in a punk band that was expected to be political\, I never felt like I had that option to write about feelings in that way. That’s what I ended up being drawn to this time. It’s writing in a way I thought I could never write before\, and not giving a shit about expectations.” \nAs such\, Shape Shift With Me is a loose concept album about traveling the world and falling in and out of love\, with Grace serving as the narrator. But even though she was opening herself up to new songwriting topics\, she knew what her mission was from the start. \n“Is there a record that is about relationships from a trans perspective?” she asks rhetorically. “There needs to be more records about trans rights and everything like that\, but feeling like I already did that\, I wanted to move on to write commentary on living from a trans perspective. I wanted to write the transgender response to the Rolling Stones’ Exile On Main St.\, Liz Phair’s Exile In Guyville and the Streets’ A Grand Don’t Come For Free. All those records are relationship records. There’s been an infinite amount of records talking about what love means from a cisgender perspective. I wanted to present the trans perspective on sex\, love and heartbreak.” \nWith Grace’s new motivation came a new outlook on the band\, as well. Previous albums found the songwriting process to be a largely solitary experience\, but she embraced the spirit of collaboration for Shape Shift With Me—so much so that when Cody Votolato of the Blood Brothers sent her some demos of songs he was working on for another project\, she became inspired and ended up co-writing “Boyfriend” and “Norse Truth\,” two of the album’s most memorable tracks\, with him. \n“It was just about opening up to whatever comes my way karmically\,” Grace says. “Whatever everyone in the band is willing to offer\, I just wanted to be open to it. I didn’t want it to be like what it was in the past where it may have felt closed. I want it to be different.” \nIn a career already full of classic punk records\, Shape Shift With Me feels like the definitive Against Me! album—it’s poppy and catchy (“Rebecca\,” “Suicide Bomber”)\, aggressive and in-your-face (“ProVision L-3\,” “Dead Rats”)\, sentimental and longing (“Crash\,” “All This And More”). Moreover\, it’s the culmination of four years of existence as Laura Jane Grace—there’s no going back now\, so she might as well embrace it. \n“While I’ve always wanted the moon and the stars\, I have a certain amount of humbleness\,” she admits. “I just want to play shows and make records and write songs. That’s what I’ve always wanted to do. Of course I always want the biggest and best things for those shows and records and songs\, but when it comes down to it\, I just love doing it. I have no other ambitions or career goals. \n“David Bowie put out 27 full-lengths. Prince put out 39 full-lengths\,” Grace remarks. “That is so inspiring to me—working\, creating art\, creating records and let everyone else sort it out. That’s what I’ve always wanted to do and that’s what I will keep on doing.” \n*** \nCursive \n \nWebsite\nFacebook\nTwitter \nOver the past two decades\, Cursive has become known for writing smart\, tightly woven concept albums where frontman Tim Kasher turns his unflinching gaze on specific\, oftentimes challenging themes\, and examines them with an incisively brutal honesty. 2000’s Domestica dealt with divorce; 2003’s The Ugly Organ tackled art\, sex\, and relationships; 2006’s Happy Hollow skewered organized religion; 2009’s Mama\, I’m Swollen grappled with the human condition and social morality; and 2012’s I Am Gemini explored the battle between good and evil. But the band’s remarkable eighth full-length\, Vitriola\, required a different approach — one less rigidly themed and more responsive as the band struggles with existentialism veering towards nihilism and despair; the ways in which society\, much like a writer\, creates and destroys; and an oncoming dystopia that feels eerily near at hand. \nCursive has naturally developed a pattern of releasing new music every three years\, creating records not out of obligation\, but need\, with the mindset that each record could potentially be their last. 2015 came and went\, however\, and the band remained silent for their longest period to date. But the members of Cursive have remained busy with solo records\, a movie (the Kasher-penned and directed No Resolution)\, and running businesses (the band collectively owns and operates hometown Omaha’s mainstay bar/venue\, O’Leaver’s). The band even launched their own label\, 15 Passenger\, through which they’re steadily reissuing their remastered back catalogue\, as well as new albums by