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SUMMARY:Sam Pace
DESCRIPTION:21+
URL:https://royaleboston.com/event/sam-pace-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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SUMMARY:Zakk Wylde
DESCRIPTION:Book of Shadows II \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 5/13 at 10am! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n  \n  \n*** \nZakk Wylde \n \n[Website] [Facebook] [Twitter] \nDon’t ask what Zakk Wylde has been up to in the two decades that passed between the release of the singer and guitar legend’s debut solo album\, Book of Shadows\, and its newly-minted\, equally moving and introspective sequel\, Book of Shadows II. In all truthfulness\, a better question would be\, “What hasn’t Zakk Wylde gotten into?” \nHe kicked booze before it killed him and now squeezes endless joy from life with both fists. He’s possessed of boundless energy\, relentless enthusiasm\, and insurmountable charm. His limitless strength of will allows him to lord over a mini-empire that includes Wylde Audio\, The Black Vatican recording studio\, hot sauces\, and Wylde’s very appropriately named Valhalla Java Odinforce Blend coffee. Sure\, artists like St. Vincent and Arcade Fire have gotten into the caffeinated beverage game\, but none draw the same inhuman power from the magic beans as Wylde. \nThe fearlessly introspective melancholy and melody of Book of Shadows helped to make its follow-up one of Rolling Stone’s Most Anticipated Albums of 2016. As fierce and diverse as his work in BLS and as large as his accomplishments as lead guitarist for Ozzy Osbourne have been\, Book of Shadows II offers an even richer look into the spirit and psyche of one of the most beloved pillars of the hard rock community. Brand new tracks like “Sleeping Dogs\,” “Tears of December\,” “Darkest Hour\,” “Harbors of Pity\,” and “The King” are bold proclamations of intense feeling and powerful catharsis. \nAs frontman for Black Label Society\, the New Jersey born West Coast transplant has led the band across nine studio albums\, two live records\, an EP\, and countless international tours. Black Label Society songs like “Stillborn\,” “My Dying Time\,” “Bleed for Me\,” and “In This River” (his tribute to his fallen friend\, the late Dimebag Darrell of Pantera) are all certifiable hard rock anthems\, inexorably linked to Wylde’s larger-than-life persona. He’s the ultimate embodiment of rowdy rock n’ roll warrior. He’s also father to four children\, fiercely devoted to his wife\, Barbaranne\, and a deeply trusted loyal brother in the heavy metal community. \nZakk Wylde has been immortalized by the Hollywood Rock Walk of Fame\, countless rock music publications\, and Guitar World’s 2012 Rock N’ Roll Roast\, where William Shatner\, Stone Cold Steve Austin\, Slipknot’s Corey Taylor\, Scott Ian from Anthrax\, and Guns N’ Roses legend Duff McKagan were among the friends and peers who assembled to good naturedly mock Father Zakk’s beard\, muscles\, and rowdy demeanor. Sharon Osbourne served as roast master\, which made perfect sense – after all\, it was her husband who plucked Wylde from obscurity on the strength of a demo tape\, helping ensure the “bullseye” guitar design would reach iconic status. \nOne of the modern generation’s few true guitar giants\, Wylde served as spiritual successor to the late Randy Rhoads as axeman for Ozzy Osbourne\, collaborating and co-writing on Ozzy classics like “Mama I’m Coming Home” and “No More Tears.” His tenure with The Ozzman includes co-writing and recording several studio albums\, three live albums\, a Grammy for “I Don’t Want to Change the World” and countless world tours and television appearances. Wylde co-wrote Ozzy’s biggest selling album\, No More Tears\, as well as the bulk of the double platinum Ozzmosis. \nZakk Wylde’s powerful pipes\, mayhem-inducing charisma\, mischievous humor\, and instantly recognizable pinch-harmonic driven blues based histrionic guitar shredding have made him the world’s most beloved American Guitar Hero. \n*** \nTyler Bryant & The Shakedown \n \n[Website] [Facebook] [Twitter] \nTyler Bryant & the Shakedown is a rock and roll band born of Nashville\, TN. Their sound is a soulful patchwork of roots-infused melodies and muscular riffs\, all woven tightly with the thread of their alternative psychedelic mystique. It’s as rambunctious\, raw and real as rock & roll gets these days. \nA native of Honey Grove\, TX\, Tyler cut his teeth on greats such as Lightnin’ Hopkins & Freddie King. Bryant studied the blues under Roosevelt Twitty Sr. and believes that the soul in roots music is what puts the “roll” in rock & roll. \nAt seventeen\, Tyler moved to Nashville to write songs and start a band. There he met drummer Caleb Crosby and they became fast friends. “The instant we started playing\,” Caleb says\, “I knew we were going to start a band. We played our first show a week later and haven’t stopped since.” Together they formed what would become the Shakedown. \nGraham Whitford\, a rocker kid from Boston\, was introduced to Tyler as the guy who could put him out of a job. As soon as Tyler heard Graham play\, he asked him to join the band and move to Nashville right away. \nNoah Denney was the final addition to the Shakedown. “His bass sound scared me and he added an edge and attitude to the band that we didn’t even know we needed\,” says Bryant. \nTyler toured as a solo artist for a spell\, playing Eric Clapton’s Crossroads Festival in Chicago\, receiving the Robert Johnson Foundation’s New Generation Award\, and sharing the stage with acts such as B.B. King & Johnny Winter. \n“Playing on my own was cool\, but I really wanted a group of friends I could hang and make music with\,” says Bryant. “The more time I spent with the guys in the Shakedown\, the more they started to feel like my brothers. Now I can’t imagine making music with anyone else.” \nIn 2013 the band released “Wild Child\,” their first full-length album\, which was featured in Rolling Stone\, NYLON Magazine\, Paste Magazine\, Interview\, and many more. The band made its television debut on Jimmy Kimmel LIVE in support of the record that helped gain them a cult like following. \nTyler Bryant & the Shakedown recently inked a deal with John Varvatos/Republic Records and got right into the studio with celebrated producer/engineer\, Vance Powell (Jack White\, Seasick Steve). \nThe bands new EP\, The Wayside\, will be released on November 13th. The first single\, “Loaded Dice & Buried Money” is a raw\, unhinged reminder that some things aren’t always what we perceive them to be. \n“When you give everything you’ve got to something\, you hope it won’t let you fall by the wayside\,” explains Bryant. “This album was inspired by times where the feeling of having nothing felt overwhelming. In those moments\, music offered us an escape. It gave us something that had nothing to do with money or dissolving relationships\, and everything to do with freedom and expression.” \nThe Shakedown has earned their stripes by touring the country and winning fans one at a time. Whether playing a dingy rock & roll club\, touring the country with Jeff Beck & ZZ Top\, or opening for Aerosmith\, this is a band that is proud to be loud and dedicated to leaving it all on whatever stage they set foot on. \n*** \nJared James Nichols \n \n[Facebook] [Twitter]\nJared James Nichols’ is a great mix of 1970’s rock and blues getting attention and press with a debut album just released.
URL:https://royaleboston.com/event/zakk-wylde/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:The Struts
DESCRIPTION:Doors: 7:30 pm / Show: 8:30 pm \nThis event is all ages.\nTickets on sale Fri. 4/15 at noon! \n*** \n \n*** \nThe Struts \n \n[Website] [Facebook] [Twitter] \nBefore even releasing their first album\, U.K.-bred four-piece The Struts opened for The Rolling Stones in front of a crowd of 80\,000 in Paris\, got hand-picked by Mötley Crüe to serve as the supporting act for their four last-ever performances\, and toured the U.S. on a string of sold-out shows that demanded the band move up to bigger venues to accommodate their fast-growing fanbase. Now with their full-length debut Everybody Wants\, lead vocalist Luke Spiller\, guitarist Adam Slack\, bassist Jed Elliott\, and drummer Gethin Davies reveal the supreme mix of massive riffs and powerfully catchy melodies that’s already slain so many adoring audiences around the globe. \n“Every time we go into the studio we just want to channel exactly what we’re all about onstage—something big\, fun\, unapologetic\, rock & roll\,” says Spiller. “We love a song that makes everybody sing along\, and touring quite extensively over the past few years has given us a lot of inspiration to bring that kind of energy to our album.” \nThe follow-up to Have You Heard—a 2015 EP whose lead single “Could Have Been Me” hit #1 on Spotify’s viral chart\, earned more than 2.5 million Vevo/YouTube views\, and shot to the top 5 on Modern Rock radio charts—Everybody Wants unleashes anthem after arena-ready anthem. Pairing up with producers like Gregg Alexander (former frontman for New Radicals) and Marti Frederiksen (Aerosmith\, Mick Jagger) and recording in such far-flung locales as a refurbished London church and a studio in the Spanish region of Andalucía\, The Struts prove the iconic power that’s prompted Yahoo Music to name them “one of the most exciting and electric performers in rock today” and MTV to proclaim the band “well on their way to bringing rock & roll back to the forefront.” \nThroughout Everybody Wants\, The Struts offer their own undeniable twist on sweetly sleazy glam-rock\, delivering huge hooks and making brilliant use of Spiller’s otherworldly vocal range. Even the album’s breakup songs come on full throttle\, with “Mary Go Round” backing its dreamy acoustic balladry with heavy drums\, blistering guitar work\, and fantastically glam-minded lyrics (“I can’t even pour myself a glass of wine/Because every glass is stained with your lipstick shine”). Also evidence of The Struts’ romantic sensibilities\, the sweeping\, heart-on-sleeve intensity of “A Call Away” offers a stirring testament to love against the odds. “It’s about when I’d just moved to America and had a girlfriend back home\, and everyone was asking how I was going to make it work\,” explains Slack. “The song’s saying that we’ll make it work no matter what\, no matter how many miles apart we are.” \nAt the core of Everybody Wants are power-chord-driven tracks like the hard-charging album-opener “Roll Up” (a “larger-than-life caricature of the person I am onstage\, very glamorous and very cheeky\,” according to Spiller) and the gritty-yet-exhilarating “Kiss This” (a breakup song whose “message is really about standing up for yourself—sort of our version of a ‘Young Hearts Run Free’-type song\, but in a rock mentality\,” Spiller notes). With its hip-shaking rhythms and euphoric harmonies\, “Times Are Changin’” recaps the band’s recent glories (“I’ve been to New York City\, I met the Rolling Stones”)\, while “The Ol’ Switcharoo” blends bubblegum melodies and horn-backed grooves into the world’s most irresistibly fun tribute to girlfriend-swapping. \nThe Struts also show their skill in merging high-drama storytelling and pop-perfect melody on Everybody Wants\, with “Black Swan” spinning a darkly charged tale of warring families and star-crossed lovers. “I’d thought that ‘Black Swan’ would make a good title\, so Luke and I started writing it together one night in his room\,” recalls Slack. “We finished the melodies\, and the next morning he’d come up with this whole tragic love story to put into the lyrics.” And on “Where Did She Go\,” The Struts close out Everybody Wants with an infectiously stomping epic that first came to life when Spiller was just 15. “My parents had just moved to this horrible seaside town\, which wasn’t a great place to be if you’ve got long hair or you’re just an individual in any way\,” he says. “One night I was walking home quite drunk and started singing to myself\, as you do\, and this melody eventually came to me. I remember thinking\, ‘What kind of melody could you get a whole football stadium full of people to sing along to?’