[POSTPONED] Lukas Nelson & Promise of the Real
2020-04-11 18:00 (America/New_York) | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Presented by Bowery Boston
Doors: 6:00 pm / Show: 6:30 pm
This 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.
Tickets 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.
Please 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.
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Lukas Nelson & Promise of the Real

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Lukas 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.
In 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.

[CANCELLED] Billy Strings
2020-04-14 20:00
Presented by Bowery Boston
Doors: 8:00 pm / Show: 9:00 pm
This show has been canceled. Refunds are available at point of purchase.
Tickets 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.
Please 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.
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Billy Strings

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[POSTPONED] Stephen Malkmus
2020-04-15 19:00
Presented by Bowery Boston
Doors: 7:00 pm / Show: 8:00 pm
This show has been postponed to a TBD date. All tickets will be honored for the new date.
Tickets 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.
Please 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.
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Stephen Malkmus

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Is that a goddamn bouzouki? you may ask. A pedal steel guitar? What kind of Stephen Malkmus album is this, anyway?
It’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.
Take 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.
Created 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.
Traditional 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.
But, 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”).
It’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.
– Jesse Jarnow
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Qais Essar & the Magik Carpet
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[CANCELED] Waxahatchee
2020-04-16 19:00
Presented by Bowery Boston
Doors: 7:00 pm / Show: 8:00 pm
This show has been canceled. Refunds are available at point of purchase.
Tickets 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.
Please 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.
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Waxahatchee

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On 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.
On 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.”
Some 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.
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Ohmme

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Ohmme, Fantasize Your Ghost
There’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.
Ohmme 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.
“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.
Written 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?”
Fantasize 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
influences 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.
Fantasize 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.

[CANCELLED] Astrid S
2020-04-17 18:30
Presented by Bowery Boston
Doors: 6:30 pm / Show: 7:00 pm
This show has been cancelled. Refunds are available at point of purchase.
Tickets 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.
Please 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.
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Astrid S

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A 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”.
Astrid 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.
In 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.
2019 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”.
The 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.
As 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.’
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Josie Dunne

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When 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.
“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.
To 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.
And, 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.
“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
“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.
Dunne 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.
What 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.”
Dunne 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.”
Which 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.”

[POSTPONED] Real Estate
2020-04-23 19:00
Presented by Bowery Boston
Doors: 7:00 pm / Show: 8:00 pm
This show has been postponed to a TBD date. All tickets will be honored at the new date.
Tickets 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.
Please 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.
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Real Estate

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The 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].
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Palm

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Palm 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.
None 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.
Their 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.
On 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.

[Postponed] - Shiba San
2020-04-24 22:00
Due to public health concerns related to the Coronavirus pandemic, the Shiba San show on 4.24.20 at Royale in Boston is being postponed. We apologize for the inconvenience. Please stay tuned for the rescheduled date.
Tickets will transfer automatically. No further action is required. Door times and ages will remain the same. For refunds or any additional questions, please contact the original point of sale.
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Tickets on sale Tues Feb. 11th at 11am EST.
617.733.0505 for VIP table reservations.
21+

[POSTPONED] Tennis
2020-04-25 18:30
Presented by Bowery Boston
Doors: 6:30 pm / Show: 7:00 pm
This show has been postponed to a TBD date. All tickets will be honored at the new date.
Tickets 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.
Please 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.
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Tennis

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I never learned how to swim.
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.
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.
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.
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.”
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.
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.
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.
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.
Swimmer is available everywhere February 14, 2020.
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Molly Burch

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In 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.
Burch 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.
“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.”
After 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.
“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.”
Burch 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.
First 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.
“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.”
First 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.”
The 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.
“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.”

[POSTPONED] Arca
2020-04-28 20:00
Presented by Bowery Boston
Doors: 8:00 pm / Show: 9:00 pm
This 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.
Tickets 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.
Please 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.
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Arca

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Total Freedom
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Total Freedom

[Postponed] - Gabriel & Dresden
2020-05-01 22:00
Due to the current guidelines set by the Commonwealth of Massachusetts, this show has been postponed. All tickets will be honored at the rescheduled date (TBA).
Thank you for your patience and support.
Call or text 617.733.0505 for VIP table reservations.
21+

[CANCELED] Highly Suspect - Night 1 of 2
2020-05-05 19:00
Presented by Bowery Boston
Doors: 7:00 pm / Show: 8:00 pm
This show has been canceled. Refunds are available at point of purchase.
Tickets 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.
Please 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.
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Highly Suspect

