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DTSTART;TZID=America/New_York:20170701T220000
DTEND;TZID=America/New_York:20170701T220000
DTSTAMP:20260404T155037
CREATED:20170627T145209Z
LAST-MODIFIED:20170627T145209Z
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SUMMARY:#WCKDsaturdays "Indepen-DANCE" w/ Liz Ladoux
DESCRIPTION:21+ \nVip: 617-733-0505
URL:https://royaleboston.com/event/wckdsaturdays-indepen-dance-w-liz-ladoux/
LOCATION:279 Tremont Street\, Boston\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20170702T220000
DTEND;TZID=America/New_York:20170702T220000
DTSTAMP:20260404T155037
CREATED:20170626T162022Z
LAST-MODIFIED:20170626T162022Z
UID:10001807-1499032800-1499032800@royaleboston.com
SUMMARY:Hot Mess Sundays "AMERICA" Edition
DESCRIPTION:21+
URL:https://royaleboston.com/event/hot-mess-sundays-america-edition/
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:20170707T220000
DTEND;TZID=America/New_York:20170707T220000
DTSTAMP:20260404T155037
CREATED:20170524T215907Z
LAST-MODIFIED:20170524T215907Z
UID:10001794-1499464800-1499464800@royaleboston.com
SUMMARY:Sofa King Fridays W/ Jaytech
DESCRIPTION:VIP Inquiries please call 617.733.0505 \nThis event is 21+ \nDress Code: No shorts\, hats\, boots\, athletic wear\, tanks\, flip flops\, or backpacks. Please see FAQ/Policy page for more details.
URL:https://royaleboston.com/event/sofa-king-fridays-stars-stripes/
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:20170708T220000
DTEND;TZID=America/New_York:20170708T220000
DTSTAMP:20260404T155037
CREATED:20170628T204108Z
LAST-MODIFIED:20170628T204108Z
UID:10002522-1499551200-1499551200@royaleboston.com
SUMMARY:#WCKDsaturdays w/ Breeazy
DESCRIPTION:21+ \nVIP: 617.733.0505
URL:https://royaleboston.com/event/wckdsaturdays-w-breeazy/
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:20170713T190000
DTEND;TZID=America/New_York:20170713T190000
DTSTAMP:20260404T155037
CREATED:20170308T220738Z
LAST-MODIFIED:20170308T220738Z
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SUMMARY:[SOLD OUT] Bitch Sesh Live
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*** \nBitch Sesh \n \n[Facebook] \nCasey Wilson (Happy Endings) and Danielle Schneider (The Hotwives of Orlando) bring you a live version of their hilarious podcast Bitch Sesh. They’ll deep dive into all things Real Housewives\, unpack pertinent pop culture goings on and continue to process and hopefully come to accept Julia Roberts wig in “Mother’s Day.” One day at a time. Join them for dramatic reenactments\, audience questions\, clips and more. You won’t want to miss this very important\, nay – life altering\, evening.
URL:https://royaleboston.com/event/bitch-sesh/
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/2017/03/Bitch-Sesh-Approved-Photo.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170714T220000
DTEND;TZID=America/New_York:20170714T220000
DTSTAMP:20260404T155037
CREATED:20170524T220035Z
LAST-MODIFIED:20170524T220035Z
UID:10001795-1500069600-1500069600@royaleboston.com
SUMMARY:Sofa King Fridays w/ Ookay
DESCRIPTION:VIP Inquiries please call 617.733.0505 \nThis event is 21+ \nDress Code: No shorts\, hats\, boots\, athletic wear\, tanks\, flip flops\, or backpacks. Please see FAQ/Policy page for more details.