\, and then kept going from that.” \nForming The Struts in Derby\, England\, in 2012\, all four members began making music as teenagers\, initially finding inspiration in groups like Oasis and the Libertines and then tracking their idols’ influences to discover the glam bands that would one day shape their own sound. “When we first started\, we both just wanted to make fun\, happy rock songs with big choruses—the kind of thing that bands like Slade and T. Rex used to do\,” says Slack of his collaboration with Spiller. The trademark tongue-in-cheek swagger of classic glam also played a key part in the naming of the band\, Spiller points out. “We were in rehearsals and someone saw me strutting around as we were playing\, and made the suggestion that we call ourselves The Struts\,” he says. “We loved that from day one—it absolutely represents what we’re about.” \nLargely on the strength of their dynamic live performance\, the Struts fast built up a major following and started selling out shows all across Europe. Along with landing the Stade de France gig with the Rolling Stones\, the band took the stage at the 2014 Isle of Wight Festival\, with Spiller decked out in a shimmering-blue cape custom-made for him by Zandra Rhodes (the legendary designer who formerly created costumes for Queen’s Freddie Mercury and Brian May). Over the past few years Spiller’s role as a style idol has prevailed\, with the New York Times recently spotlighting the singer in a fashion-centric feature and Ray Brown (an Australian designer who’s also dreamed up outfits for AC/DC\, Ozzy Osbourne\, and Lady Gaga) coming up with costumes for The Struts’ run of dates with Mötley Crüe. \nIn their lavish stage presence and magnetic appeal\, The Struts have more than demonstrated a preternatural command of monumental crowds. But while all that glitz and flash never fail to thrill\, the band’s impassioned music and high-powered spirit also fulfill a far greater purpose. “The main mission of the band is to bring back that feeling of fun and rock & roll\, especially to all those people who are bored by what’s going on these days\,” says Spiller. “We really believe that music\, when it’s done right\, can help you escape the present moment\, and then just send you somewhere else entirely.” \n*** \nDorothoy \n \n[Website] [Facebook] [Twitter] \n“This guy was telling me all this stuff that no one else could possibly know\,” says Dorothy Martin\, the singer and namesake of Los Angeles rock quartet Dorothy. “The theme from The Twilight Zone was playing in my head. It was a ritual cleaning\, where this medicine man from Guadalajara spit all over me and blew smoke in my face. It was crazy. Then\, we went and climbed a pyramid. When we got to the top there were all these butterflies everywhere. It felt like a dream. But\, the weirdest part is that I had written the song before this happened.” \nAs Dorothy Martin talks about her favorite song (“Medicine Man”) from her band’s forthcoming debut on Jay-Z’s Roc Nation label\, you begin to realize the precise reason why her music is so bewitching. \nNo\, it’s not because she might be more of a shaman than that mystic she met in Mexico City. It’s because despite drawing from a familiar musical tradition—they are a rock band after all—Dorothy’s music is rendered anew by this front-woman’s singular vision. All of it is channeled through her. There is no one quite like her. So it follows\, there has been nothing quite like this band before now.
URL:https://royaleboston.com/event/the-struts/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:Broods
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is All Ages.\nTickets on sale Fri. 4/22 at noon! \nPlease note: ticket price includes $1 for charity and $1.50 for album. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nBroods \n \n[Website] [Facebook] [Twitter] \nMutli-award winning brother-sister duo Broods (Caleb and Georgia Nott) are one of the most celebrated young bands to emerge out of New Zealand in recent times. Announcing their arrival with glossy synth-pop ballads ‘Bridges’\, ‘Never Gonna Change’ and their self-titled debut EP\, through a tireless work ethic\, commitment to excellence and unshakable senses of self\, they’ve established themselves as an in-demand proposition globally. “Touring has made us realise how important it is to not just be yourself\, but back yourself\,” Georgia says. “If you’re not being true\, you’ll never stand out.” \nOver an ever-growing itinerary of performances across the US\, UK\, Canada\, Australia\, Asia and New Zealand\, their sound and live show has become increasingly crucial. To evoke an underrated cliché\, Broods have learned how to dance like no one is watching\, and sing like no one is listening. “We’ve loosened up a lot\,” Caleb says. “We’re in the moment\, and we’re focused on making it special every time.” Along the way they’ve sold-out headline tours\, and played major festivals such as Lollapalooza\, Outside Lands\, Groovin the Moo and Clockenflap to name a few. They’ve shared stages with Ellie Goulding\, Haim\, CHVRCHES\, Tove Lo\, and supported breakout English pop star Sam Smith on his sold-out US tour. In August 2014\, things went white hot for them with the release of their Joel Little produced debut album Evergreen\, debuting at #1 on the New Zealand Albums Chart\, #5 on the Australian Albums Chart and top 50 in the US. Pristinely polished and perfectly poised\, across Evergreen Broods deploy vividly atmospheric textures and heady rhythms in counterpoint to measured pop hooks\, all delivered with a stadium-sized sense of melody and harmony. A record of euphoric peaks and intimate valleys\, it’s the sound of youth maturing into adulthood. Young people growing up lost in the world\, and figuring out what that means while finding themselves along the way. With equally impressive Soundcloud\, Hype Machine\, iTunes and YouTube figures behind them\, as well as key tastemaker support from Zane Lowe (of BBC Radio 1)\, and preeminent new music blog Pigeons and Planes\, Broods are turning their wide-eyed teenage dreams into sustainable realities. \nTopping off their busy two years so far has been the nomination of ‘Bridges’ for the APRA AMCOS 2014 Silver Scroll Award\, and winning Breakthrough Artist of the Year at the 2014 Vodafone New Zealand Music Awards. That particular win was to foretell their success at the 2015 awards\, where they took out four accolades; including Best Group\, Best Pop Album\, Highest Radio Airplay for ‘Mother & Father’ and the coveted Album of the Year award. “We’re not taking any of this for granted\,” Georgia says. “We keep active and work 24/7\,” Caleb adds. “This is what we do now. It’s our life.” \n*** \nJarryd James \n \n[Soundcloud] [Facebook] [Twitter] \nOver three days in the fall of 2014\, Australian singer-songwriter Jarryd James and songwriter-producer Joel Little (Lorde\, Broods) holed up in a Airbnb in Los Angeles with some portable recording equipment\, a computer\, and a $30 ukulele they found in the house and created the song “Do You Remember.” “I was trying to capture the feeling of nostalgia in a song\, both lyrically and melodically\, and just how powerful that emotion is\,” James says. “I was in an unfamiliar place all by myself and I guess I was feeling a bit fragile. But when you sit down and think back to a certain time\, there’s a lot of beauty in that reminiscing.” Wanting to share the song with people\, James put “Do You Remember” up on Soundcloud in January 2015\, not expecting anything of it.  \nBut with its “silky falsetto vocals\, pounding drums\, and plucked guitars” (as NME described it)\, “Do You Remember” quickly struck a chord with listeners and catapulted the then-unsigned artist into viral fame. By February\, James was touring with Aussie superstars Angus & Julia Stone and the following month had landed a deal with Interscope Records in the U.S. Upon its official release\, “Do You Remember” debuted at No. 2 on Singles chart in Australia\, as well as No. 1 on Hype Machine and the Australian iTunes charts\, and was the No. 1 most Shazamed song in Australia. James\, a humble\, soft-spoken native of Brisbane\, who had spent several years in a band\, followed by six years working with troubled kids before returning to making music\, found himself being supported by critics\, industry tastemakers like Beats 1 Radio’s Zane Lowe\, and artist peers like Ed Sheeran\, who told Rolling Stone that he had heard “Do You Remember” on Australian radio and “had to find out who the singer was. I just love his sound.“ When James released his follow-up single\, “Give Me Something” (also co-written with Little)\, Nylon magazine called him “a member of R&B’s new wave\, an artist who is helping to redefine the genre.” \nNow James is gearing up to release his debut album Thirty-One — 12 minimalist-sounding gems that showcase his ability to live in the sweet spot where unforgettable melodies\, soulful vocals\, and bittersweet lyrics intersect. Working with his collaborators Joel Little\, Pip Norman (Troye Sivan)\, and Malay Ho (Frank Ocean’s Channel Orange\, Tori Kelly)\, James delivers an immersively emotional experience fueled by the album’s sparse sonics and his aching falsetto\, not to mention his knack for writing lyrics that shoot straight for the gut.  \nHowever ask James what his songs are about and he’ll tell you that rather than focus on what inspires them\, his priority is the emotions they conjure up. “I never go into a session thinking\, ‘I’m going to write about this or that\,’” he says. “I need the music to tell me what to do. I let it soak into me\, then the words come. I just switch my brain off\, otherwise I end up overthinking things. I’ve never liked literal thoughts in songs. I always go for the metaphor or something ambiguous that will convey a feeling. The music I love the most\, I don’t even know what it’s about\, but I know how it makes me feel inside and that’s literally all I’m ever trying to do.” \nOne of James’ earliest and most powerful musical memories is hearing and connecting with Bob Dylan’s protest song “Hurricane.” “The story he tells is incredible and the fact that it was real … that stayed with me\,” he says. James grew up in a small town called Dalby\, three hours west of Brisbane where he lived with his mother\, sister\, and ailing grandmother. James’ parents split while his mother was pregnant with him and James’ father died when James was an infant. “My mom was very protective of me and my sister\,” he recalls. “My whole childhood was very sheltered.” Music drew James out. He played trumpet throughout his school years before teaching himself to play piano and guitar. Eventually\, he discovered artists like Harry Nilsson\, Paul McCartney\, and Stevie Wonder and spent hours in his room absorbing their stories\, melodies\, and vocal techniques. “I listened to Stevie Wonder and would try to nail his runs and trills because what he did was incredible.” \nAt 20\, James got up the nerve to sing for his friends and began writing his own songs a few years later. “At that point\, it was mostly about creating beautiful melodies\,” he says. “I didn’t think I had anything to write about.” He eventually formed a band with a few talented friends. Calling themselves Holland\, the band were signed to a major label and toured Australia before calling it quits after six years. Feeling a bit lost after the break-up\, James took a full-time government job looking after young people with extreme needs. “They were kids who didn’t fit into the foster care system so they were either homeless or in lockup in juvenile detention\,” James explains. He loved the work\, but also realized that something was missing from his life. “I got pretty depressed\,” he admits. “I was just sad all the time. I knew I had to start making music again.” \nHe called a friend with a recording studio in the Gold Coast and asked if he could pay him a visit. The first song to come pouring out was “High\,” an epic\, orchestral-sounding song that now closes out Thirty-One. In short order\, James found a publisher (Sony/ATV) and attended a songwriting workshop in Sydney where he connected with Pip Norman\, with whom he wrote Thirty-One’s “Sell It To Me\,” “Undone\,” and his third Australian single “Sure Love.” With Norman accompanying him\, James performed at the APRA Awards in Australia where he caught the attention of Joel Little and music manager\, Ashley Page\, who offered to represent him and immediately put James on tour with his clients Broods. He also wrote “Do You Remember” with Little and the rest was history. “Do You Remember” has racked up more than 27 million plays on Spotify and is the perfect introduction to Thirty-One\, a title inspired not only by James’ age\, but by his realization that his father died at 31. “It hit me last year when I became aware that I was making an album\,” he says. “I was like\, ‘Holy shit\, if I make it through this year\, I’ve outlived my father and on the same year that I put out this album\, which is so special to me.’ I feel like I’m kind of continuing on with what he couldn’t finish doing.”
