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DTSTART;TZID=America/New_York:20160325T220000
DTEND;TZID=America/New_York:20160325T220000
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CREATED:20160204T220057Z
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SUMMARY:SUNNERY JAMES & RYAN MARCIANO
DESCRIPTION:21+ \nManagement reserves the right to refuse entry
URL:https://royaleboston.com/event/sunnery-james-ryan-marciano/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20160326T220000
DTEND;TZID=America/New_York:20160326T220000
DTSTAMP:20260405T031208
CREATED:20160322T183031Z
LAST-MODIFIED:20160322T183031Z
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SUMMARY:DUDENGUY
DESCRIPTION:21+ \nManagement reserves the right to refuse entry.
URL:https://royaleboston.com/event/dudenguy/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20160327T203000
DTEND;TZID=America/New_York:20160327T203000
DTSTAMP:20260405T031208
CREATED:20160205T171148Z
LAST-MODIFIED:20160205T171148Z
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SUMMARY:Thanos Petrelis
DESCRIPTION:21+
URL:https://royaleboston.com/event/thanos-petrelis/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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DTSTART;TZID=America/New_York:20160329T190000
DTEND;TZID=America/New_York:20160329T190000
DTSTAMP:20260405T031208
CREATED:20160110T060142Z
LAST-MODIFIED:20160110T060142Z
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SUMMARY:Lucius [SOLD OUT]
DESCRIPTION:92.5 The River presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nThis show is SOLD OUT \n*** \n \n*** \nLucius \n \n[Website] [Facebook] [Twitter] \nLucius is a triple-threat of vocal harmonies\, infectious hooks\, and dance-inducing percussion. Pair those traits with the band’s irresistible live show and it’s easy to see why NPR Music calls Lucius “a fabulous band playing such infectious pop songs.” Charismatic co-founders and lead vocalists Jess Wolfe and Holly Laessig sing in unison uniquely delivering songs with stories told from the same perspective. Multi-instrumentalists Andrew Burri\, Peter Lalish\, and Dan Molad round out the quintet. \nMarch 2016 brings the release of Good Grief\, the band’s sophomore effort and the follow-up to 2013’s successful debut Wildewoman. The lead song “Born Again Teen\,” which Rolling Stone calls “ebullient” is available now. \nWolfe and Laessig met in 2005 while attending Berklee College of Music. Since forming\, Lucius has toured extensively\, playing headline shows and major festivals including Bonnaroo\, Austin City Limits\, Lollapalooza and Newport Folk Festival. Additionally they have collaborated with the likes of Jeff Tweedy\, David Byrne and Roger Waters and have toured with The Decemberists\, My Morning Jacket\, Jack White and more. \n*** \nPure Bathing Culture \n \n[Website] [Facebook] [Twitter] \nTo hear Sarah Versprille and Daniel Hindman tell it\, their Portland\, OR-based band Pure Bathing Culture has always evolved naturally and at a steady pace. “That’s really the path we’ve been on as a band\, always putting one foot in front of the other as opportunities presented themselves\,” Versprille said. “The music just revealed itself to us as we kept going.”\nBut for Pure Bathing Culture’s second album\, Pray for Rain\, the band has taken a big leap forward. You can hear it from the opening notes of their anthemic title track: in Hindman’s clean yet serpentine guitar lines interacting with the live rhythm section and Versprille’s lucid vocals cutting through it all as she asks: “Is it pleasure? Is it pain? Did you pray for rain?” Pray for Rain is the sound of the group confidently taking a step up to the next level and finding their footing as a true band.\n“We needed to make a big step and our version of that was to cut the cord from our previous albums\,” Hindman said of the process\, then confesses: “I was nervous all the way through. It was nerve-wracking and almost antagonizing at times.”\nThe roots of Pure Bathing Culture stretch back to 1999\, when Versprille and Hindman befriended one another on the first day of freshman orientation at William Patterson University in Wayne\, New Jersey. A decade later\, they became bandmates when they both joined Vetiver for their Sub-Pop albums Tight Knit and The Errant Charm. It was while playing in Vetiver that Pure Bathing Culture emerged as its own entity.\n“Dan was working on some instrumentals that he would make on a looping pedal\,” Sarah said. “One night he was out and I just listened to this loop and wrote some lyrics to it. He came home and I showed it to him. We laughed at first\, as we didn’t have some grand plan to start a band. It just happened naturally.” That song “Lucky One\,” wound up in the hands of Richard Swift\, who encouraged the duo to keep writing. “Richard pushed us along and became an inspiration\,” Dan said. Swift wound up producing the band’s first EP and dreamy full-length\, 2013’s Moon Tides at his National Freedom studio.\nFrom there\, PBC evolved from simply being the product of Versprille and Hindman writing songs in their own home to hitting the road as a full touring band. “Sarah and I conceptualize music and then write so it’s a pretty fragile state\,” Hindman said. “Playing live was a huge change for us.”\nWhen it came time to write and record their follow-up to Moon Tides\, the duo knew what they didn’t want. “We didn’t gravitate towards someone making indie dream-pop records\,” Dan said. That was when producer John Congleton (St. Vincent\, Swans\, Angel Olsen\, The Walkmen) reached out to the band and invited them to come record with him in his Dallas\, TX studio.\n“John pushed us to not make clichés\, to not play into the style of other bands\,” Dan said. The challenges came right away as Congleton pressed the group into unfamiliar and at times uncomfortable territory in the studio. “He tricked me with the guitars on the album\,” Dan said. “We got the basic tracks down and he asked me to do scratch guitar and then John wouldn’t let me go back and do the guitars again. He refused to do any layering.” \nAs a result\, everything on Pray for Rain is pretty much as Pure Bathing Culture actually sounds\, all analog gear\, with virtually no plug-ins or effects added afterwards\, no hiding behind multiple layers. “There aren’t a lot of tricks; What you hear is naturally what’s there\,” Dan said. \nIt was a taxing yet ultimately rewarding experience when the album was completed. “It was shocking to hear what the finished product was\,” Sarah said. “It was like being in a vortex and then we came out with this record.” She adds with a laugh something John Congleton told her when all was said and done: “You were very brave.” \nSarah summarizes the Pray for Rain experience as one of “stepping into the realm of discovering who we are as a band and as songwriters\,” echoing a theme of the album itself\, the process of change and transition. “You can find the best version of yourself in those hardest moments\,” she said. To which Dan adds: “You have to be backed up against the wall in order to really feel those feelings and respond to them.” Pray for Rain is the sound of Pure Bathing Culture transforming from who they were to who they will be\, of finding their way\, ready to take steps both small and momentous on their musical path.
