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DTSTART;TZID=America/New_York:20200104T180000
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CREATED:20191211T201302Z
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SUMMARY:Parmalee
DESCRIPTION:
URL:https://royaleboston.com/event/parmalee/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20200131T180000
DTEND;TZID=America/New_York:20200131T180000
DTSTAMP:20260404T043839
CREATED:20191111T154326Z
LAST-MODIFIED:20200129T150906Z
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SUMMARY:[SOLD OUT] Midland
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nThis show is SOLD OUT! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nMidland \n \nWebsite\nFacebook\nTwitter \nHailing from Dripping Springs\, TX lead vocalist Mark Wystrach fronts Midland’s rich sound that is rounded out with lead guitarist Jess Carson and bass player Cameron Duddy. Rooted in tradition in both sound and style\, the trio initially garnered attention playing clubs in the region. Their critically-acclaimed freshman album\, ON THE ROCKS (Big Machine Records)\, features 13 tracks with songwriting credits from each member alongside hitmakers Shane McAnally and Josh Osborne. Launching to rave reviews from notable outlets such as the Los Angeles Times and Rolling Stone Country\, ON THE ROCKS was declared “the year’s best Country album” by Washington Post.  The Dann-Huff produced album earned the No. 1 position on Billboard’s Top Country Album Sales chart upon release. Their debut No. 1 single “Drinkin’ Problem\,” which offers an intentional nod to Country music reminiscent of the 1970s and 80s\, earned the band their first GRAMMY® Awards nominations for Best Country Song and Best Country Duo/Group Performance. Midland was also named New Vocal Group of the Year at the 2018 ACM Awards. The band just released “Mr. Lonely\,” the first single off their highly-anticipated upcoming second album. While the song has quickly gained a following and was touted as most added at Country radio upon release\, they also released the video which stars acclaimed actor Dennis Quad starring as “Mr. Lonely.” Midland’s ELECTRIC RODEO TOUR has wrapped. For a full list of tour dates and more\, visit MidlandOfficial.com. \n*** \nJonathan Tyler \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/midland/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20200203T190000
DTEND;TZID=America/New_York:20200203T190000
DTSTAMP:20260404T043839
CREATED:20190923T143917Z
LAST-MODIFIED:20191216T234541Z
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SUMMARY:Metronomy Forever – North American Tour 2020
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 9/27 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nMetronomy \n \nWebsite\nFacebook\nTwitter \nHey\, did you ever notice how Metronomy\, the Joe Mount-fronted electronic indie pop group releasing their sixth album Metronomy Forever this September\, sounds a bit like time keeping tool ‘metronome’? You did? Boy oh boy. \nThe metronome reference was but a musical in-joke before: now it contains more meaning. The steady tick-tocking of the pendulum represents continuation\, stability\, endlessness\, and consistent familiarity. It understands that while we all ultimately return to the goo from whence we came\, time marches on furiously\, like a bull aiming for a matador. Your last breath will be another click on the machine. \nMetronomy Forever in name represents a similar ethos: something looking backwards and forwards simultaneously\, like Janus\, something fated and eternal. You were made from dust and to dust you will return\, that sort of thing.  \n“What happens is when you’re making music and you enter a world where you have achieved some sort of celebrity no matter how large or small you start to think about yourself in terms of legacy and what you’re going to leave behind\,” says Mount. “And then you realise that’s limited to the interest people have in you. In the end I feel completely comfortable with it. The less importance you place in any art the more interesting it can become in a way… I’m making music\, I’m going to do some concerts\, I need to feed my children.”  \nMetronomy Forever is the follow-up to 2016’s Summer 08\, and contains 17 tracks. Its length is born from a desire for breathing room\, from not wanting to stuff the hits together like a bouquet of petrol station roses. In between the sauna-sweat-soaked funk of songs like It’s Automatic\, and the beach funeral of Walking In The Dark\, lie pretty\, glistening ambient tracks. It evokes the feeling of being sat in a nursing home\, Swiss-cheese-brained\, recalling joyous flashes of a past life while the fugue states of comforting confusion wash over you. \nIt also comes from a desire to replicate the feeling of listening to the radio\, with sumptuous songs of different types and styles helping lighten your mood\, and stifle retches as you inhale scrambled egg steam from the saucepan you’re scrubbing. “The radio never stops\,” as Joe puts it. “It doesn’t really matter how emotionally deep the music that comes on is\, it’s entirely your situation that gives the music it’s emotional leaning.” \n“For so long I was concentrating on trying to make these snappy songs\, and when they were all sat together it didn’t make for some impressive thing. It wasn’t until I started thinking about the past several years\, realising that in that time there’ve been periods of drifting\, and looking around for ideas. When I started including these bits of instrumental music and bits of sound\, to which I genuinely felt some kind of connection\, I put them in amongst these little flowers.” \nFlowers are apt metaphor. Mount has moved away from the bustle of his former Parisian home to take up residence atop a hill in the garden of England. It was a necessary change\, he says\, and one that has soldered a bond with him and nature. \n“I think it has everything to do with me at the moment\, being in this environment – and I literally mean the environment. I feel properly more connected with nature. And I’m embracing myself getting into it\, because I think it’s a really important part of being a person – and I haven’t even read that Sapiens book.” \nAnd a good thing he hasn’t\, as it seems Sapiens has been widely discredited by academics the world over.  \nMetronomy Forever is a record that exudes a green tranquillity. Mount was concerned that the relative happiness of his existence might stifle his creativity\, having no great tragedy to draw from\, but discovered the opposite was true.  \n“To be jealous of having that stuff going on is a bit dangerous\,” he says. “I look at successful musicians who\, as they get older\, struggle to remain relevant. I’m at this point where I feel like\, my attitude towards what I do is healthy. With this record I wanted to make a very pure expression of what I’m about right now\, and I think for me that makes for better music.” \nAnd while the music itself promotes a sense of calm joy\, it’s in the lyrics that we remember that even idyllic circumstances require their own maintenance\, an oiling of the cogs to keep them crunching along. Mount reminds us of this on Lately\, desperately singing “That is love and it’s hard to do\, it’s a job for two. What do I do if I don’t get nothing from you?” \nIt’s not just the physical space and distance from stress and life on the Rue De Dogshit in the French capital that has had its effect on the creative process.  Mount spent much of the last four years working with Robyn on her acclaimed and deeply personal record Honey. 48 months of vicarious agony was exhausting\, but ultimately extremely fulfilling. \n“In the space of time since the last Metronomy record I’ve had a very large part in writing an album based on a traumatic experience for her. I knew the whole experience was going to be this massive cathartic thing. When it got to the point of finishing\, I remember telling her how good it was and how people are really going to respond to it in the way you want them to. Working with someone and being able to tell someone that is quite an enjoyable thing\, being able to know that everything’s cool. It’s a nice feeling to have.” \nThose glimmers of emotional\, intense\, carnal mania seem to have rubbed off on Mount in their own way\, too. On Sex Emoji\, the subconscious throbbing purple of the erotic digitised aubergine comes to life\, a refrain of ‘love\, honey\, sex\, money’ sang in a coital squeal.  \nSalted Caramel Ice Cream brings this to the fore too\, but more in the vein of Lipps Inc’s Funkytown\, and evokes the sapid pleasure and delights of love\, but also the panics and anxieties (‘Oh god\, she’s coming\, don’t look up’). \nBut when the shagging is over you’re left only with the despair of your sweaty reflection. The moments of pain and sadness on Metronomy Forever are just as real\, but also surmountable\, much like most of the torture of existence ultimately is. It’s the scope of experience of someone who has decided that agony\, while perhaps a good palette from which to scrape your paints\, is just not really that much fun. We’re here for a good time\, not a long time\, and\, as Homer Simpson once said\, “You could wake up dead tomorrow.” Get on your hands and knees\, plunge your fingers in the soil and scream thanks at the moon for making the waves crash warm foam at the feet of our children.  \nJoe Bish. \n*** \nJoy Again \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/metronomy-forever/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20200206T190000
DTEND;TZID=America/New_York:20200206T190000
DTSTAMP:20260404T043839
CREATED:20191112T180010Z
LAST-MODIFIED:20200106T171501Z
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SUMMARY:Spafford
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 11/15 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nSpafford \n \nWebsite\nFacebook\nTwitter \nOn New Year’s Eve in 2009\, guitarist Brian Moss and bassist Jordan Fairless joined up to play a show in their home state of Arizona and ring in a new decade. Moss and Fairless had been playing the same open mic nights and after their first successful joint effort decided to team up and officially form a band: Spafford. After playing shows in their home state\, the pair found themselves on the hunt for a new partner to help them round out their group. They found keyboard player Andrew “Red” Johnson and asked him to voyage out to Las Vegas in the run up to their 2011 New Year’s show in Prescott. Johnson agreed\, and has been with the band ever since. Now\, with drummer Nick Tkachyk\, the band brings their vibrant\, dynamic music to the world at large and pushes the boundaries of what a jam band can be.\nSpafford is known for their astonishing improvisational ability\, which they’ll use to play live off the cuff extended jams. Each song is a blank canvas\, and Spafford paints a picture in real time each night with a musical palette known only to each other. It’s a private language comprised of their talent as musicians\, and of their formidable catalog of influences – ranging from Steely Dan\, electronic acts like The Crystal Method\, to 90’s alt rock radio hits. Every show is a sonic pilgrimage – the journey of a team of musicians so in tune with each other that a single note communicates intent and purpose.\nEven though the band thrives off the electric pulse of live shows\, the same energy also translates into their studio efforts. Their 2018 release “For Amusement Only” hits to the heart of Spafford – tight\, inventive\, and dexterous musicianship coupled with clever retro-pop inspired songwriting. Songs like “Leave The Light On” highlight their influences – from the melodic styles of Alanis Morissette to the rhythmic bounce of Bob Marley. Other tracks like “Ain’t That Wrong” and “Slip and Squander” are rich with other signature Spafford signs: vibrant vocal harmonies\, complex and catchy arrangements\, and sparkling\, powerful performances.\nSince forming\, Spafford has achieved what some groups only dream of. The group is in high demand at music festivals like Bonnaroo and Firefly and consistently play sold out shows across the United States. After the successful release of “For Amusement Only” in 2018\, they are eager to play new songs and evolve their sound on the road. \n*** \nEggy \n \nWebsite\nFacebook\nTwitter \nEggy is the group that brings balance to your musical diet. The band offers timeless songwriting both lyrically and in composition creating works worthy of repeated consumption. Drawing influences from classics like Bruce Hornsby\, CSNY\, Herbie Hancock\, & the like; Eggy is the fresh but familiar music you’ve been craving. In a live setting moving lyrics & four piece harmonies coupled with eclectic improvisations create performances that take on a life of their own. Eggy’s music offers the full pallet of emotion & style and invites you to share in the experience! Their debut album “Watercolor Days” (released March 2019) reflects the band’s fine palate & musical breadth. \nMichael Goodman (bass/vocals)\, Jake Brownstein (guitar/vocals)\, Dani Battat (keys/vocals) and Alex Bailey (drums/vocals) work in tandem\, sending sizzling musical ideas across the stage from years of sharpening their craft together. The result is an original & organic musical blend inspired by their heroes of the past and present.