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Two Time Grammy-nominated, festival-storming trio Highly Suspect, are returning with second album The Boy Who Died Wolf on November 18th. The moving, jubilant LP from the Brooklyn alt-renegades follows two Top 10 Mainstream Rock hits (“Lydia,” “Bloodfeather”) and two Grammy nominations (Best Rock Song, Best Rock Album) just one year from the release of their 300 Entertainment debut, 2015’s Mister Asylum. For the follow-up, the band — Johnny Stevens (guitar/vocals), and fraternal twin brother rhythm section Rich (bass/vocals) and Ryan Meyer (drums/vocals) — are reappearing stronger, livelier and more mature.
“The title The Boy Who Died Wolf, its like, we were so young and now we’re adults,” says Stevens. “I went through a lot of issues that I had to sort out and sometimes I cant believe that I’m alive. And now here I am traveling the world with my best friends, making music, and living the exact dream that we had set out to accomplish a long time ago … We’re learning a different lifestyle. And it’s good, it’s positive. But it’s also hard to let go of everything that happened in the past.”
That new lifestyle comes in the wake of success that’s snowballed since 2014, featuring Grammy nods; radio smashes; stops at major festivals (Lollapalooza, Bonnaroo, Reading and Leeds and so on); tours alongside Scott Weiland, Chevelle and Catfish & the Bottlemen to name a few; tours around the world including Australia, New Zealand, Europe and the UK as well as multiple headlining tours in the United States one of which is currently underway. The feeling of celebration infuses The Boy Who Died Wolf, while still heading into haunted regions of Steven’s past, yowling somewhere between the metronomic robot metal of Queens of the Stone Age, the bluesy wallop of Jack White and the feedback-shrieking noise-pop of In Utero-era Nirvana.
To record the LP, the band traveled far from their New York comfort zone to Bogotá, Colombia, recording with Mister Asylum producer Joel Hamilton (The Black Keys and Wu-tang, Tom Waits, Elvis Costello,).
“Normally we would record in New York or L.A., and when we’re in those places we just have too many distractions, too many friends,” says Stevens. “When you’re trying to make art.. pure art, it’s good to be secluded. So we were literally in a fortress, 20-foot walls all around this compound in the middle of Bogota.”
“The energy around you, the culture that you’re taking in, will affect the songs,” he continues. “We were really enjoying ourselves. So I think there’s a little more step to this album. There’s happier tones. There’s some dark stuff too but there are simply more uplifting moments on this album. I think we finally realized we are supposed to be here making music. That people like what we do. We had more trust in ourselves and each other and just let the music come out.”
The upbeat vibe begins to show its face lyrically in the lead single “My Name Is Human” (“I’m feeling the way that I’m feeling myself”), and then appears full force on the blazing desert-rock dynamite of “Postres” (“I’m havin’ fun for the rest of my days”), but takes a back seat in their dreamy cover of Real Life’s 1983 new wave swooner “Send Me an Angel” and on the anthemic “Little One” which reminds us all of the hopeless, lovelorn pangs that most have undoubtedly felt in the pit of their guts somewhere along the lines. But even the more serious songs are steeped in an unrelenting optimism. A great friend of theirs took his own life while the band were in Colombia, to which they responded with “For Billy,” a beaming post-grunge burst.
“The song is not a downer, it’s sad, but it’s a charged up anthem,” explains Stevens. “It’s what he would have wanted. It was a really sad moment but he was such a happy person. So that song is something he can blare through his Harley speakers wherever he is now.”
Johnny describes Billy as an “original crewmember” of MCID, the collective shouted out on Highly Suspect’s jackets, hats, lyrics and tattoos. “That’s our ethos,” says Johnny of the acronym that stands for “My Crew Is Dope.” “We’re trying to invite any and all positive people to what was once exclusively for us. We’ve realized its bigger than us; as long as you’re not a racist, not a homophobe and you have good intentions then we welcome you to join the family and spread the love.” In turn, Wolf’s “Viper Strike” namechecks MCID in a venomous, knives-out attack on bigots: “We’re all equal except for you/’Cause you’re an asshole with an ugly point of view”