Kasher\, Campdogzz\, and David Bazan and Sean Lane. And like many others\, the band members have been caught up in the inescapable state of confusion and instability that plagues their home country\, and seems to grow more chaotic with each passing day. \nWhich brings us to 2018 and Vitriola. For the first time since Happy Hollow\, the album reunites Kasher\, guitarist/singer Ted Stevens and bassist Matt Maginn with founding drummer Clint Schnase\, as well as co-producer Mike Mogis (Bright Eyes\, M. Ward\, Jenny Lewis) at ARC Studios in Omaha. They’re joined by Patrick Newbery on keys (who’s been a full-time member for years) and touring mainstay Megan Siebe on cello. Schnase and Maginn are in rare form\, picking up right where they left off with a rhythmic lockstep of viscera-vibrating bass and toms\, providing a foundation for Kasher and Stevens’ intertwining guitars and Newbery and Siebe’s cinematic flourishes. The album runs the sonic gamut between rich\, resonant melodicism\, Hitchcockian anxiety\, and explosive catharsis — and no Cursive album would be complete without scream-along melodies and lyrics that\, upon reflection\, make for unlikely anthems. \nThere’s a palpable unease that wells beneath Vitriola’s simmering requiems and fist-shakers. Fiery opener “Free To Be or Not To Be You and Me” reflects the album’s core: a search for meaning that keeps coming up empty\, and finding the will to keep going despite the fear of a dark future. The album directs frustration and anger at not only modern society and the universe at large\, but also inward towards ourselves. On “Under the Rainbow\,” disquiet boils into rage that indicts the complacency of the privileged classes; “Ghost Writer” has a catchy pulse that belies Kasher chastising himself for writing about writing; and “Noble Soldier/Dystopian Lament” is a haunting look at potential societal collapse that provides little in the way of hope but balances beauty and horror on the head of a pin. \nVitriola raises a stark question: is this it? Is everything simply broken\, leaving us hopeless and nihilistic? Maybe not. There can be reassurance in commiseration\, and the album is deeply relatable: Cursive may not be offering the answers\, but there is hope in knowing you’re not alone in the chaos. \n*** \nDilly Dally \nWebsite\nFacebook\nTwitter URL:https://royaleboston.com/event/against-me-2-2/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/05/4_am_oct19_Boston.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191026T180000 DTEND;TZID=America/New_York:20191026T180000 DTSTAMP:20260404T103158 CREATED:20190607T160039Z LAST-MODIFIED:20190814T184118Z UID:10002780-1572112800-1572112800@royaleboston.com SUMMARY:Oliver Tree DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri 6/14 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nOliver Tree \n \nWebsite\nFacebook\nTwitter \nGenre-defying singer-songwriter-producer-professional scooter rider Oliver Tree has been making waves with his unique high-energy sound and eccentric persona. Tree’s latest hit single\, “Hurt\,” is slated to be his biggest yet\, currently reaching the Top 10 at Alternative radio while simultaneously ascending Billboard’s “Rock Airplay” and “Alternative Songs” charts. The single is accompanied by an equally gripping companion video\, which sees Tree crucify himself on his signature Razor scooter while cruising around Ukraine. The video – shot in Ukraine by Tree and co-director Brendan Vaughan – premiered exclusively via HighSnobiety\, which raved\, “There’s no mistaking Oliver Tree for anyone else because the Los Angeles-based artist is truly one-of-a-kind.” Watch “Hurt” at Oliver’s official YouTube channel here. Oliver recently made his late-night television debut with a groundbreaking performance of “Hurt” on The Late Late Show With James Corden\, where he performed atop a set of stilts and commanded the stage with his signature high-energy flair and unique hard-hitting sound. \nFollowing the release of his 2018 debut EP ALIEN BOY\, Tree has gone on to receive impressive critical acclaim. VICE applauds Tree stating\, “Everything is so seamlessly interconnected to his brand\, his image. You can’t have one thing without the other. It’s not a one-off\, or a string of one-offs. He’s a developing polymath…” Huffington Post has applauded his work as “an enigma of genre. While (Tree is) primarily a pianist\, guitarist and producer\, his real-instruments-based-production incorporates rap\, male and female vocal harmonies\, poetic lyrics\, strings and a hearty dose of synth…as much philosopher as musician\, and a big dreamer at that\, (Tree’s) goal is to push the art form forward\, and beyond the electronic scene\, he aims to have his work reach the world and in doing so\, better his listeners’ lives\,” while NYLON encourages everybody to “get weird to the sweet\, sweet sounds of Oliver Tree.” Hailed by Billboard as “alt-pop’s merry prankster\,” in a recent “Chartbreaker” feature\, Oliver is currently readying his massively anticipated full-length debut album\, UGLY IS BEAUTIFUL\, due later this year. \n*** \nTommy Cash \n \nWebsite\nFacebook\nTwitter \nTOMMY CASH is globally renowned Estonian conceptual artist and genre-bending musician\, Tommy’s cult following has grown at a rapid rate.