URL:https://royaleboston.com/event/lucius/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160401T180000
DTEND;TZID=America/New_York:20160401T180000
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CREATED:20160110T060133Z
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SUMMARY:Parachute
DESCRIPTION:Doors: 6:00 pm / Show: 6:30 pm \nThis event is all ages.\nTickets on sale Fri. 1/15 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  \nBack when they were in high school\, Parachute’s Will Anderson (vocals\, guitar)\, Johnny Stubblefield (drums)\, and Christopher “Kit” French (saxophone\, keyboards) spent nearly every afternoon in Anderson’s basement\, dreaming up songs showing a deep affinity for classic pop\, heart-felt rock\, and tuneful blue-eyed soul. Now\, after a decade of touring internationally and turning out smash singles like “She is Love” (#1 at iTunes) and “Can’t Help” (the first single from the band’s 2013 album Overnight\, which debuted at #15 on the Billboard Top 200 chart)\, Parachute are set to deliver a new album that reclaims the spirit that first sparked their love of music. “Making this record felt just like that one hour after school when we were kids\,” says Anderson of Wide Awake\, the band’s fourth full-length album. “It was like we were all 15 again and just starting to discover that excitement of creating songs together.” \nWith a sound that’s impassioned but sunny\, fresh but timelessly organic\, Wide Awake centers on songs both gracefully arranged and brimming with the boundless energy of Parachute’s live show. Newly pared down from a five-piece to a trio\, the Charlottesville\, Virginia-bred band forged that sound in part by shaking off all creative inhibitions. “We felt like we had no limitations to chase this sound that the three of us have wanted to build for so long\,” says Anderson. “It was as if we were woken up from some sort of slumber\, revitalized and rejuvenated with this new awareness of who we are as a band.” Reuniting with John Fields (the producer behind 2011’s The Way It Was and their 2009 debut Losing Sleep)\, Parachute were also guided by the purest of instincts in the studio. “We knew a song was working when we were all dancing and having a blast with it\,” says Anderson. “And if something didn’t feel good\, we just let it go.” \nThough that commitment to intuition is beyond palpable on Wide Awake\, the album was also born from two and a half years of dedicated writing and exploration. “I don’t know if I’ve ever written more for an album\, or worked so much on any specific song.” says Anderson\, who came up with nearly 100 songs during that time. “It was just very important to me that we got each song exactly to where it needed to be.” \nWith every track on Wide Awake\, Parachute matches their sublime melodies with a refined sense of songcraft. Showing a complex sensitivity shaped in part by lifelong love of artists like Paul Simon and Billy Joel\, Anderson also infuses the album with both carefree warmth and emotional depth. The album’s epic opener “Without You\,” for instance\, captures what Anderson calls “the feeling of meeting someone and knowing that it’s going to happen\,” and harnesses that lovestruck feeling with the help of gorgeous gospel harmonies and soulful horns. The gently devastating “Jennie” wraps its cascading rhythms and wistful vocals around a story of broken opportunity and love lost. “Sometimes you catch a glimpse of they way things could be but end up taking a detour\,” Anderson says\, “only to realize you’ve lost your chance and can’t ever get it back.” \nShifting from joy to heartache and back again Wide Awake\, offers everything from the stomping\, fired-up swagger of “Crave” to the sorrowful piano ballad “What Breaks My Heart” to the hushed acoustic reverie of “When You Move.” And in certain moments Parachute brilliantly embodies both bright and dark\, such as on the swinging and summery anthem “Lonely with Me” (as in: “Baby if you’re gonna be lonely/Be lonely with me”) and on the moody but pop-infused “Love Me Anyway\,” an ode to “knowing you’re inevitably going to mess up\, but having somebody who’s willing to forgive you and move on\,” according to Anderson. \nIn bringing Wide Awake to life\, Parachute made a point of “dialing back our thought process and just doing whatever we could to best serve the songs\,” as Anderson explains. To fulfill that ambition\, the trio returned to the same sense of wonder they felt upon launching their first musical project back in 2002. Starting out while they were still in high school\, the band quickly began landing gigs locally and soon gained a following at the nearby University of Virginia. As their inaugural release under the name Parachute\, Losing Sleep debuted at #2 on the Billboard Digital Albums Chart and climbed to #40 on the Billboard Top 200 chart. Over the next few years\, along with releasing The Way It Was and Overnight (which shot to the #3 spot on iTunes)\, Parachute toured with such artists as Kelly Clarkson and Gavin DeGraw\, in addition to three sold out\nheadlining tours. “One of the biggest highlights over the years is definitely playing all these venues that we dreamed about growing up\,” says Anderson. “Anytime we play a show like that\, it’s just mind-blowing for us.” \nWhile Parachute’s indelibly melodic sound packs more than enough power to electrify an arena- filled crowd\, each song on Wide Awake comes from much more intimate origins. “Most of my writing process for this album was very solitary.” says Anderson. “I’ve written with other people in the past\, but it was fun to go back to the way I used to write when I was a teenager.” And when combined with Parachute’s renewed passion as a band\, that approach ultimately allowed for an honesty and heartfeltness that makes Wide Awake their most thrilling authentic album yet.
URL:https://royaleboston.com/event/parachute/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160401T220000
DTEND;TZID=America/New_York:20160401T220000
DTSTAMP:20260405T031208
CREATED:20160204T220044Z
LAST-MODIFIED:20160204T220044Z
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SUMMARY:MARSHMELLO
DESCRIPTION:21+ \nManagement reserves the right to refuse entry.
URL:https://royaleboston.com/event/marshmello/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20160402T180000
DTEND;TZID=America/New_York:20160402T180000
DTSTAMP:20260405T031208
CREATED:20160124T100946Z
LAST-MODIFIED:20160124T100946Z
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SUMMARY:Pokey LaFarge
DESCRIPTION:6:00 pm / Show: 7:00 pm \nThis event is 18+.\nTickets on sale Fri. 1/29 at 12pm! \n \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*** \nPokey LaFarge\n \n[Website] – [Facebook] – [Twitter] \n“It really feels like I’m taking a big step forward on this one\,” Pokey LaFarge says of Something in the Water\, his seventh album and his Rounder debut. “While we were recording it\, I kept thinking\, ‘Hey\, we’re really onto something here.’” \nIndeed\, the dozen-song set marks a new landmark in a career that’s already filled with musical highlights. The St. Louis-based singer\, songwriter\, and multi-instrumentalist draws from a deep well of American musical traditions to create distinctively personal music that’s timeless rather than retro\, transcending the confines of genre in a manner that reflects the artist’s openhearted attitude. \nIncorporating elements of early jazz\, ragtime\, country blues\, Western swing\, and beyond\, LaFarge has created a vibrant\, deeply expressive body of work that embodies an expansive musical vision and vivid storytelling sensibility that are wholly his own. He’s also earned a reputation as a tireless\, uniquely charismatic live performer\, winning a loyal international fan base that regularly packs his rousing\, celebratory live shows. \nSince he began recording in 2006\, Pokey has maintained an indefatigable work ethic that’s yielded a wealth of compelling music. After making a grass-roots splash with his self-released debut album Marmalade and moonlighting as mandolinist with the Hackensaw Boys\, he continued to gain notoriety with his widely acclaimed longplayers Beat\, Move\, and Shake\, Riverboat Soul and Middle of Everywhere—the latter two were both named Best Americana Album by the Independent Music Awards—and the concert set Live In Holland. \nLongstanding admirer Jack White added LaFarge to the roster of White’s Third Man label for the 2011 EP Chittlin’ Cookin’ Time in Cheatham County (which White produced) and the 2013 album Pokey LaFarge\, as well as enlisting Pokey as opening act on the North American tour in support of White’s Blunderbuss album. Also in 2013\, Pokey was featured on the soundtrack of HBO’s Boardwalk Empire\, performing the jazz standard “Lovesick Blues” with Vince Giordano’s Nighthawks. 