“It’s a family of positivity that we’re really trying to build,” says Johnny. “Our whole purpose is not just about being some famous fuckin’ band, but kind of making a movement. Making a difference for our generation who are so constantly misled. We barely made it out of the wrong mentality. We want to help. We’re no fuckin hippies, those days are gone. The irony is that now you have to “fight” for positivity. Which is crazy but so be it. We’re strapped and ready to defend free thinking. When you come to our shows, it’s kind of like this family affair.”
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Summer Cannibals
Summer Cannibals at Cobalt Studios in Portland, OR, March 2019. Photo by Jason Quigley.
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You know what you did, you know what I saw. Now I take back my doubt so that you’ll crawl.
Summer Cannibals’ fourth album Can’t Tell Me No, out June 28th on Tiny Engines, is a defiant release whose very existence is the result of taking back power—after escaping a manipulative personal and creative relationship, guitarist/vocalist and bandleader Jessica Boudreaux chose to scrap an entire record that had been finished for over a year and start from scratch. “We had to sacrifice an album we’d worked hard on so that someone abusive and manipulative couldn’t benefit from it,” says Boudreaux. “It was, in a matter of 24 hours, making the decision to start something new or let them win.”
Creation and determination prevailed; along with Cassi Blum, Devon Shirley, and Ethan Butman, Boudreaux wrote and recorded and mixed many of the new tracks during 14-hour days. She and Blum hunkered down in Boudreaux’s home studio, where they had been already been engineering records for other bands, and finished Can’t Tell Me No as Summer Cannibals’ first entirely self-engineered and produced album.
“Writing this record and making it ourselves was about liberation from the parts of an industry that have protected abusers for way too long, and about saying fuck you to the people who have invalidated my and so many others’ experiences of abuse,” says Boudreaux. “It’s really easy for people to condemn the government and figures we see on the news,” says Boudreaux, “but those same people often fail when it comes to standing up to and calling out the people in their lives who are just as evil.” Songs like “False Anthem” confront this cowardice; “Hate who they are, say you hate what they do,” snarls Boudreaux against an insistent, hard-charging guitar, “but you love all the things that they promise you.”
The Cannibals formed in 2012 and gained a fervent following on the local Portland scene, eventually playing with some of their musical heroes including L7, Mudhoney, Stephen Malkmus and the Jicks, and The War on Drugs, and touring with Ted Leo & the Pharmacists and Cursive. They’ve played some major festivals including Sasquatch, Project Pabst and Riot Fest, and made their TV debut in 2016 on Last Call with Carson Daly. Along the way, they released 2013’s No Makeup and 2015’s Show Us Your Mind on their own label, New Moss Records, and 2016’s Full Of It on Kill Rock Stars. Show Us Your Mind appeared on NPR’s Sound Opinions Best of list in 2015, and Pitchfork said that on Full Of It, the Cannibals “expertly balance flame-belching Mad Max riffage with lyrics frankly exploring questions of co-dependence and need.”
Now with Can’t Tell Me No, the Cannibals are as honest and confrontational as they’ve ever been; though ironically, more harmonious as a band. With the inspiration and adrenaline driving the new album’s creation, the current members of Summer Cannibals are working together in a new, reinvigorated way. “This is the first time that we’ve had all four members who are really dedicated and care about their role in the band,” says Boudreaux. “We function as a unit and everything goes so smoothly. I think we all feel very supported.” That support comes through in the confidence on songs like “Like I Used To,” a self-assured anthem to the renewal that comes with independence and leaving violent toxicity behind you.
Because where there is anger there is also hope, and Can’t Tell Me No is, as much as anything, about finding love and acceptance on the other side of pain. “Part of getting over my past has meant looking forward and letting myself know that I’m capable of love in the context of an honest, open and communicative relationship,” says Boudreaux. Songs like “Into Gold” encapsulate this; a warm,Be My Baby manifesto that promises “I’ll be the one to want to break this mold, pull you out of the dark and back into gold.”
And on a larger scale, Can’t Tell Me No stands up not just to a relationship or an industry, but to the people and constructs that have been trying to silence women and hold them down for so long. “It’s about doing the right thing,” says Boudreaux, “even when it’s terrifying.”