\nAt the end of 2018 he released his long-awaited debut album ¥€$.\nAlbum features an eclectic collection of production credits from genre pushing artists including Boys Noize\, Amnesia Scanner\, A. G. Cook and Danny L Harle\, creating a unique musical landscape that Tommy traverses and ties together in a way only he can. His recent singles ‘Pussy Money Weed’ and ‘Little Molly’\, with videos both currently sitting with over 5 million views a piece\, both present Tommy as a singularly creative individual. He’s also garnered critical acclaim from press across Europe. Paper Magazine labelled him a “legitimate creator” while Clash Magazine described his music as “empowering” and Q Magazine declared him the “dark lord” of his own “postmodern mythos. He’s graced the cover of French style-bible Antidote and beat out bigger competition to finish #8 in Dazed Magazine’s infamous ‘Dazed 100’ list as well as performed with Charli XCX on her ‘Pop 2 tour. Over the past 12 months with sold out shows across Europe including London’s Scala and huge shows in Russia\, Budapest\, Berlin\, Paris\, Warsaw and elsewehere\, Tommy’s cult-like following is clearly growing. \n*** \nNVDES \n \nWebsite\nFacebook\nTwitter \nNVDES is a world I created\,” says Josh Ocean of his multi-genre electronic collective. As producer and de-facto frontman\, Ocean ignites controlled chaos by\, he says\, “building songs around random moments.” “La Nvdité”— his creative process—is set into motion when Ocean invites different musicians into his Los Angeles studio to jam. They record whatever music or lyrics transpire\, which he pieces together into songs. Ocean prefers the thrill of uncertainty over perfectionism\, and this has made NVDES quite prolific. NVDES is less of a band and more of an ongoing art project. “There isn’t a songwriting process. It’s really like splattering paint and just seeing what happens.” NVDES has released 3 EPs and one full length album\, “Vibe City Utah” which has amassed over 20 million streams globally. NVDES’ music has prominently been featured in campaigns for Apple (2 iPhone commercials)\, Samsung\, Google\, T-Mobile\, New Balance\, Oakley\, Macy’s\, Royal Caribbean\, and more. URL:https://royaleboston.com/event/oliver-tree/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/06/OliverTreePressPhoto.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191027T183000 DTEND;TZID=America/New_York:20191027T183000 DTSTAMP:20260404T103158 CREATED:20190813T160011Z LAST-MODIFIED:20191014T204143Z UID:10002805-1572201000-1572201000@royaleboston.com SUMMARY:[SOLD OUT] The Wonder Years DESCRIPTION:Presented by Bowery Boston \nDoors: 6:30 pm / Show: 7:00 pm \nThis show is SOLD OUT! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: This show is open to all ages. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nThe Wonder Years \n \nWebsite\nFacebook\nTwitter \nThe Wonder Years are a band & they are a band from Philadelphia\, Pennsylvania & they came to life in 2005 & they write songs & those songs are sometimes about people they love & those songs are sometimes about people you might have loved & those songs are sometimes about a city that could be the city you live in or a neighborhood that feels like it could be your neighborhood & they put those songs on albums & they put those songs on The Upsides in 2010 & they put those songs on Suburbia I’ve Given You All and Now I’m Nothing in 2011 & on The Greatest Generation in 2013 & on No Closer to Heaven in 2015 & those albums were loved by critics & even more loved by fans & their shows are awash with a genuine emotional energy that only they can pull out of a room & The Wonder Years are a band made up of old friends & they play rock & roll music & they play it like they mean it & they have played it in a lot of places & in front of a lot of people & they have played it in dive bars & arenas & outside with the whole sky bowing & they have played it on five continents & they have played it in thirty countries & they are still counting & Sister Cities is their new album & it is an album about how all of our distance might not be so