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DTSTART;TZID=America/New_York:20170414T180000
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SUMMARY:[SOLD OUT] Tinariwen
DESCRIPTION:Bowery Boston and World Music/CRASHarts present \nDoors: 6:00 pm / Show: 6:45 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \nTHIS SHOW IS SOLD OUT! \n*** \n \n*** \n Tinariwen  \n \n[Website] [Facebook] [Twitter] \nThe new album by Tinariwen could well have been called Exile on Main Street. But other people have already thought of that. It also could have been called A la recherché du pays perdu (‘Remembrance of a lost country’). Except that would have been a tad Proustian for musicians who grew up pretty much between a rock and a sand dune\, in the midst of their goat herds and camel caravans. But the idea is apt. As is the painful paradox\, if you consider that while Tinariwen were busy criss-crossing the globe on their recent triumphant tours (160 concerts played in the past three years)\, expanding their audience on all five continents\, becoming one of the latest musical phenomena of truly universal calibre\, the frontiers that encircle their desert home were closing down and double-locking\, forcing them into exile to record this their 8th album. \nOver the past five years\, their beloved homeland in the Adrar des Ifoghas\, a Saharan mountain range that straddles the border between north-eastern Mali and southern Algeria has\, in effect\, been transformed into a conflict zone\, a place where nobody can venture without putting themselves in danger and where war lords devoted either to jihad or trafficking (sometimes both at the same time)\, have put any activity that contradicts their beliefs or escapes their control in jeopardy. Even though the 12 songs on this new record evoke those cherished deserts of home\, they were recorded a long way away from them. And\, as a result of this separation\, at a time when the political\, military and humanitarian situation in the region has never been so critical\, the feelings and the emotions that the band managed to capture on record have never been so vivid. \nIn October 2014\, making use of a few days off in the middle of a long American tour\, the band stopped off at Rancho de la Luna studios in California’s Joshua Tree National Park. The place has become the favoured refuge of the stoner rock tribe. Josh Homme and his Queens of the Stone Age were the first to make it their hive\, and since then\, whether in use by P J Harvey or the Foo Fighters\, Iggy Pop or the Arctic Monkeys\, neither the mixing console nor the kitchen ovens have had a moment to cool down. For Tinariwen\, the geographical location of the studios – lost in the middle of that horizontal desert\, that mineral immensity\, where Man is reminded of his own insignificance in ways that can only\, in the end\, either kill him or sublimate him – proved to be particularly propitious in terms of creativity. \nAnd the human climate was just as favourable. As session followed session\, musicians who know the place well dropped by to add their own touch to that pre-industrial boogie which comes from a world where only the essential and metaphysical passions of space and time have any meaning. Such was the case of Matt Sweeny\, guitarist of fine pedigree (Johnny Cash\, Bonnie Prince Billy and Cat Power) and an avowed fan of the band. Kurt Vile\, ex-member of the duo War On Drugs\, now spearheading a noisy indi-folk combo\, also took part in the debate. As did Alan Johannes\, multi-instrumentalist\, sound engineer and producer of the first few albums by Queens of the Stone Age\, a band with whom Mark Lanegan\, the other guest on the album\, has also been a singer. From their angle\, one might have expected all these contributions to result in something pretty heavy\, with those American guitars coming into to reinforce the ishumar (name of the musical style of which Tinariwen precursors) guitars of Ibrahim\, Abdallah Hassan and Elaga. In effect\, lovers of those sensual yet abrasive riffs that are the band’s signature won’t be disappointed. But neither will those who love the funky\, danceable side of Tinariwen\, which comes through loud and clear courtesy of bassist Eyadou and percussionist Sarid\, a veritable rhythm machine in the mould of Sly and Robbie. All that potential has been wonderfully honed by the album’s mixing engineer Andrew Schepps\, who has previously worked with the Red Hot Chilli Peppers\, Johny Cash\, and Jay Z. \nThat happy encounter between Tamasheks and rockers was already in evidence back in 2011\, with the involvement of Wilco and TV On The Radio on the album Tassili\, which was recorded in the depths of the Sahara. It was as if those musicians\, coming from their world of high tech\, leisure and entertainment\, sought to reinvigorate the way they do things by working with artists who have been forced by necessity to reduce everything to its essence\, and who bear a different destiny. In that sense\, Ibrahim and his tribe restore meaning to an activity which has been partially drained all existential significance. In a cultural environment that has been overtaken by the petty and the superficial\, the members of Tinariwen fascinate because they incarnate a salutary break and come across as the ultimate heroes in the midst of an army of fleshless puppets. \nHaving said that\, in M’Hamid El Ghizlane they’re heroes for real\, so much so that the youth of the area know how to sing their songs in the same way that people in other parts of the world know how to sing the Stones or Led Zep . It was there\, in that oasis in southern Morocco\, close by the Algerian frontier\, that the band set up their tents for three weeks in March 2016 to record this 8th album\, accompanied now and then by the local musical youth in question\, or by a local Ganga outfit (a group of Berber ‘gnawa’ trance musicians). The album is called Elwan (‘The Elephants’)\, not Exile On Main Street\, though it fits nicely into that ‘road record’ category nonetheless. \nThere are road records just like there are road movies. In American cinema\, a road movie always unfolds the same way. Characters travel from one place to another in search of some truth\, of a future might offer them some kind of revelation. But they always end up reconnecting with their own past\, their origins. Of course\, it’s an impossible return\, because that past\, those founding origins have been irrevocably erased. It’s the same for this record\, so musically powerful and yet poignant in human terms: every song evokes a land that can no longer be found\, a lost world\, with all that this implies in terms of emotional range\, from nostalgia for a joyous past to the tragic recent loss of a territory\, and of the dream that it nourished. The emotional ‘bite’ of that loss imbues some of the songs by Ibrahim\, such as Imidiwan n-akal-in (Friends from my country)\, Hayati (My life) or Ténéré Takhal (What’s Happened to the Desert). It’s in that last song that the famous elephants of the album title make their appearance\, an animal metaphor to describe those ‘beasts’\, whether militias or multinational consortiums\, who have trampled everything in their path: kindness\, respect\, solidarity\, ancestral traditions and the values essential to life in the desert\, where both the human and ecological equilibriums are extremely fragile. \nBut the songs written by Abdallah\, such as Sastanaqqam (I Question You)\, or those penned by Hassan\, the deeply disturbing Ittus (Our Goal)\, also evoke a similar sense of helplessness and disempowerment. The same goes for Nannuflay (Fulfilled)\, written by Eyadou\, one of the ‘kids’ in the band; it’s a song echoes that sense of absolute crisis. Having said that\, between the weariness of the old fighters of the Touareg rebellion of the 1990s (Ibrahim\, Hassan\, Abdallah) and the dynamism of a youth that’s still emerging (Eyadou\, Elaga\, Sarid\, Sadam)\, you get a wonderfully symbiotic mix. The meeting of two such disparate generations in one band is relatively rare in today’s musical world. In Tinariwen\, it’s a meeting that celebrates\, even more powerfully might otherwise be the case\, the capacity of music to make experiences as intense and cruel as exile beautiful and\, in some ways\, even attractive\, experiences that would surely end up destroying those who lived them\, if this form of aesthetic relief didn’t exist. \nFrancis Dordor\nTranslated by Andy Morgan \n*** \nDengue Fever \n \n[Website] [Facebook] [Twitter] \n“Before it was partly Cambodian and partly indie rock\,” explains Williams of the band’s evolution. “Now it’s 100 percent both.” \nPlunging headlong into their second decade as a band\, DENGUE FEVER’s new album\, The Deepest Lake\, their fifth full-length of all-new material\, comes at a critical juncture in the band’s career. In 2013\, after forming their own label