URL:https://royaleboston.com/event/sofa-king-fridays-w-ookay/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20170715T180000
DTEND;TZID=America/New_York:20170715T213000
DTSTAMP:20260404T155037
CREATED:20170508T220740Z
LAST-MODIFIED:20170508T220740Z
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SUMMARY:Robert Earl Keen
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 5/12 at NOON! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n***\nRobert Earl Keen \nRobert Earl Keen\, photographed in Kerrville\, Texas on July 4 2016. Photograph © 2016 Darren Carroll \n[Website] [Facebook] [Twitter] \n“The road goes on forever …” \nIt’s not always easy to sum up a career — let alone a life’s ambition — so succinctly\, but those five words from Robert Earl Keen’s calling-card anthem just about do it. You can complete the lyric with the next five words — the ones routinely shouted back at Keen by thousands of fans a night (“and the party never ends!”) — just to punctuate the point with a flourish\, but it’s the part about the journey that gets right to the heart of what makes Keen tick. Some people take up a life of playing music with the goal of someday reaching a destination of fame and fortune; but from the get-go\, Keen just wanted to write and sing his own songs\, and to keep writing and singing them for as long as possible.  \n“I always thought that I wanted to play music\, and I always knew that you had to get some recognition in order to continue to play music\,” Keen says. “But I never thought of it in terms of getting to be a big star. I thought of it in terms of having a really\, really good career and writing some good songs\, and getting onstage and having a really good time.” \nNow three-decades on from the release of his debut album — with well over a dozen other records to his name\, thousands of shows under his belt and still no end in sight to the road ahead — Keen remains as committed to and inspired by his muse as ever. And as for accruing recognition\, well\, he’s done alright on that front\, too; from his humble beginnings on the Texas folk scene\, he’s blazed a peer\, critic\, and fan-lauded trail that’s earned him living-legend (not to mention pioneer) status in the Americana music world. And though the Houston native has never worn his Texas heart on his sleeve\, he’s long been regarded as one of the Lone Star State’s finest (not to mention top-drawing) true singer-songwriters. He was still a relative unknown in 1989 when his second studio album\, West Textures\, was released — especially on the triple bill he shared at the time touring with legends Townes Van Zandt and Guy Clark — but once fellow Texas icon Joe Ely recorded both “The Road Goes on Forever” and “Whenever Kindness Fails” on his 1993 album\, Love and Danger\, the secret was out on Keen’s credentials as a songwriter’s songwriter. By the end of the decade\, Keen was a veritable household name in Texas\, headlining a millennial New Year’s Eve celebration in Austin that drew an estimated 200\,000 people. A dozen years later\, he was inducted into the Texas Heritage Songwriters Hall of Fame along with the late\, great Van Zandt and his old college buddy\, Lyle Lovett. \nThe middle child of a geologist father and an attorney mother\, Keen was weaned on classic rock (in particular\, the psychedelic blues trio Cream) and his older brother’s Willie Nelson records — but it was his younger sister’s downtown Houston celebrity status as a “world-champion foosball player” that exposed him to the area’s acoustic folk scene. By the time he started working on his English degree at Texas A&M\, he was teaching himself guitar and setting his poetic musings to song. That in turn led to a college fling with a bluegrass ensemble (featuring his childhood friend Bryan Duckworth\, who would continue to play fiddle with Keen well into the ‘90s) and front-porch picking parties with fellow Aggie Lovett at Keen’s rental house — salad days captured in spirit on the Keen/Lovett co-write\, “The Front Porch Song\,” which both artists would eventually record on their respective debut albums. \nWhile Lovett’s self-titled debut was released on major-label Curb Records\, Keen took the road less travelled\, self-financing and producing 1984’s No Kinda Dancer and leasing it to the independent label Rounder Records\, which issued it on its Philo imprint. “It was difficult\, because I didn’t know what I was doing … I literally opened up the phonebook and looked for studios\,” Keen recalls. “I basically put it all together through brute force and ignorance\, but I was shocked with how well it worked out and very happy with it. We had a release party at Butch Hancock’s Dixie Bar and Bustop\, and Lyle and Nanci Griffith and a lot of those people who were a part of the Austin folkie scene came out.”  \nKeen himself had already started to make quite a name for himself on that scene\, thanks to four years of constant regional gigging and winning the Kerrville Folk Festival’s prestigious New Folk songwriting competition in 1983. After his debut’s release\, he began touring more and more outside of the state lines\, eventually moving to Nashville in 1986. Keen’s stint in Music City\, U.S.A.\, lasted just under two years\, but he returned to Texas armed with a publishing deal\, a new label (another indie\, Sugar Hill)\, and a national booking agent. He closed the decade with 1988’s The Live Album and the following year’s West Textures\, the album that marked the debut of “The Road Goes on Forever” and\, not inconsequently\, kicked his career into high gear.  \nWith hindsight\, Keen admits he no idea at the time of writing it that his song about a couple of ill-fated lovers running afoul of the law would have the legs it did\, but he readily points to the forward thinking of DJ Steve Coffman of San Antonio radio station KRIO for helping to start the fire. “He talked the station into doing sort of a free-form programing format\, basically anything he liked\, which turned out to be some Texas music along with a lot of cool sort of pop music\,” he says. “So all of a sudden\, I heard my song back-to-back with the Sheryl Crow song that was popular at the time\, and that was the first time that I really felt like I was a real part of the music business\, despite having been in it already for a pretty long time. And right after that\, I went to a show in San Antonio and there were 1\,500 people there — whereas up to that point I’d been playing to\, max\, maybe 150. That was the real ah-hah moment for me that really got me going and kept me going\, because before that I’d been doing this for eight or 10 years and had a lot of rejection but very little success.” \nAfter that\, though\, success came in spades. Although he continued to steer clear of the Garth Brooks-dominated waters of the country mainstream\, the perfect storm of Keen’s literate songcraft\, razor wit and killer band (more on that in a bit) stirred up a grassroots sensation in Texas not seen since the ’70s heyday of maverick “outlaw country” upstarts Willie\, Waylon\, and Jerry Jeff Walker. Armed with two more albums (1993’s A Bigger Piece of Sky and ’94’s Gringo Honeymoon) brimming with instant classics like “Corpus Christi Bay\,” “Whenever Kindness Fails\,” “Gringo Honeymoon\,” “Dreadful Selfish Crime” and “Merry Christmas From the Family\,” he began packing dancehalls\, roadhouses\, theaters\, and festival grounds with diverse crowds of rowdy college kids\, serious singer-songwriter fans and plenty of folks who\, like Keen himself\, had been around the Texas music scene long enough to remember Willie’s earliest 4th of July Picnics. And the phenomenon was not confined to the Texas state lines. Famed producer and pedal steel ace Lloyd Maines (Joe Ely\, Terry Allen) helped Keen and his band bottle lighting on 1996’s No. 2 Live Dinner\, a next-best-thing-to-being-there concert document that remains one of Keen’s best-selling albums\, and the burgeoning alt-country scene (bolstered by AAA radio stations across the country and magazines like No Depression) embraced Keen as one of its prime movers. In the wake of albums like 1997’s Picnic and ’98’s Walking Distance (both released on major-label Arista)\, one would have been hard-pressed to tell the difference between a rabid Robert Earl Keen crowd at Texas’ legendary Gruene Hall and those at New York City joints like Tramps and the Bowery Ballroom. Little wonder\, then\, that when the songwriter-revering “Americana” style was officially recognized by the industry 1998\, Keen was the genre’s first artist to be featured