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DTSTART;TZID=America/New_York:20190201T220000
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DTSTAMP:20260408T032653
CREATED:20181130T164303Z
LAST-MODIFIED:20181130T164303Z
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SUMMARY:Space Jesus: Temple of Noom
DESCRIPTION:21+\nCall 617.733.0505 for VIP table reservations
URL:https://royaleboston.com/event/space-jesus-temple-of-noom/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20190202T220000
DTEND;TZID=America/New_York:20190202T220000
DTSTAMP:20260408T032653
CREATED:20190111T190109Z
LAST-MODIFIED:20190111T190109Z
UID:10002728-1549144800-1549144800@royaleboston.com
SUMMARY:Stop Light Party ft. DJRM
DESCRIPTION:Call or text 617.733.0505 for VIP table reservations.\n21+
URL:https://royaleboston.com/event/stop-light-party-ft-djrm/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20190208T180000
DTEND;TZID=America/New_York:20190208T180000
DTSTAMP:20260408T032653
CREATED:20181016T140018Z
LAST-MODIFIED:20190208T220335Z
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SUMMARY:[SOLD OUT] Sharon Van Etten
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*** \nSharon Van Etten \n \nWebsite\nFacebook\nTwitter \nSharon Van Etten’s Remind Me Tomorrow comes four years after Are We There\, and reckons with the life that gets lived when you put off the small and inevitable maintenance in favor of something more present. Throughout Remind Me Tomorrow\, Sharon Van Etten veers towards the driving\, dark glimmer moods that have illuminated the edges of her music and pursues them full force. With curling low vocals and brave intimacy\, Remind Me Tomorrow is an ambitious album that provokes our most sensitive impulses: reckless affections\, spirited nurturing\, and tender courage. \n“I wrote this record while going to school\, pregnant\, after taking the OA audition\,” says Van Etten. “I met Katherine Dieckmann while I was in school and writing for her film. She’s a true New Yorker who has lived in her rent controlled west village apartment for over 30 years. Her husband lives across the hall. They raised two kids this way. When I expressed concern about raising a child as an artist in New York City\, she said ‘you’re going to be fine. Your kids are going to be fucking fine. If you have the right partner\, you’ll figure it out together.’” Van Etten goes on\, “I want to be a mom\, a singer\, an actress\, go to school\, but yeah\, I have a stain on my shirt\, oatmeal in my hair and I feel like a mess\, but I’m here. Doing it. This record is about pursuing your passions.” The reality is Remind Me Tomorrow was written in stolen time: in scraps of hours wedged between myriad endeavors — Van Etten guest-starred in The OA\, and brought her music onstage in David Lynch’s revival of Twin Peaks. Off-screen\, she wrote her first score for Katherine Dieckmann’s movie Strange Weather and the closing title song for Tig Notaro’s show Tig. She goes on\, “The album title makes me giggle. It occurred to me one night when I\, on auto- pilot\, clicked ‘remind me tomorrow’ on the update window that pops up all the time on my computer. I hadn’t updated in months! And it’s the simplest of tasks!” \nThe songs on Remind Me Tomorrow have been transported from Van Etten’s original demos through John Congleton’s arrangement. Congleton helped flip the signature Sharon Van Etten ratio\, making the album more energetic-upbeat than minimal-meditative. “ “I was feeing overwhelmed. I couldn’t let go of my recordings – I needed to step back and work with a producer.” She continues\, “I tracked two songs as a trial run with John [Jupiter 4 and Memorial Day]. I gave him Suicide\, Portishead\, and Nick Cave’s Skeleton Tree as references and he got excited. I knew we had to work together. It gave me the perspective I needed. It’s going to be challenging for people in a good way.” The songs are as resonating as ever\, the themes are still an honest and subtle approach to love and longing\, but Congleton has plucked out new idiosyncrasies from Van Etten’s sound. \nFor Remind Me Tomorrow\, Van Etten put down the guitar. When she was writing the score for Strange Weather her reference was Ry Cooder\, so she was playing her guitar constantly and getting either bored or getting writer’s block. At the time\, she was sharing a studio space with someone who had a synthesizer and an organ\, and she wrote on piano at home\, so she naturally gravitated to keys when not working on the score – to clear her mind. Remind Me Tomorrow shows this magnetism towards new instruments: piano keys that churn\, deep drones\, distinctive sharp drums. It was “reverb universe” she says of the writing. There are intense synths\, a propulsive organ\, a distorted harmonium. \nThe demo version of “Comeback Kid” was originally a piano ballad\, but driven by Van Etten’s assertion that she “didn’t want it to be pretty”\, it evolved into a menacing anthem. Cavernous drones pull the freight for “Memorial Day\,” which fleshes out an introvert in warrior mode. The spangled “Seventeen” began as a Lucinda Williams-esque dirge but wound up more of a nod to Bruce Springsteen\, exploring gentrification and generational patience. Van Etten shows the chain reaction\, of moving to a city bright-eyed and hearing the elders complain about the city changing\, and then being around long enough to know what they were talking about. She wrote the song semi-inter-generationally with Kate Davis\, who sang on a demo version when the song was in its infancy. \nSince her last album\, Van Etten has had a young son\, and family life is joyful. Preparing and finishing these songs\, she found herself expressing deep doubts about the world around him\, and a complicated need to present a bright future for him. “There is a tear welling up in the back of my eye as I’m singing these love songs\,” she says\, “I am trying to be positive. There is strength to them. It’s— I wouldn’t say it’s a mask\, but it’s what the parents have to do to make their kid feel safe.” \nAlongside working on Remind Me Tomorrow\, Van Etten has been exploring her talents (musical\, emotional\, otherwise) down other paths. She’s continuing to act\, to write scores and soundtrack contributions\, and she’s returning to school for psychology. The breadth of these passions\, of new careers and projects and lifelong roles\, have inflected Remind Me Tomorrow with a wise sense of a warped-time perspective. This is the tension that arches over the album\, fusing a pained attentive realism and radiant lightness about new love.
URL:https://royaleboston.com/event/sharon-van-etten/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTEND;TZID=America/New_York:20190208T220000
DTSTAMP:20260408T032653
CREATED:20181203T160038Z
LAST-MODIFIED:20181203T145435Z
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SUMMARY:Green Velvet
DESCRIPTION:21+\nCall or text 617.733.0505 for VIP table reservations\n***************\nOn Sale Tuesday 12/4 at 11am EST.