2014 was LaFarge’s busiest year yet\, with the hard-working artist performing on five continents\, including tours in India\, Australia and New Zealand as well as extensive roadwork in the United States\, Canada\, UK\, Ireland\, and The Netherlands. \nSomething in the Water finds the artist doubling down on his established creative strengths\, expanding and deepening his musical reach on such new originals as the wry\, rollicking title track\, the swaggering ragtime workout “Wanna Be Your Man\,” the infectiously jazzy “Underground\,” the evocative instrumental “Cairo\, Illinois\,” the exotic ballad “Barcelona” and the swinging album-closer “Knocking the Dust off the Rust Belt Tonight\,” whose witty lyrics underline the album’s proudly Midwestern sensibility. Also featured are fresh\, buoyant takes on popular blues standards “When Did You Leave Heaven” and “All Night Long.” \n“The Midwest is at the heart of this record\,” LaFarge asserts. “The people playing on these songs are from Wisconsin and Illinois and Chicago and St. Louis\, and there’s a certain attitude that comes across in the songs and the way that they’re performed. I’m born and raised in the Midwest\, and my family’s been here for generations. This is where I’m from and how I think\, and that’s reflected in the music I make. \n“Americans love to reinvent themselves\, but you can never really get away from the place that you come from\,” he continues. “And in a globalized world\, I think that there are some parts of our regional identity that we should hang onto and cherish. I do buy into that old idea of the Midwestern work ethic\, and it’s definitely something that’s been passed down through my family and something that I feel connected to\, and it influences the way I approach making music.” \nLaFarge teamed with kindred-spirit producer Jimmy Sutton to record Something in the Water at Chicago’s Hi-Style Studio. For the occasion\, he recruited a diverse cast of talented players\, including his own longstanding touring combo as well as members of such notable outfits as NRBQ\, the Fat Babies\, the Modern Sounds\, and the Western Elstons. He designed the sessions’ communal recording approach to push himself creatively\, while bringing several new musical elements—including the more prominent use of drums and vocal harmonies—to the table. \n“I knew that I really had to challenge myself on this one\, and to create a slightly different take on my music\,” LaFarge notes. “The Third Man album put me on the map for a lot of people\, so I was conscious that I wanted to take things to the next level. One thing that I really wanted to do this time was to emphasize the groove\, and I was also thinking a lot about space and about juxtaposition. The ability to work with some different people took me out of my comfort zone\, and Jimmy really challenged me and pushed me into some new places. And as I felt the spirit and the camaraderie that we all had in the studio\, the whole thing took on a life of its own.” \nThe resulting album is the most powerful showcase to date for Pokey LaFarge’s peerless gifts as a songwriter\, performer and entertainer. \n“You try to make something that’s cool\, something that’s sexy\,” he observes. “But when you come down to it\, you can really only make music for yourself\, and I feel like this album is the first time that I was really able to do that. I’m 31 and I’ve been doing this for awhile\, but I feel like I’m only starting to make the music that I’ve always wanted to make. I used to put a lot of pressure on myself when I was younger\, because guys like Hank Williams and Bob Dylan and Otis Redding made so much great music when they were in their 20s. But now I feel like I no longer have that pressure\, so I can just be myself.” \n*** \nThe Cactus Blossoms \n \n[Website] – [Facebook] – [Twitter] \nBrothers Jack Torrey and Page Burkum grew up in northeast Minneapolis and have been blending their voices as The Cactus Blossoms since 2010. Their hypnotic harmonies and unforgettable songs have made them favorites in the Minneapolis–Saint Paul music scene. Their latest album\, Live at the Turf Club\, blurs the line between old and new as they sneak a few originals into their repertoire of early country and Western swing. \n“The brother duet that America is waiting for”\nGarrison Keillor \n“An absolute gem – a completely stunning debut album”\nBob Harris\, BBC Radio 2 \n“The Cactus Blossoms have quickly turned into the Twin Cities’ most beloved new traditional-country act”\nChris Riemenschneider\, Minneapolis Star Tribune \n“It’s true and traditional country\, folks”\nCraig Shelburne\, Country Music Television
URL:https://royaleboston.com/event/pokey-lafarge/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160402T220000
DTEND;TZID=America/New_York:20160402T220000
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SUMMARY:Joe Bermudez
DESCRIPTION:21+  \nManagement reserves the right to refuse entry. Admission not guaranteed after 12 AM
URL:https://royaleboston.com/event/joe-bermudez-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20160403T150000
DTEND;TZID=America/New_York:20160403T150000
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CREATED:20160209T212803Z
LAST-MODIFIED:20160209T212803Z
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SUMMARY:Speed Rack Season 5 New England
DESCRIPTION:Serious stirring and shaking is about to happen\, thanks to the return of Speed Rack\, the all-female speed-bartending competition that raises money for breast cancer. We are excited to be in New England for the epic battle for the title of Miss Speed Rack New England on Sunday\, April 3 as these tough babes duke it out.
URL:https://royaleboston.com/event/speed-rack-season-5-new-england/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Special Events
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DTSTART;TZID=America/New_York:20160408T183000
DTEND;TZID=America/New_York:20160408T183000
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CREATED:20160108T201929Z
LAST-MODIFIED:20160108T201929Z
UID:10001625-1460140200-1460140200@royaleboston.com
SUMMARY:DDT
DESCRIPTION:DDT returns to Boston with it’s new show “Prozrachnii” and Greatest Hits.\nDDT is one of the most prolific Russian rock band founded by its lead singer Yuri Shevchuk. \n21+\nManagement reserves the right to refuse admission. \nDoors: 6:30\nShow starts: 7:00
URL:https://royaleboston.com/event/ddt/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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ORGANIZER;CN="PartytimeBoston":MAILTO:info@partytimeboston.com
GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160408T220000
DTEND;TZID=America/New_York:20160408T220000
DTSTAMP:20260405T031208
CREATED:20160204T220038Z
LAST-MODIFIED:20160204T220038Z
UID:10001631-1460152800-1460152800@royaleboston.com
SUMMARY:AUDIEN
DESCRIPTION:21+ \nManagement reserves the right to refuse entry.
URL:https://royaleboston.com/event/audien/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/02/1604920_678368408968705_3733119308658471394_n.jpg
GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160409T220000
DTEND;TZID=America/New_York:20160409T220000
DTSTAMP:20260405T031208
CREATED:20160405T191812Z
LAST-MODIFIED:20160405T191812Z
UID:10002293-1460239200-1460239200@royaleboston.com
SUMMARY:Spring Fling Bunny Bash
DESCRIPTION:21+ \nManagement reserves the right to refuse entry.