URL:https://royaleboston.com/event/broods/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:Morgan Page
DESCRIPTION:21+ \n*Management reserves the right to refuse entry / Admission not guaranteed after 12AM / No refunds of any kind all sales are final.
URL:https://royaleboston.com/event/morgan-page/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20160806T180000
DTEND;TZID=America/New_York:20160806T180000
DTSTAMP:20260412T172638
CREATED:20160420T143125Z
LAST-MODIFIED:20160420T143125Z
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SUMMARY:The Fall of Troy
DESCRIPTION:Doors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and over.\nTickets on sale NOW! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nThe Fall of Troy \n \n[Website] [Facebook] [Twitter] \nWe’re The Fall of Troy from Mukilteo\, Wa. \n*** \n’68 \n \n[Website] [Facebook] [Twitter] \nIn Humor and Sadness\, the debut album from ’68\, demonstrates the loud beauty of alarming simplicity. A guy bashing his drums\, another dude wielding a guitar like a percussive\, blunt weapon while howling into a mic somehow manages to sound bigger and brasher than the computerized bombast of every six-piece metal band. A splash of roots\, a soulful yearning for mid century Americana and the fiery passion of post punk ferocity rampages over a record of earnestly forceful tracks like a runaway locomotive.  \nJosh Scogin wasn’t out of elementary school when the Flat Duo Jets laid their first album down on two tracks in a garage. But the scrappy band’s spirit of raw power\, punchy delivery\, tried-and-true rhythms and urgent sense of immediacy is alive and well in ’68.  \nHeralded by Alternative Press as one of 2014’s Most Anticipated Albums\, In Humor and Sadness is a snapshot of a fiery new beginning for one of modern Metalcore’s most celebrated frontmen. Produced by longtime Scogin collaborator Matt Goldman (Underoath\, Anberlin\, The Devil Wears Prada)\, the first full offering from ’68 is a broad reaching slab of ambitious showmanship delivered with few tools and fewer pretensions. The scratchy disharmonic pop of Nirvana’s Bleach is in there\, for sure. And while many associate the setup with The Black Keys\, ’68 is more like Black Keys on crack.  \n“I wanted it to be as loud and obnoxious as it can be\,” Scogin explains. “I want it to be in-your-face. I want people who hear us live to just be like\, ‘There’s no way this is just two dudes!’ That became sort of the subplot to our entire existence. ‘How much noise can two guys make?’ It’s obviously very minimalistic\, but in other ways\, it’s very big. I have as many amps onstage as a five piece band. Michael only has one cymbal and one tom on his kit\, but he plays it like it’s some kind of big ‘80s metal drum setup. It’s minimalistic\, but it’s also overkill. We get as much as we can from as little as we can.” \nLike many pioneers\, North Carolina’s the Flat Duo Jet’s blazed a trail for more commercially successful people. They played rootsy rockabilly but with a punk edge. Band leader Dexter Romweber’s solo work was a fist-pounding celebration of audacity and disruption\, which influenced the likes of The White Stripes\, among other bands.  \n“I got excited when I thought about the distress\, the chaos that this two-piece arrangement would create – one guy having to provide all of these sounds\, with a bunch of pedals\, with certain chords wigging out and missing notes here and there\,” he says with excitement. “That alone makes up for the chaos of having five people up there.”  \nThat idea of less is more\, of building something big from something small\, persists today at the top of the charts with The Black Keys\, just as it’s lived and breathed in the bass-player-less eclectic trio Jon Spencer Blues Explosion\, the rule-breaking early ‘90s destruction of Washington D.C.’s Nation of Ulysses\, and in the two man attack of ’68.  \n“Jon Spencer’s records always sound like he’s kind of winging it and I love that\,” declares Scogin\, letting out an affectionate laugh. “In my last band\, that’s how we tried to make our last record feel. The excitement and imperfection is something I love to draw from.” \nBefore paring (and pairing) things down with friend and drummer Michael McClellan\, Josh Scogin was the voice\, founder and agitprop-style provocateur in The Chariot\, who laid waste to convention across a brilliantly unhinged and defiantly unpolished catalog of Noisecore triumphs and dissonant art rock rage. Recorded live in the studio\, overdub free\, The Chariot’s first album set the tone for a decade to come\, owing more to a band like Unsane than whatever passes for “scene.” \nScogin was the original singer for Norma Jean and left an influential imprint on the burgeoning Metalcore of the late 90s that persists today\, despite having fronted the band for just one of six albums. Whether it’s the genre-defining heft of Norma Jean’s first album or the five records and stage destroying shows of The Chariot\, there’s a single constant at the heart of Josh Scogin’s career: a familiarity with the unfamiliar.  \nA new Metalcore band would be a safe third act for the subculture lifer\, but Scogin isn’t comfortable unless he’s making himself (and his audience) uncomfortable. “I definitely wanted to flip the script a bit\,” he freely confesses. “I’ve always wanted to play guitar and sing in a band\, ever since I left Norma Jean. I needed the freedom of not having a guitar onstage\, but now having done that for several years\, I wanted the challenge.”  \nCreative problem solving has long been the name of the game for Scogin\, whether he was hand stamping ALL 30\,000 CDs for The Chariot’s Wars and Rumors of Wars album or figuring out how to pull off his ’68 song title concept in the digital age of iTunes. Each song on In Humor and Sadness was to be titled with simply a single letter\, which when put together vertically on the back of a vinyl LP or compact disc\, would spell out a word. However\, it’s problematic to name more than one song with the same letter\, which would have been necessary to spell out what he intended.  \n’68 is the forward thinking progress of an artist who finds satisfaction in the expression of dissatisfaction. There’s progression in this regression. Tear apart all of the elements that have enveloped a singer’s performance\, strap a guitar on the guy and set him loose with nothing but a beat behind him? It’s a recipe for inventive\, fanciful mayhem.  \nAfter a raucous debut at South By Southwest\, a full US tour supporting Chiodos and many more road gigs on the horizon\, Scogin and McClellan are propelled by the excitement that comes along with the knowledge that ‘68 is truly just getting started.  \n“We’ve just broken the tip of the iceberg. We’re really just exploring all the different things we can do\,” Scogin promises. “I’ll get more pedals\, we’re try different auxiliary instruments\, whatever – the goal is to challenge ourselves and challenge an audience.” \n*** \n Illustrations  \n \n[Website] [Facebook] [Twitter] \nSan Antonio\, TX
URL:https://royaleboston.com/event/the-fall-of-troy-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:20160806T220000
DTEND;TZID=America/New_York:20160806T220000
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SUMMARY:NRG
DESCRIPTION:21+ \nTop 40 dance music
URL:https://royaleboston.com/event/saturday-line-jumpers/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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CREATED:20160408T161039Z
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SUMMARY:[SOLD OUT] PIEBALD
DESCRIPTION:You’re Part of It! 2016 Tour \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nSOLD OUT! \n*** \n \n*** \nPIEBALD \n \n[Website] [Facebook] \nEmocore outfit Piebald formed in 1994 when vocalist/guitarist Travis Shettel\, guitarist Aaron Stuart\, bassist Andrew Bonner and drummer Jon Sullivan were still high school students in suburban Andover\, MA. Sullivan left a few years later; Alex Garcia Rivera stepped in before the band ultimately settled down with Luke Garro behind the kit. \nQuickly becoming a staple of the Boston-area indie circuit\, Piebald released their first album\, When Life Hands You Lemons\, in 1997 via Hydra Head Records. They followed up two years later with If It Weren’t for Venetian Blinds It Would Be Curtains for Us All\, which further presented the band’s lighthearted spin on typical emo values\, offering such song titles as “Fat and Skinny Asses.” \nThe EP The Rock Revolution Will Not Be Televised appeared in 2000 before Piebald amicably split to focus on life outside the band. Boston-based imprint Big Wheel Recreation released the dual-disc retrospective Barely Legal/All Ages the following year\, which collected shaky recordings from their high school days all the way up through their 1997 debut; the set also included all of Piebald’s early 7″ EPs\, some demos\, live cuts (including a blistering cover of the Beatles’ “I Saw Her Standing There”)\, and out-of-print tracks. During the break\, Shettel also put out a solo record under the appropriate project name of Totally Travis. \nThe band’s separation didn’t last long\, however; Piebald announced their return in 2002 with We Are the Only Friends We Have\, a fun-yet-mature album that was quickly embraced by fans and critics alike. A single from that album\, “American Hearts\,” saw minor success on MTV and was even sampled a few years later by MC Lars on his emo-laptop-rap “iGeneration.” \nIt was a year of unprecedented good fortune for the band\, but things took a turn for the worse when Shettel had to undergo throat surgery. Shettel’s health problems resulted in the cancellation of a string of live shows (opening up for Dashboard Confessional\, no less)\, but the band wasn’t down for long. Shettel healed up in a few months’ time\, and Piebald headed back out on the road to headline with bands like My Chemical Romance\, Minus the Bear\, and Fairweather in tow. \nBy early 2004\, Piebald had inked a deal with Cali-based indie label SideOneDummy\, and their next album\, All Ears\, All Eyes\, All the Time\, came out that May. Late in the next year\, while the band toured with Hot Rod Circuit in their new environmentally friendly\, vegetable oil powered van\, the CD/DVD B-sides collection Killa Bros and Killa Bees was issued. Piebald’s next proper full-length\, Accidental Gentlemen\, hit stores in January 2007. \nPiebald’s last show was on April 19\, 2008 at Cambridge\, MA’s Middle East Downstairs\, though the band reunited for sets at The Bamboozle festival in California and New Jersey in early 2010. \n~Erik Hage \n*** \nNomad Stones \n \n[Facebook] \nBoston\, MA
URL:https://royaleboston.com/event/piebald-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:20160808T190000
DTEND;TZID=America/New_York:20160808T190000
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SUMMARY:[SOLD OUT] PIEBALD