URL:https://royaleboston.com/event/green-velvet/
LOCATION:MA
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20190209T180000
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CREATED:20181001T180012Z
LAST-MODIFIED:20190109T212304Z
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SUMMARY:[SOLD OUT] Mandolin Orange
DESCRIPTION:Presented by Bowery Boston & Newport Folk®️ \nDoors: 6:00 pm / Show: 7:00 pm \nThis show is now 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*** \nMandolin Orange \n \nWebsite\nFacebook\nTwitter \nMandolin Orange’s music radiates a mysterious warmth —their songs feel like whispered secrets\, one hand cupped to your ear. The North Carolina duo have built a steady and growing fanbase with this kind of intimacy\, and on Tides of A Teardrop\, due out February 1\, it is more potent than ever. By all accounts\, it is the duo’s fullest\, richest\, and most personal effort. You can hear the air between them—the taut space of shared understanding\, as palpable as a magnetic field\, that makes their music sound like two halves of an endlessly completing thought. Singer-songwriter Andrew Marlin and multi- instrumentalist Emily Frantz have honed this lamp glow intimacy for years. \nOn Tides of A Teardrop\, Marlin wrote the songs\, as he usually does\, in a sort of stream of consciousness\, allowing words and phrases to pour out of him as he hunted for the chords and melodies. Then\, as he went back to sharpen what he found\, he found something troubling and profound. Intimations of loss have always haunted the edges of their music\, their lyrics hinting at impermanence and passing of time. But Tides of A Teardrop confronts a defining loss head-on: Marlin’s mother\, who died of complications from surgery when he was 18. \nThese songs\, as well as their sentiments\, remain simple and quiet\, like all of their music. But beneath the hushed surface\, they are staggeringly straightforward. “I’ve been holding on to the grief for a long time. In some ways I associated the grief and the loss with remembering my mom. I feel like I’ve mourned long enough. I’m ready to bring forth some happier memories now\, to just remember her as a living being.” \nFor this album\, Marlin and Frantz enlisted their touring band\, who they also worked with on their last album Blindfaller. Having recorded all previous albums live in the studio\, they approached the recording process in a different way this time. “We went and did what most people do\, which we’ve never done before—we just holed up somewhere and worked the tunes out together\,” Frantz says. There is a telepathy and warmth in the interplay on Tides of A Teardrop that brings a new dynamic to the foreground—that holy silence between notes\, the air that charges the album with such profound intimacy. “This record is a little more cosmic\, almost in a spiritual way—the space between the notes was there to suggest all those empty spaces the record touches on\,” acknowledges Marlin. There are many powerful ways of acknowledging loss; sometimes the most powerful one is saying nothing at all. \n*** \nMapache \n \nWebsite\nFacebook \nMapache consists of Clay Finch and Sam Blasucci. Born and raised in Glendale\, California\, the duo’s breathtaking harmonies and heartfelt sound verges on cosmic West Coast Pop Americana. Just months after releasing their critically acclaimed self-titled debut\, the duo is back touring with a beguiling new EP titled ‘Lonesome LA Cowboy.’ \nConsisting of three charismatic covers\, ‘Lonesome LA Cowboy’ encompasses decades\, genres\, and even international borders. Tapping faithfully into an era that ended well before their births\, Mapache’s performances here conjure up dry desert breezes and lush coastal canyons with a distinctly southwestern brand of harmony-driven folk and country that’s at once vintage and contemporary. The pair relies on nothing more than acoustic guitars and enchanting vocals to work their magic\, pulling influence from the architects of American roots music as well as formative years spent living in Mexico and filtering it all through modern\, youthful sensibilities. It’s music with little regard for boundaries or barriers\, reverent of the past but fully immersed in the present. \n“We make music that’s reflective of the landscape we grew up with in southern California\,” says Finch. “It’s a big sweep of all the really rich influences you encounter around here: folk and psychedelic and country and Latin and rock and cowboy and Hawaiian. We’re drawing from a really deep well.” \nRecorded in a similarly stripped-down fashion with producer Dan Horne (Cass McCombs\, Allah-Las)\, Mapache’s self-titled debut introduced the duo’s timeless songwriting and airtight harmonies\, earning obvious comparisons to The Louvin Brothers in addition to more cosmic keepers of the flame like Graham Parsons and the Grateful Dead. Aquarium Drunkard hailed the duo as “a blazed up Everly Brothers” and raved that “the LP faithfully radiates the intimate warmth of their live shows\,” while No Depression said the album “weds lilting melodies to lyrics that often extol the beauties of nature\,” and Saving Country Music declared that the duo “can fill up a room with more soul soaring harmony than most symphonic assemblies.” The music helped earn the band festival appearances from Pickathon to Mountain Jam as well as tour dates with Chris Robinson\, Nikki Bluhm\, Beachwood Sparks\, and more. \nThough Mapache (Spanish for “raccoon”) only recently began recording\, the duo’s roots stretch all the way back to high school\, where Finch and Blasucci struck up a friendship over a shared love of skateboarding and classic songwriters. After graduation\, Finch headed north to study music at Chico State (birthplace of The Mother Hips\, who recently invited Mapache to perform at their beloved Hipnic festival in Big Sur)\, while Blasucci headed South to Mexico\, where he served as a missionary for two years. \nTheir sound is not an exercise in pop nostalgia\, but rather a distinctly independent link in a chain that stretches far behind and ahead of them.
URL:https://royaleboston.com/event/mandolin-orange-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:20190210T200000
DTEND;TZID=America/New_York:20190210T200000
DTSTAMP:20260408T032653
CREATED:20190206T174108Z
LAST-MODIFIED:20190206T174108Z
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SUMMARY:Panos Kiamos
DESCRIPTION:21+\nValid US Government issued ID or International Passport required for entry.
URL:https://royaleboston.com/event/panos-kiamos/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
GEO:42.3499959;-71.0656288
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DTSTART;TZID=America/New_York:20190214T190000
DTEND;TZID=America/New_York:20190214T190000
DTSTAMP:20260408T032653
CREATED:20180731T140038Z
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SUMMARY:[SOLD OUT] Car Seat Headrest
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show is SOLD OUT! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: This show is open to all ages.  Opening acts and set times are subject to change without notice.  All sales are final unless a show is postponed or canceled.  All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue.  Please make sure necessary arrangements are made ahead of time.  All patrons subject to search upon venue entry. \n*** \nCar Seat Headrest \n \nWebsite\nFacebook\nTwitter \nToledo always knew he would return to Twin Fantasy. He never did complete the work. Not really. Never could square his grand ambitions against his mechanical limitations. Listen to his first attempt\, recorded at nineteen on a cheap laptop\, and you’ll hear what Brian Eno fondly calls “the sound of failure” – thrilling\, extraordinary\, and singularly compelling failure. Will’s first love\, rendered in the vivid teenage viscera of stolen gin\, bruised shins\, and weird sex\, was an event too momentous for the medium assigned to record it.  \nEven so\, even awkward and amateurish\, Twin Fantasy is deeply\, truly adored. Legions of reverent listeners carve rituals out of it: sobbing over “Famous Prophets\,” making out to ‘Cute Thing’\, dancing their asses off as ‘Bodys’ climbs higher\, higher. The distortion hardly matters. You can hear him just fine. You can hear everything. And you can feel everything: his hope\, his despair\, his wild overjoy. He’s trusting you – plural you\, thousands of you – with the things he can’t say out loud. “I pretended I was drunk when I came out to my friends\,” he sings – and then\, caught between truths\, backtracks: “I never came out to my friends. We were all on Skype\, and I laughed and changed the subject.”  \nYou might be imagining an extended diary entry\, an angsty transmission from a bygone LiveJournal set to power chords and cranked to eleven. You would be wrong. Twin Fantasy is not a monologue. Twin Fantasy is a conversation. You know\, he sings\, that I’m mostly singing about you.  