Tuk Tuk Records\, the band crossed over into a brave new world as both artist and record label owner’s. Today they find themselves able to wear two hats – as creative musicians with no boundaries as well as label owners who make their own decisions on where\, when and how to fabricate their career. \nThe net result is the aforementioned\, The Deepest Lake\, a record with more musical diversions than the Mekong River itself. Released in January 27\, 2015 – US/Canada & February 2\, 2015 in the rest of the world\, the ten tracks on The Deepest Lake will satiate longtime fans as well as newcomers looking for something altogether different. Widely recognized for their trademark blend of 60’s Cambodian pop and psychedelic rock\, Dengue Fever’s latest release expands their musical palette to include Khmer rap\, Latin grooves\, Afro percussion\, layered Stax-like horns and more. \nFrom the keyboard and percussion heavy opening track\, “Tokay”\, lead singer Chhom Nimol’s unmistakable bird-like Khmer vocals lead the band on a evolutionary musical journey on The Deepest Lake. Be it the John Doe & Exene boy/girl vocals on “Rom Say Sok” that gets your indie grooves on or the six plus minute psychedelic jam on “Cardboard Castles”\, it’s pretty evident that this is a band looking to take chances and not play it safe. By following their instincts on this record and letting many of the final tracks come out of extended jams when demo’ing the album\, the band played to their musical strengths. No longer was there a need to ‘find’ a song\, the songs on The Deepest Lake came to them. \nThe band’s newly established independence as both label owner and artist marks yet another chapter in the continual evolution of a group unlike many other bands in the Los Angeles music scene. It all began in 2002 when Dengue Fever formed and released their eponymous debut (2003). Packed chock full of ‘lost’ Khmer covers\, the band paid homage to Khmer rock\, a hybrid of Vietnam War era surf\, psych and classic rock performed by Cambodian giants like Ros Sereysothea\, Pan Ron and Sinn Sisamouth. \nThe band’s critically acclaimed sophomore follow-up\, Escape from Dragon House (2005) found them writing and performing original material in earnest. Amazon.com named Dragon House the #1 international release for 2005\, and Mojo magazine named it in their Top 10 World Music releases of 2006. \nIn 2008\, their third release Venus on Earth became the band’s best selling album. It garnered praise from both critics and fans the world over. In fact\, Venus on Earth found support from iconic musicians such as Peter Gabriel\, Metallica’s Kirk Hammett and Ray Davies who each made mention of the band in the press. \nDENGUE FEVER’s fourth release\, Cannibal Courtship (Fantasy Records/Concord Music Group)\, was released in April 2011 and found the band expanding beyond their usual comfort zone and experimenting with new vocal harmonies and sounds. \nThe roots of the band began in the late 1990’s with a 6-month trek through Southeast Asia by Keyboardist Ethan Holtzman. Returning to Los Angeles with a suitcase crammed full of Cambodian cassette tapes\, Holtzman and his brother Zac – who had discovered the same music through a friend working at a record store in San Francisco – reunited. The brothers soon bonded over their love of vintage Cambodian rock and in 2002 founded the band with saxophonist\, David Ralicke (Beck/Brazzaville); drummer\, Paul Dreux Smith; and bassist\, Senon Williams (Radar Brothers). Shortly thereafter the members were on hot pursuit for the ideal Cambodian chanteuse to complete their outfit. After a short period of musical courtship that began at a Cambodian nightclub in Long Beach\, CA.\, Nimol joined the band when she realized the band shared a genuine passion for the music and culture of her homeland. \nIt’s that cross pollination of Khmer rock\, garage rock\, psychedelic rock and the British Invasion sound that has pushed the band to heights they could only dream of in 2002. DENGUE FEVER has performed in front of thousands of fans at such noted music festivals as WOMAD (UK\, AUS\, NZ)\, WOMEX (Spain)\, Melbourne Festival (AUS)\, Glastonbury (UK)\, Bumerbshoot\, (USA)\, Transmusicales (France)\, Roskilde (Denmark)\, Electric Picnic (Ireland)\, Peace and Love (Sweden)\, Treasure Island (USA) among many others. Their songs have appeared in films such as City of Ghosts\, Jim Jarmusch’s Broken Flowers\, The Hangover 2\, the Showtime series Weeds\, the HBO’s hit series True Blood (who named an entire episode after one of their songs) and featured the band’s music\, CBS’ series CSI: Las Vegas and numerous independent documentaries. \nWith band profiles in the New York Times\, Los Angeles Times\, Mojo\, Uncut\, Magnet\, Wired\, NPR’s “Fresh Air”\, Radio Australia\, KCRW’s “Morning Becomes Eclectic” and “World Café Live”\, the time is truly ripe for at least another decade of breaking down more musical barriers. The Deepest Lake is the first\, glorious musical step in that new direction.
URL:https://royaleboston.com/event/tinariwen/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:Sofa King Friday's w/ KSHMR
DESCRIPTION:21+ \nVIP 617.733.0505
URL:https://royaleboston.com/event/sofa-king-fridays-w-kshmr/
LOCATION:279 Tremont Street\, Boston\, 02116\, United States
CATEGORIES:Nightclub
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SUMMARY:Betty Who
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is ALL AGES.\nTickets on sale Fri. 2/3 at 10AM! \nRoyale is general admission standing room only. Tickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office (Cambridge\, MA) Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n***
URL:https://royaleboston.com/event/betty-who-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:#WCKDsaturdays w/ Tone Terra
DESCRIPTION:21+ \nLadies free w/ RSVP before 11:30pm \nFor VIP Inquiries please call 617-733-0505
URL:https://royaleboston.com/event/wckdsaturdays-w-tone-terra/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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SUMMARY:Patriot's Day Sunday w/ DJ Paulo
DESCRIPTION:21+ \nVIP: 617-733-0505
URL:https://royaleboston.com/event/patriots-day-sunday-w-dj-paulo/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub,Special Events
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DTSTART;TZID=America/New_York:20170419T190000
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SUMMARY:Me First and the Gimme Gimmes
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. X/XX at noon! \nTickets available at AXS.COM\, or by phone at 888-929-7849. 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*** \nMe First and the Gimme Gimmes \n \n[Website] [Facebook] [Twitter] \nAre We Not Men? We Are Diva! by Me First and the Gimme Gimmes \nIn that mythical era known as the 90’s\, five brave young men emerged from the legendary halls of some of the mightiest bands on Fat Wreck Chords with a single mission: make all the rest of these dildo punk bands covering popular songs obsolete. They crowned themselves Me First and the Gimme Gimmes and the world rejoiced. Now\, seven records\, scores of singles and nearly a thousand years later\, having tackled every genre under the sun\, the bold young knaves known colloquially as the Gimmes have ridden their success hard\, and decayed into desiccated\, old divas. Yet\, the diva\, she is immortal. And thus\, imbued with the old-world\, Mystic Pizza-esque swagger of Cher\, the modern pop-art sensibility of Lady Gaga and the enthusiasm-for-drug-consumption of Whitney Houston\, Me First and the Gimme Gimmes have returned from their beauty rest\, busting out of their sequined gowns\, and throwing vases at their assistants in order to present you with their latest opus\, entitled Are We Not Men? We Are Diva!\, slated to be released on May 13\, 2014 on none other than Fat Wreck Chords. And you’d best believe\, whether because of their tantrums or their virtuosity\, once you hear these fat ladies sing\, there’s not gonna be a dry eye in the house.\nFor the uninitiated\, Me First and the Gimme Gimmes consist of Lagwagon frontman Joey Cape on the guitar\, Shiflett brother (and Foo Fighter) Chris Shiflett on the other guitar\, Lagwagon drummer and Fat Wreck utility superhero Dave Raun on the skins\, and are rounded out by Fat Wreck-head-honcho/NOFX main-dude Fat Mike\, and incomparable crooner Spike Slawson. Together\, Me First and the Gimme Gimmes—an outfit that has always operated more like a beer-hall Pussycat Dolls than a regular mortal band—contain so much hot air\, so much pomp\, so much attitude\, that it’s a wonder that these guys can still manage to pull their five individual tour buses into the same parking lot\, put their differences aside and belt out the ballads without clawing each other’s eyes out. But they do\, for the love of the fans\, the music\, and of course\, the applause.