DESCRIPTION:You’re Part of It! 2016 Tour \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nSOLD OUT \n*** \n \n*** \nPIEBALD \n \n[Website] [Facebook] \nEmocore outfit Piebald formed in 1994 when vocalist/guitarist Travis Shettel\, guitarist Aaron Stuart\, bassist Andrew Bonner and drummer Jon Sullivan were still high school students in suburban Andover\, MA. Sullivan left a few years later; Alex Garcia Rivera stepped in before the band ultimately settled down with Luke Garro behind the kit. \nQuickly becoming a staple of the Boston-area indie circuit\, Piebald released their first album\, When Life Hands You Lemons\, in 1997 via Hydra Head Records. They followed up two years later with If It Weren’t for Venetian Blinds It Would Be Curtains for Us All\, which further presented the band’s lighthearted spin on typical emo values\, offering such song titles as “Fat and Skinny Asses.” \nThe EP The Rock Revolution Will Not Be Televised appeared in 2000 before Piebald amicably split to focus on life outside the band. Boston-based imprint Big Wheel Recreation released the dual-disc retrospective Barely Legal/All Ages the following year\, which collected shaky recordings from their high school days all the way up through their 1997 debut; the set also included all of Piebald’s early 7″ EPs\, some demos\, live cuts (including a blistering cover of the Beatles’ “I Saw Her Standing There”)\, and out-of-print tracks. During the break\, Shettel also put out a solo record under the appropriate project name of Totally Travis. \nThe band’s separation didn’t last long\, however; Piebald announced their return in 2002 with We Are the Only Friends We Have\, a fun-yet-mature album that was quickly embraced by fans and critics alike. A single from that album\, “American Hearts\,” saw minor success on MTV and was even sampled a few years later by MC Lars on his emo-laptop-rap “iGeneration.” \nIt was a year of unprecedented good fortune for the band\, but things took a turn for the worse when Shettel had to undergo throat surgery. Shettel’s health problems resulted in the cancellation of a string of live shows (opening up for Dashboard Confessional\, no less)\, but the band wasn’t down for long. Shettel healed up in a few months’ time\, and Piebald headed back out on the road to headline with bands like My Chemical Romance\, Minus the Bear\, and Fairweather in tow. \nBy early 2004\, Piebald had inked a deal with Cali-based indie label SideOneDummy\, and their next album\, All Ears\, All Eyes\, All the Time\, came out that May. Late in the next year\, while the band toured with Hot Rod Circuit in their new environmentally friendly\, vegetable oil powered van\, the CD/DVD B-sides collection Killa Bros and Killa Bees was issued. Piebald’s next proper full-length\, Accidental Gentlemen\, hit stores in January 2007. \nPiebald’s last show was on April 19\, 2008 at Cambridge\, MA’s Middle East Downstairs\, though the band reunited for sets at The Bamboozle festival in California and New Jersey in early 2010. \n~Erik Hage \n*** \nChrome Over Brass \n \n[Website] [Facebook] \nChrome Over Brass is an instrumental band created by Alex Garcia-Rivera. Songs are composed of drum-riffs\, layered with guitars
URL:https://royaleboston.com/event/piebald/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160809T190000
DTEND;TZID=America/New_York:20160809T190000
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SUMMARY:Belly
DESCRIPTION:SECOND SHOW ADDED DUE TO OVERWHELMING DEMAND! \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 3/11 at noon! \n*** \nBelly \n \n[Website] [Facebook] [Twitter] \nBelly formed in 1991 after Tanya Donelly left the critically acclaimed Throwing Muses\, which she’d founded with her stepsister Kristin Hersh while they were both still in high school. Just prior to leaving the Muses\, Tanya co-founded The Breeders as a side project with Kim Deal of The Pixies\, but soon realized she needed more space to pursue her own fractured-fairytale alternative-pop-rock song-writing vision. \nTanya recruited Fred Abong to play bass (he had played on her final Muses album)\, and brothers Chris and Tom Gorman- friends from her native Rhode Island- to play drums and guitar\, respectively. The band immediately got to work rehearsing and demoing the material that would eventually become Belly’s debut album\, Star. Star was recorded in two sessions\, the first in Nashville\, with engineer Tracy Chisholm\, the second in Liverpool\, England\, with producer Gil Norton. \nJust before the release of the album on 4AD/Sire/Reprise in January 1993\, Abong left the band and was replaced by music scene veteran and hard-rocker Gail Greenwood. \nBy turns dreamy\, creepy\, jaggedly delicate and melodically expansive\, Star was propelled by the single “Feed the Tree” to gold-record status in the US\, earning two Grammy nominations and eventually selling two million copies worldwide. \nBelly spent more than a year of nearly nonstop touring for Star\, performing throughout the US\, UK\, Europe\, Australia and Japan\, with opening bands that included The Cranberries and Radiohead. The band also opened for U2 and the Velvet Underground at the Hippodrome in Paris. \nIn the summer of 1994\, Belly began writing and rehearsing for their sophomore release. Produced by the legendary Glyn Johns and released in February 1995\, King was a more ‘rock-oriented’ and live-sounding album\, reflecting the band’s experience of hard touring that preceded it\, as well as Johns’ minimalist production style. Stripped down and direct\, Kingdispensed with much of the layering and idiosyncratic charm that had characterized Star. \nAnother extensive tour followed the release of King\, with dates opening for R.E.M. in Europe\, and U.S. dates supported by the Catherine Wheel and Superchunk. \nAlas\, King didn’t meet record-label sales expectations. Falling prey to the all-too-common rock-and-roll cliché of industry pressure\, financial issues\, personal conflict and divergent creative ambitions\, Belly disbanded without ceremony on Nov. 11\, 1995\, after playing the final show of the King tour at The Dragonfly in Los Angeles. \nTanya went on to pursue a solo career\, continuing to perform internationally and\, to date\, releasing four albums under her own name: Lovesongs for Underdogs (1997)\, Beautysleep (2002)\, Whiskey Tango Ghosts (2004) and This Hungry Life (2006). In recent years\, she has self-released a stream of digital EPs known as The Swan Song Series\, an expansive collection of collaborations with some of her favorite musicians and authors. The entire series is to be released on CD and vinyl in 2016 by American Laundromat Records. Tanya lives in Boston with her husband\, musician Dean Fisher (the Juliana Hatfield Three)\, and their two daughters\, and works as a postpartum doula. \nAfter Belly\, Gail spent three years playing in L7\, followed by two years as touring bassist for pop-punk artist Bif Naked. Since 2002 she has performed with her partner Chil Mott in the metal-inflected power-punk band Benny Sizzler. She lives in Rhode Island\, where she and Chil run a graphic design business and are active in anti-sprawl efforts and lobbying for land conservation. They share their home with Bear and Maurice\, trained therapy dogs who perform in libraries and nursing homes\, star in Benny Sizzler videos and have been featured on the PBS Kids’ show “Martha Speaks.” \nNot long after Belly called it quits\, Chris moved to New York City and opened a studio to pursue commercial and fine-art photography. He’s also designed and built several restaurant spaces\, a yoga studio and his own surf shop. In 2015\, he published his first children’s book\, Indi Surfs. Chris lives near the beach on Long Island with his wife\, two kids\, two cats\, a dog and a fish named Godzilla. \nTom briefly played guitar and keyboards with Buffalo Tom after the breakup of Belly\, toured with Kristin Hersh in 1999 and eventually moved to New York City\, where he joined Chris in the commercial photography business. He now splits his time between New York City and rural upstate NY\, where he and his wife are implementing permaculture design on their small farm. They are also active in the fight against fracking and the expansion of fracked-gas pipelines and infrastructure- in their small town and everywhere.
URL:https://royaleboston.com/event/belly-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:20160812T180000
DTEND;TZID=America/New_York:20160812T180000
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CREATED:20160222T154633Z
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SUMMARY:[SOLD OUT] Belly
DESCRIPTION:Doors: 6:00 pm / Show: 7:00 pm \nThis event is 18 and over. \nSOLD OUT!\nPlease note: this is an evening with Belly. No support acts. \n*** \nBelly \n \n[Website] [Facebook] [Twitter] \nBelly formed in 1991 after Tanya Donelly left the critically acclaimed Throwing Muses\, which she’d founded with her stepsister Kristin Hersh while they were both still in high school. Just prior to leaving the Muses\, Tanya co-founded The Breeders as a side project with Kim Deal of The Pixies\, but soon realized she needed more space to pursue her own fractured-fairytale alternative-pop-rock song-writing vision. \nTanya recruited Fred Abong to play bass (he had played on her final Muses album)\, and brothers Chris and Tom Gorman- friends from her native Rhode Island- to play drums and guitar\, respectively. The band immediately got to work rehearsing and demoing the material that would eventually become Belly’s debut album\, Star. Star was recorded in two sessions\, the first in Nashville\, with engineer Tracy Chisholm\, the second in Liverpool\, England\, with producer Gil Norton. \nJust before the release of the album on 4AD/Sire/Reprise in January 1993\, Abong left the band and was replaced by music scene veteran and hard-rocker Gail Greenwood. \nBy turns dreamy\, creepy\, jaggedly delicate and melodically expansive\, Star was propelled by the single “Feed the Tree” to gold-record status in the US\, earning two Grammy nominations and eventually selling two million copies worldwide. \nBelly spent more than a year of nearly nonstop touring for Star\, performing throughout the US\, UK\, Europe\, Australia and Japan\, with opening bands that included The Cranberries and Radiohead. The band also opened for U2 and the Velvet Underground at the Hippodrome in Paris. \nIn the summer of 1994\, Belly began writing and rehearsing for their sophomore release. Produced by the legendary Glyn Johns and released in February 1995\, King was a more ‘rock-oriented’ and live-sounding album\, reflecting the band’s experience of hard touring that preceded it\, as well as Johns’ minimalist production style. Stripped down and direct\, Kingdispensed with much of the layering and idiosyncratic charm that had characterized Star. \nAnother extensive tour followed the release of King\, with dates opening for R.E.M. in Europe\, and U.S. dates supported by the Catherine Wheel and Superchunk. \nAlas\, King didn’t meet record-label sales expectations. Falling prey to the all-too-common rock-and-roll cliché of industry pressure\, financial issues\, personal conflict and divergent creative ambitions\, Belly disbanded without ceremony on Nov. 11\, 1995\, after playing the final show of the King tour at The Dragonfly in Los Angeles. \nTanya went on to pursue a solo career\, continuing to perform internationally and\, to date\, releasing four albums under her own name: Lovesongs for Underdogs (1997)\, Beautysleep (2002)\, Whiskey Tango Ghosts (2004) and This Hungry Life (2006). In recent years\, she has self-released a stream of digital EPs known as The Swan Song Series\, an expansive collection of collaborations with some of her favorite musicians and authors. The entire series is to be released on CD and vinyl in 2016 by American Laundromat Records. Tanya lives in Boston with her husband\, musician Dean Fisher (the Juliana Hatfield Three)\, and their two daughters\, and works as a postpartum doula. \nAfter Belly\, Gail spent three years playing in L7\, followed by two years as touring bassist for pop-punk artist Bif Naked. Since 2002 she has performed with her partner Chil Mott in the metal-inflected power-punk band Benny Sizzler. She lives in Rhode Island\, where she and Chil run a graphic design business and are active in anti-sprawl efforts and lobbying for land conservation. They share their home with Bear and Maurice\, trained therapy dogs who perform in libraries and nursing homes\, star in Benny Sizzler videos and have been featured on the PBS Kids’ show “Martha Speaks.” \nNot long after Belly called it quits\, Chris moved to New York City and opened a studio to pursue commercial and fine-art photography. He’s also designed and built several restaurant spaces\, a yoga studio and his own surf shop. In 2015\, he published his first children’s book\, Indi Surfs. Chris lives near the beach on Long Island with his wife\, two kids\, two cats\, a dog and a fish named Godzilla. \nTom briefly played guitar and keyboards with Buffalo Tom after the breakup of Belly\, toured with Kristin Hersh in 1999 and eventually moved to New York City\, where he joined Chris in the commercial photography business. He now splits his time between New York City and rural upstate NY\, where he and his wife are implementing permaculture design on their small farm. They are also active in the fight against fracking and the expansion of fracked-gas pipelines and infrastructure- in their small town and everywhere.