URL:https://royaleboston.com/event/spring-fling-bunny-bash/
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:20160412T183000
DTEND;TZID=America/New_York:20160412T183000
DTSTAMP:20260405T031208
CREATED:20160115T170047Z
LAST-MODIFIED:20160115T170047Z
UID:10002158-1460485800-1460485800@royaleboston.com
SUMMARY:Magic Man / The Griswolds
DESCRIPTION:Radio 92.9 presents \nDoors: 6:30 pm / Show: 7:30 pm \nThis event is all ages.\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*** \nMagic Man \ncjmoyphoto.com \n[Website] [Facebook] [Twitter] \n*** \nThe Griswolds\n\n[Website] [Facebook] [Twitter] \n*** \nPanama Wedding\n\n[Website] [Facebook] [Twitter]
URL:https://royaleboston.com/event/magic-man-the-griswolds/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/01/MM-HOTLINE-SPRING-BOSTON-NOW.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
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:20160414T183000
DTEND;TZID=America/New_York:20160414T183000
DTSTAMP:20260405T031208
CREATED:20151116T181050Z
LAST-MODIFIED:20151116T181050Z
UID:10002016-1460658600-1460658600@royaleboston.com
SUMMARY:The Decibel Magazine Tour 2016
DESCRIPTION:Doors: 6:30 pm / Show: 7:25 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \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*** \nAbbath\, High on Fire\, Skeletonwitch and Tribulation spearhead metal mag’s ferocious new tour this March. \nOver the last four years\, Decibel Magazine has redefined what a metal tour can accomplish. Creative and ambitious curation has unified artists from far reaches of the extreme universe who would never have the opportunity to tour North America together. The 2016 Decibel Magazine Tour continues that proud tradition\, as Norwegian black metal legend Abbath takes his new band of the same name to war with Bay Area metallic institution High on Fire\, Ohio thrash powerhouse Skeletonwitch and Swedish progressive black/death prodigies Tribulation (with regional openers in select markets to be announced soon). \nThe Decibel Magazine Tour has an impressive history of bringing extreme metal’s most notorious global icons to the stage\, boasting headliners such as Behemoth\, Cannibal Corpse\, Carcass and At the Gates. This year\, Abbath (former frontman of Norwegian black metal legends Immortal) will join that storied legacy to perform songs from not only Immortal’s fabled back catalogue\, but brand new music from January’s self-titled debut as the band Abbath\, on Season of Mist. It will be Abbath the band’s first tour on North American soil. Presented by Randall Amplifiers\, ESP Guitars\, IndieMerchstore.com\, Season of Mist\, eOne\, Century Media and Prosthetic\, the 2016 Decibel Magazine Tour will treat North American audiences to 23 grim and frostbitten dates\, boasting a rich array of metal’s most riotous voices. \nOf 2016’s four mainstage artists\, the two that released new albums in 2015 placed high in Decibel’s notorious Top 40 Albums of the Year list: High on Fire\, with seventh full-length Luminiferous\, and Tribulation\, with third effort The Children of the Night. High on Fire have already been honored with a dB cover and an authoritative Hall of Fame feature on 2002 album Surrounded by Thieves. Skeletonwitch have likewise graced dB’s cover\, and their most recent album\, 2013’s Serpents Unleashed\, also cracked our Top 40. Their original track “Tragedy of Days” was one of the first installments in Decibel’s renowned Flexi Series\, also celebrating its fifth birthday. And Tribulation will soon join them\, recording a track that will appear in the Flexi Series next year. \nWhile there’s plenty of time to stir up your corpsepaint for the 2016 Decibel Magazine Tour\, here’s your chance to score a great deal and avoid standing in line. There will be a number of VIP premium packages available in each market\, providing you with a limited edition T-shirt\, 18 x 24 tour poster\, “Skip the Line” pass\, exclusive digital tour issue of Decibel Magazine and a coupon for 15% off a purchase on Indie Merch’s webstore. The price of this package is less than you would spend on a ticket and a tour shirt at the show! More details\, including ticket info\, are available at www.decibelmagazinetour.com
URL:https://royaleboston.com/event/the-decibel-magazine-tour-2016/
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:20160415T183000
DTEND;TZID=America/New_York:20160415T183000
DTSTAMP:20260405T031208
CREATED:20151220T042923Z
LAST-MODIFIED:20151220T042923Z
UID:10002126-1460745000-1460745000@royaleboston.com
SUMMARY:SPLEAN
DESCRIPTION:There is hardly a Russian in the world that hasn’t heard of the legendary rock band SPLEAN and its leader Alexandr Vasilyev.  \nFor the first time in over 10 years\, the band will be hitting the road for a North American tour in spring of 2016. The SPLEAN will be playing only one show per city\, performing all time favorites. The tour will kick off on April 15th in Boston\, MA and wrap on April 24th in Seattle\, WA. For a complete list of dates\, more details and ticketing information\, visit the US Tour 2016 official website: SPLEAN2016.COM
URL:https://royaleboston.com/event/splean/
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:20160415T220000
DTEND;TZID=America/New_York:20160415T220000
DTSTAMP:20260405T031208
CREATED:20160318T191705Z
LAST-MODIFIED:20160318T191705Z
UID:10001642-1460757600-1460757600@royaleboston.com
SUMMARY:MATTHEW KOMA
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/matthewkoma/
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:20160416T180000
DTEND;TZID=America/New_York:20160416T180000
DTSTAMP:20260405T031208
CREATED:20160118T170019Z
LAST-MODIFIED:20160118T170019Z
UID:10002157-1460829600-1460829600@royaleboston.com
SUMMARY:Lissie
DESCRIPTION:Doors: 6:00 pm / Show: 7:00 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*** \n‘My Wild West begins’ with an overture\, by definition an “introduction to something more substantial.” In this case it is Lissie’s third studio album and her most personal one to date\, a fitting tribute to Lissie’s life in California\, from her arrival as a fresh-faced singer-songwriter till now\, leaving for the Midwest wiser and more self-assured. Bookended by the songs “Hollywood” and “Ojai\,” it brings out the two extremes of the past decade — the dashed hopes and heartbreak of the former and the “stability\, joy and peace” of the latter. ‘My Wild West’ represents both a new beginning and a return to Lissie’s Midwestern roots. \n‘My Wild West’ was recorded with producer Curt Schneider in his Studio City home — he oversaw the project as a whole\, produced 8 tracks on the record and pulled together the additional material from Lissie’s time recording with her band in Ojai and with Bill Reynolds in Nashville. As the album unfolds\, we see a more confident Lissie\, self-assured and coming into her own power. “I want my 40 acres in the sun\,” sings Lissie on “Hero\,” written before she had made the decision to leave California. It details Lissie’s life on the West Coast and the empowerment she felt that she could leave and demand a new adventure from life: “I could have been a hero\, I could have been a zero\, I could have been all of these things.”  \nAfter being signed by Sony U.K.\, Lissie’s two previous albums\, 2010’s ‘Catching a Tiger’ and 2013’s ‘Back to Forever\,’ came out on Columbia in England and prestigious indie Fat Possum in the U.S.\, both scoring in the Top 20 of the U.K. charts and Top 5 in Norway\, the former going gold in both countries. Stateside\, the two releases hit the Top 5 in Billboard’s Heatseekers chart\, peaked at #5 and #11\, respectively\, on the U.S. Folk tally and went Top 40 on the Indie chart.  \n“There was always a bit of commercial compromise\, like pressure to make the charts and sell units\,” she recalls of her experience on a major label. “I just wanted to be able to move people with this gift I’ve been given… my voice.”  \nWhat emerged was a cohesive\, conceptual\, musical whole\, which belied the rather unorthodox manner in which it was created. “The songs turned out to be more personal because I wasn’t adhering to a strict set schedule\,” she realized. “In writing ‘Hero’ and ‘Wild West\,’ I had no idea at the time I was going to leave California and move back to the Midwest. I feel like their very creation was predictive of the changes that were coming. The moment I decided not to make an album was when I really started to make the album. That took all the pressure off!”  \nLissie’s tales of triumph and self-propelled adventure were inspired by strong females close and far from home: “Sun Keeps Risin'” was inspired by an aunt of Lissie’s who passed away from ALS\, while “Daughters” is a pro-feminist call-to-arms that took its cue from Liberian peace activist and Nobel Prize winner Leymah Gbowee\, subject of the documentary “Pray the Devil Back to Hell.” The funereal\, dirge-like “Shroud” and the upbeat “Go for a Walk” shed light on the yin-and-yang nature of Lissie’s personality\, the first a meditation on depression and isolation\, the latter a heartfelt affirmation of nature’s power of renewal. “Stay” and “Together or Apart” detail the pain and pleasure of relationships\, while “Don’t You Give Up On Me” is a spiritualized self-pep talk\, urging those around her to hang in there while she figures life out: “Don’t you give up on me/As I dive into the dark/And slip into the endless sea.” There’s also the line “I left you on the coast for something only I can see” and that’s just it\, Lissie has a personal vision and it may be hard for others to understand at times but she has to follow it.  \nHaving recently purchased a farm on 10.7 acres in a small Iowa town\, Lissie now boasts her own personal “Field of Dreams\,” just across the Mississippi River from Rock Island\, Illinois\, where Elisabeth Maurus grew up in possession of a strong rebellious streak surrounded by the memory of steamboats and railroads of past. Concentrating on converting the barn into a recording studio\, getting used to her new pick-up truck and setting up beehives\, Lissie is visibly content in her new life\, eager to take on each new adventure and challenge that presents itself.  \nWith a career that has seen her open for renowned artist Lenny Kravitz (an early supporter)\, Tom Petty and even been asked to perform at Ashton Kutcher and Demi Moore’s wedding\, Lissie has had a wealth of incredible experiences that have made her the confident and determined artist she is today. “I have a loyal\, passionate fan base that every day is growing through its own power\, not just an aggressive marketing campaign\,” she says. “I want to be an artist with longevity\, which is an exciting prospect for me. I feel I’m in a really good place. In fact\, I’m already planning a follow-up album\, ‘My Mild Midwest\,'” she says with a laugh.  \n‘My Wild West’ will be released on February 12th\, 2016\, via Thirty Tigers in North America and Cooking Vinyl elsewhere.