[CANCELED] Highly Suspect - Night 2 of 2
2020-05-06 19:00

[POSTPONED] The Darkness
2020-05-11 19:00
Presented by Bowery Boston
Doors: 7:00 pm / Show: 8:00 pm
This show has been postponed to a TBD date. All tickets will be honored for the new date.
Tickets 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.
Please 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.
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The Darkness

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The Dead Deads

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[CANCELED] The Receiving End of Sirens & Envy on the Coast
2020-05-13 18:00, 2020-05-16 18:00
Presented by Bowery Boston
Doors: 6:00 pm / Show: 7:00 pm
This show has been canceled. Refunds are available at point of purchase.
Tickets 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.
Please 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.
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The Receiving End of Sirens
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Envy on the Coast
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7th Annual Battle of the Biotech Bands
2020-05-14 19:00
For more information on the event and sponsorship opportunities: www.battleofthebiotechbands.com
Doors – 6:30 PM
Show – 7:00 PM
21+
Cash Bar, hors d’oeuvres.

[POSTPONED] Uncle Acid & the Deadbeats
2020-05-18 19:30
Presented by Bowery Boston
Doors: 7:30 pm / Show: 8:30 pm
This show has been postponed to a TBD date. All tickets will be honored for the new date.
Tickets 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.
Please 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.
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Uncle Acid & The Deadbeats

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Uncle Acid – Wasteland. By Dom Lawson.
You can probably feel it already. Amid the shimmering haze of dusk. In the marrow of your bones. The darkness is getting darker. Malevolent forces are on the prowl. The wasteland is beckoning. Uncle Acid is on his way home.
The brainchild of mercurial Cambridgeshire mystic Kevin Starrs, Uncle Acid & The Deadbeats have been making extraordinary music since 2009. Always too bold and idiosyncratic to be easily pigeonholed, they emerged from an obscure corner of the labyrinthine English underground as shadowy purveyors of a new and overwhelmingly psychedelic take on the gruff and gritty rudiments of hard rock and turbo-blues, powered by the dark, lysergic heart of the late ‘60s and early ‘70s and drenched in woozily macabre imagery. Steeped in both the wayward melodies and mischievous arrangements of psychedelic pop and the dissonant thunder of proto-metal and doom, Starrs’ greatest feat has been to create an entirely fresh sonic world from these most familiar of ingredients.
Uncle Acid & The Deadbeats’ reputation was swiftly built on towering, riff-driven milestones like 2011’s breakthrough opus Blood Lust and its warped and wicked follow-up, Mind Control (2013); both released through Rise Above Records and subsequently showered with critical acclaim. By the time Starrs’ band created The Night Creeper in 2015, their mutation into heavy music’s most unmistakable eccentrics was complete, as their leader cranked up the melodic weirdness, rendering his monstrous ideas in something approaching three-dimensional Technicolor.
Firmly established as cult heroes, Uncle Acid & The Deadbeats consolidated The Night Creeper’s triumph by touring the world extensively, including a string of sold out shows in the U.S., Europe and Australia. After sustaining that momentum with Starrs’ long-awaited remix of his band’s hard-to-find eponymous debut album from 2010, the singer/guitarist and his henchmen spent much of the last year immersed in the process of making a fifth full-length album. 47 minutes of vital, audacious and frequently bewildering heavy psychedelia, it bears the title Wasteland and is instantly recognisable as Starrs’ most immersive and evocative body of work yet.
“There’s not enough melody or harmony in new music for my liking,” says Starrs. “I wanted to go even further with all of that this time, and really force it down people’s throats! It’s important to me that someone keeps it going, especially in heavy music. I always write to my own tastes, so as long as it appeals to me, I don’t really think about it. But I would say that it’s all been an instinctive progression.”
A disorientating journey through Starrs’ wonkiest dreams, Wasteland glides majestically from punchy and direct psych-rock anthems like I See Through You and Shockwave City to the viscous, somnambulant ooze of the eight-minute No Return and the twinkly-eyed bad trip of the album’s mesmerising title track. Recorded at the legendary Sunset Sound studio in Los Angeles, Wasteland boasts the kind on irresistibly raw and exuberant sound that only the greatest bands can generate. Later completed at Starrs’ own studio, the new songs showcase a newly refreshed line-up, with Starrs once again joined by long-time bassist Vaughn Stokes (who will play rhythm guitar at future live shows, handing over bass duties to Jus Smith) and also latest recruit, drummer Jon Rice.
“We recorded the basic tracks the way we always do,” says Starrs. “Everyone in one room, live and straight to tape. We worked with a great engineer called Geoff Neal (NIN/Motorhead/Fuzz), who really understood what we were going for and how to capture it. Playing in the same room where so many classic albums were made definitely inspired us. Even small things like running the guitars through the same echo chamber that Van Halen used in the ‘70s, it all added to the overall experience.”
Yet more confirmation that Uncle Acid exist in their own musical universe, Wasteland is also a powerful cautionary tale: one rooted in the alien landscapes of Starrs’ imagination, but with a very clear connection to the deranged chaos of today’s political world. As humanity cheerfully circles the plughole, Dystopian visions and present-day horrors have become more-or-less interchangeable, making Wasteland’s ghoulish surrealism a lot more pertinent and disturbing in the process.
“The album is set in a land where people live in walled cities, under heavy surveillance, cut off and in fear of one another,” Starrs explains. “All their thoughts, knowledge and memories have been wiped clean, leaving them like the living dead, barely functioning and addicted to the glow of flickering propaganda screens.”
“In the underworld, there are program discs for the brain that can replace stolen thoughts and allow people to finally think for themselves,” he continues. “It gives them knowledge to escape the misery of the cities and to reach the freedom of the outer wastelands, but the wasteland, of course, is total hell on earth. The general idea seemed quite fitting with all the propaganda and misinformation that we’ve been bombarded with in recent years.”
While most musicians seem content to chase their own (or other people’s tails), Uncle Acid & The Deadbeats remain proud and resolute individualists and Wasteland is simply their most powerful and memorable spurge of creativity to date. Masterfully echoing the magical atmospheres of heavy music’s turbulent past while sounding entirely unlike anything else available to human ears, this is what happens when the shadows come to life and suffocating darkness, Uncle Acid & The Deadbeats style, is the only show in town.
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Twin Temple
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[CANCELED] lovelytheband
2020-05-29 18:00
Presented by Bowery Boston
Doors: 6:00 pm / Show: 6:30 pm
This show has been canceled. Refunds are available at point of purchase.
Tickets 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.
Please 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.
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lovelytheband