URL:https://royaleboston.com/event/belly/
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:20160812T220000
DTEND;TZID=America/New_York:20160812T220000
DTSTAMP:20260412T172638
CREATED:20160609T044645Z
LAST-MODIFIED:20160609T044645Z
UID:10002391-1471039200-1471039200@royaleboston.com
SUMMARY:SuperFresh
DESCRIPTION:21+ \n*Management reserves the right to refuse entry / Admission not guaranteed after 12AM / No refunds of any kind all sales are final.
URL:https://royaleboston.com/event/superfresh/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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SUMMARY:Liz Ladoux
DESCRIPTION:21+ \nTop 40 dance music
URL:https://royaleboston.com/event/liz-ladoux-3/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20160819T220000
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SUMMARY:Thomas Jack
DESCRIPTION:21+ \n*Management reserves the right to refuse entry / Admission not guaranteed after 12AM / No refunds of any kind all sales are final.
URL:https://royaleboston.com/event/thomas-jack/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20160820T220000
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SUMMARY:Chill
DESCRIPTION:21+
URL:https://royaleboston.com/event/chill/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20160826T220000
DTEND;TZID=America/New_York:20160826T220000
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CREATED:20160609T045536Z
LAST-MODIFIED:20160609T045536Z
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SUMMARY:Brillz
DESCRIPTION:21+ \n*Management reserves the right to refuse entry / Admission not guaranteed after 12AM / No refunds of any kind all sales are final.
URL:https://royaleboston.com/event/brillz/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20160827T220000
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CREATED:20160817T005450Z
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SUMMARY:White Party
DESCRIPTION:21+
URL:https://royaleboston.com/event/white-party-4/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20160903T220000
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LAST-MODIFIED:20160726T220041Z
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SUMMARY:Dada Life
DESCRIPTION:21+
URL:https://royaleboston.com/event/dada-life/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20160904T220000
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SUMMARY:White Party
DESCRIPTION:21+
URL:https://royaleboston.com/event/white-party-3/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20160906T200000
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SUMMARY:Band of Skulls
DESCRIPTION:Doors: 8:00 pm / Show: 8:30 pm \nThis event is 18 and over.\nTickets on sale Thu. 5/26 at noon! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nBand of Skulls \n \n[Website] [Facebook] [Twitter] \nToo many careers in rock’n’roll are sprints rather than marathons. Few artists make it past their debut album without having already squandered their life’s quota of creative ideas. Fewer still make it to four albums in without hitting some kind of existential crisis\, without losing direction\, or going on autopilot and resorting to the same old tricks to keep a dwindling fan-base interested. \nMeet Band of Skulls\, then\, whose fourth album\, By Default’\, is the sound of a group on the sharpest form of their career\, more engaged and focused than they’ve ever been. An album that electrifies with rock’n’roll cut back to its most vivid elements\, focusing all their brawny power and maverick invention into choruses\, hooks and expertly-sculpted three-minute bursts so unashamedly anthemic and accessible they’ll soundtrack this summer\, and far beyond. \n“It’s definitely a new era\,” says guitarist/vocalist Russell Marsden. “The first three records were like a trilogy\, a piece of work in themselves. We wanted to do those things\, and we did them all. We took a breath\, took a look at what we’d done\, and started from scratch again.” \n“We hadn’t stopped since releasing our first album in 2009\,” remembers Matt. Their new contract with BMG Recordings bought them breathing space\, time to reflect on where they’d been creatively – and where they wanted to go next. They hired rehearsal space in Central Baptist Church in Southampton\, and loaded in the barest bones of equipment – some ratty old practice amps\, Matt’s dad’s drum-kit from the 1960s; “Even shit songs sound impressive on expensive gear\,” explains Russell\, of the spartan set-up – and started work on writing a new future for Band of Skulls. \n“We went back to Square One\,” smiles Matt. “It felt new and exciting again.” In the church – between visits from the vicar\, bringing tea and biscuits on his trolley – they found the new songs in hours of woodshedding\, each member bringing new ideas into the room\, which the band studied with unforgiving ears. “We’re pretty merciless\,” says Russell\, of this process. “We’re emotional about it – we get mad. We get mad at each other\, at ourselves. We care about it. We were looking to challenge ourselves\, to surprise each other.” Indeed\, as they rehearsed and rewrote the new material\, Band of Skulls stalked far outside their comfort zone\, hammering out their own version of techno music on their primitive instruments\, or writing songs around the spectral sound of hands clapping in the natural reverb of the church. \nAfter accumulating a sackful of new tunes that had withstood their punishing audition process\, the group went into the studio with legendary producer Gil Norton (Pixies\, Foo Fighters\, Patti Smith) to commit the new songs to tape. They brought with them sounds sampled in the church\, to preserve the magical ambience they’d discovered. They also brought with them some of their strongest songs yet – from the primal brilliance of opener Black Magic and the irresistible dynamics of Killer\, to the slow-burning drama of the powerful Embers\, to the razor-edged funk of So Good\, to the swaggering\, steroidal\, futurist blues-rock of Little Mama. Norton helped them polish the raw material; more often\, though\, he encouraged further excursions into the unknown\, like the wild freakout that scores the muscular rhumba of Tropical Disease. \nThe band’s drive\, their passion for reinvention – their reluctance for simply following the same beaten path – should come as no surprise to anyone who’s been following Band of Skulls’ movements thus far. They formed just over a decade ago after Marsden and drummer Matt Hayward (who\, from a young age\, spent every Saturday morning making a righteous racket together after their folks recognised their love for music was more than just a passing thing) joined forces with bassist/singer Emma Richardson. \nFrom the off\, Band of Skulls were different. They had two lead singers\, and all three were songwriters. “We had high ambition\,” remembers Russell. “We wanted to tour\, to make albums\, to be in it for the long run. We were never in a rush for an instant fix\, it was never a scene thing; we were always outsiders\, the three of us banded together\, but all of us battling for the spotlight.” \nThere’s a key moment in the Band of Skulls story that illustrates their drive\, the sense of purpose that’s set them apart from their contemporaries. In America to complete work on what would become their 2009 debut album Baby Darling Doll Face Honey’\, they lit out for their first American tour. But this was no whistle-stop visit to New York and Los Angeles and then back home: instead\, the group elected to play every city they came across until they’d completed a circuit of the Americas. \n“We’d paid our dues\, played all over Britain\, and were looking for a new challenge\,” says Russell. And a challenge it most certainly was. Their only calling card was debut single\, I Know What I Am\, which had been given away free as iTunes’ first-ever Single Of The Week; they used this notoriety to book a slew of tiny gigs across America\, and proceeded\, as Russell puts it\, to “knock those small gigs over one-by-one”. There was no Plan B’\, no safety net; either Band of Skulls succeeded over those months as a touring band in America\, or the game was over. \nNot only did Band Of Skulls make a triumph of that first circuit of America’s vast expanse\, they completed a second victory lap of larger venues before returning home to the UK\, establishing a momentum that carried them through three acclaimed albums – Baby Darling Doll Face Honey’\, 2012’s Sweet Sour’ and 2014’s Himalayan’ – and further long tours across the globe (Matt reckons they spent no more than a month off the road during this era). \nBy Default’ is an album of which Band of Skulls are understandably proud\, but the group know it is more than just their latest record; it’s also the gateway to their future. “This album could have been fifty songs\, each one a minute long\, because we had so many ideas” says Russell\, hinting that the group’s fearsome pace and creative stamina are far from exhausted. \nNow\, the band’s focus is taking these new songs on the road\, to play them before audiences. “For us\, it’s like a tightrope thing\,” says Matt. “Like\, can we pull off this trick” Smart money says they can\, with a killer flourish. “We’re proud of this new album we’ve made\,” adds Russell. “We hope it bursts out of the speakers to make that clear.” \n*** \nMothers \n \n[Website] [Facebook] [Twitter] \n“Mothers’ music reminds us that gentleness isn’t weakness\, and that despite the world’s best efforts\, honesty is not an entirely lost art.” – Flagpole  \nMothers began in 2013 as the solo project of Athens\, Georgia-based visual artist Kristine Leschper while she studied printmaking at the Lamar Dodd School of Art. The discipline instilled in her a strong work ethic and an intense focus to detail\, while simultaneously inspiring her to pursue other creative aspects of her personality. A self-taught songwriter and multi-instrumentalist\, Leschper’s earliest musical influences span a great swath of early aughts rock and folk\, such as Sufjan Stevens\, Joanna Newsom\, The Microphones\, and Athens legends Neutral Milk Hotel; she later developed a love for experimental music\, math rock\, and noise artists\, including Lighting Bolt\, Hella\, Don Caballero\, and Tera Melos. As a result\, her earliest demos exhibit a sense of striking catharsis under non-traditional song structures\, which flirt between strength and vulnerability\, and are often quite linear in form. \nLeschper wrote the majority of the songs that would evolve into When You Walk A Long Distance You Are Tired while finishing art school in early 2014. Fittingly\, as while her attention to visual art and music come from very different creative spaces for her\, each cannot help but bleed into one another. The delicately resolute opener “Too Small For Eyes\,” which she says is about “being incredibly uncomfortable in your own body and learning how to relate to yourself\,” even shares its title with that of her senior thesis project.  \nOver the course of the year\, she played solo shows that earned her local acclaim\, including from Flagpole\, which praised her “visceral\, deeply personal” songs. But she knew that in order to reach her true musical vision\, she would need to expand the line-up\, so she recruited multi-instrumentalist Matthew Anderegg to help flesh out the arrangements and guide the songs to their final state. They expanded the line-up with guitarist Drew Kirby and\, after playing together for only one month’s time\, quickly recorded their debut full-length album with producer Drew Vandenberg – who has worked on albums by Of Montreal\, Deerhunter and Porcelain Raft – at Chase Park Transduction in Athens in December 2014 (the album also features collaborations with Josh McKay of Deerhunter on vibraphone as well as McKendrick Bearden of Grand Vapids\, who played bass and provided string arrangements throughout). Bassist Patrick Morales would later join the band as a permanent fixture.  \nWhen You Walk A Long Distance You Are Tired is an introduction to the foundations of the young band\, a snapshot of a particular period of their genesis that maps both where they began and where they are heading. It’s the sound of a band being born\, in the truest sense: songs that were conceived in Leschper’s solitude and nurtured with added direction from Anderegg. “The name Mothers relates to the idea of creation and being the mother of something. The act of being a Mother is tragic\, you have to eventually let go of the things you created\,” says Leschper of their name’s origin.  \nThe album’s bookends perhaps most explicitly display this musical chronology. The gorgeous “Too Small For Eyes” was the only one of a few solo songs Leschper had written on the mandolin that made it onto the album\, its use of space\, piano\, strings\, and her voice entwining and undulating to elegantly set the stage for what unfolds afterward; closer “Hold Your Own Hand” blooms from its plaintive opening bars to an ascendant\, spirally waltz to an uproarious math-y breakdown\, hinting at the louder\, more post-rock and math rock-influenced sound for which their live show is fast becoming known (the blog Heartbreaking Bravery described one of the band’s CMJ sets as “…intricate\, knotty indie pop songs that are equally unpredictable and enticing”). “Copper Mines\,” the first song they wrote together as a band\, captures the new mix of everyone’s voices and energy on tape\, and also informs their other new material\, such as “No Crying in Baseball\,” a home recorded B-side they wrote together in the months following the completion of When You Walk a Long Distance You Are Tired. “It Hurts Until It Doesn’t\,” which looks at the dichotomy of an artist’s ego and sense of self-doubt\, falls somewhere in between – the first song she wrote that she saw in the context of something bigger than her performing solo\, it takes many twists and turns before arriving\, like so many of their songs\, at a different sonic place than where it began. \nAcross the album\, Leschper meditates on the human condition: what anyone’s place is in the universe; what is our value; mortality; and what it means to have relationships in consideration of all these things. And while the songs are filtered through her frequently difficult\, personal microcosmic experiences\, she relates them in a manner that is at once highly intimate and readily universal. At heart\, When You Walk A Long Distance You Are Tired is about being alive\, and just how surprisingly unmooring – and exhausting – this fundamental thing can be. The album is a window into the long path Leschper traveled while creating it: breathtakingly honest and rooted in the subconscious of one’s journey.  \nUpon the album’s completion in January 2015\, the new quartet line-up steadily played local shows throughout the spring and summer\, including at festivals like ATHfest and Slingshot. Before heading out on their first tour supporting Of Montreal\, they debuted “No Crying in Baseball\,” earning national press attention from Stereogum\, NME\, Brooklyn Vegan\, Ghettoblaster\, and others. A headlining east coast tour followed in September\, and things began to fall into place. Stereogum named them a ‘Band To Watch’ alongside a premiere of “It Hurts Until It Doesn’t” ahead of their 10-shows-over-five-days jaunt at the 2015 CMJ Music Marathon\, which included sets at the Aquarium Drunkard\, Brooklyn Vegan and Culture Collide showcases. Both the song and the band earned even more praise throughout the week\, including from Vulture\, NME\, BBC Radio 1\, and The Wild Honey Pie\, among many others. The following week they were named one of Stereogum’s ’50 Best New Bands of 2015\,’ and signed to Grand Jury in the US and Wichita Recordings in the UK.
URL:https://royaleboston.com/event/band-of-skulls/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160907T190000
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SUMMARY:Corinne Bailey Rae
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 6/17 at noon! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nCorinne Bailey Rae \n \n[Website] [Facebook] [Twitter] \nFrom Leeds\, England\, artist Corinne Bailey Rae released her self-titled debut album in 2006\, debuting at #1 in the UK and #4 in the USA\, featuring the global hits “Put Your Records On“ and “Like A Star“. It catapulted Bailey Rae into the spotlight with millions of albums sold and earned multiple award nominations\, including Grammy® and Brit Awards. \nThe second album\, ‘The Sea’ released to worldwide critical acclaim\, reaching Top 5 in the UK and Top 10 in the USA. It was no surprise that Corinne Bailey Rae found “The Sea“ nominated for the Mercury Music Prize. The subsequent EP ‘Is This Love’ was awarded a Grammy® for Best R&B Performance in 2011. \nCorinne received a Grammy® Award for her work on Herbie Hancock’s album ‘The River’. Recent recordings have seen her work with Al Green\, Claude Kelly\, Esperanza Spalding\, Herbie Hancock\, John Legend\, John Mayer\, KING\, Malay\, Norah Jones\, Paul McCartney\, RZA\, Salaam Remi\, Stevie Wonder\, The Roots\, Valerie Simpson and more. Bailey Rae also has written music for films and television shows\, including “Venus” (starring Peter O’Toole)\, “Man with the Iron Fist” and\, most recently\, the theme song to Stan Lee’s “Lucky Man”. \nOriginally the front-woman of an indie band\, Corinne Bailey Rae’s music spans indie\, electronic\, soul and experimental.Bailey Rae has just completed her highly anticipated third studio album and she recently performed in Los Angeles for The Grammys’ MusiCares Foundation with Pharrell\, The Roots and Leon Bridges just prior to the first track launch and album announcement. \n*** \n Mayaeni  \n \n[Website] [Facebook] [Twitter] \nMayaeni\n(mah-yay-knee) \nEarly on\, the self-professed shy hippie kid saw her future self filling a void. “I don’t know why that lane hasn’t been filled\, at least mainstream wise. Why there hasn’t been a female black John Mayer or Gary Clark Jr. I became it\, because I wanted to see it so bad.” \nRaised in a suburb just outside Detroit that she describes as racially “pretty segregated\,” Mayaeni—pronounced mah-yay-knee—was actually born to rock.  \n“Growing up in Detroit\, I spent a lot of time not necessarily knowing where to fit in.” Her mom is black\, her dad white. “So I ended up hanging out with all cultures.” \nHanging out with her musician dad in the studio was Mayaeni’s form of grooming\, with Chuck Berry\, Bob Dylan and Hendrix records serving both as musical surrogates and soundtracks to her life. \n“I’ve always had this rock-soul thing going. I can’t escape it.” Not seeing many black women rocking out with a guitar\, Mayaeni put herself on that stage. \nThe instrumentally rich and electric songs she creates now are extensions of her rocker past. Her earliest material was recorded on her dad’s 8-track tapes. “I would see him rocking out as a kid\, and I would get instrumentals from his tape singles and record over those.” \nSeeking independence at age 17\, Mayaeni headed to London\, where she made money under the tables selling clothes at Camden Markets. \nThe cost-of-living struggle persisted when Mayaeni moved to New York\, but those survival years turned out to be perfect preparation. \n“London was my first eye opener to being in the city. I didn’t have a plan beyond the two grand I saved. It was hard\, but I had so much ambition. I didn’t want to go back home.” \n“I wrote a lot about struggle\, not being able to pay rent and having a bunch of jobs\, a lot about coping with pain. Hard times\, heartbreak.” \nIn New York\, Mayaeni worked the open mic circuit\, up to five times a week\, hopping in and out of places like Village Underground\, The Grove and Café Wha. \nThe music is as edgy and raw as it is emotional\, like the sounds of a guitar crying out\, whether it’s the yearning in the mid-tempo anthem “Million N1” or the angst in the clamorous rock-out garage jam “Too Late.” It’s the sound of progress. “I like to think it’s classic.”
URL:https://royaleboston.com/event/corrine-bailey-rae/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160909T220000
DTEND;TZID=America/New_York:20160909T220000
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SUMMARY:Markus Schulz
DESCRIPTION:21+ \n*Management reserves the right to refuse entry / Admission not guaranteed after midnight / No refunds of any kind all sales are final.