on the cover of the radio trade magazine Gavin. \nThe ‘90s may have been a boom period for Keen\, but his momentum hasn’t ebbed a bit since the turn of the century — nor has his pursuit of continued growth as a writer and artist. If anything\, his output from the last decade has been marked by some of the most adventurous music of his career. “Wild Wind\,” an unforgettable highlight from Gravitational Forces\, his Gurf Morlic-produced 2001 debut for the Nashville-based Americana label Lost Highway\, captured the character (and characters) of a small Texas town with a cinematic eye reminiscent of The Last Picture Show; but the album’s title track also found Keen wryly experimenting with spacey\, beatnik jazz. For the freewheelin’\, freak-flag-flying Farm Fresh Onions (2003\, Audium/Koch)\, Keen and producer Rich Brotherton (his longtime guitarist) took the band into the proverbial garage to knock out their most rocking set of songs to date — most notably the psychedelic rave-up of the title track. Brotherton also produced the more rootsy but equally playful What I Really Mean (2005\, E1 Music)\, but Lloyd Maines was back at the helm for 2009’s eclectic The Rose Hotel and 2011’s spirited Ready for Confetti (both released by Lost Highway). The later was especially well received by fans and critics alike\, with AllMusic’s Thom Jurek raving\, “Ready for Confetti is\, without question\, Keen’s most inspired and focused project in nearly 20 years.” \nBut the road goes on and on\, with no time for resting on laurels. Not that Keen’s complaining. “I had a relatively open schedule for 2013 back at the beginning of the year\, but it has just filled in like you wouldn’t believe\,” he marvels during a rare day off in Kerrville\, Texas (where he lives with his wife and two daughters). “I’ve broke my record this year — I’ve packed for five trips at one time\, because I wasn’t going to be starting any of them in the same place. It’s been crazy!”  \nEarlier this year\, Keen played a handful of sold-out theater dates with Lyle Lovett\, just two old friends swapping songs on acoustic guitars like they used to do on Keen’s front porch in College Station. But the lion’s share of his concert schedule still finds him playing full-tilt with his seasoned road and studio band: Brotherton on guitar\, Bill Whitbeck on bass\, Tom Van Schaik on drums\, and Marty Muse on steel guitar. “I’ve been with this band for 20 years now\,” Keen says proudly. “I used to think that was just sort of an interesting fact\, but now it’s almost a total anomaly — that just doesn’t happen much. I always felt like once you lock into the right bunch of people\, you try to do the best by them that you can. So we’ve been able to stay together a long time\, and I think one thing that makes it worthwhile for people to come see us as an act is the fact that it’s not like we’re trying to work it all out onstage — we’ve already worked everything out.” \nAs for what they’ll be working on next\, well\, Keen’s fans probably won’t have to wait very long. Despite the fact that 2014 will mark the 30th anniversary of his first album\, No Kinda Dancer\, Keen’s primary focus remains — as ever — more on the road still ahead than the road behind him.  \n“We take everything one year at a time\,” he says\, “but I am hell-bent and bound to make a record this year. I really don’t know what I have in mind as far as what it will be\, but what will happen is I will go off to my ‘Scriptorium’ for three or four days to write with no distractions\, and I’ll have a record by the time I’m finished. I’m locked into this idea\, and I know for a fact that I’m going to get a new record out … unless I get hit by a bus or get run over by my own bus!”
URL:https://royaleboston.com/event/robert-earl-keen/
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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170715T220000
DTEND;TZID=America/New_York:20170715T220000
DTSTAMP:20260404T155037
CREATED:20170628T205234Z
LAST-MODIFIED:20170628T205234Z
UID:10002523-1500156000-1500156000@royaleboston.com
SUMMARY:#WCKDsaturdays w/ Tone Terra
DESCRIPTION:21+ \nVip Inquiries: 617-733-0505 \nDress Code: No shorts\, hats\, boots\, sneakers\, athletic wear\, tanks\, flip flops\, or backpacks. Please see FAQ/Policy page for more details.