\nIn the past\, The Gimmes have tackled such disparate genres as Motown\, country\, show tunes and even Japanese pop (sung in real live Japanese!) but none of that enabled them to truly soar as high above the eagles as they desired\, feeling the wind of other\, lesser bands beneath their wings. So this time\, the Fat (Wreck) Five decided to take on the un-take-on-able and hit us with cuts from the likes of Celine (gasp!) Christina (Sigh!) and Paula Abdul (oh no you di’int!) among others. And as Spike’s baritone somehow manages to make Whitney Houston’s (Dolly Parton-penned) Theme Song To The Bodyguard EVEN MORE EPIC\, you will be moved to tears. You will find joy. You will shake in your very skin as the music of these divas gently takes you by the hand and shows you how to love again. AND! You’ll buy tickets to see ‘em on tour.\nBecause that’s right folks! Nothing says ‘diva’ like coming to your town to bask in the torrential\, gushing blasts of your love\, and the Gimmes will be hitting the entire world in support of Are We Not Men? We Are Diva!\, except maybe Mike\, who’s such a diva that he’s got substitutes on hand! So grab those flowers off of your grandma’s grave and head out now\, to check out Me First and the Gimme Gimmes on wax and in your town\, before these five outrageous harpies either kill each other or wind up as a Vegas destination act\, bloated\, high on pills and… uh\, nevermind that last part. Just go see em\, eh? It’s a helluva time. \n*** \nMasked Intruder \n \n[Website] [Facebook] [Twitter] \nThe best pop-punk band you hope never gets out of prison. \nPears \n \n[Website] [Facebook] [Twitter] \nGreen Star by PEARS \nThe story of PEARS is not exactly an incredibly long one: The hardcore punk band came together just over a year ago\, in early 2014\, after its members had kicked around the New Orleans punk scene for long enough before finally wising up and realizing they were meant for each other. However\, it is a story that is remarkably fast-paced: The band’s first demo\, …In Diapers\, was released days after their first practice. The band’s 10-song debut album\, the absolutely electrifying Go To Prison\, was written over the course of 14 hours and recorded a mere five weeks after the band formed. Really\, there’s no way PEARS should be as good as they are—something frontman Zach Quinn fully realizes. “The big secret is that me and a couple of the guys were in a band called the Lollies for a few years\,” Quinn says. “That band broke up\, we took some time away from each other and then just tried to do it right this time. I guess we really kind of lucked out. We didn’t make the same mistakes—the same mistakes being really too fuckin’ drunk to do anything.”\nOf course\, coming out of the NOLA scene\, it’s tough to be anything but debaucherous. “The city is so decadent\, it’s a great place to be a piece of shit\,” Quinn says. “There’s plenty of punk rock. Not a lot of it is very good\, but everybody’s having fun.” It’s that anything-goes attitude that informs Go To Prison\, an album that straddles the line between in-your-face hardcore and sugar-sweet traditional pop-punk that’s surprisingly lighthearted. It’s evident in their logo (some might call it an homage to Fear; “I haven’t heard from Lee Ving’s lawyers yet\,” chuckles Quinn)\, all the musical easter eggs scattered throughout the record (including references to Descendents and Suicidal Tendencies)\, plus an absolutely ripping cover of the Ramones’ “Judy Is A Punk” that is one whole second shorter than the original (a feat we didn’t even think possible). But just because the album comes off as humorous at times doesn’t mean PEARS don’t take themselves seriously. “I definitely take what we do very seriously\, but it doesn’t mean it ain’t funny\,” Quinn explains. “Humor is an aspect of everything. People without a sense of humor are either dead or lying. There’s humor in everything if you know where to look.” Take\, for example\, the band name. “The name ‘PEARS’ came from this really terrible mushroom trip I had\,” he admits. “I ate way too many mushrooms and things just got really bizarre. Pears and bananas became archetypes for everything that is good and pure and everything that is terrible and shitty—pears are the terrible and shitty things. After that bad trip\, pears became slang between me and my friends for bullshit: ‘That shit’s pears.’ I suggested the band name\, and everybody thought that was dumb\, but I talked ‘em into it.” The band were lucky enough to befriend Off With Their Heads frontman Ryan Young\, who loved the band so much he put out Go To Prison on vinyl on his own label\, Anxious And Angry\, last year. Since then\, PEARS have been on the road nonstop\, supporting the likes of the Dwarves\, the Queers\, Teenage Bottlerocket and Strung Out\, all leading to the re-release of Go To Prison on Fat Wreck Chords on July 24th. That’s no excuse to stop working\, though: While their first album might finally be hitting a record store near you this July\, the band will be back in the studio recording its follow-up with none other than Fat Mike in the producer’s chair. (“I never thought anything like that would ever happen\,” Quinn says of Mike’s interest in his band. “I remember buying The Decline when I was 12—it’s really weird that I have anydegree of separation from that.”) While 2015 might be the busiest year of PEARS’ short existence thus far\, it’s clear 2016 has potential to be even bigger.\n“Honestly\, what we have done up to now\, I hadn’t even dreamed of\,” Quinn admits. “I’m not gonna stop climbing. I wanna see how insane this can get. We’ve always said the last thing we’ll do as a band is play North Korea. Then we’ll be done. That’s the ultimate goal—even if we sneak in and play to nobody. I don’t care. I can’t wait to see what I get to do.”
URL:https://royaleboston.com/event/first-gimme-gimmes/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:Cashmere Cat
DESCRIPTION:Bowery Boston presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 2/3 at 10AM! \nTickets available at AXS.COM\, or by phone at 888-929-7849. 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*** \nCashmere Cat \n \n[Website] [Facebook] [Twitter] \nThe cat isn’t entirely out of the bag yet…but he’s getting there. Cashmere Cat has been happy to remain mostly behind the scenes\, up to this point\, focusing his efforts more on his collaborative work with some of the top names in pop\, R&B and hip-hop rather than toot his own meow. But even that board work has threatened to make him a household name\, at least among the kinds of households that obsessively scan Yeezy album credits. As Fader wrote\, “The introverted producer—who’s lent beats to Kanye West\, Ariana Grande\, and Tinashe—is pop’s new not-so-secret weapon.” \nHe’s about to get even less clandestine\, with his first full-length album under his own nom deplume. It’s too soon for Cashmere Cat to reveal just which vocalists he’s enlisted for his feature debut\, although you could make a good guessing game would naturally include some of the marquee names who’ve previously enlisted his producing efforts. But there’s already a significant cachet of fans who would sign up for pre-orders with or without featured artists. Cashmere Cat is a destination producer-DJ-writer-maestro. \nThe artist formerly known as Magnus August Høiberg previously released a pair of allinstrumental EPs on cult labels Lucky Me (Hudson Mohawke\, Lunice\, TNGHT) and Pelican Fly (Sinjin Hawke\, Lido)\, which were acclaimed for vast dynamic soundscapes that transcended any tropes associated with his dance music roots. Bringing in some big-name collaborators for his debut album was a welcome relief from his previous X-treme auteurism. “I was used to making music on my own\, having to deal with my own thoughts and my own computer\, and that was it\,” he says. “Now there’s a spectrum of artists and emotions and places and times involved\, and it’s a lot bigger than what I’m used to. But I don’t mind. It feels better. I prefer to have other people involved in my songs. It got boring and lonely to do music by myself. It’s kind of like playing a videogame alone. It can be awesome\, but you can also feel like a loser\, if you’re playing a game and it’s ‘Yeah! I fucking killed this game! And\, I’m sitting alone\, and I’ve also not had sex for three months.’” Collaborative game on! \nHe took inspiration for his own full-length album debut from the work he did on Kanye West’s most recent album. “I feel like the music I did for him set the standard for what I want to do with my own music\,” he says. “I’m the biggest Kanye fan in the world\, and when they premiered ‘Wolves\,’ it was one of the most exciting days of my life.” So exciting that Cashmere Cat instagrammed a photo of himself in his lawyer’s office\, prostrate on the floor in grateful awe. “‘Wolves’ is really one of my