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Music gives a voice to those who need it when they need it the most. Our favorite artists say the difficult things out loud, so we don’t have to — but can learn how to.
By the same token, lovelytheband translate emotions, anxieties, and feelings into lush, layered, and lively indie pop anthems. When the band was founded by lead singer Mitchy Collins, guitarist Jordan Greenwald and drummer Sam Price in 2017, the trio maintain a lasting connection to listeners by holding nothing back.
“I really believe the importance of songwriting is saying something when someone else doesn’t know how to,” affirms Mitchy. “In the songs, I’m talking about life, trials, tribulations, depression, anxiety, and shit I deal with as well as the headaches that come along with the good and bad days. My problems don’t define me, but we should embrace every side of who we are. The message is, ‘Everything will be fine.'”
This message immediately resonated among audiences everywhere. A centerpiece of the everything I could never say… EP, the group’s debut single “broken” caught fire as “the longest running #1 track on Alternative Radio thus far in 2018” with six weeks at the top. In under a year, it amassed 25 million total global streams. BuzzFeed summed it up as “So. Damn. Good.” Billboard proclaimed the group among “10 Rock & Alternative Artists to Watch in 2018” as they supported Vance Joy and AWOLNATION on tour between headlining dates everywhere. Everything paved the way for the arrival of the band’s first full-length, finding it hard to smile [RED MUSIC]. Produced by “broken” collaborator Christian Medice, these 16 tracks entrance, engage, and enchant, offsetting shimmering keys, sweeping synths, and spacey guitars with cathartic, compelling, and catchy choruses.
The title speaks directly to its thematic push-and-pull.
“finding it hard to smile touches on my life,” says Mitchy. “There are days when it’s hard to even walk out of my front door or get out of bed. So, you find the will to power through, call on your friends, and rely on loved ones to pick you up when you’re down and bring magic out of you. A lot of the record is about embracing who you are as well as dealing with relationships, breakups, nostalgia, and unrequited love. It’s really introspective for me.”
They preceded the album’s release with the single “these are my friends,” which quickly cracked 2 million streams worldwide. Wound up by faint guitar and a chant, “These are my friends, these are my friends, I love them,” the track crescendos towards an ambitious arena-ready hook.
“I was walking around Los Angeles one day thinking,” he recalls. “I left a party where I had a really good time at. Right after, I wrote the main lyric in my phone. I held onto it for a little while, but it eventually turned into a song about wanting love and wanting to fit in. I brought it to the guys in the studio, and they really took it to the next level. It becomes a lovelytheband song when everyone is on it.”
Whether it’s the feedback buzz and 808 rush of “pity party” or orchestral ambiance on “alone time,” the soundscapes mirror the emotional ebb and flow encoded in the lyrics. Elsewhere, the intimate “maybe i’m afraid” unveils an infectious confession as the band admits their fears without filter.
“It’s one of my proudest moments as a songwriter,” says the frontman. “It turned into the story of relationship. You’re in it. You know things are beautiful, but you’re scared to commit to the other personal. I think a lot of people struggle with the same thing. It feels relatable.”
As they round out 2018 on a headlining tour and hitting the stages of Lollapalooza, the Billboard Hot 100 Festival, and more, lovelytheband’s voice will only get dramatically louder.
It might just make crowds feel better too…
“I hope when you listen to it, you can find some solace or reassurance,” Mitchy leaves off.
“Maybe you didn’t know how to communicate something aloud, and it helps for us to talk about it. Hearing it might inspire you to make a move. Music moved me and gave me a little hope as a kid. I hope you can take away something from this in the same way my favorite records helped me. That would be my biggest goal with lovelytheband.”
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Tessa Violet