wide after all & it was written with the world on fire & all of the songs sound like they are trying to build you a bridge from somewhere bad to somewhere better & The Wonder Years are a band & they are also bridge builders. \n*** \nTrash Boat \n \nWebsite\nFacebook\nTwitter \n*** \nFuture Teens \n \nWebsite\nFacebook\nTwitter \nFUTURE TEENS COMMERCIAL PITCH DRAFT ONE WRITTEN BY: CLIFF DAZZLE BIG SHOT AD AGENCY \nFADE IN: INT. COFFEE SHOP- DAY \nWe open on an older man and woman in their\nseventies across the table from one another. The man looks pre-occupied and concerned. \nALICE: What’s wrong\, Joe? Something on your mind? \nJOE: Every since Cecil passed on\, I’ve been\nthinking a lot about life insurance. I want to be\nsure the kids aren’t burdened when it’s my time. Do you and GLADYS have any? \nALICE: We do. But what’s really been helping us feel secure lately is FUTURE TEENS. \nJOE: FUTURE TEENS? I’ve never heard of that. \nAlice slides a copy of HARD FEELINGS across the table. \nALICE: They’re a rock band from Boston\, MA and they’ve changed everything for Gladys and I. People call them BUMMER POP and it’s a label\nthey wear proudly. \nJOE: I’ve never even heard of BUMMER POP.\nwhat does that sound like? \nALICE: It sounds like it’s 1 am and you’re on the front stoop of a party full of people you barely know talking with your best friend after you’ve\nboth had a really hard couple of weeks. \nJOE: That sounds comforting. \nALICE: It is! And more people are starting to hear about FUTURE TEENS. Just recently\, they’ve started working with TRIPLE CROWN RECORDS and have played alongside notable acts like OSO OSO\, VUNDABAR\, AARON WEST\, FREE THROW AND BAD BAD HATS. \nJOE: Wow. Sounds like I should get on board\nbefore it’s too late! \nDISOLVE TO: Title Card appears on screen with a 1-800 number and rainbow text reading \nFUTURE TEENS. Calming music plays and we hear a soothing\, strong voice read our tag line and ending. \nNARRATOR: FUTURE TEENS – A COMFORTING FRIEND IN A TERRIFYING WORLD. Call right away to reserve your FUTURE TEENS now. Don’t delay! Supplies are limited! \nThe NARRATOR reads the disclaimer at a much more rapid pace: \nNARRATOR DISCLAIMER: While FUTURE TEENS may make you feel less alone\, in most cases they will not physically be present during\nyour listening. FUTURE TEENS formed in 2014 with little aspiration outside of playing a Fourthof July BBQ. In the subsequent years the band\nwrote and released more songs\, steadily growing more serious about their goals. In 2017\, they released HARD FEELINGS with TAKE THIS TO HEART RECORDS. Use of FUTURE TEENS may lead to random and frequent crying\npunctuated with strangely joyful laughter.\nFUTURE TEENS is not liable for any emotional distress caused by listening. URL:https://royaleboston.com/event/the-wonder-years/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/08/1200x1200.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191029T190000 DTEND;TZID=America/New_York:20191029T190000 DTSTAMP:20260404T103158 CREATED:20190618T160016Z LAST-MODIFIED:20190620T204037Z UID:10002069-1572375600-1572375600@royaleboston.com SUMMARY:Chelsea Wolfe DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 6/21 at noon! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nChelsea Wolfe \n \nWebsite\nFacebook\nTwitter \n*** \nIoanna Gika \n \nWebsite\nFacebook\nTwitter URL:https://royaleboston.com/event/chelsea-wolfe-2/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/06/Chelsea-Wolfe-admat-2019-11x17.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191030T190000 DTEND;TZID=America/New_York:20191030T190000 DTSTAMP:20260404T103158 CREATED:20190624T134910Z LAST-MODIFIED:20191028T142447Z UID:10002073-1572462000-1572462000@royaleboston.com SUMMARY:Alejandro Aranda is Scarypoolparty DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 6/28 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nScarypoolparty \n \nFacebook\nTwitter \n*** \nSucré \n \nWebsite\nTwitter \nSucré (pronounced soo-cray) is Stacy King.\nShe has been writing\, singing\, and touring her whole life.\nBorn and raised in Tyler\, TX she now lives in Nashville\, TN.\nHer primary influences include Thom Yorke\, Bjork\, and Beth Gibbons.\nOn stage she uses synth\, guitar and electronic drums along with her\nbeautiful voice to create an entrancing synth-pop sound that hangs in the balance\nbetween beauty and sorrow. For 2019 she has released a new song on the\nfirst Friday of each month. URL:https://royaleboston.com/event/alejandro-aranda-is-scarypoolparty/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/06/SPP-DSC01043.