URL:https://royaleboston.com/event/lissie/
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:20160416T220000
DTEND;TZID=America/New_York:20160416T220000
DTSTAMP:20260405T031208
CREATED:20160408T171848Z
LAST-MODIFIED:20160408T171848Z
UID:10002328-1460844000-1460844000@royaleboston.com
SUMMARY:ULTRA VIOLET
DESCRIPTION:21+ \nManagement reserves the right to refuse entry.
URL:https://royaleboston.com/event/ultra-violet/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/04/ROYALE_UV_600X900.jpg
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:20160417T220000
DTEND;TZID=America/New_York:20160417T220000
DTSTAMP:20260405T031208
CREATED:20160331T162524Z
LAST-MODIFIED:20160331T162524Z
UID:10001648-1460930400-1460930400@royaleboston.com
SUMMARY:Thorgy Thor LIVE
DESCRIPTION:Chris Harris & Rafael Sanchez Present Thorgy Thor LIVE with DJ Richie Ladue. Hosted by Fena Barbitall \nFirst 100 people to arrive get to meet Thorgy! \n21+  \nManagement reserves the right to refuse entry.
URL:https://royaleboston.com/event/thorgy-thor-live/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/03/HOTMESS_04172016-poster.jpg
GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160419T190000
DTEND;TZID=America/New_York:20160419T190000
DTSTAMP:20260405T031208
CREATED:20160215T060332Z
LAST-MODIFIED:20160215T060332Z
UID:10001637-1461092400-1461092400@royaleboston.com
SUMMARY:Peter Murphy "Stripped"
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale now! \nA rare opportunity to see Peter Murphy in an intimate setting performing acoustic versions of his music from throughout his illustrious career. \n*** \nPeter Murphy \n \n[Website] [Facebook] [Twitter] \nIn his four decades of service in the post-punk culture wars\, PETER MURPHY has confounded fans\, critics\, even himself. As the mainman of the acclaimed outfit Bauhaus\, he helped usher in ground breaking opaque moods and atmospheres into the post-punk landscape. When the band broke up for the first time in 1983\, the singer set off on a solo career that found him challenging his audiences in numerous ways. When the music press tried to tag him as “the new David Bowie\,” he’d close his shows with a vamping of the Thin White Duke’s disco classic “Stay\,” only to switch into a cover of Bauhaus’ funky punch-up “Kick In The Eye\,” followed by a cover of Pere Ubu’s “Final Solution\,” which ended with a burly roadie physically picking up the singer and putting him in an airplane spin. When fans and critics tried to paint him exclusively as “the King of the Goths\,” his response was to encore with Prince’s venerable “Purple Rain.” When the singer began to explore more melodic concerns to distance himself from the gothic-rock culture he helped create\, he accessed both new audiences and successful records. \n“People remember those things\,” the singer says\, laughing at memories of his onstage audacity. “They don’t remember some digital file they downloaded from the Internet that gets lost among the other 3\,000 ones they already have.” \nIt’s doubtful Peter Murphy will be assigned a similar fate. He’s aligned himself with Nettwerk Records to release NINTH\, his first solo album in seven years and the first since the permanent dissolution of Bauhaus in 2009. Produced by David Baron\, Ninth is a culmination of where the singer has been and where he is now\, all imbued with a confidence that has been Murphy’s stock in trade. While countless\n\nperformers and industry types bemoan the demeaning of music in current download culture\, Murphy’s only concern is continuing to connect with his audience with unparalleled honesty. \n“I think younger audiences are just as aware that they don’t have any identity in the music they follow\,” he says\, commenting from a place of aesthetic analysis than any kind of bitterness. “Once they start listening to older music or music that isn’t generically issued\, they start to hold onto things more. That’s why it’s more important for people like myself to connect with an audience. I’m not talking about Facebook—I’m talking about a live show. People can really start to form a congealed idea in their relationship with an artist. That kind of connection is missing in the digital world: You experience things more in a tangible realm than in a virtual existence. I don’t deny or get anxious about being labeled; I can’t really describe what I do\, but it does have an outside effect on an audience. But I mustn’t get stuck holding onto that\, because you mustn’t rest on your laurels.” \nMurphy is hardly the poster child for artistic inertia. His 2004 solo album\, Unshattered\, was doomed not by any artistic shortcomings\, but by the Artful label closing its doorsjust as the record was coming out. The following year\, he once again teamed up with his colleagues in Bauhaus for a co-headlining tour with Nine Inch Nails\, when it was decided that they would reconvene in a recording studio to create new music. After a tumultuous 18 days in an Ojai\, California studio in 2006\, the band came out with Go Away White\, a record displaying both the personal chemistry\, as well as the incendiary aspects of the group dynamic. \n“It was typically Bauhaus\,” says Murphy\, who actively embraced the high tensions within the band. “The tension [on that album] is palpable\, isn’t it? I loved it. People hearabout that record retrospectively. Danny [Ash\, Bauhaus guitarist] would say\, ‘We couldn’t stand to be in the same room together.’ But that’s not my experience. I was always the biggest advocate for that band. We were warming up when it ended. I was still raring to go to complete that album. I was putting my solo career on hold to advocate for Bauhaus. We split up\, I reworked my life—I’m Peter Murphy in or out of Bauhaus\, so it’s not too difficult. I’ve got a band of my own\, but I didn’t have an idea where it’s going to go.” \nUnbeknownst to him\, Murphy’s career arc would take a different turn. In 2005\, he met singer/songwriter Sarah Fimm\, the support act for his tour that year. He did some recording with the electronics-based artist in upstate New York\, with the sessions being helmed by producer David Baron. In Baron\, Murphy found not only a kindred spirit\, but also a person with great jurisprudence with regards to modern technology and how it should be considered within an artist’s work. “I call David an errant genius\,” Murphy says about his collaborator. “He’s like my brother: very perceptive\, very musical. So musical you can’t quantify it. He allowed the music and the ideas to speak for themselves.” Considering the breadth of his career\, conventional wisdom would question why Murphy would need a producer to see his vision through in the first place. But the singer is in service to his songs—not his ego. “I don’t want to be hands- on\,” he says. “It’s distracting for me. I’m hands-on in terms of exchanges\, discussions and various takes. David is superior in that he is super-musical and totally respects the artist. He doesn’t fall for overproduction. He is only concerned with the songs’ needs.” \nProbably the most apparent characteristic of Ninth is the level of intimacy Baron and engineer John Siket captured. The proceedings carry the feeling of a tight\, seasoned band—in this case\, guitarists Mark Gemini Thwaite and John Andrews\, bassist Jeff Schartoff and drummer Nick Lucero—facing each other in a small studio\, playing together. There’s a sophisticated energy and psychic urgency to tracks like “Seesaw Sway\,” “Slowdown” and “Memory Go.” Equally exciting are moments like “Velocity Bird\,” where Murphy gets his swagger on in the same wild kingdom where Iggy Pop’s “streetwalking cheetah” prowled; the rocking “Peace To Each\,” where the singer ramps up his sinister quotient a few notches; the slow grooving head-nodder “Uneven & Brittle\,” and the brooding\, atmospheric noir of “Secret Silk Society.” On the convex\, Ninth also features moments of warm poignancy\, like the lover-comforting “Never Fall Out” and the melancholy closing track\, “Crème de la Crème.” \nBut it’s the album’s first single\, “I Spit Roses\,” that reconciles Murphy’s melodic sophistication with his resignation toward the fate of Bauhaus. Teeming with nautical metaphors of a ship’s crew (i.e.