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Last year Violet released “Crush” – the first single from her forthcoming album Bad Ideas. In the time since her last three singles have exploded, Tessa has gone from an acoustic-leaning solo artist, to an inspirational female fronting a shredding live band (anchored by badass drummer Jess Bowen). Although her recordings are competitive modern productions which perform well on playlists, her live show has a raw organic energy that is intoxicating. She sold out her first ever headline shows (The Troubadour in LA; and Mercury Lounge in NYC; two show at Camden Assembly Hall in London) and finally achieved her goal of bonafide rock queen when she was offered her first festival slot at Lollapalooza (incidentally selected by Billboard as one of the 10 new festival acts to look out for in 2019). In addition she was tapped for main support for AJR’s west coast leg on their Neotheater tour this September, and COIN’s US tour in February. The sole songwriter on all but one of her releases, Tessa Violet is one to look out for. Her album Bad Ideas came out 10/25 while she was on her headline tour of Europe and Spotify promoted the album release on a Billboard in Times Square!
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Valley
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[POSTPONED] EOB
2020-06-04 19:00
Presented by Bowery Boston
Doors: 7:00 pm / Show: 8:00 pm
This show has been postponed to a TBD date. All tickets will be honored at the new date.
Tickets 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.
Please 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.
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EOB

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Ed O’Brien never planned to make a solo record. As guitarist with Radiohead, who over almost three decades and nine albums have established themselves as one of the most innovative and influential musical forces of our time, he thought his artistic side had its outlet and was happy to spend any downtime from Radiohead with his family. Plus, he wondered, would it really be necessary? “Thom, Jonny and Phillip are making music,” he says, “and I’m like, ‘The last thing the world needs is a shit album by me.’”
But suddenly a switch was flicked and the songs came pouring out of him. That creative surge resulted in an album of rediscovery and adventure by O’Brien under the moniker EOB that deftly veers from moments of delicate folk to euphoric house, its songs seamlessly pinned together by unswerving melodic hooks and candid lyricism.

[CANCELED] HYUKOH
2020-06-08 19:00
Presented by Bowery Boston
Doors: 7:00 pm / Show: 8:00 pm
This show has been canceled. Refunds are available at point of purchase.
Tickets 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.
Please 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.
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HYUKOH

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Hot Flash Heat Wave

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[CANCELED] mxmtoon: dawn & dusk tour
2020-06-09 19:00
Presented by Bowery Boston
Doors: 7:00 pm / Show: 8:00 pm
This show has been canceled. Refunds are available at point of purchase.
Tickets 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.
Please 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.
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mxmtoon