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191031T200000 DTEND;TZID=America/New_York:20191031T230000 DTSTAMP:20260404T103158 CREATED:20190814T183404Z LAST-MODIFIED:20190827T175855Z UID:10002806-1572552000-1572562800@royaleboston.com SUMMARY:Dragathon Halloween Night Spooktacular DESCRIPTION:ON SALE AUGUST 8TH @ NOON \nALL AGES! URL:https://royaleboston.com/event/dragathon-halloween-night-spooktacular/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts,Special Events ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/08/dra.jpg ORGANIZER;CN="Gay Mafia Boston":MAILTO:rafael@gaymafiaboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191101T183000 DTEND;TZID=America/New_York:20191101T183000 DTSTAMP:20260404T103158 CREATED:20190604T172339Z LAST-MODIFIED:20191029T150203Z UID:10002778-1572633000-1572633000@royaleboston.com SUMMARY:Mumiy Troll DESCRIPTION:Presented by Bowery Boston \nDoors: 6:30 pm / Show: 7:15 pm \nTickets on sale Fri 6/7 at noon! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nMumiy Troll \n \nWebsite\nFacebook\nTwitter \nThe band which identify themselves as Evergreen Far Eastern romantics\, was founded in Vladivostok (Russian biggest port on the Pacific coast) by Ilya Lagutenko. \nSince then\, they have played gigs across the globe: from Siberia to the Baltics\, Mongolia to Greenland\, Shanghai open-airs to St Petersburg’s Palace Square. Being a successful band\, they are still fresh\, hungry\, and in search of new musical discoveries. \nWhen\, in 1997 the 1st album “Morskaya” was released\, everyone who was seeking new revelations in Russian music\, became obsessed with “Mumiy-mania” and got addicted to the album. The story began in London\, at Alaska Studio under the Waterloo Station bridge\, where the album was first recorded. Afterwards Mumiy Troll (Мумий Тролль) rapidly became one of Russia’s most popular and influential bands. They were the first to appear on Russian MTV\, represented Russia at Eurovision\, and have won every award going in their native land. Furthermore\, they are often called “Russian Rolling Stones” — and with every gig and tour they prove it. \nBeing the participants of famous festivals and music conferences in different countries (SXSW\, Culture Collide\, Zandari\, Mucon\, Sound City\, Visual Japan Summit\, etc.)\, in 2013 they founded their own showcase festival “Vladivostok Rocks” (V-ROX) which is held in Vladivostok annually and has become a massive cultural phenomenon recognized by NY Times as “A small Pacific Woodstock…”. In 2017 the festival was held for the 5th time and gathered the audience more than 120 000 people during 3 days. \nIn 2016 Ilya Lagutenko became a music curator for the annual “Piens Festival” (Milk Festival) in Riga (Latvia). In collaboration with UCLA (University of California\, Los Angeles) he has established “Far From Moscow Festival”. In December 2016 it was held for the first time: an alternative brand of Russian culture in film\, music\, cuisine\, fashion\, and comics was presented in Los Angeles. \nDuring their North American tour in 2018\, they played 8 sold-out gigs followed by several sold-outs in Australia. In the beginning of 2018 Mumiy Troll released their new album “EAST X NORTHWEST“ recorded in Los Angeles. \n2019 will see Mumiy Troll play a series of gigs entitled “Morskaya.20”. The programme will feature the greatest hits of this celebrated record\, as well as other favoured tracks from their comprehensive back catalogue. Mumiy Troll will also play some songs from their latest record\, “EAST X NORTHWEST.” URL:https://royaleboston.com/event/mumiy-troll/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/06/mumiy-troll.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191102T183000 DTEND;TZID=America/New_York:20191102T183000 DTSTAMP:20260404T103158 CREATED:20190807T160016Z LAST-MODIFIED:20190807T154944Z UID:10002803-1572719400-1572719400@royaleboston.com SUMMARY:Big Freedia DESCRIPTION:Presented by Bowery Boston \nDoors: 6:30 pm / Show: 7:15 pm \nTickets on sale Fri 8/9 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nBig Freedia \n \nWebsite\nFacebook\nTwitter \n*** \nLow Cut Connie \nWebsite\nFacebook\nTwitter URL:https://royaleboston.com/event/big-freedia/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/08/Big-Fredia-and-LCC-photo.