\, the other three members of Bauhaus) and a dip into Lewis Carroll territory (“Shick-shack\, left you in shock/shed poison with a lover’s lock”)\, the song was inspired after Murphy spent a long day in the studio during the making of Go Away White. As the other members were working on an arrangement\, Murphy went home\, having put in a full session. He suspected that his decision would cause more schism when he returned to the studio the next day. “When I went in the next day\, I knew there was going to be some kind of confrontation about my leaving the previous night\,” Murphy recalls. “I was sitting near a rose garden\, talking on the phone to a friend of mine about the situation. She told me not to worry\, to take a rose there as a friendly gesture. Instead\, I took three or four and put them in my mouth. \n“As I walked in\, David [J]\, Kevin [Haskins] and Danny were in conference about the band\,” he continues. “I thought\, ‘Oh dear\, here we go…’ The moment anyone speaks to me\, my response is to spit roses in their face—and that’s what happened. Daniel said\, ‘Peter we need to talk about…’ Pwah! ‘That’s my answer.’ It caused them to think\, ‘Look at him\, he’s crazy!’ And I responded\, ‘Look\, it’s roses\, don’t you get it? C’mon\, let’s just work.'” \nDealing with short-fused tempers (and botanical snacks) are part of his artist mythology\, but it cannot be denied that much of Murphy’s artistic visions have been original and seminal. Fortunately\, he’s not interested in trading on his significant accomplishments. While Ninth marks another chapter in his artistic (and thereby personal) evolution\, the album exists on a plane of its own. Ninth isn’t a “reinvention\,” “return to form\,” or any of the buzzword nomenclature used to herald an album’s release date. For three decades\, Peter Murphy introduced new ways of thinking in the rubric of rock music. He’ll be the first to tell you the work is its own reward and that it’s acceptable if the world at large still hasn’t caught up with him. Well\, maybe… \n“Although people tell me I’m famous\, I don’t feel like it\,” he resigns. “Right now\, it’s quite nice: I feel like I’m 24 with this record and I think a lot of people are going to get to know my music. I have a very hardcore audience who’ve been with me for a long time\, but I do have a great urge to broaden it.” \nHe stops to laugh. “I’d like to play theaters; I’m more able to be lowered from the rafters on a chain than in a club!”
URL:https://royaleboston.com/event/peter-murphy-stripped/
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:20160421T183000
DTEND;TZID=America/New_York:20160421T183000
DTSTAMP:20260405T031208
CREATED:20160112T215112Z
LAST-MODIFIED:20160112T215112Z
UID:10002155-1461263400-1461263400@royaleboston.com
SUMMARY:Into It. Over It. / The World Is A Beautiful Place And I Am No Longer Afraid To Die
DESCRIPTION:Doors: 6:30 pm / Show: 7:00 pm \nThis event is all ages.\nTickets on sale Fri. 1/15 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.
URL:https://royaleboston.com/event/into-it-over-it-the-world-is-a-beautiful-place-and-i-am-no-longer-afraid-to-die/
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:20160422T220000
DTEND;TZID=America/New_York:20160422T220000
DTSTAMP:20260405T031208
CREATED:20160322T160047Z
LAST-MODIFIED:20160322T160047Z
UID:10001644-1461362400-1461362400@royaleboston.com
SUMMARY:ERICK MORILLO
DESCRIPTION:21+ \nMANAGEMENT RESERVES THE RIGHT TO REFUSE ADMISSION.
URL:https://royaleboston.com/event/erick-morillo/
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:20160423T220000
DTEND;TZID=America/New_York:20160423T220000
DTSTAMP:20260405T031208
CREATED:20160419T174837Z
LAST-MODIFIED:20160419T174837Z
UID:10001652-1461448800-1461448800@royaleboston.com
SUMMARY:Liz Ladoux
DESCRIPTION:21+ \nManagement reserves the right to refuse entry.
URL:https://royaleboston.com/event/liz-ladoux-2/
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:20160424T190000
DTEND;TZID=America/New_York:20160424T190000
DTSTAMP:20260405T031208
CREATED:20160111T180038Z
LAST-MODIFIED:20160111T180038Z
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SUMMARY:Behemoth
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nBLASFEMIA AMERIKA 2016 \nThis event is 18 and over.\nTickets on sale Fri. 1/15 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“The Satanist is magic. It’s dangerous. It’s adventurous\, and it’s organic\,” states Nergal\, the driving force behind Behemoth since their inception in 1991\, and brief exposure to the band’s tenth album more than supports this statement. While instantly recognizable as the work of the Polish blackened death quartet it takes their sound in previously unimagined and riveting directions. A writhing\, densely layered\, brutally violent and sinister record\, it is quite unlike anything ever unleashed within the canon of heavy music. As such it demands attention\, offering ever greater sonic and emotional depths with every listen. “You may hear the title and think it’s very primitive and one-dimensional\, and yes it is\, but when you look beyond that it’s as primitive as it is complex and multidimensional\, and that applies to everything about the record.” \nIt has been a rocky road leading to the realization of the album. Having dropped 2009’s Evangelion to almost universal critical acclaim they saw it top the chart in their native country and dramatically expand their following around the world\, and playing some of the best shows of their lives the band seemed truly unstoppable. But\, in August 2010 Nergal was diagnosed with leukemia\, stopping them in their tracks. Forced to abandon their ongoing tour in support of Evangelion Nergal was hospitalized\, and both he and Behemoth faced an uncertain future. With the search for a bone marrow donor ultimately successful Nergal underwent a transplant\, leaving the hospital after six months and beginning down the long road to rehabilitation. “I knew I was pretty much fucked and there was a battle to be won\, and I had no fucking idea if it was going to take six months or twelve months or maybe four years\, because with cancer you never know. I learned from being in the hospital that there are things in life that you can control and things that you can’t control. The sooner you realize which is which it’s going to make your life so much easier\, and since then I started to focus on the right things. I could be determined\, I could have discipline\, I could have faith\, but everything else is not under my control\, and it really was a case of just crossing fingers for the best possible outcome. I was fortunate enough that that recovery period was relatively fast\, and that I was really strong and very determined to get back into shape made a real difference.” \nRather than immediately getting down to working on a new album\, the band – also comprised of drummer Inferno\, bassist Orion\, and guitarist Seth – set out to complete the abandoned touring cycle for Evangelion\, hitting the road for the aptly titled Phoenix Rising Tour. Wanting to prove they were stronger than ever the first show was the only time doubts crept into Nergal’s mind. “I was a fucking wreck\, and I almost didn’t make it to the end of the set. The venue was really smoky\, and that was stuffing my nose and my lungs\, and physically I felt that I couldn’t pull it off. I did\, but I was close to passing out on stage. I was literally shocked by this\, I remember thinking while we were playing shit\, what if I can’t do this anymore? I’m just a human being after all. Going into the next show I had no sleep because of all the nerves and anxiety\, but it was fucking amazing. With every following show I would get stronger and stronger and grow more confident\, and aware of the fact that yes\, we will do this.” \nHaving returned to full force the band were ready to once more move forward\, and they began work on what would become The Satanist. While many bands might be concerned with how to follow up a record as devastatingly powerful – and successful – as Evangelion Nergal faced no such doubts. “I don’t race myself\, and I don’t need to prove anything to anyone. Evangelion was a very important record to us\, and yes\, it was very successful too\, but in making The Satanist it wasn’t a point of beating that. The point was to do what was organic\, and make a natural and honest and sincere album\, and that’s it. Now the record is finished I like to think of it as an album that is just so different that you can’t really compare it to our previous works\, which is the best outcome I could hope for.” One thing is inarguable\, and that is the record is the most sonically rich and complex released under the Behemoth name. With layer upon layer of sound it has great sonic density\, but there is intricacy to this\, and nothing is forced or contrived. “I don’t have a kid but I think the process of raising one is