URL:https://royaleboston.com/event/spafford-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20200208T180000
DTEND;TZID=America/New_York:20200208T180000
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CREATED:20191105T150022Z
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SUMMARY:[SOLD OUT] Earthgang
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*** \nEarthgang \n \nWebsite\nFacebook\nTwitter \nThe very first day Johnny Venus and Doctur Dot of EarthGang met\, their school caught on fire. On a field trip\, they’d discovered they had similar tastes in music and that neither was scared to say exactly what he was thinking. As their bus turned toward campus\, they saw smoke billowing and felt the hand of serendipity at work. Everything around them was burning down\, leaving something new\, a phoenix\, in its wake—their partnership.\n“We just had our own vibe\,” says Doctur Dot. “We weren’t doing music just to get rich and drink a bunch of lean. Nah. We just wanna make music best we can.”\nA handful of years later\, that’s precisely what they’ve become known for. Marrying lean\, sharp-eyed lyricism with Southern-fried soul to produce keep-em-guessing projects like their most recent\, 2015’s Strays With Rabies or the much-lauded 2013 Shallow Graves for Toys\, they embody the best of the new generation of music—and plenty of critics and fans alike have taken note. Noisey lavished praise on the duo\, calling their work a\n“\n“I’m always trying to push the limits of things\,” says Johnny Venus.\n“We tend to work with producers that wanna break some rules. They pull out their secret stuff – the reason they do that is they know we aren’t constricted to one type of sound\, one type of rhythm or attitude. We contain multitudes\,” continues Dot.\nIt wasn’t always that way. As they were coming up in Atlanta\, the guys found it difficult not only to find producers that wanted to work with them\, but also mentors\, surprising in a city with such a rich rap history. “In the beginning\, we didn’t have nobody that wanted to work with us\, so we worked by ourselves and made the most of it\,” says Dot. “We didn’t have anybody else who thought we should be doing it.”\nThat all changed with 2011’s Mad Men project. With their nimble wordplay and ability to color outside the line\, comparisons to another local group—Outkast—cropped up\, and EarthGang quickly became a name to know. They were branded a clever indie hip-hop act\, and for a big part of their career\, they were\, as Dot puts it\, “surfing the indie ocean and doing real good.” But as the years have passed\, that label has become constricting.\nNow\, they find themselves stretching beyond the “indie hip-hop” brand\, ready to reach a wider audience with sharp-slick lyrics that cut through the hazy blur of ratchet rap and an avid interest in never settling or resting on their laurels. “A lot of people in the industry get caught up in: ‘This is what I do.’ With us\, it’s like\, ‘This is what I could do? Shit\, I’m gonna try doing that.’ As long as it keeps being fun\, we gonna keep doing it\,” Venus says.\nrenewal for Atlanta\, a departure from the city’s familiar club sounds … Every song\narrived fully formed\, hitting hard and landing jokes while also delving deep into political\nissues\, especially topics of race.” Working with fellow bout-to-blow artists like J.I.D. and\nestablished producers like J.U.S.T.I.C.E. League\, they’ve continued to hit curve balls\nmusically\, surprising not only their fan base\, but also themselves. \nFittingly\, there’s no one genre that can hold EarthGang. “I describe the sound how you describe freedom. There are twelve notes on the keyboard and I love every single one of them with all my heat. That’s my sound\,” Venus says.\n“We’re making the transition and recognizing our response as artists. I don’t mean we gotta save every kid in every hood\, but when you represent something to somebody\, the best you think you can do is accept responsibility for what you have to do. Freedom\,” Dot echoes. “We gonna take ‘em to another world.” \n*** \nMick Jenkins \n \nFacebook\nTwitter \nMick Jenkins’ writing is rich with hard-won perspective and dotted with impressively specific\, naturalistic details. But on a thematic level\, it digs deeper than the here and now\, the bus stop in front of him\, the string of tour dates looming ahead. His music explores things that humans feel on an intuitive level but struggle to fully understand. From the nature of familiar and romantic love to the elements that sustain life itself\, he burrows deep into our collective unconscious in an attempt to give order to the world. With his new album\, Piece of A Man––due out August 3\, 2018 on Cinematic Music Group. Mick goes further than he ever has before toward a unified theory of hip-hop: rigorous but sensitive\, technical but deeply musical.  \nBorn in Huntsville\, Alabama at the end of the George Bush years\, Mick moved to Chicago with the women in his life––his mother and sister––when he was ten years old. This set up two important factors that would shape his world view\, and ultimately his music. On one hand\, he became embedded in the fabric of the city\, adopting some of its sensibilities and slang\, and benefitting from its growing array of opportunities for young creatives. On the other\, his early childhood in a radically different environment gave him the outsider’s perspective that allows him\, to this day\, to turn a critical eye to his surroundings.  \nAfter a brief stint at an Alabama college––he planned to study law––Mick was back in Chicago for good\, pursuing music with all his energy. It wasn’t long before he scored a major breakthrough\, with his stunning mixtape The Water[s]. Released in August of 2014\, that record announced Mick as a major creative force\, an artist who synthesized early-20th century poets with hip-hop’s most powerful voices. The Water[s] earned rapturous praise from critics and magazines\, but also from rap’s most respected underground pioneers: Busdriver\, in a rare piece of written criticism\, called Mick’s talent “gloriously uncommon.”  \nIn the few years since The Water[s]\, Mick has used his new platform to grow\, evolve\, and continue to challenge audiences. He broke new technical ground with the bright and adventurous Waves and delivered an immensely thoughtful debut album with 2016’s The Healing Component; in recent months he dropped a pair of critically-acclaimed EPs\, Or More; The Anxious and Or More; The Frustration.  \nWhere he once drew creative inspiration from those poets\, Mick’s new drive for synthesis has led him to closely examine other artistic mediums. Short films\, he says\, have impacted his new\, daring work with their narrative density and clever manipulation of format. He’s also taken to imagining his new songs being performed live in front of audiences\, and driving himself to craft tracks that will elicit awe from observers who have never heard them before.  \nWhile Mick remains committed to clarity\, he accepts that\, in striving to make great art\, he’s going to challenge people’s preconceptions and perhaps push them out of their comfort zones. “I think it’s natural for art to be misunderstood\, especially art that is intended to serve a message\,” he says. For the most part\, though\, he finds that his audience gravitates to his central messagoes above all else: spread love\, drink more water. “Those are themes that shine through\, even if you can’t understand or break down or some of the deeper aspects\,” he says\, pausing to consider the relationship forward thinking has always had with the culture at large. “But show me some art that’s not misunderstood.” \n*** \nWynne \n*** \nJurdan Bryant
URL:https://royaleboston.com/event/earthgang/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20200210T190000
DTEND;TZID=America/New_York:20200210T190000
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SUMMARY:[CANCELLED] The Heavy
DESCRIPTION:This show has been cancelled. Refunds are available at point of purchase. A message from the band: \nWe are really sad to announce that we have to cancel our upcoming North America tour this February 2020 due to personal reasons. Sorry to disappoint all the fans that have already bought tickets and were planning on coming along to the shows. We will look into rescheduling as soon as possible but in the meantime please contact your point of purchase for a full refund on tickets.  \nBig love\, The Heavy x
URL:https://royaleboston.com/event/the-heavy/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20200211T190000
DTEND;TZID=America/New_York:20200211T190000
DTSTAMP:20260404T043839
CREATED:20191007T145245Z
LAST-MODIFIED:20200110T173617Z
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SUMMARY:[SOLD OUT] Michael Kiwanuka
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*** \nMichael Kiwanuka \n \nWebsite\nFacebook\nTwitter \n*** \nSammy Brue \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/michael-kiwanuka-3/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200213T190000
DTEND;TZID=America/New_York:20200213T190000
DTSTAMP:20260404T043839
CREATED:20191008T160034Z
LAST-MODIFIED:20191204T155535Z
UID:10002108-1581620400-1581620400@royaleboston.com
SUMMARY:American Nightmare
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 10/11 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*** \nAmerican Nightmare \n \nWebsite\nFacebook \nIn February 2000 Wesley Eisold\, singer of American Nightmare\, self-booked their  first show ever in a church in Portland\, Maine\, setting a precedent for the band’s relentless DIY ethic\, touring and releasing music until American Nightmare became one of the most important and influential hardcore/punk bands of the last two decades. The band’s volatile mix of traditional American hardcore\, English influenced attitude\, and Eisold’s emotional lyrical prose set a new creative standard for the worldwide hardcore community. Their sphere of influence is far reaching\, serving as the bellwether to the giants of punk\, metal/hardcore\, and even mainstream music. American Nightmare began in 2000 as a band that defied styles\, trends\, and even names. After releasing several EPs and two LP’s\, the band split in 2004 before reforming in 2011\, with Eisold forming Cold Cave in the interim which grew to be a force in the goth and industrial scenes. American Nightmare returned to the studio and released a self-recorded and self-titled album in 20I8\, touring to continued sold out shows. American Nightmare redefined the hardcore scene musically\, visually\, and most of all\, lyrically. To call American Nightmare an iconic hardcore band is an understatement because at this point\, they are legendary. In February 2020 they will embark on a 20th anniversary tour and reissue their Year One album on Heartworm Press and Bridge 9 Records. \nAmerican Nightmare is:\nWesley Eisold\nJosh Holden\nBrian Masek\nAlex Garcia-Rivera\nJim Carroll \n20th Anniversary Tour \n2/13 BOSTON – Royale\n2/14 NYC –  Brooklyn Steel\n2/16 PHILADELPHIA – Theatre of the Living Arts\n2/19 CLEVELAND – Beachland  Ballroom\n2/20 DETROIT – Magic Stick\n2/21 CHICAGO – Thalia Hall\n2/22 MINNEAPOLIS – Fine Line Music Hall\n2/25 DENVER – Bluebird Theater\n2/26 SLC – The Complex Grand\n2/28 PORTLAND – Hawthorne\n2/29VANCOUVER – Imperial Theatre\n3/01 SEATTLE- The Showbox\n3/06 SF – Fillmore\n3/14 LA- Fonda \n*** \nCeremony \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/american-nightmare/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200214T180000
DTEND;TZID=America/New_York:20200214T180000
DTSTAMP:20260404T043839
CREATED:20191016T140008Z
LAST-MODIFIED:20200110T222700Z
UID:10002114-1581703200-1581703200@royaleboston.com
SUMMARY:Saint Motel
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri 10/18 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*** \nSaint Motel \n \nWebsite\nFacebook\nTwitter \n*** \nKolars \n \nWebsite\nFacebook \nKOLARS is one of those rare acts which descends from another dimension\, struts its sequin skin\, blares it’s unabashed musical thrill ride and leaves audiences with their mouths on the floor. \nRob Kolar twists and turns as he sings imaginative lyrics with a raw swagger. He spins his guitar as notes sail and scramble through the room. A presence that embodies elements of Elvis and Marc Bolan with a ragged punky edge. The magnetic\, one of a kind\, Lauren Brown uses her whole body as a percussion instrument\, tap dancing rhythms with her feet while playing a full stand up kit with her arms. An alluring hybrid of Mo Tucker and Gene Kelly with a dash of Iggy Pop wildness. Yes\, there have been iconic duos before but none like this. \nThe two set up side by side sharing center stage. There is no front woman or man to this band. They share the spotlight\, encouraging the other to take a risk and push their art. \nOn record KOLARS are slightly more subtle and nuanced. Rob produces and mixes the music and has created a genre melding soundscape influenced by his film scoring. The band has inspired evocative descriptions such as “space blues”\, “glam-a-billy” and “desert disco”. The style combines elements of new wave\, blues\, pyschedelia\, glam\, folk\, disco and punk. The production experiments are infused into the live show. In essence\, the duo are a hybrid of modern technology and raw rock and roll. \nThe aesthetic and fashion sense of the band lives in a similarly daring world. The two often seek out rare vintage pieces and design much of the stage attire themselves. Visually there are glam\, sci-fi\, teddy boy\, goth\, and western themes. Sequins and mirrors often reflect dazzling light shows for the audience. When asked about the reflective aesthetic Rob replied\, “Well we couldn’t afford our own light show so we figured we’d just become one ourselves”. \nThey have built their momentum through hard work and tenacity\, growing their following one fan at a time. They tour relentlessly and do much of the work themselves. Rock and roll with an entrepreneurial spirit. \nKOLARS have toured extensively across the US\, Canada\, and Europe\, playing many festivals and concerts in front of thousands. They have headlined national tours and have shared bills with Spoon\, LP\, Julian Casablancas & The Voidz\, STRFKR\, The Kills\, Best Coast\, Shonen Knife\, RZA\, Pussyriot\, Built To Spill\, The Horrors\, The Growlers\, Alanis Morissette\, Funkadelic\, The Revivalists\, Father John Misty\, The Roots\, Nikki Lane\, Strawberry Alarm Clock and many others.