This is Will’s greatest strength as a songwriter: he spins his own story\, but he’s always telling yours\, too. Between nods to local details – Harper’s Ferry\, The Yellow Wallpaper\, the Monopoly board collecting dust in his back seat – he leaves room for the fragile stuff of your own life\, your own loves. From the very beginning\, alone in his bedroom\, in his last weeks of high school\, he knew he was writing anthems. Someday\, he hoped\, you and I might sing these words back to him. \n“It was never a finished work\,” Toledo says\, “and it wasn’t until last year that I figured out how to finish it.” He has\, now\, the benefit of a bigger budget\, a full band in fine form\, and endless time to tinker. According to him\, it took eight months of mixing just to get the drums right. But this is no shallow second take\, sanitized in studio and scrubbed of feeling. This is the album he always wanted to make. It sounds the way he always wanted it to sound. \nIt’s been hard\, stepping into the shoes of his teenage self\, walking back to painful places. There are lyrics he wouldn’t write again\, an especially sad song he regards as an albatross. But even as he carries the weight of that younger\, wounded Toledo\, he moves forward. He grows. He revises\, gently\, the songs we love so much. In the album’s final moments\, in those “apologies to future me’s and you’s\,” there is more forgiveness than fury. \nThis\, Toledo says\, is the most vital difference between the old and the new: he no longer sees his own story as a tragedy. \nHe’s not alone no more. \n*** \nNaked Giants \n \nWebsite\nFacebook\nTwitter \n‘SLUFF’ is a word that means both everything and nothing\, but it definitely sums up the three distinct personalities that make up Naked Giants. Depending which member you ask\, SLUFF is either slang for the black gunk that comes off your shoes when it snows in the winter\, an acronym that stands for South Lake Union Fuck Face (a reference to the tech bros who have infiltrated Seattle in recent years) or what a snake does when it sheds its skin. It’s also the title — and a song on — the band’s debut full-length. \nFormed in 2015\, the Seattle trio — guitarist/vocalist Grant Mullen\, bassist/vocalist Gianni Aiello and drummer Henry LaVallee — put out debut EP R.I.P.the following year and have been steadily building up their reputation as a live act in the meantime\, and having as much fun as possible while doing it. Because as much as the three-piece — who are all in their very early 20s now — have their heads screwed on and are fiercely intelligent people\, they also want to let loose and enjoy being in a band. After all\, that’s kind of what being in a band with your closest friends is all about. \n“I just want to make as much noise and have as much fun and get as sweaty as I can\,” says LaVallee\, “and if that resonates with people\, that’s who I want in my life. That’s who I want to play music for.” \nThat clash of the cerebral and the intelligent — the desire to say something meaningful but also just have some fun — is what underpins the very essence of who Naked Giants is. It’s a band of contradictions. Their music\, which is simultaneously timeless and modern\, new and old\, is loud and brash and raw\, but there’s vulnerability there\, too. In fact\, debut album SLUFF is a melting pot of ideas and sounds that\, on paper\, don’t seem like they would go together\, but which form one phenomenally cohesive whole. \n“These are songs that we’ve played live for a long time\,” explains Mullen. “We wanted to showcase the different kinds of songs we’ve written and put them all onto an album that flows together\, making it tie together into something that means something.” \nThat’s exactly what they do on SLUFF’s twelve weird and wonderful songs. Recorded with producer Steve Fisk (Nirvana/Screaming Trees/Beat Happening/Car Seat Headrest/Low/Minus The Bear) in Seattle at Avast! and Soundhouse Studios over the course of two and a half weeks in October\, the record is a dizzying mélange of influences and ideas. It swirls with hyperactive restlessness as 1960s harmonies share space with 1970s riffs while at the same time battling an undercurrent of punk rock and more modern indie influences. The song “TV\,” for example\, is a kaleidoscope of sound that seems to take in the whole history of rock’n’roll but reframes it in a more contemporary context. \n“From our perspective as millennials where everything is accessible all at once\,” explains Aiello\, “there is no difference to us between punk and classic rock or anything like that because we’re all observing it at the same time through the same lens. And yes\, history exists\, but if you’re just flipping through something on the TV\, it all kind of conflates together — kind of like the song does.” \nNeedless to say\, that song simmers with tension\, and it’s not the only one. “Everybody Thinks They Know (But No One Really Knows)” is a jaunty\, upbeat jangle but with distinctly sinister undertones\, “Slow Dance II” is a sumptuous\, soulful track with a desperate\, raw and bluesy swagger. “Dat Boi” is a rash of brash guitars that’s soon swept by an off-kilter\, psychedelic melody while closer “Shredded Again” is a graceful\, lackadaisical comedown after the rush of energy that precedes it. Raucous and rabid\, but also considered and complex\, Naked Giants’ music is the sum of all their influences and then some. And then some more. \n“What’s really interesting to me\,” ponders Aiello\, “is we have very different influences\, so when we’re jamming it’s like it’s being pulled apart and pushed together in so many different directions. And I think that’s a good thing.” \nThen\, of course\, there’s the quasi-grunge title track\, which chugs along with an ominous yet uplifting attitude as its title is shouted with a fervent zeal — “SLUFF!” — and which carries with it both the weight of the world and the reckless abandon of youth. \nSo while Naked Giants are happy to play the role of the dumb\, hedonistic rock band\, don’t be fooled for a second — they’re one of the brightest\, smartest acts out there at the moment. And this is also just the beginning of what they’re already planning to be a long and rewarding career. Even at this early stage\, they’re taking it as seriously as they are just having a good time. They have a lot to say and they’re not afraid to say it\, but they also relish in what making music has\, even already\, given back to them. \n“Performing on a stage has been very purpose-giving\,” says LaVallee. “Being in a group of people all experiencing music together brings a strong sense of community\, which excites me. Hopefully going forward we’ll be playing to more and more people. I want us to spread respect and fun rock’n’roll music to a whole lot of people. That just seems like a good deal all around.” \n“We’re just here to play music\,” says Mullen\, “so the more it goes well the more we’ll be thinking about our own art and our own voices. And that’s really the progression of it — personal growth and artistic growth. And whatever people think of that on a greater scale when it reaches them is all kind of up to them.” \n“Not everyone gets to go onstage and have a microphone in front of their mouth\,” says Aiello\, “so that’s a certain amount of responsibility. If you’re given the responsibility of having a microphone then you better say something pretty important. The pressure is to learn and listen to as much as we can so we can say the right thing and hopefully impact people.”
URL:https://royaleboston.com/event/car-seat-headrest-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:20190215T220000
DTEND;TZID=America/New_York:20190215T220000
DTSTAMP:20260408T032653
CREATED:20181005T135952Z
LAST-MODIFIED:20181005T135952Z
UID:10002690-1550268000-1550268000@royaleboston.com
SUMMARY:Herobust: WTF Tour
DESCRIPTION:21+ \nCall or text 617.733.0505 for VIP table reservations.
URL:https://royaleboston.com/event/herobust-wtf-tour/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190216T220000
DTEND;TZID=America/New_York:20190216T220000
DTSTAMP:20260408T032653
CREATED:20190111T190741Z
LAST-MODIFIED:20190111T190741Z
UID:10002729-1550354400-1550354400@royaleboston.com
SUMMARY:Royale Saturdays: Official Richard Fraioli Birthday Party
DESCRIPTION:Call or text 617.733.0505 for VIP table reservations.\n21+
URL:https://royaleboston.com/event/royale-saturdays-official-richard-fraioli-birthday-party/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190217T180000
DTEND;TZID=America/New_York:20190217T220000
DTSTAMP:20260408T032653
CREATED:20190130T184750Z
LAST-MODIFIED:20190130T184935Z
UID:10002735-1550426400-1550440800@royaleboston.com
SUMMARY:Dragathon
DESCRIPTION:All ages
URL:https://royaleboston.com/event/dragathon/
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:20190217T220000
DTEND;TZID=America/New_York:20190217T220000
DTSTAMP:20260408T032653
CREATED:20190130T200933Z
LAST-MODIFIED:20190131T171853Z
UID:10002737-1550440800-1550440800@royaleboston.com
SUMMARY:Gay Mafia Boston present - Dragathon Official After Party - Present DJ Alain Jackinsky
DESCRIPTION:21+ \nDoors at 10 \nDj Alain Jackisnky
URL:https://royaleboston.com/event/presidents-day-dragathon-official-after-party/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Nightclub
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190222T220000
DTEND;TZID=America/New_York:20190222T220000
DTSTAMP:20260408T032653
CREATED:20181213T180001Z
LAST-MODIFIED:20181213T160026Z
UID:10002005-1550872800-1550872800@royaleboston.com
SUMMARY:The Glitch Mob
DESCRIPTION:21+\nCall or text 617.733.0505 for VIP table reservations.