comparable: you invest a lot of your energy and effort and wisdom and money and you educate them\, but there’s never a one hundred percent guarantee he’s going to become a lawyer and not a serial killer. It’s the same story with the records – we supply the elements but we just don’t know how these elements mixed together are going to come out\, and I think it’s fortunate that we don’t have one hundred percent control over it! It makes for something special.” \nThe title of the record itself is undeniable in its power\, and Nergal sees it as capturing the primal wisdom that the band have always tried to maintain. “To me it’s not pretentious at all. It’s very straight up\, very sincere\, and a devastating\, conquering statement. There’s no compromise or bullshit or gimmicks. What I love about it is that it just speaks for itself. On one hand it’s a very black and white title: The Satanist is like a fucking nail through the hand of Jesus Christ\, period. No more\, no less. But then again\, as with everything else you put a hundred people together and ask them what the name The Satanist means to them and you’re going to hear a hundred different opinions\, which they can then discuss and fight over.” Likewise\, Nergal views the lyrical content of the record as similarly open to interpretation\, encouraging this. “There’s a lot of symbolism and reflections and impressions in there\, and it’s using millions of metaphors to express a certain very sinister and very captivating atmosphere\, but there are no answers. People always like to have a deeper insight into what we do\, but that’s not what we want to give with this record. The way I see it is that between us we can make a huge fucking pyre and set the world on fire\, but what we’re doing is just giving you the matches\, giving you the spark\, what you want to do with it is up to you. Personally\, if I sat down with the lyrics in front of me I too would probably come up with a lot of different interpretations and concepts\, it’s a never ending process\, and that’s exciting to me.” \nTwenty-three years and ten albums into their career\, that Behemoth is still in the ascendant is a statement to their commitment\, determination and capacity for writing such powerful music. If ever a band was to go out on a high The Satanist would make for one hell of a swan song\, but don’t expect them to disappear any time soon. “I remember before we we had a record deal I was having a conversation with Baal\, the band’s original drummer\, and we said okay\, if one day we manage to record an album and put it out how cool would it be to split up right after that? It would be one record and no more\, and there was something about that that had an appeal\, but y’know what\, it doesn’t work like that for individuals like myself. Hunger has always driven me through life\, and I can never sit in one place and relax for too long because I have the need to explore this whole universe in every possible way. Now\, over two decades later it’s the same story. I can tell you I have no problems with finishing my career after this record. Just say the title itself: The Satanist. How the fuck am I gonna beat that title? It sounds like the ultimate definition of our art – but then again\, I remember that conversation with Baal\, and I know it doesn’t work like that\, so I know there will probably be other incarnations of our artistic identity\, one way or another. All I know is I love being here and now\, and I just want to underline that I couldn’t be more proud and happy with my own music. It really drives me through the day\, and now I just want to sit back and hear any and all opinions of it.” \nBehemoth is:\nNergal – vocals & guitars\nInferno – drums\nOrion – bass\nSeth – guitars
URL:https://royaleboston.com/event/behemoth/
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:20160425T200000
DTEND;TZID=America/New_York:20160425T200000
DTSTAMP:20260405T031208
CREATED:20160127T175644Z
LAST-MODIFIED:20160127T175644Z
UID:10002178-1461614400-1461614400@royaleboston.com
SUMMARY:The Residents present Shadowland
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18+.\nTickets on sale Fri. 1/29 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*** \n \n[Website] – [Facebook]
URL:https://royaleboston.com/event/the-residents-presents-shadowland/
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:20160429T180000
DTEND;TZID=America/New_York:20160429T180000
DTSTAMP:20260405T031208
CREATED:20160306T170010Z
LAST-MODIFIED:20160306T170010Z
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SUMMARY:Baroness
DESCRIPTION:Doors: 6:00 pm / Show: 6:45 pm \nThis event is 18 and over.\nTickets on sale Fri. 3/11 at 10AM! \n*** \n \n*** \nBaroness \n \n[Website] [Facebook] [Twitter] \nPete Adams – Guitar\, Vocals\nJohn Baizley – Vocals\, Guitar\nNick Jost – Bass\, Keyboards\nSebastian Thomson – Drums \nBaroness’ triumphant new album contains some of the biggest\, brightest and most glorious riffs and choruses the adventurous rock group has ever recorded. But its title\, Purple\, also reflects a dark moment in the group’s recent history: the terrifying bus crash they survived while on tour in 2012. “The band suffered a gigantic bruise\,” singer-guitarist John Baizley says of the accident. “It was an injury that prevented us from operating in a normal way for quite some time. Hopefully\, this record is the springboard that helps us get away from all that.” \nThe album\, which is due out December 18 and which producer Dave Fridmann (the Flaming Lips\, Sleater-Kinney) helmed\, covers the gamut of emotions Baroness have experienced in recent years and serves as their victory cry. Purple finds a revamped lineup of the band – Baizley and Pete Adams (guitar\, vocals) and new additions Nick Jost (bass\, keyboards) and Sebastian Thomson (drums) – playing 10 intricately textured tunes and singing about the worry they felt immediately after the crash (“If I Have to Wake Up (Would You Stop the Rain)”)\, the struggle to recover as smoothly as possible (“Chlorine & Wine”) and their ongoing quest for survival (“The Iron Bell”). From its bulldozing opener “Morningstar” to the avant-garde 17-second closer “Crossroads of Infinity\,” the record is at once both their most emotionally threadbare and musically complex offering to date\, with passages that allude to their classic-rock roots as much as their crushing metal past. \n“We didn’t want to make a mellow\, sad\, dark thing\,” Adams says. “We needed to be up-tempo. We needed to be melodic\, and it also needed to be aggressive. In all of that\, I think we were able to get out everything we felt\, all of the emotion involved\, everything from being angry to wanting to continue to push forward.” \nBaroness formed in 2003\, slugging it out in their local Savannah\, Georgia scene while adhering to a DIY punk ethic\, booking their own tours and silk-screening their own shirts. In 2007\, they put out their critically acclaimed debut\, the sludgy\, guitar-banging Red Album\, which heavy-metal magazine Revolver named Album of the Year. They followed it up two years later with the heavier Blue Record\, extreme-metal magazine Decibel’s Album of the Year. But it was on their last release\, the 2012 double-album Yellow & Green\, where they really opened up\, exploring a slightly lighter touch with more accessible vocals and alt-rock arrangements\, leading to a Top 30 chart debut in the U.S. and Spin declaring it the “Metal Album of the Year.” Unfortunately\, the group would not be fully able to enjoy Yellow & Green’s success and accolades. \nIn August 2012\, less than a month after Yellow & Green came out\, Baroness were on tour driving in England when their bus broke through a guardrail on a viaduct near Bath and plummeted nearly 30 feet to the ground below. Through some miracle\, none of the nine passengers died\, though Baizley broke his left arm and left leg and the group’s rhythm section at the time\, bassist Matt Maggioni and Allen Blickle\, both suffered fractured vertebrae. \n“I was lying in my bunk when the brakes went out\, and I knew immediately once we picked up speed that we were going to crash\, period\,” recalls Adams\, an Army vet who went through the equivalent of a bus crash a day while fighting in Iraq and who earned a Purple Heart in combat. “I didn’t tense up. I didn’t brace myself. I just rolled over in my bunk and said a few peaceful words to myself and hung in there\, because I was like\, ‘Here we go. If it this is it\, then make it quick.’ I felt like a shoe in a dryer. Next thing you know\, it’s over and I’m standing there\, and I was not broken. I was burned\, I was cut\, I was bleeding\, I was dazed\, but I was OK. And I collected myself and started helping people out. But I absolutely thought the band would be over.” \nBaizley spent two-and-a-half weeks immobile in a hospital and then months to recover from his injuries\, but when he did\, he and Adams decided to keep the group going. “I spoke to James Hetfield\, who has also dealt with the fallout from a bus-related accident\, and he said\, “Life is going to be difficult for a while; but you’ll be fine. You’ve got this\,'” he says. “And once I had done some physical therapy and played guitar again\, I thought\, ‘Yes\, I’ve got this. It’s not over.'” \nLooking back on it now\, Hetfield was right\, and now Baroness’ members feel like they’ve gotten through the worst of it. “While we realize the accident is obviously of interest\, we have gone over that particular story’s details at length over the past few years\,” Baizley says. “We feel that this album not only addresses but puts a punctuation mark on that story. Baroness existed before the accident and will continue to exist\, and we’d rather talk about what we’ve created with Purple than let one side-story overtake or define who we are as a band.” \nOnce Baizley was ready to get moving again\, the first matter at hand was to find a rhythm section\, since Maggioni and Blickle had both split amicably with the group. To find the right people\, Baizley leaned on some famous friends for advice. Eventually\, Baizley spoke to Mastodon’s Brann Dailor\, who pointed him in the right direction to finding the group’s new drummer\, Trans Am member Sebastian Thomson\, to help build up the band again. “We didn’t try out anyone else\,” Baizley says. Another friend suggested that they check out someone whom she described as being the best player she’d ever heard. That turned out to be Nick Jost\, who not only played both the upright bass and bass guitar\, but was also a skilled piano player with a degree in jazz composition. \nWith a new lineup in place\, the group eventually embarked on lengthy trek that Baizley describes as a “thank you tour\,” to the fans who stood by the band in its darkest hour\, in the spring of 2013. Other than a handful of Australian gigs in 2014\, Baroness spent the time since then getting ready for their next chapter\, setting up their own indie label\, Abraxan Hymns\, and writing songs for Purple. \n“I wanted to celebrate my misery through my creativity and face it head on\,” Baizley says of the LP. “The lyrics on Purple are about the different paths that formed in the fallout of the crash\, from very direct stories about difficult moments of suffering to the love I feel for people who were there for me.” \nWhen the group finally got to work out the tunes in the studio\, they did so with a producer whom Baizley has always been eager to work with: Dave Fridmann. “He’s been on the top of my list since Day One\,” the singer says. “I never thought he’d work with us. I absolutely worship his recordings.” With 25 years of experience mapping out Wayne Coyne’s intricate flights of audial fancy on Flaming Lips records and making the most of bands generally known for understatement like Low and Spoon\, the producer helped the group construct a sonic habitat for all of Purple’s unique sounds\, including acoustic guitar\, otherworldly keyboard and echoes galore. He also helped them make the most of themselves. \n“We’re a very analytical band\,” Adams says. “We’ll write something and overanalyze it to the point where we feel we’ve edited the songs as much as they could be\, and Fridmann threw ideas at us that we’d never thought about before. We needed that outside ear.” \nBut Purple is perhaps most notable for serving as a vehicle for Baizley and Adams to move on\, and welcome Jost and Thomson to the fold. “They are both very talented musicians\,” Adams says. “They’re open to new ideas and you can rely on them.” \n“They said\, ‘We just want to make sure it kicks ass\,'” Baizley recalls. “That’s what I needed. I was in a pretty bleak spot when we weren’t playing. And when I realized that Pete\, Nick and Sebastian were excited – and I hadn’t felt that unified amount of excitement before – it pushed us into saying\, ‘We’ve got this.'” \n“The whole process was very smooth\,” Thomson says. “The only thing that required a little bit of work was learning how to write together. That took us a month or two to figure out\, but once we did we got on a roll.” \n“I made a mistake and hit the wrong chord at the end of a run through of ‘If I Have to Wake Up’ and out of that mistake we wrote ‘Fugue\,'” Jost says. “That shows how we grew. And then ‘If I Have to Wake Up’ shows just how far we came.” \n“We had a situation where a band had to rebuild itself with half-new members and an almost entirely new crew\,” Thomson says. “On paper that sounds like a possible recipe for disaster\, but we all clicked almost immediately. We still have that attitude to this day.” \nAdams says only recently\, since the group has gotten back on the road\, he thinks that Baroness has felt like a band again. And now with Purple under their belts\, Baroness are ready to take on the world. “There’s a lot more playfulness now\,” Adams says. “Everyone now is positive\, there’s no heavy bullshit. People are laughing and smiling more now in Baroness than I’ve ever seen. That’s real\, and I’m thankful for that.” The bruise is beginning to heal.
URL:https://royaleboston.com/event/baroness/
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:20160429T220000
DTEND;TZID=America/New_York:20160429T220000
DTSTAMP:20260405T031208
CREATED:20160204T220031Z
LAST-MODIFIED:20160204T220031Z
UID:10001632-1461967200-1461967200@royaleboston.com
SUMMARY:TJR
DESCRIPTION:21+
URL:https://royaleboston.com/event/tjr/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20160430T220000
DTEND;TZID=America/New_York:20160430T220000
DTSTAMP:20260405T031208
CREATED:20160311T190258Z
LAST-MODIFIED:20160311T190258Z
UID:10001640-1462053600-1462053600@royaleboston.com
SUMMARY:6th Birthday Party w/ Lil Jon
DESCRIPTION:21+ \nManagement reserves the right to refuse entry. Admission not guaranteed after 12AM
URL:https://royaleboston.com/event/6th-birthday-party-w-lil-jon/
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:20160501T180000
DTEND;TZID=America/New_York:20160501T180000
DTSTAMP:20260405T031208
CREATED:20151201T120007Z
LAST-MODIFIED:20151201T120007Z
UID:10002066-1462125600-1462125600@royaleboston.com
SUMMARY:[SOLD OUT] Basement
DESCRIPTION:Doors: 6:00pm / Show: 7:00pm \nThis show is open to all ages. \nThis show is SOLD OUT. \n*** \nSince abruptly announcing an indefinite hiatus only weeks after the release of 2012’s breakthrough LP Colourmeinkindness\, Basement’s intensely devoted following has only grown. Promise Everything is the band’s full-length return to writing and recording since the break. Challenged by the spacing out of members not only across the country – but across the globe – Promise Everything was written by piecing together songs without the luxury of a space or even a time zone to share. Perhaps this is why upon listening\, Promise Everything feels like a conversation between different people\, revealing different moods and feelings throughout. This conversation shifts and evolves\, filtering subtle\, tasteful alternative rock touchstones through the band’s unmatched melodic lens. More clearly aggressive songs like “Brother’s Keeper” and title track “Promise Everything” situate Basement at the forefront of the rock world\, pairing that aggression with an inherent sense of melody. On the standout track “Aquasun\,” lyrical flow and melody overtake the listener while overt meaning gives way to musicality and its nuance. Despite years spent apart\, it would seem Basement’s musical conversation has been one that has lingered even when after it was interrupted too soon by their premature & luckily temporary break\, and as their first true cohesive document\, Promise Everything is only the beginning of what Basement has to say.
URL:https://royaleboston.com/event/basement/
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:20160506T220000
DTEND;TZID=America/New_York:20160506T220000
DTSTAMP:20260405T031208
CREATED:20160408T051154Z
LAST-MODIFIED:20160408T051154Z
UID:10002292-1462572000-1462572000@royaleboston.com
SUMMARY:BORGEOUS
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/borgeous/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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END:VCALENDAR