URL:https://royaleboston.com/event/saint-motel-3/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200217T190000
DTEND;TZID=America/New_York:20200217T190000
DTSTAMP:20260404T043839
CREATED:20191105T170042Z
LAST-MODIFIED:20200110T171621Z
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SUMMARY:[Moved to The Sinclair] Bat for Lashes
DESCRIPTION:This show has been moved to The Sinclair! All previously purchased tickets for the show at Royale will be valid for The Sinclair show. Refunds are available upon request. \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*** \nBat for Lashes \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/bat-for-lashes/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200221T180000
DTEND;TZID=America/New_York:20200221T180000
DTSTAMP:20260404T043839
CREATED:20191203T180044Z
LAST-MODIFIED:20191203T172223Z
UID:10002136-1582308000-1582308000@royaleboston.com
SUMMARY:Eric Nam
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri 12/6 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: This show is open to all ages.  Opening acts and set times are subject to change without notice.  All sales are final unless a show is postponed or canceled.  All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue.  Please make sure necessary arrangements are made ahead of time.  All patrons subject to search upon venue entry. \n*** \nEric Nam \n \nWebsite\nFacebook\nTwitter \nA regular in Korea’s music scene\, Eric has promoted two mini albums and multiple singles in Korea. He has charted at #1 on several occasions and held shows in the U.A.E.\, Australia\, Canada\, Malaysia\, Morocco\, and the United States. \nIn June 2016\, Eric released his first U.S. single\, “Into You” in collaboration with electronic band KOLAJ. “Into You” premiered worldwide on Beats 1 Radio and The Fader\, which subsequently led to a #1 charting on Hype Machine. Following the success of this track\, he received coverage from outlets such as Buzzfeed\, NBC News\, Fuse TV\, Fusion\, MILK\, refinery29\, USA Today\, TIME Magazine and more. He is currently working on releasing more music in the U.S. and hopes to continue pushing boundaries in both markets. \nIn addition to music\, Eric is also active on television. For the last 3 years\, Eric was the main host of Arirang TV’s most popular program\, “After School Club\,” broadcast in 190 countries gaining thousands of fans internationally. Today\, Eric continues to make appearances on many of Korea’s top rated and popular TV and radio shows\, including hosting “Saturday Night Live\,” “Running Man\,” “Hello Counselor\,” “CultTwo Show\,” and many more. He is currently a regular on MBC’s international hit\, “We Got Married.” \nEric is fluent in English and Korean\, and is highly proficient in Spanish and Mandarin. He is an avid foodie and photographer and hopes to continue bridging the gap between the East and West through exciting cross-cultural projects. \n*** \nFrenship \n \nWebsite\nFacebook\nTwitter \nFRENSHIP make wide-angle pop songs that are realized in the moment\, shaped by diverse inspirations: the brash\, bold innocence of 80s pop; the experimental streak of 90s hip-hop; and\, not to mention\, the songwriting chops of stadium-filling superstars. Their songs are painted in bold\, bright colors\, packed with harmonies and unshakeable hooks that connect with a global audience. FRENSHIP’s latest single “Wanted A Name” (feat. Yoke Lore)\, released via Counter Records (part of the Ninja Tune family)\, follows the explosive interest which has greeted the music they have released so far. \nFRENSHIP – James Sunderland and Brett Hite – released their debut track “Kids” in 2013\, and in 2015 released “Knives” featuring Norweigan producer\, Matoma. They were three years into their musical journey together when their 2016 breakout hit “Capsize” with Emily Warren proved to be a game-changing moment that skyrocketed FRENSHIP to new heights. The track has notched up over 600 million streams so far (adding to their 750+ million total streams)\, garnered multiple gold and platinum certifications around the world\, and saw them picked as Spotify’s #2 Breakout Artist in 2016 and one of Shazam’s 2017 Emerging Artists. It received huge radio play\, too\, hitting #1 on Z100 NY and #2 on KIIS FM LA\, and received press support in the US and internationally from Billboard\, NYLON\, V\, Idolator\, The Independent\, Wonderland and more. This success spurred a whirlwind of tour dates across the US and Europe\, including festival plays at Lollapalooza\, Outside Lands and Life Is Beautiful as well as a support slot for Bastille performing to crowds of thousands on stages either side of the Atlantic. Following “Capsize\,” FRENSHIP released a string of successful singles\, including “1000 Nights” which they performed on Jimmy Kimmel Live. \n“We remember feeling like we finally made it\,” shares Sunderland. “It felt damn good. We never could’ve predicted it taking off like it did. It’s a great feeling knowing it connected with so many people because that’s our goal: to share our music with as many people as possible. Most importantly\, Capsize gave us hope again. It gave us the energy to push FRENSHIP forward into a lifetime career.” \nTouring with Bastille in 2017 also marked an important evolution in FRENSHIP’s perspective. Playing their biggest venues yet where the crowds were showing their support all the way to the back row was pivotal for the band. \n“It changed everything for us\,” remarks Sunderland\, explaining how\, as bedroom producers and songwriters\, it helped put in perspective who they were writing for\, and helped show them what to strive for. \nThe tour with Bastille also served as a spark for their striking new 2019 single “Wanted A Name\,” a collaboration with friend and fellow songwriter\, Yoke Lore\, that was written when they returned home from their first headlining tour in 2018. Rousing and undeniable\, the propulsive sonics and soaring melody of “Wanted a Name” give way to musings on if the elusive feelings of love\, acceptance and validation will ever be re-captured again. \n“We love the interaction with our fans when we’re on the road\,” says Hite\, “The love and appreciation is flowing but\, when the tour is over\, it’s easy to wonder if that feeling will ever happen again. It can be an isolating feeling trying to figure out how to turn those amazing moments into something that will last.” Adds Sunderland\, “Our lives revolve around writing\, touring and perfecting every element of what you see and hear from us\, which fuels us and brings us happiness. In the midst of focusing on that\, we don’t want to lose sight of what made us start making music in the first place. This song is an attempt to regain that original feeling of pure excitement of sharing our music with the world.” \nLos Angeles – the city that the duo calls home – is a place they say provides them with daily inspiration — and motivation. It’s also a spur to achieve their goals: the urban sprawl around them can feel constricting and frustrating\, amplifying the pressures of being an artist. Ultimately\, though\, it encourages them to work hard on making the best songs they can. \n“It’s a huge driving force\,” explains Sunderland\, “We’ve both been through some of our highest and lowest moments in this city. For me\, it’s where I found love\, it’s where that ended and I found love again. It’s where I joined a cult for a few years and completely lost sight of myself and my identity and it’s where I healed from that. It’s where I found my artistic voice and of course it’s where we started FRENSHIP and developed as artists together. All of those experiences have of course influenced our music and show. LA is full of opportunity\, but it’s a place that can sometimes suck the life out of you and make you crave a break. We write about that break a lot and wanting to escape from LA and get back to simpler times in Colorado and Washington. That said\, we wouldn’t be who we are without this place.” \nIt was LA that first brought Sunderland and Hite together. They first met when they were both working at an athletics store. They quickly discovered that they share upbringings where playing sports was a huge part of their lives. They balanced music practice with soccer training as they grew up\, an activity that they say has taught them lessons in rebounding from setbacks. Sunderland started playing drums when he was eight years old\, watching his shadow on the wall in the basement as he would drum for hours\, and began singing in choirs. “I remember getting goosebumps when I was a part of big group of people singing together. That feeling influences how I want our music to sound and feel\,” he says. Hite became interested in music around the same age. Whenever a favorite song of his would play on his alarm clock he would turn it as loud as possible and press the whole radio up to his ear to consume as much of the sound as possible. \nThey met in 2013 at a time when they were both at a crossroads with their music\, and quickly struck up a connection. Hite had spent several years as a solo singer-songwriter. Sunderland had experience in film scoring and music production as well a choral upbringing – his mother was an opera singer. In many ways\, they had totally different musical tastes\, with Hite’s affinity for – amongst other things – Hawaiian music and punk rock\, and Sunderland’s admiration for the B-52s and Peter Gabriel. Despite a few differences\, the two share an infectious sense of humor and a relatability that ignited a lifelong friendship. \nIt’s through this connection that they found a common language for writing songs together. Initially\, Hite focused on lyrics and vocals\, with Sunderland on production. Over time they’ve spread all aspects of the music-making between the two of them\, which includes stacking up vocals and melodies tuned to resonate at our most sensitive frequencies. They draw influence from music recorded in the 80s\, where a flood of new technology gave people lots of new toys to play with\, making big and bombastic music that boldly threw new ideas into the mix. \nUltimately\, FRENSHIP hopes that their music can be a welcoming place and travel with people throughout their lives. \n“We want people to be able revisit our songs in 5\, 10\, 15 years and feel like they’re catching up with an old friend that they haven’t seen in a while\,” Sunderland leaves off. \n“It’s really important to us that everyone feels comfortable to be themselves at our shows\, which hopefully translates out into the real world as well\,” adds Hite. “In a world that can sometimes seem to be spiraling towards self-destruction\, we want to keep a sense of hope and optimism alive.”