URL:https://royaleboston.com/event/the-glitch-mob/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190223T180000
DTEND;TZID=America/New_York:20190223T180000
DTSTAMP:20260408T032653
CREATED:20181009T170057Z
LAST-MODIFIED:20190207T191704Z
UID:10002694-1550944800-1550944800@royaleboston.com
SUMMARY:Jacob Banks
DESCRIPTION:Presented by The River \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri 10/12 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nJacob Banks \n \nWebsite\nFacebook\nTwitter \nBorn in Nigeria and based in England\, 25-year-old singer/songwriter Jacob Banks creates soul music that’s uncompromisingly honest but thrillingly cinematic. A self-taught musician who began singing\, playing guitar\, and writing songs at the age of 20\, Banks got his start at open mic nights around Birmingham in 2011 and quickly won major attention for his commanding vocal presence and daringly intimate songwriting. In early 2013 he released his powerful debut EP The Monologue\, earning feverish acclaim that soon saw him supporting such artists as Emeli Sandé and Alicia Keys on tour. \nNow at work on his Interscope Records debut (the follow-up to 2015’s self-released\, critically praised EP The Paradox)\, Banks thrives on constant innovation in the richly textured beats and grooves that give his music such intensity. “I think the epicness of my songs partly comes from being African — that really heavy\, four-on-the-floor\, foot-thumping\, warrior kind of vibe has a lot to do with where I’m from\,” notes Banks\, who moved to England at age 14. And with his nuanced yet arresting vocal delivery\, Banks proves himself attuned to the darker dimensions of the human experience while instilling each track with a profoundly hopeful spirit. “I’m never defeated in any of my songs; I always seem to win\,” he says. “I want to use that to empower everyday people\, to be their battery pack on a Monday morning and help them get through the day. All of these songs are about triumph\, and how to keep going when everyone and everything is telling you to stop.” \n*** \nABIR \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/jacob-banks/
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:20190223T220000
DTEND;TZID=America/New_York:20190223T220000
DTSTAMP:20260408T032653
CREATED:20190206T151737Z
LAST-MODIFIED:20190206T151737Z
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SUMMARY:Royale Saturday: 'I'm Raging It' ft.  the deadbeatz
DESCRIPTION:Call or text 617.733.0505 for VIP table reservations.\n21+
URL:https://royaleboston.com/event/royale-saturday-im-raging-it-ft-the-deadbeatz/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190224T190000
DTEND;TZID=America/New_York:20190224T190000
DTSTAMP:20260408T032653
CREATED:20181030T120039Z
LAST-MODIFIED:20181029T203158Z
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SUMMARY:Deerhunter
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri 11/2 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*** \nDeerhunter \n \nWebsite\nFacebook\nTwitter \nFrom Atlanta\, Georgia\, the origins of Deerhunter can be traced back to when frontman Bradford Cox first met guitarist Lockett Pundt at high school. Years later Bradford met Moses Archuleta and started jamming together. Other contributors to Deerhunter since its establishment in 2001 include Josh Fauver\, Colin Mee and Whitney Petty. The current incarnation consists of Cox\, Pundt and Archuleta plus bassist Josh Mckay and guitarist Frankie Broyles. \nDeerhunter’s first album was a lo-fi experiment not initially intended for the wider world\, but appeared in 2005 on a local Atlanta label\, Stickfigure. Although officially untitled\, it has since become known as Turn It Up\, Faggot; a phrase that doesn’t actually appear on the sleeve but is an insult that Cox claimed was often thrown at the band during their early gigs. Their next album\, Cryptograms (2006)\, was generally considered to be their real debut and as such things started to get serious for the band. They had moved to fêted Chicago indie\, Kranky (Godspeed You! Black Emperor\, Low\, Stars Of The Lid)\, and the world outside was starting to pay attention. \nThen in mid-2008\, Deerhunter and Kranky signed a deal with 4AD\, allowing them to finally release music outside the US and the band’s next move was to prove epic in more than just musical terms.?? Recorded over the course of a week at the Rare Book Studios in Brooklyn\, NY\, the Can and Wire-inspired Microcastle (2008) was to propel them to further heights. However\, the album leaked four months before release\, leading the band back to the studio to record Weird Era Cont.\, an album in its own right added as a bonus disc to make Microcastle a 25-track colossus. Not content with such prolificacy\, the band announced a new five track EP\, Rainwater Cassette Exchange\, in 2009 and that its release would coincide with the band’s extensive European\, Japanese and Australian tour in May and June.?? \nDisplaying few signs of slowing down\, Halcyon Digest\, the band’s fourth studio album was released in September 2010. Remaining in their native Georgia to piece together the album\, Halcyon Digest took just a few weeks to complete. The recording sessions took place at Chase Park Transduction in Athens with Ben H. Allen helping to co-produce the album\, while final track\, ‘He Would Have Laughed\,’ was recorded separately by Bradford Cox at NOTOWN SOUND in Marietta. To announce the release\, the band fully embraced the DIY mindset of their New Wave heroes from the 70’s and 80’s with a Cox-designed\, cut-and-paste Xeroxed flyer. It’s with these kind of approaches that Deerhunter continue to widen their sphere of influence and impress with each subsequent release. \nAfter a brief hiatus\, during which time Bradford Cox and Lockett Pundt released their own albums as Atlas Sound and Lotus Plaza respectively\, a new Deerhunter line-up (with additions of bassist Josh Mckay and guitarist Frankie Broyles) reconvened in January 2013 at Rare Book Studio in Brooklyn\, New York. Produced by Nicholas Vernhes and Bradford Cox and recorded in the dead of night\, Deerhunter’s new longplayer Monomania will be released in May. Monomania finds the group recalling its scrappy punk aesthetic; a perfect nocturnal garage rock album full of the layered and hazy vintage guitar sounds that define them. \n*** \nMary Lattimore \n \nWebsite\nFacebook\nTwitter \nMary Lattimore is a Los Angeles-based harpist. She experiments with effects through her Lyon and Healy Concert Grand pedal harp\, concocting half-structured improvisations which can include both ambient glitter and unsettling noise. Her first solo record\, the Withdrawing Room\, was released on Desire Path Recordings in 2014. The solo recordings that followed\, At the Dam and Collected Pieces\, were released by Ghostly International. \nMary has also recorded synth + harp duo projects with Elysse Thebner Miller (And the Birds Flew Overhead) and Jeff Zeigler (Slant of Light) and has co-written reimagined scores for the 1968 experimental silent film Le Revelateur\, directed by Philippe Garrel (who approved of the project)\, and the Czech New Wave classic Valerie and Her Week of Wonders\, and performed these scores live throughout the US with Jeff Zeigler and the Valerie Project\, respectively. She has contributed and written harp parts for such artists as Kurt Vile\, Thurston Moore\, Sharon Van Etten\, Meg Baird\, Steve Gunn\, the Clientele\, Hop Along\, Jarvis Cocker\, Karen Elson\, Ed Askew and Quilt. \nGhostly International will release her third solo record in late spring of 2018.