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191103T190000 DTEND;TZID=America/New_York:20191103T190000 DTSTAMP:20260404T103158 CREATED:20190611T140003Z LAST-MODIFIED:20190610T213422Z UID:10002783-1572807600-1572807600@royaleboston.com SUMMARY:Kishi Bashi DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 6/14 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nKishi Bashi \n \nWebsite\nFacebook\nTwitter \nImagine being forced from your home. Imagine being sent to a prison camp with no trial\, and no promise of release. Imagine all this happened simply because of the language you speak\, the shade of your skin\, or the roots of your family tree. For over 120\,000 Japanese-Americans this was a reality during World War II. It’s a reality that Kishi Bashi seeks to reckon with on his latest release Omoiyari. \nOmoiyari is Kishi Bashi’s fourth album — following the acclaimed 151a (2012)\, Lighght (2014)\, and Sonderlust (2016)\, which have garnered serious acclaim from outlets including NPR Music\, The Wall Street Journal\, and The Guardian — and his most important yet. Many of the songs were initially inspired by history and oppression\, and he deftly weaves tales of love\, loss\, and wanting to connect listeners to the past. Channeling the hard-learned lessons of history\, Omoiyari is an uncompromising musical statement on the turbulent sociopolitical atmosphere of present-day America. \n“I was shocked when I saw white supremacy really starting to show its teeth again in America\,“ Kishi Bashi says. “My parents are immigrants\, they came to the United States from Japan post–World War II. As a minority I felt very insecure for the first time in my adult life in this country. I think that was the real trigger for this project.” \nKishi Bashi recognized parallels between the current U.S. administration’s constant talk of walls and bans\, and the xenophobic anxieties that led to the forced internment of Japanese-Americans in the months following the attack on Pearl Harbor. So he immersed himself in that period\, visiting former prison sites and listening to the stories of survivors\, while developing musical concepts along the way. The unique creative process behind Omoiyari will be documented in a film scheduled for release in early 2020. \n“I didn’t want this project to be about history\, but rather the importance of history\, and the lessons we can learn\,” Kishi Bashi reflects. “I gravitated toward themes of empathy\, compassion\, and understanding as a way to overcome fear and intolerance. But I had trouble finding an English title for the piece. Omoiyari is a Japanese word. It doesn’t necessarily translate as empathy\, but it refers to the idea of creating compassion towards other people by thinking about them. I think the idea of omoiyari is the single biggest thing that can help us overcome aggression and conflict.” \nThe strong conceptual elements of Omoiyari are driven by Kishi Bashi’s captivating musical score. Stepping away from his past loop-based production model\, he embraced a more collaborative approach when recording\, and for the first time included contributions from other musicians\, such as Mike Savino (aka Tall Tall Trees) on banjo and bass\, and Nick Ogawa (aka Takenobu) on cello. Kishi Bashi’s spectacular trademark violin soundscapes are still an essential component of his sound\, but the focus of Omoiyari is centered squarely on its songs. The result is his most potent and poignant collection of music to date. \nOn “Marigolds\,” Kishi Bashi contemplates the “differences between generations that are difficult to comprehend sometimes.” “I wish that I had met you when your heart was safe to hold\,” he sings over a bed of shimmering violins\, conveying a sense of deep melancholy over a soaring melodic line. \n“Summer of ’42” weaves a breathtaking orchestral score over a tale of love and loss in a Japanese incarceration camp. “While times were humiliating and difficult in these camps\, they would make time to find love and happiness amongst the adversity\,” Kishi Bashi observes. \n“Violin Tsunami” builds a single violin line into a cinematic wall of sound. “A Brazilian Japanese friend of mine is a violin maker\, and he presented me with a wonderful violin to play. He had named it Tsunami\, and had worked on it while the Fukushima Nuclear disaster was unfolding\,” Kishi Bashi explains. “This song is about the chaos that nature can create\, and also about the healing and rebuilding that the human spirit is capable of.” \nThe songs on Omoiyari overflow with rich sounds and complex emotions\, and challenge listeners to confront a difficult chapter in America’s past while acknowledging the injustices of the present. But there’s a yearning for better days threaded through several songs\, a perspective that mirrors Kishi Bashi’s own hopes for a better future. “Part of the project is saying that if you’re a minority there’s potentially still a lot to look forward to in this country. I believe there’s a paradigm shift coming\, especially for minorities and those who have felt oppression. America is changing.” \nBut a better future is not guaranteed\, and Kishi Bashi wants