URL:https://royaleboston.com/event/eric-nam/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200222T180000
DTEND;TZID=America/New_York:20200222T180000
DTSTAMP:20260404T043839
CREATED:20190930T160018Z
LAST-MODIFIED:20200206T191306Z
UID:10002824-1582394400-1582394400@royaleboston.com
SUMMARY:[SOLD OUT] Theo Katzman
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nThis show is SOLD OUT! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nTheo Katzman \n \nWebsite\nFacebook\nTwitter \n“Modern Johnny is a feeling\,” says acclaimed singer-songwriter/multi-instrumentalist Theo Katzman in regards to his forthcoming self-release Modern Johnny Sings: Songs in the Age of Vibe\, due out in early 2020. “It’s closer to Vonnegut’s Kilgore Trout than Bowie’s Ziggy Stardust—Modern Johnny represents the journey\, the quest\, the plight of the singer-songwriter trying to make it in today’s music world.” Known for his rock-and-roll inspired solo albums\, as well as his contributions to internet funk sensation Vulfpeck\, Katzman has had this feeling bubbling in the recesses of his mind for some time now\, weaving its way through his songwriting process and onto his recordings. The feeling itself is multi-dimensional: it’s a subtle sarcasm\, but not at the expense of sincerity; criticism\, but not at the expense of joy; character\, but not at the expense of vulnerability. Modern Johnny is not an alter-ego per se\, but he and Katzman do have some striking similarities. Both were born in the mid-‘80s\, forming their musical identities from the rubble of ‘90s rock radio\, the remains of their parents’ record collections\, a handful of ‘Greatest Hits’ compilations on Compact Disc\, and several hard drives’ worth of miscredited MP3s from Napster. Both arrived in Los Angeles in the mid 2010’s with a “songs-can-change-the-world” attitude\, fully expecting to join the Eagles. Both find themselves stumbling through the free market in the age of social\, the age of streaming…the Age of Vibe. The year is 2020. Billy Joel hasn’t released an album in over two and a half decades\, Stevie Wonder is ranked 230th on Spotify\, and Paul McCartney’s most popular song is “FourFiveSeconds.” It’s hard to know what to make of all of this… and Modern Johnny isn’t necessarily what the kids are asking for. He’s too heart to be hip\, too hip to be pop\, too pop to be rock\, and too rock to be art. \nTOUGH SITCH.\nBut no matter the zeitgeist\, both Theo Katzman and Modern Johnny forge ahead the only way they know how: in pursuit of messy\, honest\, exuberant human emotion through popular song. \n*** \nRett Madison \nFacebook\nTwitter
URL:https://royaleboston.com/event/theo-katzman/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200226T190000
DTEND;TZID=America/New_York:20200226T190000
DTSTAMP:20260404T043839
CREATED:20191022T160020Z
LAST-MODIFIED:20191216T235908Z
UID:10002115-1582743600-1582743600@royaleboston.com
SUMMARY:Trixie Mattel
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 10/25 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nTrixie Mattel \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/trixie-mattel/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200227T200000
DTEND;TZID=America/New_York:20200227T200000
DTSTAMP:20260404T043839
CREATED:20191209T170940Z
LAST-MODIFIED:20200224T181123Z
UID:10002142-1582833600-1582833600@royaleboston.com
SUMMARY:[CANCELED] SOULWAX
DESCRIPTION:The Soulwax show scheduled to take place at Royale on Thursday\, February 27th has been canceled and refunds are being issued at the point of purchase. A new Boston show date with Soulwax will be announced very soon – please keep an eye out from messaging from the artist for more info.
URL:https://royaleboston.com/event/soulwax/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200303T190000
DTEND;TZID=America/New_York:20200303T190000
DTSTAMP:20260404T043839
CREATED:20191105T200024Z
LAST-MODIFIED:20200224T173951Z
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SUMMARY:Allen Stone
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 11/8 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*** \nAllen Stone \n \nWebsite\nFacebook\nTwitter \n*** \nSamm Henshaw \n \nWebsite\nFacebook\nTwitter \n*** \nAndy Suzuki and The Method  \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/allen-stone-4/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200312T190000
DTEND;TZID=America/New_York:20200312T190000
DTSTAMP:20260404T043839
CREATED:20191111T180058Z
LAST-MODIFIED:20200114T160753Z
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SUMMARY:Ekali
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 11/15 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \nEkali \nwww.bvwphoto.com © Brian Van Wyk \nWebsite\nFacebook\nTwitter \nEkali is more than just an alter ego for musician Nathan Shaw. It’s not only the name for an electronic production project that — just a few months after posting his first track — brought a level of recognition that most artists spend a career dreaming about. It’s also a reflection of a remarkable musical journey that’s led him far outside the crowded beat-making field. \nAlthough only 26 years old\, Shaw has already been playing music for almost half his life. Growing up bouncing between Vancouver\, British Columbia and tiny Mayne Island (just across the Strait of Georgia from the city)\, Shaw absorbed his parents vinyl obsession early before picking up a violin when he was 12. Within a couple years he’d moved on to guitar\, then to bass\, which he played in his school’s jazz program before dropping out at age 15 to pursue music full time. He was a session bassist and touring musician\, playing indie rock\, folk\, jazz\, hardcore\, and posthardcore — and along the way won a Juno award his work with Vancouver indie group Said the Whale — before setting out on his own four years ago. \nEkali has given Shaw the chance to show off the stylistic flexibility he picked up from years playing across the musical spectrum. His breakthrough single “Unfaith” mixes Ciara samples and jazzy piano chords with the sonic and emotional intimacy of the indie rock and classic singer-songwriters he grew up on. (Which might explain how the track ended up being sampled not once but twice on Drake’s If You’re Reading This\, It’s Too Late.) He’s made apocalyptic trap music with rapper Denzel Curry (“Babylon”) and transcendent electronic pop with ZHU (“Blame”). \nBut while the self-taught musician draws from a sprawling set of influences — from Burial to Joni Mitchell to progressive metal icons Dream Theater — one constant in Shaw’s music is its commitment to analog-era ideals like warmth and texture that often go missing in modern beats. In an era of music tuned to computerized precision\, Ekali’s tracks resonate with a defiantly human touch. \nEkali’s debut EP\, Crystal Eyes was released last September 2018\, collaborating with the talented likes of K. Flay\, Yuna\, Slumberjack\, and Mossy. Following the release of the EP\, Shaw\, headed out on his third headline North America tour\, selling out most venues throughout the US & Canada. Ekali’s first full length album project is due out in January 2020 which features the likes of Au/Ra\, Kiiara\, Illenium\, Reo Cragun\, Nitti Gritti\, and more.  \n*** \nWilliam Black \n \nWebsite\nFacebook\nTwitter \nWilliam Black is a Los Angeles based producer and DJ. The blossoming electronic scene of Southern California in the late 2000s heavily influenced William’s music. His uniquely emotional sound and melodies are respected for being progressive\, inventive\, and meaningful. William’s artistic designs draw inspiration from the natural world around us\, and our interaction with it. His songs touch on important topics including depression\, addiction\, love\, and loss. These songs feature his signature soundscape of beautiful uplifting melodies with passionate singers. These qualities allowed his 2018 debut EP “Universe” to climb the iTunes Dance Charts to #1. The lead single\, “Wasted on You” premiered at #7 on the Billboard Dance Charts thanks to its immediately memorable chorus. William Black played to tens of thousands of fans in 2019 on both Adventure Club’s Spring “Death or Glory” tour and Illenium’s Fall Arena tour for “Ascend.”  In between this his first album\, “Pages”\, was released to critical acclaim for taking on important topics with unexpected music.  2020 continues to see William Black creating and playing emotionally raw dance music in his mission to display nostalgia through sound. \n*** \nJuelz \n \nWebsite\nFacebook \nFor the last three years\, Vancouver based producer Juelz has been crafting a catalog that fuses hip-hop and electronic boundaries effortlessly. Classical training in violin and a culturally diverse upbringing have proven fundamental in the development of his strong music writing and production skills.\nJuelz found initial success with the release of the SoundCloud club hit “Cocaine”\, which quickly led him to collaborations with the likes of josh pan\, Falcons\, and Promnite. In 2018 he teamed up with bbno$ to release a collaborative EP titled moneytalk\, and in early 2019 he released his Sophomore EP Shanghai Nights on Fools Gold Records.\nWith an influx of support coming from tastemakers including RL Grime\, A-Trak and his next EP coming soon\, Juelz is poised to make a colossal splash in the electronic music scene.
URL:https://royaleboston.com/event/ekali/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200314T180000
DTEND;TZID=America/New_York:20200314T180000
DTSTAMP:20260404T043839
CREATED:20191125T154327Z
LAST-MODIFIED:20200417T142938Z
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SUMMARY:[CANCELED] Archers of Loaf
DESCRIPTION:The Archers of Loaf show at Royale on March 14th has been canceled. Refunds are available at point of purchase. \n*** \nArchers of Loaf \n \nWebsite\nFacebook \n*** \nSavak \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/archers-of-loaf/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200319T190000
DTEND;TZID=America/New_York:20200319T190000
DTSTAMP:20260404T043839
CREATED:20200123T170005Z
LAST-MODIFIED:20200326T142612Z
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SUMMARY:[CANCELED] Blood Orange
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show has been canceled. Refunds are available at point of purchase. \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 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*** \nBlood Orange \n \nWebsite\nFacebook\nTwitter \nProducer\, multi-instrumentalist\, composer\, director and vocalist\, London born polymath Devonté Hynes is among the most influential voices in music today. Raised in England by Guyanese and Sierra Leonean immigrant parents\, Hynes started out as a teenage punk in the UK band Test Icicles before releasing two orchestral acoustic pop records as Lightspeed Champion. In 2011\, he released Coastal Grooves\, the first so far of five solo albums under the moniker Blood Orange. His 2016 album\, Freetown Sound\, was released to critical acclaim\, and saw Hynes defined as one of the foremost musical voices of his time\, receiving comparisons to the likes of Kendrick Lamar and D’Angelo for his own searing and soothing personal document of life as a black man in America. His 2018 album\, Negro Swan\, was released to equally rapturous response\, exploring elements of black depression and identity. His most recent release\, the 2019 mixtape Angel’s Pulse\, described by Hynes as an epilogue to Negro Swan\, further explores and builds upon those themes. He has collaborated with Solange Knowles\, fka twigs\, A$AP Rocky\, Puff Daddy\, Mariah Carey Janet Mock\, and many more\, and was recently one of four artists invited to the Kennedy Center to perform alongside Philip Glass. In addition to his production work\, he has sold out headlining tours around the world\, directed and edited 7 Blood Orange music videos as well as one for Beck’s 2019 “Uneventful Days”\, and composed the scores for the films “Palo Alto\,” directed by Gia Coppola\, and “Queen & Slim”\, directed by Melina Matsoukas.