favorite Kanye songs\, and I can’t tell if it’s because I produced it or it’s because it’s actually good. But the way that record came out set the standard for what I want my own music to sound like. It was a new sound for me\, and it made me feel like I can do really beautiful\, weird music that sonically still fits within everything I’ve done\, without it being just banging rap songs or even big-feeling pop music.” \nAny of this would have seemed like a pipe dream not that many years ago\, when Høiberg was a fledgling DJ in his native Norway and began doing remixes for famous artists like Miguel and Lana Del Rey…many of them not officially authorized. His skills attracted an American audience that eventually grew to include multiplatinum super-producer Benny Blanco\, a mentor who encouraged him to come to New York and took him under his wing. Their sensibilities meshed\, with Blanco “bringing me in because he believed that the weirder shit I was doing could work in a more poppy sense.” At the beginning of 2014\, the man now known as Cashmere Cat had his first solo production credit on Ludacris’ “Party Girls\,” which also featured Wiz Khalifa and Jeremih. With Blanco\, Cashmere Cat moved further away still from slamming hip-hop into quirky pop with their co-production of Ryn Weaver’s “Octahate.” With Stargate\, he worked on Charli XCX’s “Break the Rules” and Tinashe’s “All Hands on Deck.” Ariana Grande not only used him on record but took him out on her tour as the opening act. Even when he was working on hiphop records\, a critic at Resident Advisor found the production style he was developing to be “elegant and pristine\,” His own two solo EPs (2012’s Mirror Maru and 2014’s Wedding Bells) also won the hearts of reviewers at outlets like Pitchfork\, which enthused:. “Blending technical sensibility with pop playfulness\, his debut EP communicates a fully realized artistic persona.” \nThey haven’t heard anything yet. When the new album comes out in late 2016\, — on Blanco’s Friends Keep Secrets label\, in conjunction with Interscope — “a lot of my old sound will still be in there\,” he promises\, “but I think I’m influenced by a lot of different music that I wasn’t before— like\, I’ve been listening to a lot of Arca” (the Venezuelan producer/DJ who’s worked with Bjork). “I hope and believe that I’m doing something that’s worthy of an album and not just something that will bang in the club.” \nIs he ready for a greater limelight? Cashmere Cat’s shyness was such that\, even after his name became known\, his gender was less so. “When I would play a show\, there would be a picture of me DJ-ing with my head down and my hair in front of my face\, and I would kind of look like a really weird-looking girl. And the music sounded really soft\, too\, so people would just automatically assume it was by a girl. But I don’t mind if people think there’s something feminine about it.” He eventually added to the mystique by covering up his face with his hand in photos. “When people would come up with cameras\, because I’m awkward and shy\, I would just start automatically covering my face. It wasn’t really an aesthetic choice and it’s not necessarily trying to be mysterious. And then it became a thing.” Such a thing\, in fact\, that now\, when he’s approached by fans for selfies\, “people put their hands in front of their faces to do the picture\, too! But I’m not as scared anymore. There are pictures of me now where you can see the contours of my weird Norwegian face. I think that’s also part of me finding out what I actually want to do. I’m revealing more of myself.” \nThat includes doing interviews\, something he literally shied away from for a while. “I feel like I have stuff to talk about now\, whereas before it was ‘Yes\, I’m in my bedroom in Norway\, and I’m trying to send beats over email to the guy who knows the guy who works at Roc Nation.’” No shortage of stories now: With a full dance card extending to having some of the world’s hottest artists eager to appear on his record\, the cat no longer has his tongue. Even when it’s the biggest names in pop doing the literal singing\, Cashmere Cat has found his voice. \n*** \nNina Las Vegas \n \n[Website] [Facebook] [Twitter]
URL:https://royaleboston.com/event/cashmere-cat/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20170421T220000
DTEND;TZID=America/New_York:20170421T220000
DTSTAMP:20260405T121601
CREATED:20170222T222415Z
LAST-MODIFIED:20170222T222415Z
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SUMMARY:Sofa King Friday's w/ Andrew Rayel
DESCRIPTION:21+ \nVIP 617-733-0505
URL:https://royaleboston.com/event/sofa-king-fridays-w-andrew-rayel/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20170422T220000
DTEND;TZID=America/New_York:20170422T220000
DTSTAMP:20260405T121601
CREATED:20170406T223644Z
LAST-MODIFIED:20170406T223644Z
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SUMMARY:#WCKDsaturdays w/ Dude N Guy
DESCRIPTION:21+ \nFor VIP inquires please call 617-733-0505
URL:https://royaleboston.com/event/wckdsaturdays-w-dude-n-guy/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20170428T180000
DTEND;TZID=America/New_York:20170428T213000
DTSTAMP:20260405T121601
CREATED:20170120T182331Z
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SUMMARY:The Maine
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is All Ages \nSOLD OUT \n*** \n \n*** \nThe Maine \n \n[Website] [Facebook] [Twitter] \nThe Maine is an American rock band from Tempe\, Arizona. In their eight years together\, The Maine has released four full-length albums\, including their major label debut “Black & White” in 2010. The band expanded their musical realm into production which resulted in their fourth EP\, the self-recorded and produced “Imaginary Numbers” (2013). Over the years\, they have toured across the globe as well as extensively on home soil in the US; both as headliners and in support roles. The Maine has shared the stage with the likes of Taking Back Sunday\, Anberlin\, A Rocket To The Moon\, Augustana\, and many more. The band has made numerous festival appearances including the Vans Warped Tour\, Bamboozle\, and South by Southwest. The Maine is recognized within the industry for the close relationships they build and maintain with their fans — many of whom are now college age and have grown up alongside the band. The Maine is John O’Callaghan\, Pat Kirch\, Kennedy Brock\, Garrett Nickelsen\, and Jared Monaco. \n*** \nThe Mowgli’s \n \n[Website] [Facebook] [Twitter] \nFrequently called “the quintessential California band\,” THE MOWGLI’S– known for their laid-back mix of sunny West Coast pop\, garage rock and 60’s Laurel Canyon folk sound– are currently in the studio with producer Mike Green (All Time Low\, Paramore). They’re putting the finishing touches on their as-yet- untitled third album that’s due out Fall 2016 on Photo Finish Records. The six-piece group just released the album’s first single “Freakin’ Me Out\,” available at iTunes now. Look for the band to launch a spring trek starting this Wednesday\, May 25 in Santa Barbara\, CA (dates below). \nTHE MOWGLIS’ uplifting\, indie-rock and universal message of positivity and love resonate with audiences all over the world. Their debut album Waiting for the Dawn (Photo Finish Records) premiered at #4 on the Billboard Heatseekers Chart and yielded the group their first hit song “San Francisco.” Their sophomore album Kids In Love included the feel-right summer song “I’m Good\,” originally written for an anti-bullying campaign. Following Kids In Love\, they released two fan favorite songs: “Summertime”– one the group’s highest playing songs on Spotify– and “Room For All Of Us\,” a song released in support of the refugee-relief organization\, International Rescue Committee. \nKatie Jayne Earl – Vocals\nColin Louis Dieden – Vocals/Guitar\nJosh Hogan – Vocals/Guitar\nMatthew Di Panni – Bass/Vocals\nDave Appelbaum – Keys/Vocals\nAndy Warren – Drums/Percussion/Vocals \n*** \nBeach Weather \n \n[Website] [Facebook] [Twitter]
URL:https://royaleboston.com/event/the-maine/
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:20170428T220000
DTEND;TZID=America/New_York:20170428T220000
DTSTAMP:20260405T121601
CREATED:20170222T222645Z
LAST-MODIFIED:20170222T222645Z
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SUMMARY:Sofa King Friday's w/ Madeon
DESCRIPTION:21+ \nVIP: 617-733-0505
URL:https://royaleboston.com/event/sofa-king-fridays-w-madeon/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170429T220000
DTEND;TZID=America/New_York:20170429T220000
DTSTAMP:20260405T121601
CREATED:20170420T191009Z
LAST-MODIFIED:20170420T191009Z
UID:10001783-1493503200-1493503200@royaleboston.com
SUMMARY:#WCKDsaturdays w/ Breeazy & NRG
DESCRIPTION:21+ \nFor VIP please call 617-733-0505 \nNo sneakers\, shorts\, flip flops\, hats\, oversized baggy clothing\, backpacks\, winter/work boots\, athletic wear.