listeners who hold some economic or social privilege to be aware of their own role in creating change. “If you’re privileged you need to understand that this country is for everybody\, and we have to make that space for all people.” \n“Sometimes when we look at history\, it feels far away and removed. But there are fundamental lessons of love\, compassion and fear that we can learn from the internment and apply to issues today concerning refugees\, immigration\, and minorities\,” he says. “There are so many tragedies and atrocities that have happened around the world at different times in history\, and I think it’s really important to have the compassion to understand the suffering that people endured before you\, to not repeat the past\, and to really be grateful for the life you have.” \nWhile the theme of Omoiyari is rooted in 1940s America\, the album’s message is timeless. In exploring the emotional lives of the innocent Japanese-Americans who were unjustly incarcerated\, Kishi Bashi hopes to nurture a sense of empathy\, or omoiyari\, in all who hear the album. URL:https://royaleboston.com/event/kishi-bashi-2/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/06/Kishi-Bashi-Fall-Tour-Photo31.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191104T190000 DTEND;TZID=America/New_York:20191104T190000 DTSTAMP:20260404T103158 CREATED:20190625T140051Z LAST-MODIFIED:20191010T153627Z UID:10002075-1572894000-1572894000@royaleboston.com 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/06/20190604_ConcordRecords_TheNewPornographers_EbruYildiz_187_F.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191105T183000 DTEND;TZID=America/New_York:20191105T183000 DTSTAMP:20260404T103158 CREATED:20190805T160042Z LAST-MODIFIED:20191104T220009Z UID:10002801-1572978600-1572978600@royaleboston.com 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/08/TheMaine-TheMirrorTour-LOCALIZED.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191106T183000 DTEND;TZID=America/New_York:20191106T183000 DTSTAMP:20260404T103158 CREATED:20190719T165619Z LAST-MODIFIED:20191104T220726Z UID:10002080-1573065000-1573065000@royaleboston.com 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/06/Poster11x17-3.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191107T183000 DTEND;TZID=America/New_York:20191107T183000 DTSTAMP:20260404T103158 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/06/Poster11x17-3.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191108T180000 DTEND;TZID=America/New_York:20191108T180000 DTSTAMP:20260404T103158 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/02/8NOV2019_Bruisers_Royale.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191110T190000 DTEND;TZID=America/New_York:20191110T190000 DTSTAMP:20260404T103158 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/09/lil-tecca-admat-2019-royale.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191114T200000 DTEND;TZID=America/New_York:20191114T200000 DTSTAMP:20260404T103158 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/07/Boston_TFSM_1200x1200.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191115T183000 DTEND;TZID=America/New_York:20191115T183000 DTSTAMP:20260404T103158 CREATED:20190528T160025Z LAST-MODIFIED:20191112T192449Z UID:10002065-1573842600-1573842600@royaleboston.com 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/05/GusAlbum_JessFarran_RT-lower-res.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191116T180000 DTEND;TZID=America/New_York:20191116T180000 DTSTAMP:20260404T103158 CREATED:20190722T170008Z LAST-MODIFIED:20190822T182915Z UID:10002082-1573927200-1573927200@royaleboston.com 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/07/SashaSloan-BOS-1200x1200.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191117T190000 DTEND;TZID=America/New_York:20191117T190000 DTSTAMP:20260404T103158 CREATED:20190715T140000Z LAST-MODIFIED:20191115T161137Z UID:10002793-1574017200-1574017200@royaleboston.com 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/07/1200x1200.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191118T183000 DTEND;TZID=America/New_York:20191118T183000 DTSTAMP:20260404T103158 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/08/CannibalCorpse-boston-11x17-1.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191119T190000 DTEND;TZID=America/New_York:20191119T190000 DTSTAMP:20260404T103158 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 ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2019/05/AngelOlsen-Boston-11x17.jpg ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com GEO:42.3499959;-71.0656288 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959 END:VEVENT END:VCALENDAR