URL:https://royaleboston.com/event/markus-schulz/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20160910T220000
DTEND;TZID=America/New_York:20160910T220000
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LAST-MODIFIED:20160817T005829Z
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SUMMARY:Hot For Teacher
DESCRIPTION:21+ \nManagement reserves the right to refuse entry
URL:https://royaleboston.com/event/hot-for-teacher/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTEND;TZID=America/New_York:20160913T190000
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CREATED:20160811T153545Z
LAST-MODIFIED:20160811T153545Z
UID:10001704-1473793200-1473793200@royaleboston.com
SUMMARY:1974 AD #NewLineUp Live
DESCRIPTION:Doors: 7pm \nMeet & Greet: 8-9pm (VIP only) \nConcert 9-11pm \nDJ 11-1am \n21+
URL:https://royaleboston.com/event/1974-ad-newlineup-live/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160914T200000
DTEND;TZID=America/New_York:20160914T200000
DTSTAMP:20260412T172638
CREATED:20160607T154520Z
LAST-MODIFIED:20160607T154520Z
UID:10001671-1473883200-1473883200@royaleboston.com
SUMMARY:Peaches
DESCRIPTION:Doors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 6/10 at noon! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nPeaches \n \n[Website] [Facebook] [Twitter] \nIt’s been six years since Peaches released her last studio album. But far from being a break\, these past six years have been some of the busiest and most productive in the provocative musician-producer-filmmaker-performance artist’s career. From acclaimed theater productions to her cinematic debut at the Toronto International Film Festival to the release of her first book\, Peaches pushed herself further and with more artistic rewards than ever before during her time away from the studio. That work ethic should come as little surprise\, though. This is Peaches we’re talking about\, an artist who’s managed to wield immeasurable influence over mainstream pop culture while still operating from outside of its confines\, carving a bold\, sexually progressive path in her own image that’s opened the door for countless others to follow. Now\, creatively refreshed and recharged\, she’s emerged from the studio in rare form with ‘RUB\,’ her fifth and most unequivocal album to date. It’s an adventurous\, audacious musical statement\, the latest entry in a conversation Peaches opened up 15 years ago and the world may just now have finally caught up with. \n“Since 2000\, I’ve been making a record for a year\, and then touring it for two years over and over\,” Peaches explains of the impetus for her studio hiatus. “After 10 years of doing that\, I needed a change. I didn’t feel like writing another album and touring it for two years again\, so I was really excited to try new projects.”  \nThat desire led to her one-woman production of ‘Jesus Christ Superstar\,’ redubbed ‘Peaches Christ Superstar’ and mounted initially in Berlin before touring the world. “It was an endurance performance\,” she explains\, “and a time for me to celebrate my actual singing voice\, which I never pursued as Peaches.” \nThe Guardian hailed it as “killer\,” raving that “Peaches gets into the guts of the songs\, extracting with utter sincerity every ounce of pathos and comedy\,” while SPIN praised the production’s “absurd beauty” and The Globe and Mail applauded her vocals\, which “explode[d] with soulful power.” \nCritics’ surprise may have stemmed from the fact that Peaches had spent the past decade pushing buttons and boundaries with a sexually-charged blend of electronic music\, hip hop\, and punk rock that she delivered via one of the most raw and creative stage shows in popular music. When she first emerged to international attention with ‘The Teaches of Peaches\,’ her 2000 debut album\, single “Fuck The Pain Away” catapulted her into the spotlight and appeared everywhere from Sofia Coppola’s ‘Lost In Translation’ and 30 Rock to South Park and HBO’s True Blood. Rolling Stone called the album “surreally funny [and] nasty\,” and the Village Voice named it one of the year’s best. She followed it up with ‘Fatherfucker\,’ which further challenged and reversed issues of gender politics and sexual identity and featured an appearance by Iggy Pop. She was joined by Joan Jett\, Josh Homme\, Beth Ditto\, and more on her 2006 call to revolution\, ‘Impeach My Bush\,’ and by the time she returned with ‘I Feel Cream’ three years later\, The New York Times had dubbed her a genuine “electro-clash heroine\,” though she’d already transcended the genre tag and demonstrated an incisive artistic prowess far beyond her musical output. Uncut raved that her work brought together “high art\, low humour and deluxe filth [in] a hugely seductive combination.” \nShe looked back on it all in 2010 with ‘Peaches Does Herself\,’ an electro-rock opera spanning material from all four albums arranged as a semi-autobiographical narrative. It morphed into a film of the same title\, which premiered at the TIFF in 2012 before traveling to more than 60 festivals around the world over the next two years. In another unexpected twist\, she sang the title role in a production of Monteverdi’s epic 17th-century opera ‘L’Orfeo’ in Berlin\, in addition joining Yoko Ono’s Plastic Ono Band for performances at the iconoclast’s request and collaborating with Major Lazer\, Le Tigre\, REM\, and more.  \nThe whole period is documented beautifully in the new book ‘What Else Is In The Teaches Of Peaches\,’ a collection of Holger Talinski’s photos from at home and on the road\, on-stage and behind-the-scenes\, as Peaches conquered new artistic heights. Yoko Ono\, Ellen Page\, and Michael Stipe all contributed to the text\, which offers unique insight into a side of the artist the audience has rarely seen.  \n‘RUB’ begins where the book leaves off\, in 2014\, as Peaches headed into her newly-built garage studio in Los Angeles to begin more than a full year of work on the album\, collaborating with longtime friend Vice Cooler. \n“After six years\, I was excited about my lyrics again\, about what Peaches was\,” she explains. “I felt more comfortable living out any idea I wanted to try. We spent ten hours a day making beats\, and whatever stuck\, I would write on and develop. The only agenda was to make the best album we could.” \nOozing with seductive rhythms and bedroom-rattling bass\, the record opens with the semi-spoken hook of “Close Up\,” delivered with an inimitable and impenetrable cool by Sonic Youth’s Kim Gordon in just one take. Peaches’ old collaborator Feist also returns on album closer “I Mean Something\,” singing a hypnotic hook and lending a chillingly beautifully wordless melody. But in between those two guest appearances\, this album is pure Peaches. \n“Come with me / You know me / Feel free / Peaches\,” she raps with a hard-won swagger and confidence on the title track\, which is as full of vivid\, lewd imagery as anything she’s ever written. “Dick In The Air” flips gender roles with an absurdist twist\, as Peaches preaches\, “I’m sick of hands in the air / And shake our asses like we don’t care / We’ve been shaking our tits for years / So let’s switch positions no inhibitions” before exhorting her audience to “put your dick in the air.” Similarly\, on “Vaginoplasty\,” she responds to a culture that measures manhood in inches but shames women for their sexuality with lines like “my pussy’s big and I’m proud of it…make you bow down to it til you drown in it.” \nIt doesn’t stop at the music for Peaches\, though. “I’m curating my whole visual lineup\,” she explains of her plans to once again direct and present videos for every track on the album with a slew of collaborators. Margaret Cho\, designer Sarah Sachs from Moonspoon Saloon\, A.L Steiner\, Ryan Heffington\, Kim Gordon\, Vice Cooler\, and more are all on tap for contributions to the series.  \nThe gorgeous\, throbbing “Light In Places” was written for performance artist Empress Stah and her ‘Stargasm’ show\, the world’s only Laser Buttplug Aerial performance (“I’ve got light in places you didn’t know it could shine”)\, while “Sick In The Head” is a gritty electro-pop track influenced by Suicide\, and the album’s two breakup songs—the dark and menacing “Free Drink Ticket” and the insanely catchy pop song “Dumbfuck”—find Peaches addressing issues far more personal than political. \n“In any relationship\, there’s that moment everybody has when you find out something and want to kill the other person\,” she explains. “You get over it\, but I wrote ‘Free Drink Ticket’ in that moment. It’s the most vulnerable—and also the most angry—song I’ve written in my life.” \nThe reality\, though\, is that everything is personal for Peaches. “When I started\, half the people just weren’t having it\, so it’s incredible where we are right now\,” she says of her undeniable role in shaping of the current pop landscape. “But I didn’t do it for any reason other than that it was just what I really wanted to say.” \nAnd that’s what’s in the teaches of Peaches.  \n*** \nDJ Colby Drasher (Don’t Ask Don’t Tell) \n \n[Website] [Twitter] \nRESIDENT DJ FOR THE “DONT ASK DONT TELL” DANCE PARTY AT GREAT SCOTT IN BOSTON MASSACHUSETTS.  \n“ALL ARE WELCOME WHO WELCOME ALL” \nDJ\, PRODUCER\, PROMOTER\, VISUAL ARTIST
URL:https://royaleboston.com/event/blind-pilot-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:20160915T190000
DTEND;TZID=America/New_York:20160915T190000
DTSTAMP:20260412T172638
CREATED:20160117T160031Z
LAST-MODIFIED:20160117T160031Z
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SUMMARY:Lush
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18+.\nTickets on sale Fri. 1/22 at 12pm! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nLush \n[WEBSITE]\n[FACEBOOK]\n[TWITER] \nIn a sense\, the beginning of Lush was as inevitable as its ending was not. Formed from a friendship started at age fourteen by Londoners Miki Berenyi and Emma Anderson\, the pair ran a fanzine\, and attended a catholic variety of gigs nightly at the likes of Fulham Greyhound and Hammersmith Clarendon. And they were learning the ropes in other people’s bands – Berenyi in The Bugs\, Anderson in The Rover Girls – working to make their own band a reality. Eventually\, along with the absurdly good-humoured Lancastrian punk drummer Chris Acland\, and bassist Steve Rippon\, they went out on their own. \nFor music\, the late Eighties were a vibrant and volatile time. There was acid house\, US art-core\, death metal\, fledgling industrial and European sampledelia\, a rising Madchester and the shimmering punk pop of The Primitives\, plus the delicate oceanics of The Sundays. Having much in common with these last two and\, attitude-wise\, at least three of the others\, Lush were quickly hot property. One review in Melody Maker brought 12 major labels to see them play at London’s ULU. None called again\, but 4AD’s Ivo Watts-Russell was interested\, soon putting the band in Blackwing Studios with John Fryer. \nBy the time debut LP Spooky was released in 1992\, Rippon had amicably departed\, to be replaced by Phil King (ex of Felt and Biff Bang Pow!). The LP went Top 10 in the UK and was an indie chart-topper. It sold upwards of 120\,000 in the US too\, in part due to one of the most glorious chapters in the Lush story: Lollapalooza II. Regularly swapping band members with Pearl Jam and Ministry\, while proving beyond all argument their hellraising credentials\, Lollapalooza was a hedonistic and enlightening experience for the band. Such was that case that on their return to the UK\, Lush immediately repaired to Rockfield Studios in Wales. \nThe recording of Split\, their second LP proper (a collection of their early EPs\, entitled Gala\, had been released in the US only) was exceptionally testing. Expectations of an American breakthrough were high and the pressure was on. However\, despite being the band’s best work to date\, the album wasn’t the commercial success it promised and\, as is often the case\, failure proved liberating. While the pressure came off\, new enthusiasm was injected by the arrival of new manager Peter Felstead. The band threw themselves into recording what would be their final LP\, Lovelife. The combination of personal freedom with a growing experience and expertise took Lush onto a new creative plane. As such\, the pressure was immediately back on to break America. Now the touring became back-breaking and repetitive. Frustration and bad feeling within the band grew inexorably. Acland\, ordered to rest by his doctor\, returned to his parents’ home in the Lake District. Anderson\, dissatisfied with her current position\, called a meeting and announced her departure. Then worse news was to follow. Up in the Lakes – horribly\, terribly – Acland had hanged himself. “For me\,” says Berenyi “That was the end. There was no way on earth I could have gone on with Lush without him\, because I always firmly believed that without his benign influence Emma and I would have torn each other apart years ago.” \nIt should have come as no surprise that Acland’s death finished Lush. Privately and professionally\, in their joyful celebrations and their painful (and far more frequent) self-examinations\, they were in the business of living life\, really living it. Their talent and their exuberance though had already made a difference. Particularly in the States\, where their music was deeply respected and their lyrics – often moving\, rigorous and earthy appraisals of themselves and their relationships\, their nature and nurturing – were a motivating force for female songwriters. As well as being accidental icons (the best kind)\, Lush also made exceptional music: classic pop\, fiery punk\, soaring ambient and a modern\, lilting folk. It can be harrowing – fun or fraught\, these are recognisably real life experiences. But it’s all worthwhile\, all of it. And few bands could truthfully say that. \n*** \nTamaryn \n[WEBSITE]\n[FACEBOOK]\n[TWITER] \nTime and changes distance Tamaryn’s Cranekiss from her earlier efforts\, and for that matter\, from everyone else’s. Time\, by way of the long period spent crafting this material\, both on her own and with Weekend’s Shaun Durkan\, who with producer Jorge Elbrecht (Violens\, Lansing-Dreiden)\, make up the creative team behind Cranekiss. Changes\, by relocating across the country from San Francisco to New York City\, by expanding the approach taken on her two previous albums (2010’s The Waves and 2012’s Tender New Signs)\, by making music that pulls you closer to it despite the enormity of the sounds within.\nTamaryn’s first two full-lengths stood out in a crowd of shoegaze/ethereal revivalists as much for what they were (careful\, gorgeous\, thrilling tapestries of guitar-based textures) as what they weren’t (simplistic\, trendy\, disposable signposts made to be broken). With Cranekiss\, Tamaryn emerges from her past in a way that’s inviting\, warm-blooded\, and shockingly direct. She’s made a big record\, loaded with samples\, synth triggers and processing that was missing from her previous efforts\, the result of long nights grinding it out at the Brooklyn studio Gary’s Electric\, where the record was born. The Waves and Tender New Signs focused on the sounds Tamaryn and her group could coax out of guitars\, but with Cranekiss her sonic palette has exploded with maniacal abandon\, pressed into service of a post-adolescent love letter to all the music that she and her collaborators hold dear\, drawing influences from the feelings that fell out of her. Anyone familiar enough with those times should be able to draw their own comparisons\, recognizing the modes of musical respect and adoration flashing past as the record spins. From there\, though\, Tamaryn has modeled these elements into simulacra\, where despite the nods and glances to the past\, play as a totally new sound. \nLyrically\, this is Tamaryn’s most personal collection of songs to date\, and Elbrecht has placed her voice front and center across the entire record\, elevating her presence like never before. Cranekiss explores dark rock\, dance pop\, and glistening melancholy with a uniformly commanding presence across it all\, in stormy\, unsettled brushstrokes that apply pressure behind Tamaryn’s words. \nCranekiss represents a long journey\, and a new phase in Tamaryn’s music unfolding before you\, a blood-red kaleidoscope of desire and late night abandon\, a bold step forward.