URL:https://royaleboston.com/event/wckdsaturdays-w-breeazy-nrg/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20170430T190000
DTEND;TZID=America/New_York:20170430T190000
DTSTAMP:20260405T121601
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SUMMARY:SOLD OUT - JoJo
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nThis show is SOLD OUT \n*** \n \n*** \nJoJo \n \n[Website] [Facebook] [Twitter] \nJoJo is resilient. That’s the message that comes through loud and clear when you listen to Mad Love.\, her debut album with Atlantic Records and her first LP in ten years. She’s empowered. She’s in control. And she’s grown as hell. \nYou can hear it in her Wiz Khalifa-assisted lead single\, “Fuck Apologies.” It’s a powerful statement of intent that announces to the world that the singer-songwriter isn’t going to let anyone make her feel small. \n“As a woman\, I find myself apologizing for things that I really don’t need to apologize for\,” JoJo says. “Even as simple as when someone bumps into you.” She laughs. “Guess what? I’m not sorry you bumped into me. Overall\, though\, the song to me is an anthem of empowerment. It’s about being confident and comfortable enough with who you are to live unapologetically.” \nThemes of hard-won independence and strength are vividly realized on Mad Love.\, which swerves from slinky alt-R&B to exultant pop bangers and back again. It’s no surprise\, given that JoJo\, now 25\, had a heavy hand in writing the entire album after\nfirst attempting to cut tracks penned by outsiders. \n“I was starting to lose myself in the process of being sent songs\,” she says. “But I stood up and remembered that I’m a songwriter\,\nand I want to be heard.” \nTruly finding her voice was a journey that’s taken a lifetime. Born Joanna Levesque and raised in Massachusetts\, she notched a #1 hit on the Billboard Pop Songs chart with her debut single\, “Leave (Get Out)\,” when she was only 13; she was the youngest solo artist to have a #1 single in the U.S. She followed it up with a string of additional singles\, most notably “Too Little Too Late\,” another Top 3 smash\, and the hit album The High Road in 2006. \n“Being a child star is a weird thing because your identity is put onto you\,” she says. “As much of an individual as I was\, I still had a lot of cooks in the kitchen telling me where to go and how to dress and what songs to record.” \nIt didn’t help that she was trapped in a deal with a label that was defunct\, which kept her from releasing music commercially. As the years passed\, she earned a devoted following online releasing free mixtapes featuring tracks from top hitmakers like Boi-1da\, Chad Hugo of the Neptunes and Da Internz. She collaborated\, too\, with the producer Noah “40” Shebib on her critically acclaimed single\, “Demonstrate”\, and had guest features on Timbaland’s Shock Value 2 and Pharrell Williams’ Grammy-nominated album G I R L. She was finally liberated from her contract in 2013 after 2 lawsuits and seven years of limbo and signed anew with Atlantic. \nIn 2015\, she released a critically acclaimed trio of singles\n—she called it a “tringle”—to give fans a first taste of the sound she’d been developing with tunesmiths such as Harmony Samuels\, Benny Blanco\, Wayne Hector and Jason Evigan. Ever prolific\, she recorded dozens of songs. But a series of major life events—including the passing of her beloved father and a break-up—inspired her to start fresh at the top of 2016 when con ceptualizing the vibe of her first studio album in a decade. Life was too short and she wanted to be in the driver’s seat. “After losing my father and breaking up with my boyfriend\,” she says\, “I realized: I cannot keep listening to the opinions of others.” So she started writing again. “I needed it to come from my pen\, in a way I would say it\,” she says. “I felt like my spirit would die if I didn’t come across with my own point of view. It just poured out of me.” \nIt comes as no surprise\, then\, that there’s so much authenticity and vitality in Mad Love.; it’s a document of a young woman finding her way in the world. She’s vulnerable on the opening track “Music\,” a spare piano ballad that allows the singer to show off her spine-chilling vocal chops as she recalls her blue-collar roots and pays homage to her late father. “Usually I’m crazily obsessive about chasing my best performance when I’m cutting vocals\,” she says. “But for ‘Music\,’ I put my perfectionist ego aside and did a couple takes all the way through\, singing through my tears. The emotion was more important to me than anything else.” She’s emotional\, too\, on the haunting “I Am\,” the only song from her earlier sessions to make the album. “This song is my mantra\,” she says.”But she turns up the volume on the self-empowering Alessia Cara-assisted “I Can Only”\, asks a male suitor to politely stop killing her vibe on the head-nodding uptempo “Vibe”\, and demolishes the hater-industrial complex on “FAB”\, ( which stands for Fake Ass Bitches) featuring Remy Ma. For devotees of the woozy R&B slow jams from her JoJo’s mixtapes\, there’s something here too—namely “Edibles\,” a sultry ode to cannabis consumption that’s bound to be a fan favorite. And on the swooning\, doo-wop-inspired title track\, the singer commits so fully to retro soul she sounds transported from another era. \nIf it sounds like there’s a lot of ground covered here\, there is—which is exactly what JoJo wanted. She called the album Mad Love. because it’s the first thing that feels like it’s 100% her voice. “This album is passionate\, crazy\, vulnerable and all about the thing that keeps us going—love\,” she says. “It’s inspired by the music I grew up listening to—and like my generation\, refuses to be put in a box. I tried so many things along the way\, but I realized I needed to be true to myself and do this on my own terms.” \nNow\, she’s ready to turn it over to the fans who have stuck with her after a full decade of challenges. “I don’t want them to experience me\,” she says. “I want them to experience themselves. This music is for you. Listen to this in your car\, do your workout with it\, get ready to it\, cry to it. It comes from my life\, but it’s not for me anymore.” She smiles. “It’s for everyone.” \nSTANAJ \n \n[Website] [Facebook] [Twitter] \nFreshly inked Republic artist\, Stanaj\, just released his debut EP\, The Preview. Complex Magazine featured the highly anticipated record on their site and made The Preview available for exclusive streaming on Monday\, the day before the official release of the EP\, August 9th. \nThe Preview features Stanaj’s undeniably powerful vocals backed by the full sound from the talented producers and songwriters\, Justin Tranter\, Mattman & Robin\, and HazeBanga. With hits like “Ain’t Love Strange” and “Romantic”\, Stanaj gives us an enticing glance at what we can expect from the talented artist in the near future.
URL:https://royaleboston.com/event/jojo/
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:20170504T193000
DTEND;TZID=America/New_York:20170504T193000
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SUMMARY:Jamestown Revival
DESCRIPTION:Bowery Boston presents \nDoors: 7:30 pm / Show: 8:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 3/3 at noon! \nTickets available at AXS.COM\, or by phone at 888-929-7849. 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*** \nJamestown Revival \n \n[Website] [Facebook] [Twitter] \nThe story of Jamestown Revival feels suited for the dog-eared pages of a timeless American novel. \nChapter one opens with Jonathan Clay and Zach Chance meeting in Magnolia\, TX at 15-years-old. Fast friends\, the duo attended college together\, started Jamestown Revival\, and traded their home state for Los Angeles\, CA in late 2011. By 2014 they released their debut album UTAH (which included the hit single ‘California’)\, built a committed fan base with countless road shows\, and received critical acclaim from the likes of Rolling Stone and The Wall Street Journal. They were named iTunes “Best of 2014: Singer-Songwriter Album of the Year\,” graced the sound stages of Conan and The Late Late Show with Craig Ferguson\, and performed at some of America’s legendary music festivals including Coachella\, Austin City Limits\, Bonnaroo\, Bottlerock Festival\, and Willie Nelson’s Fourth of July Picnic. \n“UTAH opened a lot of doors for us and put us on the road for the first time\,” says Zach. “We learned how to play for a crowd and how to perform.” \nBut when it came time to record a second album\, the band found themselves in a different place. \n“This album is like chapter two\,” agrees Jonathan. “The story begins at the point where we decided to head back to Texas. We wrote many of the songs when we were entering a different phase of our lives. We settled back into Austin\, and my wife and I had our first child. That was a big shift. It was all about leaving behind our last bastion of adolescence\, if you will.” \nThis process resulted in The Education Of A Wandering Man [Republic Records]\, an album that looks back at the journey of the band’s past. The