URL:https://royaleboston.com/event/deerhunter-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:20190226T200000
DTEND;TZID=America/New_York:20190226T200000
DTSTAMP:20260408T032653
CREATED:20190108T140052Z
LAST-MODIFIED:20190226T155127Z
UID:10002726-1551211200-1551211200@royaleboston.com
SUMMARY:Wiz Khalifa and Curren$y
DESCRIPTION:Presented by Bowery Boston \nDoors: 8:00 pm / Show: 9:00 pm \nTickets on sale Fri 1/11 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*** \nWiz Khalifa \n \nWebsite\nFacebook\nTwitter \nMulti-platinum selling\, Grammy and Golden Globe nominated recording artist Wiz Khalifa burst onto the scene with mainstream success with the release of his first major label debut\, Rolling Papers‎ in 2011. ‎Rolling Papers spawned the hugely successful hits “Black and Yellow\,” “Roll Up” and “No Sleep” and gave Wiz the platform to win the award for Best New Artist at the 2011 BET Awards and Top New Artist at the 2012 Billboard Music Awards. His sophomore studio album\, Blacc Hollywood\, ‎debuted at #1 on Billboard’s Top 200 album chart and featured the hit single “We Dem Boyz.” Soon after Khalifa’s track\,‎ “See You Again\,” off the FURIOUS 7 soundtrack\, catapulted to the top of the charts across 95 countries. Holding the #1 spot for 12 consecutive weeks\, “See You Again” broke records by being Spotify’s most-streamed track in a single day in the United States and in a single week in 26 countries. In addition to winning 3 Teen Choice Awards in 2015\, “See You Again” continued its success by winning a Critics’ Choice Award in the category Best Song\, winning two Billboard Music Awards in the categories Top Hot 100 Song and Top Rap Song\, earning three Grammy Award nominations in the categories Song of the Year\, Best Pop Duo/Group Performance and Best Song Written for Visual Media\, and a Golden Globe nomination in the category Best Original Song – Motion Picture. Wiz released his album Khalifa in February of 2016 as a thank you to fans which includes the tracks “Bake Sale” featuring Travis Scott\, “Zoney” and “Elevated.” On June 3 Wiz released TGOD Mafia Presents: Rude Awakening with his TGOD Mafia collaborator Juicy J. Wiz recently co-headlined The High Road Summer Tour with Snoop Dogg this past July. \n*** \nCurren$y \nWebsite\nFacebook\nTwitter \nNew Orleans rapper and Hip-Hop connoisseur Curren$y thrives on making music on his own terms. With his “Jet Life” mantra about living life to the fullest\, the savvy rhyme spitter (why do you think they call him “Spitta”?) is focused on a lyrical devotion to the truth and authenticity. It’s because of this ethos that the man born Shante Anthony Franklin has transcended any regional rap stereotypes to become a favorite of bloggers\, critics\, fans and everyone in between. Now aligned with Atlantic Records.\, the plan is to let Spitta be himself\, but have even more people get acquainted with the Jet (Just Enjoy This Sh*t) Life.\nInspired by a litany of Hip-Hop heavyweights (“You’re putting your voice on top of some shit\, you gotta say something.”) including Slick Rick\, Snoop Dogg\, Camp Lo\, DJ Quick\, A Tribe Called Quest\, OutKast and 8Ball & MJG\, by 2002 the young Curren$y took his talents to Master P. Signing a recording deal with No Limit Records\, he was a member of the 504 Boyz. Only two years later\, he switched over to Cash Money Records\, becoming the marquee artist of Lil Wayne’s then fledgling Young Money Records. The experience with the hometown labels taught him not only how to be a team player but about the type of artist he wanted to be.\n“I was in other places. The verse before would be about possibly decapitating somebody with a shotgun and boatloads of cocaine\,” recalls Curren$y. “So young me was like\, so I shot him too and I got two keys out of the ten. Then I would try to sneak in something else about how I got the newest Jordans and this that and third to still be myself.”\nCurren$y went for self in late 2007 when he formally left the Young Money fold. An album called Music To Fly To was recorded for the label but never released. After walking away from the Lil Wayne co-sign\, Curren$y began releasing mixtapes (Life At 30\,000 Feet\, Independence Day\, et al.) to let fans know his talents didn’t go to waste when he was sitting on the shelf. Off the strength of his mixtapes\, Curren$y earned a spot on the 2009 Freshmen cover of XXL Magazine (December 2008 issue)\, labeling him as one of Hip-Hop’s most promising acts.\nLabels began sniffing around for Curren$y’s services around this time\, but he preferred to remain independent. “The rap game\, I didn’t know the politics of it until I was completely dolo in making the music that I make. I started going to meetings and realizing how the machine was set up.”\nSpitta was increasing his music business IQ but was still adamant about not compromising his art. “Any song that an artist gives you\, if there’s a world for him out there\, it’s going to do what it do\,” he says. “It doesn’t have to sound like whatever’s popping on the radio. It has to sound like that artist because that’s what people want.”\nThe New Orleans native moved to New York City because he felt that the creative energy there would only help him bolster his movement. “It was just smarter for my hustle to be somewhere where everything is right at my fingertips\,” he says. “It just so happened that the city was fucking with me. I felt the love the \nwhole time and I still do. When I got out here to New York\, I was able to be with so many people absolutely on the grind. I could shoot a video every day\, and they wanted to do it. Once I got all that work done\, people [back home] came out of their shells and said I can do this. Now I’m assembling a team in the city of people that are talented and I’m working with them as well.”\nTo call Curren$y output of music prolific would be an understatement. In 2009 Curren$y released This Ain’t No Mixtape\, via Amalgam Digital\, and the same year released another album\, Jet Files. He also aligned with ex-Roc-a-fella Records head honcho Dame Dash and his new DD172 venture. The result was in 2010\, Curren$y would again drop two albums\, Pilot Talk and Pilot Talk 2\, via Dash’s DD172 label with distribution from Def Jam Record. Throughout this time Spitta was receiving acclaim for his music\, and videos\, as well as making moves with lifestyle and streetwear brands like Married to the Mob\, Diamond supply and Rocksmith. An avid automobile fan and collector\, he also has a couple of car clubs (Boxed Sets with Chuck English from rap group the Cool Kids\, and Cruise Life in New Orleans with his manager/business partner and long time friend Mousa Hamdan).\nYes\, Curren$y is living the good life\, but don’t make the mistake of calling him some type of stoner rapper. “When you rapping about weed and kicking it\, how pissed off can people be with you. dog?\,” he observes. “If that’s really what you doing. Just don’t be a studio chiller. Everybody wants to get on with this fucking weed rap. It’s not weed rap. There’s no stoner rap. It’s not a genre\, that’s bullshit. Anybody that’s doing that should be kicked in the balls because that’s some gimmick shit. Four bars ago you were barely smoking\, dog\, and now you’re smoking a doobie.”\n The charismatic Curren$y is living\, breathing example of that tried and true quote from from Confucius: “Picking a job you love\, you’ll never have to work a day in your life.”\n“I hit the ultimate liq. I watch basketball like\, ‘Yo\, they’re getting paid to play’\,” says Curren$y. “This is the equivalent. Yeah\, it’s work\, but the trade off is pretty G’d up.” Now that’s the Jet Life. \n*** \nChevy Woods \nWebsite\nFacebook\nTwitter \n*** \nFendi P/T.Y. \nWebsite\nTwitter