URL:https://royaleboston.com/event/lush/
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:20160916T180000
DTEND;TZID=America/New_York:20160916T180000
DTSTAMP:20260412T172638
CREATED:20160605T135944Z
LAST-MODIFIED:20160605T135944Z
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SUMMARY:Blind Pilot
DESCRIPTION:Doors: 6:00 pm / Show: 7:00 pm \nThis event is 18 and over.\nTickets on sale now! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nBlind Pilot \n \n[Website] [Facebook] [Twitter] \nThe past isn’t finished with us yet. Love can be like that\, too. A couple of years ago I found love in different forms leaving my life at once. In a single month I lost my closest group of friends\, my 13 year relationship ended\, and my dad was diagnosed with cancer. I had just stopped touring to write the next Blind Pilot album\, but instead I was watching each of my plans unthread as a new season pulled forward relentlessly.  \nAvoiding suffering\, is avoiding real happiness too. My reason to tell this story isn’t because it broke me and pinned me breathless. There was suffering\, but those two years\, as I moved to my hometown to help my parents through my dad’s sickness and eventually his death\, also brought me true closeness\, a deeper will to care and hope\, and many moments of beauty I can barely describe.\n \nThis album came from love for my family\, my town\, my friends\, my community. We don’t have to be so afraid of loss. We can speak and share its name\, knowing we are together in it. If these songs are invitations to talk about loss and death\, the invitation is to talk closely of the courage we find when we face loss honestly\, cracked open and unsure of what we will become.\n-Blind Pilot’s Israel Nebeker\n \nBlind Pilot’s ‘And Then Like Lions’ on ATO Records is the third LP from the Portland\, Oregon-based sextet consisting of frontman Israel Nebeker\, fellow founding member Ryan Dobrowski\, Luke Ydstie\, Kati Claborn\, Ian Krist and Dave Jorgensen.  The album was produced by Israel Nebeker and Tucker Martine (The Decemberists\, Neko Case\, My Morning Jacket)\, and was written and composed by Nebeker.  It comes five years after the band’s well-received ‘We Are the Tide’ and three years after Nebeker thought he’d be starting the songs that would become the band’s third album.\n \n‘And Then Like Lions’ opens with “Umpqua Rushing\,” the first single from the album and the track that most directly deals with the end of his relationship. It’s inspired by memories of visiting the Umpqua River with his then girlfriend. The song connects images of a forest fire to the destruction and new beginning found in love’s wake.\n \n“Umpqua Rushing” has a strong\, mid-tempo flow built on major chords and rich instrumentation that matches the river the song’s named for. Nebeker’s voice soars on strings to an uplifting ending\, and it’s as vulnerable and open as he’s ever been.  \nPacked Powder is an upbeat\, solidly-driven song filled with elevated textures of guitar hooks and trumpets. It comes from an idea Nebeker had as a teenager\, when he and his friends found they could repack fireworks to different outcomes: “We’re all made of the same stuff\, but who knows how we’re packed and what we’ll show as we burn across the black sky of our own time?” The song speaks lightheartedly of ironic outcomes when trying to better a life through different career paths\, and then sings a chorus that surrenders and desires life to reveal what we are made of.\n \n‘And Then Like Lions’ ends triumphantly on “Like Lions\,” a song inspired by various stories of courage Nebeker has whitenessed in his recent years\, including watching his father fight for life and\, before the end\, find strength enough to give himself and be at peace with his own mortality.\n \nBlind Pilot has performed on Ellen and The Late Show with David Letterman\, at the Newport Folk Festival\, Bonnaroo\, and Lollapalooza. The group has shared stages with The Shins\, Local Natives\, Andrew Bird\, and more. The project began in 2007 when Israel and co-founding member Ryan Dobrowski went on a West Coast tour via bicycle. Blind Pilot’s six members recorded for this new album and will tour through 2016. \n*** \nRiver Whyless \n \n[Website] [Facebook] [Twitter] \nAsheville\, North Carolina’s River Whyless is a band much like that titular body of water – a mingling of currents\, a flow of time and physical space\, all brought together in a murmuring sense of purpose. It is the expression of a group of musicians\, three of which are songwriters\, who have played together in various forms since their college days in the North Carolina mountains. Their forthcoming EP\, their first release since their 2012 debut album\, is the next evolution of the band’s collective voice. \nComposed of Ryan O’Keefe (guitars\, vocals)\, Halli Anderson (violin\, vocals)\, Alex McWalters (drums\, percussion) and Daniel Shearin (bass\, vocals\, harmonium\, cello\, banjo)\, the band is preparing to release a self-titled EP\, their first effort since 2012\, on January 20th.
URL:https://royaleboston.com/event/blind-pilot/
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:20160916T220000
DTEND;TZID=America/New_York:20160916T220000
DTSTAMP:20260412T172638
CREATED:20160720T160649Z
LAST-MODIFIED:20160720T160649Z
UID:10002406-1474063200-1474063200@royaleboston.com
SUMMARY:Krewella
DESCRIPTION:21+ \nManagement reserves the right to refuse entry/ Admission not guaranteed after 12AM
URL:https://royaleboston.com/event/krewella/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20160917T180000
DTEND;TZID=America/New_York:20160917T180000
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SUMMARY:KT Tunstall
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 7/15 at noon! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nKT Tunstall \n \n[Website] [Facebook] [Twitter] \nTwo years ago\, KT Tunstall thought she was done with music. Not done as in she’d never again play guitar or sing\, but done playing professionally\, at least for the foreseeable future. “As an artist I feel like I died\,” she says. “I didn’t want to do it anymore.” It had been ten years since she’d released her multi-platinum debut\, ‘Eye To The Telescope’ (2004)\, and twenty-some years since she started playing gigs as a teenager back home in St. Andrews\, Scotland. She’d lived a decade in obscurity and a decade in the brightest of limelights\, releasing three more critically acclaimed albums — ‘Drastic Fantastic’ (2007\,) ‘Tiger Suit’ (2010\,) and ‘Invisible Empire // Crescent Moon’ (2013) — and playing everywhere from the rooftops of splashy Las Vegas hotels to Giant’s Stadium. She’d been nominated for a Grammy\, won a BRIT and the Ivor Novello\, and seen her songs used everywhere from opening credits of “The Devil Wears Prada” to Hillary Clinton’s 2008 campaign theme. She’d had a good run\, Tunstall thought\, but it was time to take a serious time out. “I was utterly burnt out\,” she says.  \nSo the singer put her stuff in storage\, sold all of her property in the UK\, and started again\, at what felt like the ends of an entirely different earth\, in a little house in Venice Beach\, California. She lived a quiet life for the better part of a year\, until\, like a little imp waiting in the wings for Tunstall to get really comfortable in her state of blissed out California calm\, one day the urge to rock began to return. And once it took hold\, it just wouldn’t let go. “My physical body was telling me that what I should be doing is sweating onstage\,” she says. “It turns out\, if I can’t do that then I’m just a racehorse in a stable.” Almost against her own will\, Tunstall found herself picking up her guitar and writing riffs. And they came\, one after another after another after another.  \nThe music that Tunstall has written since moving to California is\, she says\, the most impassioned and inspired of her life; these songs were fueled by the openness of desert spaces and wild ocean cliffs\, the intimacy of being snowbound in Taos\, New Mexico during winter writing retreats\, and the freedom and mystery of driving too fast on canyon roads late at night listening to Neil Young and Tame Impala at top volume. A new full-length album coming this September\, is\, in spirit\, the follow-up\, to her debut. A edge-of-your-seat\, psychedelic rock record rooted in classic songwriting\, but infused with the sense of wonder and beneficent chaos Tunstall has reconnected with since untethering herself from her past. But first up\, a little teaser of what’s to come: ‘Golden State\,’ a four-song EP out this June including a remix of “Evil Eye” by critically acclaimed UK band Django Django.  \nThe opening track\, “Evil Eye\,” was the first song that came to her since going on hiatus. “It was just a little seed\,” the singer remembers. She’d been rehearsing for a string of low-key gigs where she’d be performing some of her back catalogue\, the first shows since the relatively formal\, seated gigs she’d given last time she was on tour. “It was a vibrant up-tempo high-octane gig\, after so long of not playing that kind of show\,” she recalls. Something got shaken loose. “I just got excited\, and it was then that I wrote the riff for ‘Evil Eye.'” With its beguiling psychedelic whooshing intro\, propulsive guitar line and primal backbeat\, the song comes on all roll-your-windows-down-and-turn-me-up\, before sneaking up behind you with a downright chilling chorus: “There’s an evil eye\, watching you.” “Some of these songs are like cats\, they’re really furry and sweet and then they fuckin’ scratch you\, and they won’t let you put a leash on them\, ever\,” Tunstall says gleefully.  \nAbove all\, what these songs have in common is they all feel like they had to be written. And now that they’re done\, Tunstall is standing at the starting line\, just itching for the gun to go off. “Getting to know myself these last few years and getting to know what my own mind is capable of and what my soul is capable of and what my spirit is capable of — reading and learning and reaching out to new people and gleaning new information about what’s possible as a human\, it has all made me want to ask the same questions of myself as a musician: how much can I expand?! Where can I go from here?!” Tunstall enthuses\, nearly out of breath. “This feels like the beginning of the second chapter of my career.”  \n*** \nConner Youngblood \n \n[Website] [Facebook] [Twitter] \nFrom growing up in Dallas\, to “studying” at Yale\, and eventually moving to Nashville\, music has always been a big part of Conner’s life\, but it wasn’t until seeing success on the HypeMachine platform that he decided to do it full time.  \nHis music combines lyrically and sonically to paint a vivid picture that is both ambient\, yet focused. The production results in a sound much bigger than your typical singer / songwriter. Combining a wide range of influences from bluegrass to hip-hop with very eclectic instrumentation\, Youngblood decidedly carves out his own niche.  \nFollowing on from “Confidence”\, Conner released his sophomore EP The Generation of Lift in the Fall of 2015. Conner self-produced the five-track compilation\, showcasing his songwriting and knowledge of roughly 30 instruments over the course of its 18-minute run time. Since its official release on October 9\, 2015 The Generation of Lift has reached over one million streams on Spotify. On the heels of the release\, Conner shared a video for “The Badlands\,” which premiered on Nowness and was selected as a Vimeo Staff Pick.
URL:https://royaleboston.com/event/kt-tunstall/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
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