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On her 2019 debut album the masquerade, 19-year-old singer/songwriter mxmtoon delivers what she calls “rhyming diary entries”: an off-the-cuff account of her most private thoughts and feelings, usually dashed off very late at night, straight from her brightly lit brain. In her deliberate refusal to hide behind metaphor, the now Brooklyn-based artist otherwise known as maia achieves a quiet bravery, an unrestrained honesty that gives voice to those who often go unheard.
“When I first started making music it felt like an escape from my day-to-day life, where I’d have to put on a mask to hide what I was really feeling,” says maia in reflecting on the title to the masquerade. “Writing songs was a way to express all the things I couldn’t talk about in face-to-face interactions, and share them with a community of people who maybe also needed to put up a façade to get through the day.”
Over the past couple of years, maia has built a remarkable bond with her audience entirely on the strength of her resonant songwriting and unaffected presence. Her 2018 debut EP plum blossom clocked more than 100 million streams on Spotify alone—not bad for songs recorded by herself in her parents’ guest room. She’s now amassing millions of followers and subscribers across YouTube, TikTok, and Instagram, making a point of using her ever-growing platform to speak out on issues close to her heart. “As a young bisexual woman of color from a family of immigrants, a lot of current events directly affect who I am,” says maia, who’s mixed Chinese-American. “I firmly believe it’s my obligation and opportunity to speak on issues that affect us all.”
Since the release of the masquerade—as well as its accompanying original Spotify podcast and graphic novel—mxmtoon’s following has only continued to flourish. Boosted by glowing praise from the likes of The New York Times and The New Yorker (who lauded her songwriting for showing an “emotional sophistication that reminded us that there are some things we never outgrow”), the album’s breakout success recently saw maia embarking on her first-ever UK tour. In addition, she’s now gearing up to support Lauv on his forthcoming spring tour of Asia.
Newly relocated from her native Oakland, maia is currently at work on a pair of back-to-back EPs due out later this year with the first single the spellbinding “fever dream.” With its soaring chorus and shapeshifting textures, the song finds mxmtoon executing her sound on a far more sonically adventurous scale than she’s ever explored before.
“Writing and producing with other people has really helped me step outside what my brain would normally gravitate to, and helped me to take more risks,” maia points out. “At first it was nerve-racking to go from writing alone in my bedroom to working with other people—in a way you’re essentially having a therapy session with complete strangers. That’s a really intense environment to be in, but it’s also been so fun and eye-opening to have other people help me unpack all these ideas swirling around my mind.”
Despite the grander scope of “Fever Dream”—an element amplified by her notably more powerful vocal command—mxmtoon’s upcoming output carefully preserves the warm intimacy that’s always defined her material. As evidenced on the masquerade, she possesses a singular talent for turning detailed narrative of the most mundane moments into songs with deep meaning—a transformation propelled by her delicate melodies and utter aversion to self-seriousness. Made in collaboration with musician/producer Robin Skinner (aka Cavetown), the album offers such standouts as “prom dress”: a layered meditation on expectation and disappointment penned by maia in a moment of sheer frenzy (“I ate a Double-Double from In-N-Out and then couldn’t fit in my prom dress and started having a panic attack,” she explains).
On songs like the impossibly breezy “seasonal depression,” the masquerade reveals mxmtoon’s rare gift for illuminating experiences typically unrecognized in pop music. “I wanted to be honest about the feeling of waking up and having no desire to do anything with your day—but then also maybe help people feel a little better and lighter when they’re stuck in that gray moment,” she says. Meanwhile, on the album’s showstopping centerpiece, mxmtoon presents a particularly confessional track called “my ted talk.” “I find myself writing all these songs about romantic relationships, which is ironic considering I’ve had very little experience with that,” says maia. “That song came from me asking, ‘Am I even allowed to write something I barely know anything about?’ But I’ve realized that my songs are a way for me to untangle my emotions and try to make sense of what I’m going through, even if I don’t fully understand it in the moment.”
In each piece of music she creates, mxmtoon matches her lack of artifice with the graceful musicality she first honed by studying violin and cello as a child. After writing her first song with two friends for a music class at age 13, she continued writing on her own but mostly kept her output to herself. In 2017, Maia began posting her music on SoundCloud, first only sharing her comedy songs but eventually uploading a heart-on-sleeve track called “feelings are fatal.” “At the time I was like, ‘Whatever—I have 200 followers, I’m just gonna post it,’” she recalls. “But then people really responded to it, which made me realize that I needed to keep my music as candid as possible, because that’s what people connect with.”
As her recent touring has shown, mxmtoon relentlessly brings that unabashed candor to her disarming live performance. Her first ever headline US tour sold out months in advance in part to her army of fans across social media platforms. In the past year, she’s augmented her live set to include a drummer and guitarist/keyboardist/background vocalist, a shift that’s paradoxically made each show all the more intimate. “Having my band frees me up to interact with my audience in a way that I can’t normally do if it’s just me up there with my ukulele,” she says. “It’s been so much fun, and I’m excited to keep elevating the live show as I keep touring.”
In her endless effort to create true connection onstage and in her music, mxmtoon has attained an undeniable solidarity with her listeners, ultimately providing some much-needed solace for the shy, the sensitive, the routinely underrepresented. “When I listen to my first album, it feels like a musical of the things I’ve gone through and the life inside my head,” says Maia. “I hope people come away from it feeling like the songs belong to them too—like now there’s a piece of art in the world that speaks to their own experiences, even if they’d always felt like they were alone.”
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Claud

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Claud is the solo project of Claud Mintz. After releasing their debut EP that was made out of their college dorm room under the name Toast with Terrible Records, Claud dropped out of college to pursue music full time. Following a quick stint in Los Angeles to be closer to family, they soon relocated to New York City and the Sideline Star was born. The EP came out of a dark period of transition and growth that ultimately resulted in Claud’s evolution as an artist and a 20-year-old closer to finding themselves and belonging. The project chronicles relationships, friendships and feelings of being an outsider amongst a massive transition through their tender pop anthems. They’ve since toured and played with the likes of girl in red, The María’s, Clairo, Triathalon, and more.

[CANCELED] Bombay Bicycle Club
2020-06-12 18:00
Presented by Bowery Boston
Doors: 6:00 pm / Show: 7:00 pm
This show has been canceled. Refunds are available at point of purchase.