URL:https://royaleboston.com/event/blood-orange/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200320T191500
DTEND;TZID=America/New_York:20200320T191500
DTSTAMP:20260404T043839
CREATED:20191209T154118Z
LAST-MODIFIED:20200312T231611Z
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SUMMARY:[RESCHEDULED] True Crime Obsessed
DESCRIPTION:This show has been rescheduled to Saturday\, August 8th.  \nTickets originally purchased for the Friday\, March 20th date will be honored at the rescheduled date. \n*** \nPresented by Bowery Boston \nDoors: 7:15 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*** \nTrue Crime Obsessed \n \nWebsite\nFacebook\nTwitter \nTrue Crime Obsessed is the True Crime / Comedy podcast you need in your life!  Each week\, hosts Gillian Pensavalle and Patrick Hinds recap true crime documentaries with humor\, sass\, heart\, and just the right amount of snark.  In their live show\, Gillian and Patrick bring their hilarious take on the absurdities of true crime characters and storylines to the stage\, tearing into one of your favorite true crime documentaries using video clips\, music\, and their signature garbage bell.
URL:https://royaleboston.com/event/true-crime-obsessed/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200321T180000
DTEND;TZID=America/New_York:20200321T180000
DTSTAMP:20260404T043839
CREATED:20191209T160830Z
LAST-MODIFIED:20200316T142225Z
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SUMMARY:[POSTPONED] ZZ Ward
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nThis show has been postponed to a TBD date. All tickets will be honored for the new date. \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*** \nZZ Ward \n \nWebsite\nFacebook\nTwitter \n*** \nPatrick Droney \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/zz-ward-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200328T183000
DTEND;TZID=America/New_York:20200328T183000
DTSTAMP:20260404T043839
CREATED:20190925T140049Z
LAST-MODIFIED:20200316T143619Z
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SUMMARY:[POSTPONED] L'Impératrice - Matahari World Tour 2020
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:30 pm / Show: 7:15 pm \nThis show has been postponed to a TBD date. All tickets will be honored at the new date. \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*** \nL’impératrice \n \nFacebook\nTwitter \nL’Impératrice’s debut album arrived in 2018 all the pomp and circumstance of a coronation. “Impératrice” is French for “Empress”\, and if their moniker is the most difficult thing to grasp for anglophones\, then musically there’s nothing that doesn’t translate. The Parisians draw from a range of genres\, from 70s space disco to downtempo 90s synth pop\, taking in French film composers like François de Roubaix and Michel Legrand along the way. “Albums that sold 500 copies in the 1970s are the records that interest us most\,” they say. Matahari is a glittering\, cinematic summation of six years hard work that draws on some of the finest found sounds and forgotten sonic fandangos hiding in crates across the land\, all given L’Impératrice’s own inimitable 21st century twist.  \nWhat began as the project of one disaffected culture journalist is now\, some six years later\, a six-headed beast. Charles de Boisseguin had carved out a niche for himself as a respected journalist. Bylines all over France’s most respected music weekly Les Inrockuptibles sufficed for a time\, and he and some friends started Keith magazine in 2007 in homage to culture’s greatest Keiths\, from Richards to Haring. As a critic\, Boisseguin had a burning conviction that he could no longer disparage the works of others until he had a go himself. And so one beautiful spring morning in 2012 he made the jump and L’Impératrice was born. The poacher had turned gamekeeper. \nEarly productions were modest. Boisseguin traded in his poisoned pen for a Moog synthesiser and cut his teeth on GarageBand. This inchoate noise was still some way from becoming the chimerical analog disco monster that has enchanted so many ears in France\, but a strong feminine sound began to emerge nonetheless\, which eventually beget the name. A self-titled EP arrived on cool Parisian underground dance label Cracki in October of that year\, and by then Boisseguin was getting the hang of being a musician. The eponymously-titled track that opens the EP features slick jazzy motifs conflated with some old-skool hip hop flow. It won instant plaudits and set the tone for future successes.  \nThe band grew by stealth\, with Hagni Gwon arriving on claviers\, David Gaugué on the bass and Tom Daveau on the drums\, soon turning a one-man project into a gang. Chanteuse Flore Benguigui’s arrival gave their sophisti-pop sound a tangible femininity that had always been there as an undercurrent. Achille Trocellier on guitars became the final piece of the puzzle. L’Impératrice’s signed to microqlima in 2016. EPs such as Odyssée and Séquences received critical adulation. \nThen came a first glimpse of the long-awaited album in 2017 – with ‘Erreur 404’ – a lead single that juxtaposes silky\, almost simplistic French synthpop with a barbed lyric (the deliciously impertinent “bon voyage imbécile” line is a highlight). L’Impératrice make writing radio-friendly earworms look easy\, and the French have been voting with their feet in a positive way\, both on the dancefloor and at gigs. A show at La Cigale\, a 2\,000 capacity venue with an illustrious history in the 18eme arrondissement of Paris\, recently sold out within two weeks. \nMatahari is laden with sumptuous grooves and replete with potential singles\, subsuming all the elements\, from Air to Frank Ocean. The title track mixes analogue space disco with ostentatious\, irrepressible funk\, a mightily impressive undertaking featuring swooping philly strings and emphatic brass. It’s an ambitious production with a percussive core that was clearly recorded live in the studio\, and while there are many layers\, it’s pieced together with a deft hand. The track returns as a penultimate instrumental send-off\, and ‘Là-Haut’\, a weightless and dreamy instrumental to open proceedings\, features some inspired peripatetic bass from Gaugué and some diaphanous percussion that melts in the ears.   \nElsewhere ‘Paris’ captures the contemporary mise en scène of the bustling la Ville Lumière\, with a delectable vocal performance from Benguigui. Her adaptability as a vocalist is demonstrated with a sultry sprechgesang delivery on ‘Balade Fantôme’\, a spooky spoken word about being lost in space. ‘Masques’ adopts an almost klezmer-like tristesse\, with vertiginous violins and a classy musical chassis. Meanwhile ‘Dreaming of You’ is a steamy\, almost claustrophobic collaboration with electropop kindred souls and labelmates Isaac Delusion.  \nSubtle yet majestic\, L’Impératrice have a bright future in the republic\, though if the six-headed beast is to become real French musical royalty then they’ll have to watch their têtes. In fairness\, Boisseguin hasn’t put a foot wrong since he threw in the day job six years ago. If L’Impératrice’s stealthy rise to pre-eminence has all been part of the plan at home\, then you wouldn’t rule out la domination du monde being on the cards in the future.
URL:https://royaleboston.com/event/limperatrice/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200402T190000
DTEND;TZID=America/New_York:20200402T190000
DTSTAMP:20260404T043839
CREATED:20191029T142552Z
LAST-MODIFIED:20200320T143522Z
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SUMMARY:[POSTPONED] The Driver Era
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show has been postponed to a TBD date. All tickets will be honored at the new date. \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 Driver Era \n \nWebsite\nFacebook\nTwitter \nLike the band name\, the music of The Driver Era captures a certain classic feeling while looking toward tomorrow. With the two brothers\, Ross and Rocky Lynch\, writing\, performing\, and producing all of the tracks\, their stylistically unpredictable music also conjures up every romantic association with heading out on the open road: limitless possibility\, the thrill of escape\, a refusal to stay in one place for any real length of time. \nWith massive hooks and immaculate production\, songs like “Feel You Now” and “Low” show the tight musicianship that Ross and Rocky have honed over the years in their longtime band R5-a five-piece whose self-produced 2017 EP New Addictions was praised as “full of sharply constructed pop confections” by Rolling Stone. It was during that band’s recent worldwide tour\, the two began dreaming up a new project that would allow them to explore their more experimental tendencies. \n“We had a bunch of songs we’d been gathering for a while\,” says Rocky. Although they avoided restricting their vision to any specific sound or style\, the duo did set some firm intentions for the new band: to create music without self-imposed limitations\, and to always push for sonic innovation. \nIn between polishing off the new songs-and hitting the road for their first tour as The Driver Era\, Ross is a critically acclaimed actor (he recently drew raves for his title role in the serial-killer biopic My Friend Dahmer and currently stars in Netflix’s The Chilling Adventures of Sabrina). And when they’re not actively creating\, the two are often out riding around\, listening back to mixes and working out song ideas\, constantly expanding what’s possible in The Driver Era. \n“A while ago I was reading a book that talked about how if you and a person are able to connect deeply enough\, you almost form a third consciousness\,” says Ross. “I think Rocky and I have that on some level. I don’t think either of us has felt so creatively charged up in a long time\, and it’s just a really cool feeling. The whole thing’s opened up our minds in this amazing way.” \nThe band released their debut album X in June of this year\, and just put out two new tracks\, “A Kiss” and “Forever Always”. Stay tuned for tour dates and new music by visiting https://www.thedriverera.com/. \n*** \nThe Wrecks \n \nWebsite\nFacebook\nTwitter \nLos Angeles-based indie rock band The Wrecks root from Thousand Oaks\, CA. The group consists of Nick Anderson (vocals/guitar)\, Nick Schmidt (lead guitar)\, Westen Weiss (guitar)\, Aaron Kelley (bass)\, and Billy Nally (drums). Heavily influenced by groups such as The Pixies\, The Strokes\, Weezer\, and Vampire Weekend\, this 5-piece isn’t afraid to blend undeniably catchy choruses\, with self-deprecative\, honest lyrics and vocals that pull you right to the center of each song.\nThe band actually recorded their debut EP on a whim\, alongside friend and engineer Andrew D’Angelo\, when they were surprised with the news that a friend had been granted access to a studio for just a few days. With a total budget of $0\, and only a week as a band under their belts\, the group set out to record the best songs that they could in 3 days. After working ridiculous hours through the night\, and to the next day whenever they could get in the studio\, the 3 days were over and the EP was cut. Little did the band know\, they were not even allowed to be in the studio that week. So through feelings of guilt and worry\, they cleaned every bit of information of theirs from the studio computer\, every crumb of Dominoes from the studio couch\, and they were off with their entire EP on an hard drive in a backpack.\nThe homemade “We Are The Wrecks” EP was self-released in March 2016. After hundreds of spins on Sirius XM’s Alt Nation\, and features on some of Spotify’s biggest rock playlists\, the band signed to Another Century/Sony Music in December of 2016. Their debut single Favorite Liar broke the Top 40 on alternative radio\, has over 6 million plays on Spotify\, and spent almost a dozen weeks in the top 10 of Alt Nation’s Alt-18 Countdown. After signing their record deal\, The Wrecks sought out to record a new EP in Los Angeles. 3 weeks into recording\, and after blowing almost the entire budget\, the band decided the music was going in the wrong direction and threw the EP away. “I just felt that we had strayed too far from the core of the band’s sound\,” says frontman Nick Anderson. “It sounded like we were trying really hard to get on the radio or something\, and I feel like that rarely gets you on the radio anyway.” So after getting their label and management on board\, The Wrecks decided to move into Anderson’s grandmother’s house in his small hometown (Wellsville\, NY) to work on the new record in a barn studio that their friend Patrick Barry owns. Co-produced again by Nick Anderson and Andrew D’Angelo\, The Wrecks say their new upcoming EP “comes from a genuine place\, and is something we’re all truly proud of.”