record chronicles the lessons learned and the experiences that color the life-lived along the way. \n“This album is a snapshot of our observations and learnings over the past four years. Our education has been gained not in a classroom\, but in our experience\,” Zach and Jonathan write in a letter to fans announcing the album. \nMusically\, the record remains loyal to Jamestown Revival’s indie rock/alt country aesthetic while also reaching into new creative territory. \n“You can hear all of our influences on the new album. It feels like a late night drive after a show. There’s some Motown\, rock ‘n’ roll\, and even a little country. We paid homage to a lot of the people we listened to while stuck in a car between gigs\,” says Zach. \nTapping into almost a lifetime of natural chemistry\, the band started sharing musical ideas while sitting on Jonathan’s porch before holing up in a Hill Country farmhouse a few hours from Austin for recording. Producing themselves alongside longtime collaborator Ryan Lipman\, the sessions lasted only two weeks\, and Jamestown Revival emerged with 12 new tracks. \n“It was a bunch of good friends in a relaxed setting making a record\,” says Zach. “It never felt like a nine-to-five. We could have a smoke outside\, play horse on the basketball hoop\, and hang out and wait for the muse to find us.” \nThough the record came together quickly\, nailing down the first song proved more difficult. After wrestling to overcoming the pressure\, the band emerged with their first single “Love Is A Burden\,” kick-starting the creative process. \n“We wrote that song about our last single ‘California’\,” admits Jonathan. “When we started writing\, all we did was compare every song we wrote to ‘California.’ We never thought anything lived up to it\, and that started to squelch our creativity. This piece of music that did amazing things for us became like a lead weight. ‘Love Is A Burden’ is about the successes\, the failures\, the triumphs\, and the fears of the past really starting to weigh you down and having a hard time moving on. It’s a metaphor we related to a relationship you can’t move past in the lyrics. As far as inspiration goes\, the chorus just popped in my head\, and we ran with it. After all of that overthinking\, it was done in ten minutes.” \nAlbum opener “Company Man” captures the heartbreak of corporate greed. “My family’s got some land where we birthed the idea of Jamestown Revival\, and we’ve both been going there together since we were kids\,” says Jonathan. “”One day my family gets a call that there’s an oil company who wants to put a pipeline right through the property. They were doing it under the protection of ‘public domain’. That piece of land is sacred to us\, but ironically\, nobody else cared about it until there was something to gain.” Company Man speaks to that feeling of helplessness and frustration. \n“American Dream” comments on similar themes\, while “Head On” explores the claustrophobia of the concrete jungle. Elsewhere\, the acoustic-driven “Back To Austin” serves as an upbeat love letter to their hometown. Throughout\, the record speaks to themes inherent to the meaning within its title The Education Of A Wandering Man. \n“The Education Of A Wandering Man is actually an autobiography by classic western novelist Louis L’Amour\,” Zach says. “He traveled the world and lived a fascinating life. Jonathan and I read the book years ago and fell in love with it. It’s like looking back on a life unplanned. That really resonated with us when we were making the album. The more you travel\, the more perspective you get. Our travels have been an education.” \nFor Jamestown Revival\, the album is simply a continuation of their ongoing story. “We’ll be writing and telling stories until we’re six feet under\,” Jonathan leaves off. “This album is just the next step on the path.” \n*** \nThe Ghost of Paul Revere \n \n[Website] [Facebook] [Twitter] \n“Mumford & Sons meet the Avett Brothers with a twist of bluegrass. Old Crow Medicine Show with three-part harmonies. The Band for millennials… The Maine-grown\, foot-stompin’ holler-folk quartet create the type of music for which festivals are made.” – The Boston Globe \nBorn on the banks of the Saco River\, brothers in all but name\, the Ghost of Paul Revere is Maine’s holler-folk band. A powerful\, energetic\, non-traditional American folk band that’s renowned for harmony fueled\, heart-pounding performances full of songs with unique identities that remain undeniably the Ghost of Paul Revere.\nFormed around childhood friends Max Davis\, Sean McCarthy\, and Griffin Sherry\, joined by Matt Young on harmonica\, the Ghost of Paul Revere played their first show together in 2011 at a tiny bar in Portland\, Maine. Now\, they play across the nation\, bringing holler-folk into houses\, bars\, and music halls. They have shared the stage with the Avett Brothers\, The Travelin’ McCourys\, Brown Bird\, Spirit Family Reunion\, Darlingside\, as well as members of Greensky Bluegrass\, the Infamous Stringdusters\, and Old Crow Medicine Show. \nTheir critically acclaimed\, Billboard charting full length album Believe\, as well as their two EPs North and Field Notes Vol. 1\, have continually been the top selling local albums in Maine and New Hampshire for more than four years. The Ghost of Paul Revere has since sold out Port City Music Hall\, Stone Mountain Arts Center\, and the Strand Theater multiple times\, won Best In Maine at the 2014 New England Music Awards\, were an official showcase artist at Folk Alliance International 2015 and made their Newport Folk Festival debut in August 2015. They capped off 2015 with an electrifying headline performance on New Year’s eve at Portland’s State Theatre in front of 1\,600 enraptured fans. \nIn 2016\, amidst touring nationally\, they returned to the studio to craft their second full length album\, engineered by Jonathan Wyman at Halo Studios and mastered by Adam Ayan of Gateway Mastering. The album is expected to be released in early 2017. \n“Robustly played\, masterful amalgamation of bluegrass\, folk\, and gospel for the Millennial Generation… The Ghost of Paul Revere prove that superior roots music can come from anywhere.” – No Depression \n“Simply put\, this band is one to see live… A gorgeous blend of bluegrass\, folk and good old fashioned rock and roll… their performance takes on a boot-clacking brilliance that transforms each song into a full-on participatory event\, sending an electric surge about the room that’s near impossible not to feel. Add to that a layered three part harmony coursing through each soulful song\, and The Ghost of Paul Revere demonstrated they not only had the chops\, but the heart to reach their audience and leave an undeniable impression as well. As the floorboards shook with each pounding stomp\, one thing was certain: the band announced they had arrived\, loud and clear.” – Dispatch Magazine \n“Simply put North is an album that shouldn’t be missed. (It will) make even the most callous of individuals feel the unbridled joy of Holler-Folk.” – Ear to the Ground Music \n“A distinguished sound that only seasoned musicians can usually attain” – Portland Press Herald \n“(The Ghost of Paul Revere) stole the show. I was so impressed with them. Their harmonies\, stomping percussion\, and vocal power were stellar… their songs progressed from mellow to powerhouse… their harmonies are superb and their songs have power.” – whatbreesees.com
URL:https://royaleboston.com/event/jamestown-revival-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:20170505T180000
DTEND;TZID=America/New_York:20170505T213000
DTSTAMP:20260405T121601
CREATED:20170131T131956Z
LAST-MODIFIED:20170131T131956Z
UID:10001750-1494007200-1494019800@royaleboston.com
SUMMARY:[SOLD OUT] Real Estate
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \nSOLD OUT \n*** \n \n*** \nReal Estate \n \n[Website] [Facebook] [Twitter] \n*** \nFrankie Cosmos \n \n[Website] [Facebook] [Twitter]
URL:https://royaleboston.com/event/real-estate/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170505T220000
DTEND;TZID=America/New_York:20170505T220000
DTSTAMP:20260405T121601
CREATED:20170405T050017Z
LAST-MODIFIED:20170405T050017Z
UID:10002488-1494021600-1494021600@royaleboston.com
SUMMARY:Sofa King Fridays w/ SNBRN
DESCRIPTION:21+ \n? For VIP inquiries please call 617-733-0505
URL:https://royaleboston.com/event/sofa-king-fridays-w-snbrn/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170506T220000
DTEND;TZID=America/New_York:20170506T220000
DTSTAMP:20260405T121601
CREATED:20170420T192103Z
LAST-MODIFIED:20170420T192103Z
UID:10001784-1494108000-1494108000@royaleboston.com
SUMMARY:#WCKDsaturdays w/ Sam Pace
DESCRIPTION:Opening set by Antrik \n21+ \nFor VIP inquiries please call 617-733-0505
URL:https://royaleboston.com/event/wckdsaturdays-w-sam-pace/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170507T190000
DTEND;TZID=America/New_York:20170507T190000
DTSTAMP:20260405T121601
CREATED:20170310T040902Z
LAST-MODIFIED:20170310T040902Z
UID:10001766-1494183600-1494183600@royaleboston.com
SUMMARY:Potap & Nastya Live!