URL:https://royaleboston.com/event/wckdsaturdays-w-tone-terra-2/
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/2017/06/Royale-Promo-Photos.jpg
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170719T190000
DTEND;TZID=America/New_York:20170719T190000
DTSTAMP:20260404T155037
CREATED:20170226T222255Z
LAST-MODIFIED:20170226T222255Z
UID:10002475-1500490800-1500490800@royaleboston.com
SUMMARY:RIDE
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 NOW \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*** \nRIDE \nRIDE Ovada Oxford Mark Gardener Andy Bell Loz Colbert Steve Queralt by Andrew Ogilvy Photography OX4 \n[Website] [Facebook] [Twitter] \nWaving farewell to the Eighties: it was biggest pop kick there’d been in\, ooh\, ten years. During that godforsaken\, musically atrocious decade\, it was them and us. We hadn’t got a prayer. Our stuff didn’t register in corporate demographic terms\, it was too vague and indefinable. And it didn’t register in the charts. There would be the occasional triumph\, as the The Smiths\, the Bunnymen or the Mary Chain made a lightning raid on the Top 20\, only to limp back to obscurity the following week.\nSo\, come the tail end of 1989\, there was a mood of battered\, hopeless optimism. As we took our huddled flight into the Nineties\, a bolt from nowhere\, from Oxford\, overturned the inherent pessimism in that optimism and gave us something to believe in. Ride had tunes\, noise\, looks\, style\, confidence\, everything. And they had youth: their two guitar-playing singers Mark Gardener and Andy Bell were both just 19\, as was drummer Laurence ‘Loz’ Colbert. Stephen Queralt\, the bassist\, was an oldster at 21. They’d come together on a foundation course at North Oxford Art College and had been playing around the Thames Valley area for less than a year. Already\, though\, they looked and sounded supreme\, like they’d been born with their guitars strapped on and had been jamming together ever since. Justifiably mistrusting the A&R scramble that ensued\, they instead signed up where they felt they belonged\, Alan McGee’s Creation Records.\nThe cover of the ‘Ride EP’\, released in January 1990\, showed a bed of roses. The symbolism there\, and in the first words on the first track was lost on nobody. A new decade was rung in with a possibility that guitars gone into overload might become pop music – as in actually popular\, in the charts and stuff. ‘Take me for a ride away from places we have known\,’ Mark crooned on ‘Chelsea Girl’… implicit in the song’s delirious melody was a reaching for new heights\, a belief in better things to come. It went to Number 71. In those days\, for an independently released debut\, with next to no radio airplay\, this was a result. Creation had never slipped inside the Top 75 before. There hadn’t been such a buzz about a UK group in aeons. Ride were hungry to perform\, and when they did\, they blew everyone away.\nIt all kind of centred on Loz. He was a hurricane behind the drums\, you’d just see this blur of sticks and hair. Stage right was Steve\, staring intently downwards\, snapping the groove tightly down. Off to the left was Andy\, in his own world. And right up front you had Mark\, thrashing wildly at the six strings\, but cooing like an angel into the mic\, the Ride duality in one body.\nBy April\, they’d charged up enough audiences for there to be real anticipation for their next record – the ‘Play EP’ – and on that buzz alone\, it went in at – unthinkable! – Number 32. Bands just didn’t happen that quick. Even the Roses and the Mondays and the Scream\, who’d all been going for years\, had only just started to hit. ‘It took Primal Scream six years to become a genius band\,’ gushed McGee at the time. ‘Ride have managed it in six months.’ Eager anticipation now shifted onto Ride’s debut album.\nPreceding it by a month came the ‘Fall EP’\, the band’s third\, with a foreboding atmosphere about it that those hooked on the noise/pop pleasures of ‘Chelsea Girl’ and ‘Like A Daydream’ might not have foreseen. After the Smithsian daffodils last time out\, the sleeve showed penguins freezing to buggery in the snow. The four tracks were headed up by their darkest composition so far\, ‘Dreams Burn Down’. For all the uncompromised storm clouds\, ‘Fall’ near as goddammit matched the success of ‘Play’ at Number 34.