URL:https://royaleboston.com/event/the-driver-era/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200411T180000
DTEND;TZID=America/New_York:20200411T180000
DTSTAMP:20260404T043839
CREATED:20200121T150056Z
LAST-MODIFIED:20200313T150250Z
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SUMMARY:[POSTPONED] Lukas Nelson & Promise of the Real
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 6:30 pm \nThis show has been postponed to a TBD date. All tickets for the 4/11 show will be honored for the new date. If you can no longer make the new date\, refunds will be available at point of purchase. \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 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*** \nLukas Nelson & Promise of the Real \n \nWebsite\nFacebook\nTwitter \nLukas Nelson & Promise of the Real: For ten years running\, Lukas Nelson & Promise of the Real—bassist Corey McCormick\, drummer Anthony LoGerfo\, percussionist Tato Melgar\, and multi-instrumentalist Logan Metz—have been crossing the globe\, playing thousands of shows as one of the most talented\, in-demand rock and roll ensembles working today. In song after song\, on stage after stage\, Lukas Nelson & Promise of the Real have sharpened the edges of their singular sound\, straddling rock and roll\, country\, soul\, folk and R&B. An emergent and vital force in American music\, their latest album\, the critically-acclaimed Turn Off The News (Build A Garden)\, was released in June 2019\, and planted itself at #1 on the Americana album chart for 10 consecutive weeks.\nIn the past year alone\, the quickly rising quintet have been wowing audiences and gaining fans with their headlining tour and blistering television performances\, and have turned in star-making sets at major festivals including Stagecoach\, Newport Folk Festival\, New Orleans Jazz Fest and dozens of shows as part of Willie’s traveling Outlaw Music Festival.
URL:https://royaleboston.com/event/lukas-nelson-promise-of-the-real/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200414T200000
DTEND;TZID=America/New_York:20200414T200000
DTSTAMP:20260404T043839
CREATED:20191206T170139Z
LAST-MODIFIED:20200313T220626Z
UID:10002138-1586894400-1586894400@royaleboston.com
SUMMARY:[CANCELLED] Billy Strings
DESCRIPTION:Presented by Bowery Boston \nDoors: 8:00 pm / Show: 9:00 pm \nThis show has been canceled. Refunds are available at point of purchase. \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 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*** \nBilly Strings \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/billy-strings/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200415T190000
DTEND;TZID=America/New_York:20200415T190000
DTSTAMP:20260404T043839
CREATED:20200122T150021Z
LAST-MODIFIED:20200316T195329Z
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SUMMARY:[POSTPONED] Stephen Malkmus
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show has been postponed to a TBD date. All tickets will be honored for the new date. \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*** \nStephen Malkmus \n \nWebsite\nFacebook\nTwitter \nIs that a goddamn bouzouki? you may ask. A pedal steel guitar? What kind of Stephen Malkmus album is this\, anyway?  \nIt’s called folk music\, and it’s taking the country by storm. Stephen Malkmus is only the latest popular artist to apply this old new approach to their rock and roll sounds.  \nTake the name Traditional Techniques with as much salt as you’d like or dig the Adorno reference\, Malkmus’s third solo LP without the Jicks (or Pavement) is as organic as they come. It’s packed with handmade arrangements\, modern folklore\, and 10 songs written and performed in Malkmus’s singular voice. An adventurous new album in an instantly familiar mode\, Traditional Techniques creates a serendipitous trilogy with the loose fuzz of the Jicks’ Sparkle Hard (Matador\, 2018) and the solo bedroom experiments of Groove Denied (Matador\, 2019). Taken together\, these three very different full-lengths in three years highlight an ever-curious songwriter committed to finding untouched territory. Perhaps some of these “folk” musicians could take a lesson or two. \nCreated in the spontaneous west coast style adopted so infectiously by young American musicians in this time of global turmoil\, Malkmus took on Traditional Techniques as a kind of self-dare. Conceived while recording Sparkle Hard with the Jicks at Portland’s Halfling Studio\, Malkmus had observed the variety of acoustic instruments available for use. The idea escalated within a matter of weeks into a full set of songs and shortly thereafter into a realized and fully committed album. When he returned to Halfling\, Malkmus drew from a whole new musical palette–including a variety of Afghani instruments–to support an ache both quizzical and contemporary. Stephen Malkmus isn’t one of those “hung up” musicians one reads about so frequently these days\, sequestered in a jungle room of the heart. The jukebox in Malkmus’s private grotto remains fully updated. Not only is the artist present\, but he’s on Twitter.  \nTraditional Techniques is new phase folk music for new phase folks\, with Malkmus as attuned as ever to the rhythms of the ever-evolving lingual slipstream. Instead of roses\, briars\, and long black veils\, prepare for owns\, cracked emojis\, and shadowbans. Centered around the songwriter’s 12-string acoustic guitar\, and informed by a half-century of folk-rock reference points\, Traditional Techniques is the product of Malkmus and Halfling engineer/arranger-in-residence Chris Funk (The Decemberists). Playing guitar is friend-to-all-heads Matt Sweeney (Bonnie “Prince” Billy\, Chavez\, and too many other to count)\, who’d previously crossed paths with Malkmus on the opposite end of the longhairs’ map of the world\, most lately gnarling out together back east in the jam conglomerate Endless Boogie. \nBut\, buyer beware\, no matter how these recordings might be tagged by your nearest algorithm\, the expansive and thrilling folk-rock sounds of Traditional Techniques aren’t SM Unplugged. One might even question his commitment to acoustic instruments\, but we’ll leave that for somebody else’s hot take. All we’re saying is watch your head. Because alongside all that gorgeous folk music (“The Greatest Own in Legal History\,” “Cash Up”)\, there are also occasional bursts of flute-laced swagger (“Shadowbanned”)\, straight-up commune rock (“Xian Man”)\, and mind-bending fuzz in places you least expect it (“Brainwashed”).  \nIt’s hard to call Traditional Techniques “long awaited\,” because Stephen Malkmus just put out an album last year\, but it’s also exactly that. While he may have taken his sweet time in jumping on the folk music boom\, surely there are those among us who have fantasized about how lovely it might sound if SM would just get with the times. And it sounds like all that and beyond. Set a day or two aside to transcribe the lyrics like the Dylanlogists of yore (though please keep your garbology to yourself) and vibe on the shape of folk to come with Stephen Malkmus. \n– Jesse Jarnow \n*** \nQais Essar & the Magik Carpet \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/stephen-malkmus/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200416T190000
DTEND;TZID=America/New_York:20200416T190000
DTSTAMP:20260404T043839
CREATED:20200122T150058Z
LAST-MODIFIED:20200319T192452Z
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SUMMARY:[CANCELED] Waxahatchee
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show has been canceled. Refunds are available at point of purchase. \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 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*** \nWaxahatchee \n \nWebsite\nFacebook\nTwitter \nOn September 7\, Katie Crutchfield’s ever-shifting musical project Waxahatchee returns with the Great Thunder EP. Featuring a collection of songs written with now-dormant experimental recording group Great Thunder while Crutchfield was also writing the Waxahatchee albums Cerulean Salt and Ivy Tripp\, the original recordings have mostly faded into obscurity. Unearthing and reimagining them with producer Brad Cook at Justin Vernon’s April Base studio in Wisconsin was a cathartic experience\, she says. \nOn the heels of last year’s critically acclaimed Out in the Storm\, Crutchfield found herself looking to take a sharp turn away from the more rock-oriented influences of her recent records towards her more folk and country roots. “I would say that it is a complete 180 from the last record: super stripped-down\, quiet\, and with me performing solo\, it’s a throwback to how I started\,” writes Crutchfield. “Overall\, the EP is a warm\, kind of vibey recording.” \nSome of the songs on Great Thunder\, like “Chapel of Pines” and “Singer’s No Star\,” stayed the same and will be recognizable to those intensely familiar with Crutchfield’s catalog to date\, while closer “Takes So Much” was built back up on piano from the bones of the original version\, surprising even the songwriter: “Until then\, I didn’t realize how beautiful this song was.” As Crutchfield entered April Base to record\, she became ill but opted to forge on\, beautifully stretching her voice to its emotional limits. \n*** \nOhmme \n \nWebsite\nFacebook\nTwitter \nOhmme\, Fantasize Your Ghost \nThere’s an obvious chemistry emanating throughout Ohmme’s music that’s so tangible it can only come from a decades-spanning friendship. Songwriters Sima Cunnningham and Macie Stewart formed their unbreakable bond performing throughout the fringes of Chicago’s many interlocking communities\, collaborating with titans from the city’s indie rock\, hip-hop\, and improvised worlds. But together\, along with drummer Matt Carroll\, they’ve stretched the boundaries of what guitar music can do starting with the band’s experimental 2016 self-titled EP and their adventurous debut 2018 LP Parts. Now their longstanding partnership culminates with the stunning and muscular follow-up Fantasize Your Ghost. \nOhmme formed in 2014 as an outlet for Cunningham and Stewart to explore an unconventional approach to their instruments. “That’s the whole genesis of the band: us walking up to our guitars and saying\, ‘how can we make this noisemaker do something different?’” says Cunningham. But as their musical collaboration strengthened\, bringing Parts and intensive tours with acts like Wilco\, Iron & Wine\, Twin Peaks\, and more\, the band’s scope and focus has also broadened. Fantasize Your Ghost is the direct result of the band spending more time on the road than in Chicago\, a record deeply concerned with questions of the self\, the future\, and what home means when you’re travelling all the time. \n“Grinding on tour last year for so long\, it can alter your mental state where you have to think about your life in a different way than you would if you’re home. A lot of the songs stemmed from just thinking about all of the possibilities that life could be and could take\,” says Stewart. On the commanding single “3 2 4 3\,” which tackles the terrifying realization of needing to make a change. The song opens with the two singing in transfixing harmony\, “Looked in the mirror the other day / Caught my reflection / My mouth had moved a different way / The muscles were straining.” Their deft scene-setting and the way their disparate voices blend together heightens the song’s inherent anxiety. Later\, they sing\, “Filling the holes to make amends / Tearing them up to start again.” These moments of emotional clarity fill Fantasize Your Ghost. \nWritten across 2019\, early sketches of the album’s tracklist were demoed at Sam Evian’s Flying Cloud Studios in upstate New York. “That’s where we really started to see the record come together\,” says Cunningham. The sessions were intensely collaborative and open: the product of long\, existential conversations between Stewart and Cunningham in the van about their lives and how to channel the anger they were feeling about the state of the world. Tracks like the driving opener “Flood Your Gut” underwent several revisions with Ohmme uncovering several new directions the song could go before finishing it. The refrain “your whole vision’s not enough” is a call to action\, says Cunningham. “Do you want to be someone who can disconnect or someone who is hyper-engaged and present?” \nFantasize Your Ghost was recorded over a six day session in August 2019 when the band decamped to the Post Farm in southern Wisconsin\, where Cunningham runs a yearly DIY music festival. With indie rock journeyman producer Chris Cohen and the idyllic setting just outside Chicago\, the songs came to vibrant life. Though Parts showcased their wildly burgeoning\ninfluences and talents\, Fantasize Your Ghost captures the astounding magnetism and ferocity of their live show. “Selling Candy” is the perfect example. It’s a small snapshot of childhood complete with nostalgic references to summertime hot dogs and wandering the city but set to an explosive\, stadium-ready fuzzed-out arrangement. Elsewhere\, songs like the dystopian dance rocker “The Limit” further stretch their already dynamic palette. \nFantasize Your Ghost encapsulates the thrilling and sometimes terrifying joy of moving forward even if you don’t know where you’re going. It’s an album that asks necessary questions: When life demands a crossroads\, what version of yourself are you going to pursue? What part of yourself will you feed and let flourish and what do you have to let go of? When they sing\, “Just walk out the door and / Don’t tell them goodbye” it’s drastic but also exhilaratingly hopeful. This is a record of strength\, of best friends believing in each other. Unapologetic and brave\, Ohmme are ready to figure it all out together.