DESCRIPTION:Potap & Nastya\nSunday\, May 7th\nDoors 7pm/ Show 8pm\n18+
URL:https://royaleboston.com/event/potap-nastya-live/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170512T220000
DTEND;TZID=America/New_York:20170512T220000
DTSTAMP:20260405T121601
CREATED:20170405T050053Z
LAST-MODIFIED:20170405T050053Z
UID:10002489-1494626400-1494626400@royaleboston.com
SUMMARY:Sofa King Fridays w/ Keys N Krates
DESCRIPTION:21+ \n? For VIP inquires please call 617-733-0505
URL:https://royaleboston.com/event/sofa-king-fridays-w-keys-n-krates/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170513T180000
DTEND;TZID=America/New_York:20170513T213000
DTSTAMP:20260405T121601
CREATED:20170213T110023Z
LAST-MODIFIED:20170213T110023Z
UID:10002467-1494698400-1494711000@royaleboston.com
SUMMARY:Perfume Genius
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 2/17 at noon! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \nPerfume Genius has partnered with Plus 1 so that $1 from every ticket goes to support the ACLU and their work defending and protecting our individual rights and liberties. \n*** \n \n*** \nPerfume Genius \n \n[Website] [Facebook] [Twitter] \nOver the course of two astonishing albums\, Perfume Genius\, aka Seattle native Mike Hadreas\, cemented his place as a singer-songwriter of rare frankness\, creating songs that\, while achingly emotional\, offered empathy and hope\, rather than any judgment or handwringing. Sparse\, gorgeous and with Hadreas’ quavering vocals often only accompanied by piano\, they were uncommonly beautiful tales of a life lived on the dark side – scarred\, brutalised\, yet ultimately\, slowly but surely reclaimed.\n“Too Bright”\, however\, is something else altogether. Less self-conscious\, and less concerned with storytelling and easily-digested melodies\, it is a brave\, bold\, unpredictably quixotic exploration of what Hadreas calls “an underlying rage that has slowly been growing since ten and has just begun to bubble up.” This sharp U-turn came early in the writing process\, when a creatively frustrated and uninspired Hadreas decided not to write what he thought people might want to hear – or as he describes it\, “mid tempo Adele songs\, carefully plotting each chord and lyric like math” – but focus instead on writing what came naturally\, 100% visceral and unfiltered\, no matter what the potential reception might be. “I looked to PJ Harvey”\, he recalls. “How powerful and raw she can be\, and thought\, “what is my version of that?”‘\nThe resultant album\, then\, is a stunning about-face which brings to mind audacious career-shift albums like Kate Bush’s The Dreaming or Scott Walker’s Tilt\, records which walk the tightrope between pure songwriting and overt experimentation. Here\, Hadreas is aided in his efforts by not one\, but two unlikely conspirators – John Parish\, who plays drums on several tracks\, and Portishead’s Adrian Utley\, who\, as producer\, brought the physical resources to flesh out the songs in innovative ways. According to Hadreas\, Utley was the key to unlocking hitherto unexplored terrain on the album\, using both synths and organic instrumentation to push the tracks to darker and more unreal heights. The album is also rounded off with key contributions from longtime touring band members Alan Wyffels and Hervé Bécart.\nThe fragile yet defiant “I Decline” opens the album\, draped in hushed\, languorous beauty\, but it is an outlier. The interim between “Put Your Back N 2 It” and “Too Bright” has seen Perfume Genius grow claws and fangs\, and he is unafraid to draw blood. On the following track (and first single) “Queen”\, the line “Don’t you know your queen?” booms out over ominous guitars\, not so much a genuine question as a rhetorical one\, as Hadreas proceeds to deconstruct gay panic with relish. Even with a wordless\, albeit soaring and cacophonous symphony of a chorus it sounds huge\, anthemic\, a gleeful kiss off to what he describes as “faces of blank fear when I walk by…if these fucking people want to give me some power – if they see me as some sea witch with penis tentacles that are always prodding and poking and seeking to convert the muggles – well\, here she comes”.\nThat mischevious sense of defiance runs rampant through the album. A surreal threat hangs over songs like “My Body” and “Grid”\, with piercing screams\, tribal drums and electronic stabs highlighting disturbing lyrics of self-destruction and temporary respite from the darkness. On “Fool” meanwhile\, deceptively swinging doo-wop rhythms disguise a story of social mutiny\, with Hadreas tearing into the stereotype of “a walking\, talking candelabra”\, and rejecting it for something much more volatile and dangerous. “Ive met people that laugh at EVERYTHING i say”\, he muses. “I could be talking about OJ or Munchausens Syndrome or bloody stool – I am still just the cutest thing. Here only to enrich their lives\, not have one of my own. Make their dress\, tell them how great their boobs look and then peace. Isnt he the best?”\nWhich is not to say that Hadreas has completely abandoned the shimmering\, exquisite piano ballads that he is so known for. “No Good” is a heartbreaking meditation on a difficult life lived on the outside but “spent looking in”\, while the somber closer “All Along” is a resigned yet firm rebuke to acceptance and reassurance from external forces\, preferring instead to find refuge from within – “I have my love”\, Hadreas asserts\, “and I apply it where I need to”. This\, in fact\, is the overarching theme of “Too Bright”; the connective tissue loosely joining up these 11 stunning\, weird and wonderful tracks – the discovery of strength and power where previously he felt he had little. As he himself puts it\, during the making of the album\, it felt “like i had woken some ancient beast which began to rattle and threaten to rise”. With this record\, consider the demon awoken. There’s no turning back now. \n*** \nserpentwithfeet \n \n[Website] [Facebook] [Twitter] \nAfter spending years studying as a classical vocalist\, 27-year-old Baltimore-born artist serpentwithfeet (a nom de plume for Josiah Wise) spent time drifting around Paris and London before eventually landing in NYC. It was here that his music-a beautiful confluence of gospel and classically-inflected electronica-began to truly take shape.\n“I decided in 2012 or in 2013 that I didn’t want a band anymore\,” he recalls\, “I was like\, “What would happen if I did my R&B thing over this classical shit” It took a while\, but I started to wonder if I could make something that satisfies other people and myself. I want the music to resonate with people. I didn’t start thinking about that until I moved to New York\, to be honest.”\nblisters is serpentwithfeet’s first EP from Tri Angle Records. After spending a few years experimenting-both musically and visually-in NYC’s underground queer music scene (“I was basically just posting something new every week on Soundcloud\, waiting for someone to take notice\,” he says)\, Wise eventually struck on a sound and a sentiment that made sense. On “four ethers\,” the third single to be taken from blisters\, serpentwithfeet wonders aloud what it would feel like to be violently transparent\, and finds him in pursuit of a rare honesty. Huge swathes of strings and percussion emphatically rise and crash turbulently against Wise’s questioning voice as he ultimately asks: “How can I touch somebody who wont even touch themselves?” “four ethers” might be serpentwithfeet’s most powerful and dramatic work to date.\nA similar kind of emotional dynamic runs throughout all of blisters. Tracks like “penance” and “redemption” vacillate between hushed intimacy and huge emotional swells. On the EP’s title track\, Wise’s multi-tracked voice plays against gently-plucked harp and syncopated handclaps\, the record’s gospel affectations and slinky R&B tropes fusing into something unique\, exotic\, and strangely beautiful. Meanwhile\, surrounded by strings\, subtle electronics and Wise’s restrained piano playing–and buoyed aloft by production courtesy of The Haxan Cloak- the EP’s first single\, “flickering\,” is the perfect showcase for Wise’s powerhouse voice. “I’m starting to feel the cord connecting us two is made of gossamer\,” he sings. “I’m starting to feel there’s no cord between us two/are we made of gossamer?” The track unspools with a kind of hushed intimacy\, the tone and tenor of Wise’s voice rising and falling like a breath until the song itself crests and flutters before disappearing completely.\nGiven that he credits both Brandy and Bjork as inspirations\, it’s not surprising that serpentwithfeet treads a fine line between emotive gospel and more left-of-centre stylings. With his own gloriously outré personal style and penchant for the dramatic\, it also makes sense that the music Wise makes would be so remarkably unclassifiable. “It feels very free because I also feel very free\,” he says. “I don’t feel like being gay restricts me in the same way I also don’t feel like being black restricts me. In fact\, it only makes me more interesting. Making music has always been about making a space for myself in the world. My theory has always been that if you walk into a room and say\, ‘This is my room’-it’s your room. The End.”
URL:https://royaleboston.com/event/perfume-genius/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170513T220000
DTEND;TZID=America/New_York:20170513T220000
DTSTAMP:20260405T121601
CREATED:20170420T192759Z
LAST-MODIFIED:20170420T192759Z
UID:10001785-1494712800-1494712800@royaleboston.com
SUMMARY:#WCKDsaturdays w/ Tone Terra & Breeazy
DESCRIPTION:Opening set by Davvid \n21+ \nFor VIP inquiries please call 617-733-0505 \nNo shorts\, hats\, flip flops\, oversized baggy clothing\, backpacks\, athletic wear\, sneakers\, tank tops.