[POSTPONED] Jeremy Zucker: love is not dying world tour
2020-06-15 19:00
Presented by Bowery Boston
Doors: 7:00 pm / Show: 8:00 pm
This show has been postponed to a TBD date. Ticket holders – there is nothing you need to do, your original tickets are valid for the new date and will be honored at the door.
Tickets 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.
Please 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.
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Jeremy Zucker

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Growing up in suburban New Jersey, 23-year-old singer, songwriter and producer Jeremy Zucker has always been surrounded by music. In 2015, he released his first EP as a freshman at Colorado College pursuing a degree in Molecular Biology, and by 2017 he had signed a major label record deal with Republic Records. Since then, he has released 4 EP’s with breakthrough singles such as “talk is overrated” featuring blackbear, “all the kids are depressed,” and his biggest song to date, the Gold-Certified hit “comethru”. Overall, Zucker has already crossed over a staggering 1 billion total streams on his catalogue as he gears up for his debut album, coming early 2020.
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Cehryl
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Getter [Canceled]
2020-06-19 22:00
Due to public health concerns related to the Coronavirus pandemic, the Getter show on 6.19.20 at Royale in Boston is being cancelled. We apologize for the inconvenience.
Refunds will occur automatically. No further action is required. Please wait 3-5 business days for the refund to post to the account used to make the purchase.
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Call or text 617.733.0505 for VIP table reservations.
21+

[CANCELED] The Growlers
2020-06-20 18:00
Presented by Bowery Boston
Doors: 6:00 pm / Show: 7:00 pm
This show has been canceled. Refunds are available at point of purchase.
Tickets 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.
Please 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.
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The Growlers

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Led by singer Brooks Nielsen and music director/guitarist Matt Taylor, The Growlers have forged their own twisted path on the global music scene since their founding in 2006 in Dana Point, California. They’re the party band that grew into a traveling circus, spawning their own annual event (Beach Goth) and growing an international fanbase, while releasing six studio records that trace a line from garage psych ballads to edgy radio pop.
On their first three records – Are You In Or Out? (2009), Hot Tropics (2010), and Hung at Heart (2013) – The Growlers combined reverb-rich waves of vintage surf rock with the dark, slow-burn melancholy of outlaw country. Chinese Fountain (2014) introduced a new, disco-infused direction that saw them move away from their swampy roots and relocate to Los Angeles. The band teamed up with producer Julian Casablancas (and frontman of The Strokes) to make City Club (2016), infusing their sound with Casablancas’ angular melodies and speaker- popping mixes. 2018 brought Casual Acquaintances, a raw collection of City Club-era demos and outtakes that – even as b-sides – ranks with the band’s finest material.
Between records they toured constantly, raising their status as icons of the Los Angeles music underground, capable of drawing arena-sized crowds for their hometown shows. On their latest, self-produced record Natural Affair (2019), The Growlers move their DIY aesthetic into an even sturdier, synthier, dancier sound, bolstered by Nielsen’s finest lyrics to date: social commentary, rhymes, and ruminations on the pleasures (and perils) of modern love.

[POSTPONED] Jessie Reyez
2020-07-06 19:00
Presented by Bowery Boston
Doors: 7:00 pm / Show: 8:00 pm
This show has been postponed to a TBD date. All tickets will be honored for the new date.
Tickets 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.
Please 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.
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Jessie Reyez

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Chemical Surf
2020-07-10 22:00
Call or text 617.733.0505 for VIP table reservations.
21+
Challenging the electronic music status quo by breaking the lines between genres, Brazilian bros Chemical Surf play Royale on July 10th.

[Moved to The Sinclair] Delta Rae
2020-07-24 18:30
Presented by Bowery Boston
This show has been moved from 4/18 at Royale to 7/24 at The Sinclair. All tickets for the 4/18 show at Royale will be honored for the new date.

[CANCELED] Bitch Sesh Live
2020-08-01 19:00
Presented by Bowery Boston
Doors: 7:00 pm / Show: 8:00 pm
This show has been canceled. Refunds are available at point of purchase.
Tickets 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.
Please 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.
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Bitch Sesh Live

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[POSTPONED] True Crime Obsessed
2020-08-08 19:15
Rescheduled from Friday, March 20th. All previously purchased tickets honored.
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Presented by Bowery Boston
Doors: 7:15 pm / Show: 8:00 pm
This show has been postponed to a TBD date. All tickets will be honored for the new date.
Tickets 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.
Please 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.
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True Crime Obsessed

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True 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.