URL:https://royaleboston.com/event/waxahatchee-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200417T183000
DTEND;TZID=America/New_York:20200417T183000
DTSTAMP:20260404T043839
CREATED:20191111T152525Z
LAST-MODIFIED:20200306T175439Z
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SUMMARY:[CANCELLED] Astrid S
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:30 pm / Show: 7:00 pm \nThis show has been cancelled. Refunds are available at point of purchase. \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: This show is open to all ages.  Opening acts and set times are subject to change without notice.  All sales are final unless a show is postponed or canceled.  All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue.  Please make sure necessary arrangements are made ahead of time.  All patrons subject to search upon venue entry. \n*** \nAstrid S \n \nWebsite\nFacebook\nTwitter \nA bona fide national treasure in her home country with an ever-broadening global fanbase\, Astrid S has gained over 1 billion streams with hit songs such as “Hurts So Good”\, “Think Before I Talk” and “Such A Boy”. \nAstrid was born in the tiny Norwegian hamlet of Berkåk – “In the heart of Norway\,” she says\, “quite literally”. Music was her first love\, soccer her second. After turning her focus primarily towards the former\, she entered Norwegian Idol and went on to earn her first hit\, “Shattered”. She signed to Sony ATV Music Publishing as a songwriter later that year and has since been honing her ear for a perfect pop chorus and identifiable\, genre-bending lyrics. \nIn 2018\, Astrid sold out her Party’s Over World Tour with 32 shows in the US\, UK and Europe before the release of her summer smash “Emotion”. Going from strength to strength\, Astrid ended the year by joining Years & Years on their UK tour\, culminating in a show at London’s O2 Arena. \n2019 kicked off with the release of Astrid’s upbeat smash “Someone New”\, alongside sold-out-shows in New York and Los Angeles. Shortly after\, Astrid joined Swedish superstar Zara Larsson on her US-tour dates throughout April\, concluding with the release of her huge\, emotional single “The First One”. \nThe end of summer saw the release of Astrid’s highly anticipated EP\, “Trust Issues”\, which was followed by her sold-out “Stripped Down Tour” across the US and Europe. The EP consisted of five tracks\, including inevitable fan-favorites “Doing To Me” and “Trust Issues”. The grand finale of the Stripped Down Tour was the surprise release of yet another EP\, “Down Low”\, which added four stripped down tracks to Astrid’s rapidly increasing catalogue. \nAs she looks towards her debut album and a 50 date World Tour in 2020\, Astrid recalls exactly what pop music made her feel like as a young girl in a small town. ‘The moment I put a Discman on I was in another world. It was magical.’ Now she is ready to translate that early metamorphosis for her own fans. ‘To give them a world to get lost in as well.’ She is ready to colonize pop music with her own indefatigable energy. ‘Now I feel ready to fly.’ \n*** \nJosie Dunne \n \nWebsite\nFacebook\nTwitter \nWhen most effective\, music possesses an almost supernatural ability to take listeners on a vibrant journey. Listen closely to a well-constructed song\, and an artist’s pathway to the present comes into laser-sharp focus. To that end\, if ever one was curious where Josie Dunne stands at a given point in her life\, her sophisticated and ever-soulful songs told the tale. Songwriting then\, for the 22-year old breakout singer\, has always been a matter of “deep diving into who you are as a person\,” she offers. Because you have to be super self-aware to figure out your sound.”  Having worked as a professional songwriter since age 16\, and now on the cusp of releasing Late Teens Early Twenties\, her soul-baring second EP for Atlantic Records\, Dunne says in so many ways we have been and are continuing to play witnesses in real time to her self-discovery.  \n“You’re hearing me grow up — the real growth spurt\,” the singer says of her meandering road towards finding herself and\, in the process\, her unique brand of soul-infected pop. On Late Teens Early Twenties\, a collage of sweet-and-sticky pop and timeless soul\, “You’re seeing me learn these lessons for the first time\,” Dunne says of her warts-and-all storytelling that\, in conjunction with an electrifying sonic evolution\, makes her one of the most thrilling\, buzzed-about young pop stars of the moment.   \nTo hear Dunne tell it\, Late Teens Early Twenties is the clearest distillation of her sonic and lyrical maturation. The process of constructing  To Be The Little Fish\, her debut EP released last year via Atlantic\, was a soul and sound-searching process Dunne likens to a healthy dose of trial and error. Only a teenager at the time\, she experimented with a mélange of sounds and styles. Not until she wrote and recorded “Old School\,” that EP’s centerpiece and her breakout single\, did she feel she’d truly found her musical voice. “When we wrote Old School\,” she says of the sticky-sweet single directly inspired by her parents’ relationship\, “everything shifted. I was like\, Boom! That’s the direction!” she recalls\, noting how prior to its completion she’d felt compelled to write for any and every genre\, but in pinning down what made her tick — fresh and funky soul music with a contemporary pop flair–  she finally felt at home.  \nAnd\, not surprisingly\, her evolution as a songwriter and artists has only continued: Dunne’s new music is the result of endless sonic tweaking and intense self-examination – a process that first began in her middle school years when she’d post cover songs to YouTube and play local bars and restaurants in her native Chicago suburbs\, and was aided by her endlessly supportive family of artists. “Everyone in my family is super-creative\, Dunne says. “All of my siblings do something in the arts. They’re my biggest fans. I don’t know how I could have done it without them. To that end\, her sister\, Maisy Dunne\, choreographed and stars in an alternative dance video for “Ohh La La\,” the infectious single from Late Teens she released earlier this year. \n“I have such a different viewpoint now\,” Dunne says of the songs that comprise her bold new EP. In addition to opening herself up like never in her songs\, the singer-songwriter injected them with a diverse palette of influence that more accurately reflects her current musical tastes  \n“Listen\,” she continues. “A shirt that I would wear as a 17-year old I’m not really trying to wear now. And it’s the same with songs.” It’s why\, Dunne says\, while her latest work undoubtedly pays tribute to her longtime love affair with vintage soul\, it also points to an ever-growing love of mainstream pop and hip-hop. \nDunne points to “Ooh La La” as a major turning point in her artistic advancement. Its initial spark occurring when holed up in a hotel room on a songwriting retreat in Las Vegas (“I have all these voice memos where I was humming the melody\,” she recalls)\, the hooky jam which she completed with Andrew DeRoberts\, one of her most trusted collaborators\, was a major vote of songwriting self-confidence for Dunne. “It was just me and my brain\,” she says of first dreaming up the chorus\, “so it became my baby  Having first been thrown into professional songwriting rooms as an inexperienced teenager at the time making monthly trips to Nashville while on leave from high school\, Dunne admits she’s long been a bit insecure about her songwriting prowess. “Ooh La La” then\, which since being released has notched more than 2 million listens across streaming platforms\, represents a major creative leap forward for her. Dunne calls it “the biggest personal step forward in my confidence as a writer and as an artist\,” but it’s only one of her several groundbreaking new songs. There’s Same\,” all sly ukulele riff and gentle finger snaps\, which found Dunne digging into the writing process like never before. “I really workshopped that song\,” she notes of the multi-month process finessing the track with co-writers Ryan Ogren and Sarah Solovay\, before it finally felt perfect. And on “Stay The Way I Left You\,” written with writer-producer Sam Ellis\, Dunne says she discovered how even a song so seemingly spare and small – it started only with a simple guitar figure – can have so much emotional resonance.  \nWhat Dunne is perhaps most excited about\, however\, is that her artistic evolution is an ongoing one. So much of that\, she notes\, can be witnessed via her mesmerizing live show. Dunne admits at first she suffered from terrible stage fright– “You could probably literally see my hands shaking” – but that’s hardly the case anymore. Having toured with a wrecking crew of top-notch A-list musical talent\, from Julia Michaels to Andy Grammar and Ben Rector\, she’s become a confident and charismatic must-see entertainer. “It’s been really fun for me to give life to these songs\,” she says humbly of taking her infectious anthems from the studio to the stage\, and in the process developing a fervent fan base.  “It’s been amazing because it’s such a great challenge but also anything is possible. You just keep learning.” \nDunne also says that it’s been entirely self-empowering learning how it’s not only acceptable but advantageous to forever be discovering fresh avenues of her creative DNA.  “Because every time I’d write a new song people would say\, “How does it compare to the last one?” And my answer always was\, “Um\, I thought I knew who I was and what I sounded like but now I guess this is really it” To honest\,” she continues\, “I realized that as a human being growing in the world your sound  and perspective are always going to change. And that’s a beautiful thing.” \nWhich leads back to Late Teens Early Twenties. Sure\, Dunne admits the title pays tribute to that critical time period between adolescence and adulthood which\, as it should happen\, runs parallel to when she created her new music. But\, on a larger level\, she says it more speaks to the way in which we should always be aiming to find out more about who we are as individuals as we do during that time period. “Everything stems from that growth\,” Dunne says. At any age\, she says\, “You think you’re an adult and you know the world but you’re still constantly discovering more about yourself and the world you live in. I wanted to take that feeling and turn it into sound.”