URL:https://royaleboston.com/event/wiz-khalifa-and-curreny/
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:20190301T190000
DTEND;TZID=America/New_York:20190301T190000
DTSTAMP:20260408T032653
CREATED:20181030T140034Z
LAST-MODIFIED:20190228T180637Z
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SUMMARY:[SOLD OUT] Jacob Collier
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 7:45 pm \nThis show is SOLD OUT! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: This show is open to all ages. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nJacob Collier \n \nWebsite\nFacebook\nTwitter \nJacob Collier’s series of viral YouTube videos are what first made him a star\, and caught the attention of Quincy Jones.  On 2016’s In My Room\, which won 2 GRAMMYs and a Jazz FM Award\, Collier sang\, played\, and produced everything himself.  And he made it all in his childhood bedroom.  In My Room led to collaborations with Herbie Hancock and Hans Zimmer\, performances with the likes of Pharrell\, a TED Talk\, a BBC Proms concert and much more.  After releasing that astonishing gambit\, he decided he wanted to open the process up to the world\, to allow the music and musicians that had influenced him to participate in the very songs he wrote. \nOn January 1\, 2018\, Jacob woke up in London and began something bold: He sat down and started composing for an orchestra for the first time\, giving himself just four weeks to finish an entire album before flying to The Netherlands to record the songs with the Metropole Orkest. That was only the first day and first act of a year of new musical adventures for the British singer\, multi-instrumentalist\, and production wunderkind—the dawn of a profound period of musical dialogue and discovery that is now poised to dazzle the world.   \nThat morning\, Collier started making Djesse\, a four-album cycle composed entirely during 2018 and featuring contributions from a global cast of his musical inspirations. It is one of the most audacious recording projects to emerge this decade from someone who has already established himself as one of music’s most brazen and electrifying new minds. Djesse is a universal wonder. \n“I never planned to record a four-album project\, but it occurred to me that there was so much music I wanted to write at this point that I might as well just write it all\,” explains Collier\, laughing. “I’ve always been a huge fan of going to the deepest waters of something I don’t truly understand and making something happen. It’s amazing to see how oftentimes when you just jump in and do the thing\, something magical will happen.” \nTake\, for instance\, “Everlasting Motion\,” the ecstatic rhythmic centerpiece of Djesse’s first volume. For years\, the musically omnivorous Collier had studied gnawa\, a spiritual and relentlessly percussive ancient sound rooted in Northern Africa. He loved its hypnotic rhythms and the way its vocals seemed to unfurl in endless ribbons. Collier wanted to collaborate with Hamid El Kasri\, a modern Moroccan master of the form. He asked around\, eventually obtained an email address\, and sent a note explaining his backstory and project. Nearly three months passed. Collier had essentially given up on El Kasri\, assuming that either the email address he had found was outdated or that one of Morocco’s living legends simply had no interest in such a nebulous project.  \nBut suddenly\, an enthusiastic answer arrived: Come to Morocco\, and make music. Collier booked a flight to and studio time in Casablanca\, where he spent 24 hours recording with El Kasri and asking one of gnawa’s current wellsprings about the history of the genre itself. He left with new information and a radiant piece of polyglot pop\, where strings and horns and funky bass dance in jubilation.  It is a magnificent moment of ignored borders and a positive affirmation of Collier’s central vision for Djesse. \nIn one story and one song\, this is the spirit of Djesse. (Pronounced “Jesse\,” the album’s name is an extrapolation of Collier’s initials\, though he’s not the character at the center of this epic.) In these four albums\, all written and engineered and produced by Collier\, he has taken the singular approach to arrangement and harmony that have earned him acclaim since he was a teenager on YouTube and paired it with the artists he treasures. In the process\, he has traveled from Los Angeles to New York\, Tokyo to Casablanca\, Nashville to Abbey Road with a compact version of his home studio in tow. Documenting a year in Collier’s life and of his musical loves\, Djesse is a monumental testament to creative exploration and collaboration.  \nOn the first volume\, his key partner is the Metropole Orkest\, the 70-year-old Dutch ensemble that programs and performs with the aplomb and energy of youth. Led by conductor Jules Buckley\, the Metropole continues to reimagine how modern symphonies can sound and how they should play. Alongside Collier\, they animate the voices of El Kasri\, stunning a cappella group Take 6\, and the rapturous soul singer Laura Mvula. You hear Collier wink awake through a gorgeous vocal aubade\, then assert his distinctive voice as an arranger and orchestrator\, where the ensemble becomes new limbs with which to create motion and harmony. “Keep in motion/Stay unspoken\,” he sings again and again. “If I’m broken/Keep me open.” There are sweeping ballads\, classical beauties\, electric R&B tunes\, and a cover of “All Night Long” that swings from South America to the American South in seven minutes that rush past in an instant. \nAnd that’s just the start. As the volumes are revealed\, different textures and themes and sounds will be explored in equally astonishing ways. Jacob imagined Djesse as a grand journey through space and time\, and the volumes follow his path. In addition\, across the quartiles nearly two-dozen collaborators will be featured\, from pop stars and folk songwriters to guitar wizards and soul singers.  Collier stands bravely at the center of it all\, the writer\, producer\, arranger\, and singer putting himself in conversation with the musical world at large. \n“I’m treating it as this great big puzzle. Piece by piece\, it comes together\,” he says. “An idea like this can’t come without obsession on every single plane ride\, every single day\, every single night\, staying up to think about how it all fits together. Rather than being my four walls\, this time my room is the Planet Earth. I have been able to call many rooms my room.”  \nIn times of political turmoil\, the assumption is that the artistic response should be one of bile and vitriol\, the raised fist of barbed punk or plaintive folk or urgent hip-hop instructing us how best to broadcast our anger and how best to organize it. Djesse isn’t a disavowal of that idea so much as an alternative that stares into a darkness with an irrepressible light\, a universal ecstasy. During these four volumes\, Jacob Collier doesn’t merely embrace globalism or give it the deference of lip service. He lives it\, sings it\, arranges for it through songs that fight for something—music and its power to remind us of the connections we all share\, the joy\, and pain and humanity of being alive at all.