URL:https://royaleboston.com/event/wckdsaturdays-w-tone-terra-breeazy/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170514T180000
DTEND;TZID=America/New_York:20170514T180000
DTSTAMP:20260405T121601
CREATED:20161214T180843Z
LAST-MODIFIED:20161214T180843Z
UID:10001736-1494784800-1494784800@royaleboston.com
SUMMARY:[SOLD OUT] State Champs
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is All Ages. \nSOLD OUT \n*** \n \n*** \nState Champs \n \n[Website] [Facebook] [Twitter] \nTyler Szalkowski\nDerek Discanio\nTony Diaz\nEvan Ambrosio\nRyan Graham \n*** \nAgainst The Current \n \n[Website] [Facebook] [Twitter] \nChrissy Costanza – @ChrissyCostanza\nDan Gow – @DanielGow\nWill Ferri – @WillFerri \n*** \nWith Confidence \n \n[Website] [Facebook] [Twitter] \nAlternative Sydney rockers\, With Confidence\, have just finished touring in support of their recently released EP ‘Distance’. \nReleased on January 13 2015\, ‘Distance’ is their sophomore EP from 2013’s ‘Youth’ EP. It was recorded at Electric Sun Studios with Stevie Knight and Dave Petrovic (Tonight Alive\, Hands Like Houses\, Northlane) at the helm. \nThe response by the fans has been overwhelming with the EP rocketing to #2 on the iTunes Alternative charts and #10 on the overall iTunes albums chart. \nThe four-piece’s popularity is a product of solid touring and hard work over the past twelve months supporting the likes of You Me At Six\, Tonight Alive\, Kids In Glass Houses\, Neck Deep and more recently\, Marianas Trench. The constant touring has also heavily influenced the band’s maturity in their song writing which is evident on ‘Distance’. \nThe recent ‘Distance’ tour saw the band return to Sydney\, Newcastle\, Brisbane\, Perth and Melbourne – their first headlining tour since their sold out April 2014 “I Will Never Wait” run. \n*** \nDon Broco \n \n[Website] [Facebook] \nRob Damiani – Vocals\nMatt Donnelly – Drums\nSimon Delaney – Guitar\nTom Doyle – Bass
URL:https://royaleboston.com/event/state-champs/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170519T220000
DTEND;TZID=America/New_York:20170519T220000
DTSTAMP:20260405T121601
CREATED:20170405T050043Z
LAST-MODIFIED:20170405T050043Z
UID:10002490-1495231200-1495231200@royaleboston.com
SUMMARY:Sofa King Fridays w/ TJR
DESCRIPTION:21+ \n? For VIP inquiries please call 617-733-0505
URL:https://royaleboston.com/event/sofa-king-fridays-w-tjr/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170520T193000
DTEND;TZID=America/New_York:20170520T220000
DTSTAMP:20260405T121601
CREATED:20161103T192011Z
LAST-MODIFIED:20161103T192011Z
UID:10002438-1495308600-1495317600@royaleboston.com
SUMMARY:Blackheart Burlesque w/ Suicide Girls
DESCRIPTION:SUICIDEGIRLS IS BRINGING THE SEXIEST SHOW ON THE PLANET TO BOSTON! \nThe SuicideGirls: Blackheart Burlesque is unlike any other burlesque act you’ve ever seen\, filled with pop culture references\, a high energy indie soundtrack and the sexiest choreographed strip tease that will make your inner nerd explode with glee. Join us at Royale Nightclub for our geeky burlesque show with striptease performances in tribute to Star Wars\, Orange Is The New Black\, Donnie Darko\, Clockwork Orange and more! \nVIP Doors at 5:30PM / Regular Doors at 6:30PM / Show at 7:30PM \nPlease note that this event is 18 and over ONLY. Any ticket holder unable to present valid identification indicating that they are at least 18 years of age will not be admitted to this event\, and will not be eligible for a refund!
URL:https://royaleboston.com/event/blackheart-burlesque-w-suicide-girls/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Special Events
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170520T220000
DTEND;TZID=America/New_York:20170520T220000
DTSTAMP:20260405T121601
CREATED:20170510T195517Z
LAST-MODIFIED:20170510T195517Z
UID:10001788-1495317600-1495317600@royaleboston.com
SUMMARY:#WCKDsaturdays w/ Buddy Costa
DESCRIPTION:21+ \nVIP 617.733.0505
URL:https://royaleboston.com/event/wckdsaturdays-w-buddy-costa/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170521T180000
DTEND;TZID=America/New_York:20170521T180000
DTSTAMP:20260405T121601
CREATED:20170420T203336Z
LAST-MODIFIED:20170420T203336Z
UID:10001787-1495389600-1495389600@royaleboston.com
SUMMARY:Yiannis Ploutarhos w/ Kings
DESCRIPTION:18 + \nGreek Music Live… \n6:00pm Doors\n7:30pm Show
URL:https://royaleboston.com/event/yiannis-ploutarhos-w-kings/
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:20170524T190000
DTEND;TZID=America/New_York:20170524T190000
DTSTAMP:20260405T121601
CREATED:20170221T163147Z
LAST-MODIFIED:20170221T163147Z
UID:10002468-1495652400-1495652400@royaleboston.com
SUMMARY:[SOLD OUT] Marian Hill
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \nSOLD OUT \n*** \n \n*** \nMarian Hill \n \n[Website] [Facebook] [Twitter] \nAct One\, the debut full-length from songwriting duo Marian Hill\, was written and produced in its entirety by Jeremy Lloyd (music/lyrics/production) and Samantha Gongol (music/lyrics/vocals). The multi- talented duo\, who have been collaborating in one form or another since high school\, have shifted the classic paradigm of a woman on a stage and a man with a piano to a woman on a mic and a man with a laptop — and the results are seductive and vivid. Tempting paradox with a blend of blues and bass\, acoustic and digital\, classic and modern\, Marian Hill have arrived. \nTwo years ago Sam and Jeremy wrote and recorded “Whisky” over spring break in Jeremy’s parents’ basement. When they released it for free on Soundcloud later that summer it was the only song they’d written for the project\, and in a little over a year’s time they had recorded their first EP in a bedroom\, amassed millions of plays on various platforms\, sold out shows across the country and featured in high profile commercials. They signed to Republic Records in early 2015\, released the Sway EP\, and settled in to write and record their debut album over the course of the following year with a plan to push their unique sound to its fullest potential. \nFor the first 50 seconds of “Down” you might think you’re at a supper club in the 1920s\, but when the bass drops out of nowhere you couldn’t be anywhere but 2016. Act One then takes you on a journey through the complexities of modern relationships\, with each song inhabiting a specific and charged relationship lyrically\, melodically\, and sonically. “I Know Why” constantly transforms and reinvents itself as the vocals grapple with a secret while “Mistaken” is the hardest of sax trap with a classic songwriting backbone. “Same Thing” is the saddest part of the album\, a haunting ballad depicting serene resignation of a doomed relationship\, but castanets rise from the ashes as “I Want You” closes out the night in a pure moment of optimistic electricity\, a glance across a crowded room that changes everything. \nMarian Hill’s one of a kind sound is present throughout — blues harmonies blend with sparse hip hop drums\, horns blast under classic vocal melodies\, and soloistic vocal chops sit side by side with clear\, intimate lyrics. You’ve never heard this before\, yet it’s surprisingly familiar. And it’s only the beginning. \n*** \nOpia \n \n[Website] [Facebook] [Twitter] \nCole and Jacob met as Math and Physics majors at Yale University and began recording and collaborating on different music projects. Jacob’s extensive production and arrangement background clicked instantly with Cole’s guitar and vocal songwriting experience. At the top of 2016\, the duo spent three weeks living out of an underground studio in New Haven\, writing music for what would become Opia. Their debut release “Falling” instantly became a viral hit\, rocketing to the top of the Spotify\, Hype Machine\, and SoundCloud charts.
URL:https://royaleboston.com/event/marian-hill-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170526T220000
DTEND;TZID=America/New_York:20170526T220000
DTSTAMP:20260405T121601
CREATED:20170425T160656Z
LAST-MODIFIED:20170425T160656Z
UID:10002498-1495836000-1495836000@royaleboston.com
SUMMARY:Sofa King Fridays w/ Afrojack
DESCRIPTION:21+ \nFor VIP inquiries please call 617-733-0505
URL:https://royaleboston.com/event/sofa-king-fridays-w-afrojack/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170527T220000
DTEND;TZID=America/New_York:20170527T220000
DTSTAMP:20260405T121601
CREATED:20170405T200050Z
LAST-MODIFIED:20170405T200050Z
UID:10002494-1495922400-1495922400@royaleboston.com
SUMMARY:#WCKDsaturdays w/ Ben Lovett & Winston Marshall (Mumford & Sons DJ Set)
DESCRIPTION:We know your curious\, see what it’s all about…. \nHot off their international tour\, Mumford and Sons is taking their talent to Royale for their first ever DJ set in the US! Mumford and Sons will be joining us right after hopping off stage for a can’t miss top-40 set for over 1\,000 screaming fans at Royale. \nSpinning remixes of their top tracks plus today’s top hits\, you’ll get up close and personal with Mumford and Sons at Royale. Tickets are sure to completely sell out. \n21+ \nFor VIP inquiries please call 617-733-0505
URL:https://royaleboston.com/event/wckdsaturdays-w-mumford-sons-dj-set/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub,Special Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170528T220000
DTEND;TZID=America/New_York:20170528T220000
DTSTAMP:20260405T121601
CREATED:20170420T194128Z
LAST-MODIFIED:20170420T194128Z
UID:10001786-1496008800-1496008800@royaleboston.com
SUMMARY:Military Ball w/ DJ Aron & Beth Sacks
DESCRIPTION:21+
URL:https://royaleboston.com/event/memorial-day-weekend-military-ball-w-dj-aron-beth-sacks/
LOCATION:279 Tremont Street\, Boston\, 02116\, United States
CATEGORIES:Nightclub
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END:VCALENDAR