URL:https://royaleboston.com/event/astrid-s/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200423T190000
DTEND;TZID=America/New_York:20200423T190000
DTSTAMP:20260404T043839
CREATED:20191108T200039Z
LAST-MODIFIED:20200320T144116Z
UID:10002121-1587668400-1587668400@royaleboston.com
SUMMARY:[POSTPONED] Real Estate
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show has been postponed to a TBD date. All tickets will be honored at the new date. \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*** \nReal Estate \n \nWebsite\nFacebook\nTwitter \nThe band Real Estate have spent the last decade crafting warm yet meticulous pop-minded music\, specializing in soaring melodies that are sentimentally evocative and unmistakably their own. They released their fourth and most recent album ​In Mind in early 2017\, which was met with glowing reviews from media and fans alike\, many of whom fell in love with the brilliantly melodic songwriting and rich lyricism of the band’s previous breakthrough record\, ​Atlas​ (2014). Real Estate have played festival stages worldwide\, including Coachella and Glastonbury\, and the​ In Mind​ tour saw them play the largest rooms of their career\, to fans eager to experience album highlights like singles “Darling” and “Stained Glass”. Real Estate have been hinting at a new release\, with fans at recent 2019 shows being surprised with live versions of previously-unheard songs. It seems likely that 2020 will bring a fifth record from the beloved group\, who excel at “deriving meaning from shimmering beauty” ​[NEW YORK TIMES]. \n*** \nPalm \n \nWebsite\nFacebook\nTwitter \nPalm plays rock music backwards. Eve Alpert and Kasra Kurt’s guitars occupy themselves most often with the pace-keeping work typical of a rhythm section. Meanwhile\, Gerasimos Livitsanos’ bass and Hugo Stanley’s drums perform commentary and reportage from their deeply embedded positions at the front. The band is firmly attached to the physicality of rock\, but not as much its tone; their instruments tend to sound like any number of things at any given time. \nNone of the members of Palm are formally trained on their instruments. The band formed in 2011 at college in Upstate New York\, when high school friends Eve and Kasra met Gerasimos and Hugo. In those early days\, the band was just beginning to forge its collective musical identity through experiments in recording and performing live. \nTheir first album\, Trading Basics (2015)\, was written in Hudson\, NY\, a riverside outpost where the group could clarify its intentions outside the direct influence of nearby cultural capitals. That year\, the members of Palm relocated to Philadelphia\, where they continue to live only a few blocks apart from one another. This proximity has facilitated a level of collaboration necessary for a sound so slippery to remain in the firm grasp of its players. \nOn 2017’s Shadow Expert EP\, they made use of the steady hand granted by a tireless touring schedule\, cutting their songs to efficiencies of pop confection without sacrificing the avant-adventurism at the center. The effort was met with praise from such outlets as Pitchfork\, Stereogum\, Spin\, and Tiny Mix Tapes\, who likened the sound variously to Stereolab\, Slint\, Sonic Youth and Broadcast. With Rock Island (2018)\, Palm excuses the company of these myriad influences with a sly brush of a hand\, ushering the listener into a new domain\, thrillingly strange for all its familiarity.
URL:https://royaleboston.com/event/real-estate-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200425T183000
DTEND;TZID=America/New_York:20200425T183000
DTSTAMP:20260404T043839
CREATED:20191112T170029Z
LAST-MODIFIED:20200320T144200Z
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SUMMARY:[POSTPONED] Tennis
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:30 pm / Show: 7:00 pm \nThis show has been postponed to a TBD date. All tickets will be honored at the new date. \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*** \nTennis \n \nWebsite\nFacebook\nTwitter \n	I never learned how to swim.\n	In years of sailing\, I never let the water touch me. The ocean was an abstract dread\, an obliterating void as untenable as outer space.\n	In January 2018 we went on tour. After years of scraping by\, we found our foot-ing with our fourth record Yours Conditionally. It was a commercial success that set us up to to play the biggest rooms of our career. But three shows in\, I developed a raging case of influenza. Each night I dragged myself onstage and croaked out the set in a de-lirium. After a particularly bad soundcheck\, Patrick asked me if we should cancel the show. I couldn’t imagine giving up the thing we’d work so hard to achieve. “I’ll be on stage even if you have to mic my coffin\,” I joked.\n		The next morning I fainted and had a seizure while grocery shopping for break-fast. Patrick carried me through the check-out lanes screaming for a doctor. I woke lat-er in a hospital bed. Patrick leaned over me\, crying. “That’s it\,” he said. “I’m canceling the tour. I thought you were dead. We’re quitting the band. I’m going to be an ac-countant.” But I was on the mend. We missed two shows and pressed on.\n		During sound check at the 930 club\, Patrick stepped out to take a phone call. His father had been in the hospital all week\, but he had cancer and brief hospitalizations were routine. Back at the hotel that night\, Patrick poured two shots of whiskey and handed me one. “I’d like to toast my dad.” He said. “The doctors offered to put him on life-support to give me a chance to fly out there\, but I didn’t want him to suffer. In-stead I said goodbye.”\n		Patrick went home to grieve with his family and rejoined us on the road two days later. I couldn’t believe how quickly our lives had unraveled in the midst of what was supposed to be a milestone in our career. As the tour continued\, we found refuge in playing music together. Songwriting had always been an extension of our inner-world. Now we retreated to that world every time we stepped onstage.\n	After the final show of our tour in Austin\, we received another phone call. Pat-rick’s mother Karen was in the hospital on the brink of a stroke. We got on a plane and went straight to her bedside. Her recovery took weeks. In the hospital waiting room\, I wrote the opening line of “Matrimony II”: I only have certainty when you hold my hand.\n	On a hot July day\, after Karen’s return to good health\, we sailed as a family in-to the Pacific and scattered Edward’s ashes at sea. I marked our position on the chart with a small x. The album was already well under way. In that moment\, I realized what I wanted to call it.\n	Swimmer is a tour of the darkest time in our lives. But it is not a dark record. Named for the feeling of suspension and upendedness that characterized this period\, it is the story of deep-rooted companionship strengthened by pain and loss. These songs carried us through our grief. It is us at our most vulnerable\, so we kept a small foot-print\, recording everything ourselves in our home studio. I set out to describe the love I have come to know after ten years of marriage\, when you can no longer re-member your life before that person\, when the spark of early attraction has been re-placed by a gravitational pull.  \nSwimmer is available everywhere February 14\, 2020.  \n*** \nMolly Burch \n \nWebsite\nFacebook\nTwitter \nIn a small-town South of Austin\, Texas vocalist and songwriter Molly Burch is relaxing in her sunny country home. The 27-year-old is enjoying the calm before the storm that will kick start when her much anticipated sophomore album First Flower hits the public. The Los Angeles native has found tranquility in the outskirts of Texas\, appreciating time on the front porch as cicadas sing in the distance behind her.\nBurch burst onto the music scene in 2017 with her debut album Please Be Mine\, a ten-track ode to unrequited romance that she wrote after studying Jazz Vocal Performance at the University of North Carolina in Asheville. Please Be Mine earned praise from critics for her smoky\, effortless vocals and bleeding-heart lyrics.\n“I was really blown away with how many people told me that the music has helped them through their own break-up\,” she says of Please Be Mine. “I was just so moved by that. I never expected it. I was aware that people were actually listening to my music and having a positive experience\, so [with the next album] I wanted to reveal my own struggles with fear and anxiety.”\nAfter a year of touring Please Be Mine all over North America\, Europe and the UK\, Burch returned to Texas to decompress. All of a sudden\, she was devoid of stimulation with nothing but time on her hands.\n“I was scared of not being able to write a great follow-up album\,” Burch admits. “I was in that state\, but I had so much time that slowly I was able to get some music out of myself. I would force myself to write every day. I gave myself a regiment. Once I got a few songs\, then I had the confidence to keep going.”\nBurch bounced her ideas off her bandmate and boyfriend Dailey Toliver who would contribute guitar parts and orchestration suggestions. The hurricanes kept them locked at home\, where they forced themselves to record demos and pump out as much material as possible. Slowly\, the album took shape and First Flower became real. When it came time to record\, Burch chose to work with Erik Wofford at Cacophony Recorders in Austin.\nFirst Flower is a walk-through Burch’s most intimate thoughts. Unlike Please Be Mine\, which focused on the contentious depression of heartbreak\, First Flower explores broken friendships\, her relationship to her sister\, and\, more importantly\, how Burch learned to fight overwhelming anxiety. Burch is a soft-spoken\, careful person who shoves her nervousness away on a daily basis.\n“I feel like people don’t see me as a nervous person\,” Burch says. “They don’t realize how nervous I am. I am good at fighting past my inner anxieties. I struggle with the anticipation of experiences.”\nFirst Flower is a bright\, beautiful album peppered with moments of triumph. Burch’s voice is as strong and dexterous as ever\, displaying her incredible range and professionalism as a vocalist. Opening track “Candy” is a swinging\, playful hit\, while “Wild” deals with pushing away fear. Songs like “Next to Me” and “Dangerous Place” examine failure and distance\, and the title track “First Flower” is classic Burch\, a simple love song that makes your skin raise with goosebumps when she breaks into the chorus. But the album’s true stand-out is “To The Boys”\, a courageous\, sassy fuck-you to her own self-deprecation where she learns to love all the things she hated about herself. “I don’t need to scream to get my point across/I don’t need to yell to know that I’m the boss\,” she coos over a sparse guitar riff.  “I’ve always been told my whole life to speak up\,” explains Burch. “I needed to embrace that and not care what people think.”\nThe album closes with “Every Little Thing”\, a haunting\, airy ballad that sounds like something Judy Garland would have sang while drowning her pain in pills and alcohol. First Flower is a shapely sonic stage to let Burch shine on. The composition and production carefully constructed to compliment and not over power.\n“I do not have the answers by any means\, but I wanted to talk about those imperfections\,” says Burch. “I wouldn’t want someone who listens to my music to think that I have it all figured out. I don’t. First Flower is me being transparent.”
URL:https://royaleboston.com/event/tennis-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200428T200000
DTEND;TZID=America/New_York:20200428T200000
DTSTAMP:20260404T043839
CREATED:20200219T190002Z
LAST-MODIFIED:20200313T155546Z
UID:10002166-1588104000-1588104000@royaleboston.com
SUMMARY:[POSTPONED] Arca
DESCRIPTION:Presented by Bowery Boston \nDoors: 8:00 pm / Show: 9:00 pm \nThis show has been postponed to a TBD date. All tickets purchased for the 4/28 date will be valid to the new date\, so hang tight to your tickets. \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*** \nArca \n \nWebsite\nFacebook \n*** \nTotal Freedom \nFacebook\nTotal Freedom
URL:https://royaleboston.com/event/arca/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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