URL:https://royaleboston.com/event/jacob-collier/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20190301T220000
DTEND;TZID=America/New_York:20190301T220000
DTSTAMP:20260408T032653
CREATED:20190205T181404Z
LAST-MODIFIED:20190205T181404Z
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SUMMARY:A-Trak x Laidback Luke
DESCRIPTION:Call or text 617.733.0505 for VIP table reservations.\n21+
URL:https://royaleboston.com/event/a-trak-x-laidback-luke/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20190302T180000
DTEND;TZID=America/New_York:20190302T180000
DTSTAMP:20260408T032653
CREATED:20180903T160031Z
LAST-MODIFIED:20190124T171434Z
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SUMMARY:The Cat Empire
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale Fri. 9/7 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*** \nThe Cat Empire \n \nWebsite\nFacebook\nTwitter \nf it has been a while since you danced up a storm\, sang out loud\, smiled until your face hurt\, had a night out with your friends or lover…the time has come…  \nFor over a decade\, The Cat Empire have been known far and wide as one of the worlds greatest party bands. Their colourful\, genre-bending music\, shipped across the globe in travellers backpacks\, seems at home almost anywhere. Difficult to describe and impossible to categorise\, The Cat Empire’s reputation is built upon a chaotic and fiercely uplifting live show that saw their last album debut Top 20 in 16 countries around the world.  \nLoved around the globe for their melody driven mood lifting music\, and with well over 1200 shows under their belts\, their career has been spectacular. This is testament to the quality of their musicianship\, showmanship and unstoppable energy and generosity as performers.  \nThe Cat Empire have chosen to kick off their 2019 Global Tour in North America to celebrate the release of their new album\, due Feb 2019.  Expect to hear new songs\, and old favourites.  Shows will sell out quickly\, so secure your tickets early. \n*** \nNeal Francis \n \nWebsite\nFacebook\nTwitter \n“I just wanted to be honest about everything\, from my musical influences to my story\,” muses Neal Francis. After years of dishonest living — consumed by drugs\, alcohol\, and addiction — such sincerity is jarring from the 30-year-old Chicago-based musician. Liberated from a self-destructive past and born anew in sobriety\, Francis has captured an inspired collection of songs steeped in New Orleans rhythms and Chicago blues. His music evokes a bygone era of R&B’s heyday while simultaneously forging a new path on the musical landscape. Ohio-based Karma Chief Records (a subsidiary of rising soul label Colemine Records) will release two songs\, “These Are The Days” and “Changes\, Pt. 1\,” in early 2019 with the full LP to follow in summer 2019. \nThere is a deep connection between Francis’s childhood — his obsession with boogie woogie piano\, his father’s gift of a dusty Dr. John LP — and the songs he’s created. The result is an astonishing collection of material without parallel in the contemporary funk and soul scene. The influences are unmistakable: the vocal stylings of Allen Toussaint and Leon Russell; the second line rhythms of The Meters and Dr. John; the barroom rock ‘n’ roll of The Rolling Stones; the gospel soul of Billy Preston; the roots music of The Band. Francis pays tribute to the masters but has his own story to tell: “It’s the life I’ve lived so far.” \nAnd what a life it’s been. Born Neal Francis O’Hara\, the piano prodigy found himself touring Europe by the age of 18 with Muddy Waters’ son and backing up other prominent blues artists coast-to-coast. In 2012\, Francis joined popular instrumental funk band The Heard. With Francis at the creative helm\, The Heard transformed into a national act\, touring with boogaloo progenitors The New Mastersounds and chart toppers The Revivalists and appearing at Jazz Fest and Bear Creek. As The Heard’s star rose\, however\, Francis sunk deeper into addiction. Once a promising sideman\, by 2015 he had been fired from his band\, evicted from his apartment\, and was perilously close to self-destruction. “When you get close to death like that you can feel it\,” Francis recalls. An alcohol-induced seizure that year led to a broken femur\, dislocated arm\, and\, finally\, the realization that he needed to get clean. \nThe journey from a hospital bed to launching his solo career was neither predictable nor straightforward. There were musical fits and starts\, relapses\, and broken relationships. Yet the overwhelming passion driving Francis in this second act has been an overabundance of creative energy. “Drinking held my music in a half-cocked slingshot. I was always so consumed by drugs and alcohol that I didn’t have the time\, money\, or creative energy to do it. Sobriety let it loose.” \nDetermined to realize the songs swirling in his head\, Francis assembled a crack team of musicians\, calling on bassist Mike Starr (The Heard) and drummer PJ Howard (The Revivalists\, The Heard). He linked up with producer and analog-obsessive Sergio Rios (Orgone\, Cee Lo Green\, Alicia Keys) and self-funded a trip to Killion Sound in Los Angeles to record the initial batch of material. “I learned to trust my instincts in that room\,” says Francis. Buoyed by classic horn arrangements and Rios’ fierce guitar work\, the resulting tracks illuminate a lifetime spent studying the masters of soul music. \nFrom the RMI electra-piano riff that kicks off “She’s A Winner” to the screaming organ swells of “This Time\,” Francis and company let it all hang out. This is fun music\, dance music. Yet verse after verse and chorus after chorus\, Francis wrestles with his past in a straightforward manner: “It’s 5 o’clock in the morning\, but I’m not home/ I’m surrounded by people\, but I’m really alone.” Like Toussaint and Russell before him he’s married the upbeat rhythms of New Orleans R&B with the lyrical approach of a confessional singer/songwriter. The refrain on “This Time” serves as a foxhole prayer for a better future: “Let me get it this time/I won’t let you down/Let me get it this time/I won’t fool around.” \n2018 has been a busy year. In February Francis finished recording basic tracks for the yet-to-be named debut album in Los Angeles and spent the following months doing overdubs in Chicago with engineer Mike Novak (who also recorded demos for the project). After playing his first show in November\, Francis was signed by Paradigm Talent Agency. He is now preparing to tour relentlessly to promote his own music. “I’m doing this to fulfill a drive within myself\, but also to pay tribute to the gifts I’ve been given. And it comes from a place of immense gratitude. I’ve been given so much in my life\, especially in the last two years\, that this feels like a bonus.”
URL:https://royaleboston.com/event/the-cat-empire/
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:20190302T220000
DTEND;TZID=America/New_York:20190302T220000
DTSTAMP:20260408T032653
CREATED:20190218T141820Z
LAST-MODIFIED:20190218T141820Z
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SUMMARY:Royale Saturdays: Mardi Gras ft. DJ Tao
DESCRIPTION:Call or text 617.733.0505 for VIP table reservations.\n21+
URL:https://royaleboston.com/event/royale-saturdays-mardi-gras-ft-dj-tao/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190303T190000
DTEND;TZID=America/New_York:20190303T190000
DTSTAMP:20260408T032653
CREATED:20190115T201835Z
LAST-MODIFIED:20190206T201925Z
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SUMMARY:[SOLD OUT] Dean Lewis
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 7:30 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 open to all ages. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nDean Lewis \n \nWebsite\nFacebook\nTwitter \nOn Dean Lewis’s latest single “Be Alright” for Island Records\, he perfectly captures gut-wrenching heartbreak that comes with the hardships of a break-up. But while it deals candidly with anguish\, the chorus swells with hope; a recognition that this pain is only temporary\, with Lewis emotively singing “It’s never easy to walk away/ Let her go/ it’ll be ok”. “Be Alright” has already amassed over 200 million streams and is the first taste of Lewis’ forthcoming album and signals a newfound conviction in his own storytelling and singing capabilities. Buy / Listen to Dean Lewis: www.DeanLewis.lnk.to/BeAlrightID. \nLewis’ debut EP Same Kind Of Different\, gave us chart-topping single\, “Waves\,” which was added to Triple J rotation\, has had over 122 million streams\, 31 million video views and was the second biggest Australian single of 2017. Suddenly\, Lewis was gracing the stages of Europe’s biggest television shows\, playing headline shows and festivals slots across Australia and the US. “Waves” even appeared on programs like Suits\, Riverdale and Grey’s Anatomy. \n*** \nSYML \nWebsite\nFacebook\nTwitter \n*** \nJack Gray \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/dean-lewis/
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:20190304T190000
DTEND;TZID=America/New_York:20190304T190000
DTSTAMP:20260408T032653
CREATED:20181205T220044Z
LAST-MODIFIED:20190122T185629Z
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SUMMARY:[Moved to The Sinclair ]Wet & Kilo Kish
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show has been moved to The Sinclair. All tickets for the Royale show will be honored. Tickets are available here. \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM.
URL:https://royaleboston.com/event/wet-kilo-kish/
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:20190305T190000
DTEND;TZID=America/New_York:20190305T190000
DTSTAMP:20260408T032653
CREATED:20181023T160808Z
LAST-MODIFIED:20190304T171226Z
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SUMMARY:Aurora
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale Fri. 10/26 at 10am! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: This show is open to all ages. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue.  Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nAurora \n \nWebsite\nFacebook\nTwitter \nIt is as if pure magic runs through AURORA’s veins. Enchanting by name and by nature\, there’s something decidedly singular and strange about this tiny Nordic musician with the massive talent.\nWith an eye-watering 200 million+ streams and 500\,000+ sales for her stunning 2016 debut album\, ‘All My Demons Greeting Me As A Friend’\, it’s hard to believe that the dynamic Norwegian singer/songwriter is still only 21\, and AURORA is now pushing things forward like never before. “There’s a deeper understanding of myself and what I want to say and do than on my first album. It’s more tuned into my soul and who I am\,” explains the Bergen-based artist of her new material. “It’s about the many\, many different aspects of what it is to be human. It covers the way we hurt and we love and the way we are so beautiful but also so awful.” See\, AURORA isn’t just a singer\, but a warrior\, a sage and a protector. Oh\, and a bloody good songwriter to boot.\nRecorded in a fairytale studio/chateau in the middle of nowhere\, somewhere out in the south of France\, her new songs veer from the personal to the political\, taking in everything from break-ups and death to feminism and environmentalism. These are songs you can find solace in but also songs that pose questions. “The world is becoming really quite chaotic\,” says AURORA of the swirling uncertainty reflected in those soon-to-be-shared new tunes\, but that isn’t necessarily a bad thing. “I think it’s good for us. It’s good to get tastes of this chaos so we can understand the places where it happens all the time better.”\nThough co-produced with British duo MyRiot [London Grammar\, Rae Morris] and fellow fast-rising Norwegian talent Askjell\, AURORA was adamant that she would play a large part in the production of her new music. “It’s so important to me that the music is a good enough reflection of who I am inside\,” she states. “I’m the only one who really knows me\, the core of me\, and I do me the best!” In a world where too many female artists are corralled into working with male producers\, it’s a move that makes a significant statement.\nShoring up her unique\, enchanting sound are Trondheim Symphony Orchestra and Florence and the Machine harpist Ruth Potter\, a cello quartet\, and a 32 strong gay male voice choir from Oslo. “They’re spectacular\,” she beams of the vocal troupe\, who appear on three songs. “The energy they have is so amazing\, it’s so alive and naughty\, but happy. I just love them.” AURORA has balanced the smooth with the rough. “Every song asks for a different thing and every line asks for a different emotion\,” she explains. “Sometimes an ugly vocal presentation\nmakes for the better emotion\, so it can be quite ugly and gritty and messy\, which you can hear even more on this album.”\nSentimental and fragile\, but tough and strong too\, AURORA wants her next full length project to make people “feel like they can accomplish things. It makes me feel like a fighter or a hunter – someone that can do whatever.” Reflecting the many facets of her character\, it’s ‘The Seed’ which shines a light on AURORA’s innate love of nature. Based on a traditional Native American saying\, she asks what will happen after the last tree has fallen and the rivers have been poisoned. “More than anything else around me Mother Earth is my biggest inspiration\,” she says\, calling the song “a fight for the things that can’t really fight for themselves.”\nThe strident returning single ‘Queendom’ is not just AURORA’s ‘Time’s Up’ anthem\, but a song for everyone. “Queendom has a feminist angle and it’s an important time for women right now; we are constantly fighting for each other to have a better life on this planet\, but it also stretches its arms further than that – to everything that’s alive\, to the men and boys\, to the animals and to nature.” In AURORA’s Queendom\, everyone fights for everything that’s alive and its right to live. Which is kind of awesome\, don’t you think?\nIn whatever form it eventually takes\, this collection of new songs she now sits on offer up a powerful look not just at one of the most exciting\, singular artists around\, but the most important issues of 2018. We’ll leave it to her to have the final word though. “Singing makes me feel like I’m opening a window in my skin\, the biggest window I have. The voice comes from my belly and out to the world – it’s such a powerful thing.\n“It makes me feel like some kind of portal\, which is a very nice feeling because I’m not me\, I’m not anyone – I’m just a voice\, which is not the worst thing to be!” \n*** \nTalos \n \nWebsite\nFacebook\nTwitter \n*** \nSean McVerry
URL:https://royaleboston.com/event/aurora/
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:20190307T190000
DTEND;TZID=America/New_York:20190307T190000
DTSTAMP:20260408T032653
CREATED:20190130T175140Z
LAST-MODIFIED:20190130T175140Z
UID:10002734-1551985200-1551985200@royaleboston.com
SUMMARY:Loboda : Superstar
DESCRIPTION:21+ \nValid ID required. \nUS Drivers license or state issues ID. \nInternational Passports allowed but copies will not be accepted \n 
URL:https://royaleboston.com/event/loboda-superstar/
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:20190308T220000
DTEND;TZID=America/New_York:20190308T220000
DTSTAMP:20260408T032653
CREATED:20190115T160049Z
LAST-MODIFIED:20190114T160015Z
UID:10002006-1552082400-1552082400@royaleboston.com
SUMMARY:4B
DESCRIPTION:21+\nCall or text 617.733.0505 for VIP table reservations.
URL:https://royaleboston.com/event/4b-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190309T180000
DTEND;TZID=America/New_York:20190309T180000
DTSTAMP:20260408T032653
CREATED:20181022T145530Z
LAST-MODIFIED:20181223T210406Z
UID:10002698-1552154400-1552154400@royaleboston.com
SUMMARY:[SOLD OUT] Ella Mai
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*** \nElla Mai \n \nWebsite\nFacebook\nTwitter \n*** \nKiana Ledé \n \nWebsite\nFacebook\nTwitter \n*** \nLucky Daye \n \nWebsite\nTwitter
URL:https://royaleboston.com/event/ella-mai/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190309T220000
DTEND;TZID=America/New_York:20190309T220000
DTSTAMP:20260408T032653
CREATED:20190221T164539Z
LAST-MODIFIED:20190221T164539Z
UID:10002033-1552168800-1552168800@royaleboston.com
SUMMARY:Royale Saturdays: Fyre Island ft. Dirty Dek
DESCRIPTION:Call or text 617.733.0505 for VIP table reservations.\n21+
URL:https://royaleboston.com/event/royale-saturdays-fyre-island-ft-dirty-dek/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190311T173000
DTEND;TZID=America/New_York:20190311T173000
DTSTAMP:20260408T032653
CREATED:20190213T190944Z
LAST-MODIFIED:20190213T190944Z
UID:10002744-1552325400-1552325400@royaleboston.com
SUMMARY:Speed Rack: Charity Female Bartending Competition
DESCRIPTION:21+
URL:https://royaleboston.com/event/speed-rack-charity-female-bartending-competition/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Nightclub
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190315T220000
DTEND;TZID=America/New_York:20190315T220000
DTSTAMP:20260408T032653
CREATED:20190125T160006Z
LAST-MODIFIED:20190125T153647Z
UID:10002021-1552687200-1552687200@royaleboston.com
SUMMARY:Borgore
DESCRIPTION:Call or text 617.733.0505 for VIP table reservations.\n21+
URL:https://royaleboston.com/event/borgore/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190316T220000
DTEND;TZID=America/New_York:20190316T220000
DTSTAMP:20260408T032653
CREATED:20190221T164130Z
LAST-MODIFIED:20190221T164709Z
UID:10002032-1552773600-1552773600@royaleboston.com
SUMMARY:Royale Saturdays: St. Patty's Day Bash ft. Richard Fraioli
DESCRIPTION:Call or text 617.733.0505 for VIP table reservations.\n21+
URL:https://royaleboston.com/event/royale-saturdays-st-pattys-day-bash/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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END:VCALENDAR