\nWhen ‘Nowhere’ dropped in October ’90\, it not only became Creation’s first ever Top 75 album\, but shot in at Number 11\, to blanket critical appreciation. It was angst\, but it was ecstatic\, as witnessed by Bell’s awesome closing track\, ‘Vapour Trail’\, its brooding bassline/cello finale leading up and away into infinity. A fitting climax to the finest debut album of 1990. The rest of the world was listening.\nIn Japan\, Australia and America\, the ‘Smile’ mini-album was released\, compiling the eight killer tracks from those first two EPs. Press excitement exploded around the globe. The band did an extensive European tour in the Winter of ’90\, followed by a debut trip to Japan. They landed at Osaka airport to be greeted by 200 girls all clutching bunches of daffodils (how did they do that – in December?!).\nRide were pop stars. Where so many of their contemporaries had failed to stretch their fame beyond the British coastline\, Ride were truly a global success. The 4000 tickets for the Japanese tour sold out in 12 minutes\, and ‘Nowhere’ went Top 10 there. ‘Vapour Trail’ from the album was also a huge US radio hit. As people\, the band’s time wasn’t their own anymore.\nIn March ’91\, Ride Mark 1 released the ‘Today Forever EP’\, with a killer shark’s jaws warning off competitors from the sleeve and the mesmerizing lead tune\, ‘Unfamiliar’\, doing much the same in music. It leapt into the singles chart at No 14\, a career best\, but already they were planning Ride Mark 2\, to leave their peers for dust. ‘All that stuff just means we do something different next time\,’ Queralt informed Select magazine’s David Cavanagh at the time. ‘We’re now very aware of what we don’t want to sound like.’\nIn 15 months\, Ride had released two albums’ worth of material. For the rest of ’91\, they played live all over the world. They toured the US for the first time\, nipped down to Australia and back up for a second visit to Japan. Headlining the one-off Slough Festival in July\, they aired some of their work-in-progress.\nWithdrawing to rural Chipping Norton with Alan Moulder at the production controls\, they recorded some 25 tracks\, from which the ten great ones formed ‘Going Blank Again’. It was an astonishing LP that bore no trace of ‘difficult second album’ syndrome\, soaring off boldly beyond anything that they\, or any of their piddling peers\, had achieved thus far. Its title sarcastically swiped at critics who alleged that Ride were vacant\, had nothing to say. And ‘Leave Them All Behind’\, which trailered it in February ’92\, was as eloquent a mission statement as you could’ve wished for.\nWithout giving any ground (hell\, by stealing more!)\, ‘Leave Them All Behind’ went in at 9 (Creation’s first ever Top 10 hit). In March\, the LP went further\, racing in at 5.\nThese were glory days for Ride. They’d very effectively legged it clear of the pack that had formed around them\, and scaled the industry ladder to the point where\, following an exhaustive and exhausting world tour – their second in as many years\, they would play one slot below Loz’s all-time heroes Public Enemy at Reading ’92. If you’re holding the full-tilt box-set version of this ‘Best Of’\, you can hear for yourself just how mind-meltingly brilliant they were live around this time.\nThe four of them spent much of that year getting fired up. They ventured out for the occasional live show including the spectacular Daytripper weekend\, where they co-headlined the Brighton Centre and the Blackpool Empress Ballroom with The Charlatans – Ride closing the show down South with the bill flipped on The Golden Mile. And once their songs were close to ready\, they went back to Oxford with producer George Drakoulias (Black Crowes\, Jayhawks)\, to hone and re-arrange the next ‘difficult’ album\, their third.\nPre-production over\, George had to leave to take the helm of Primal Scream’s ‘Give Out But Don’t Give Up’\, but there was a producer lined up – John Leckie\, who could reel off a litany of classics he’d worked on\, from John Lennon’s ‘Plastic Ono Band’ and ‘Meddle’ by Pink Floyd\, right through to ‘The Stone Roses’. Initially bound tight as an insular band/gang\, Ride’s gates had blown open and the world around them came flooding in. It was like swapping black/white for Technicolor\, everyday life for hyperreality\, With its opening minute of chirruping / chattering\, this was not the stuff of radio dreams. Having been AWOL during the first tremors of Britpop (Suede/Auteurs\, and in January\, ‘Supersonic’ by Oasis)\, Ride came back as a ball of confusion. The single stalled at 38\, but it set the stage for the main feature\, ‘Carnival Of Light’\, unleashed in June.\nThe fish-eye sleeve shot of the band spoke volumes to fans of lysergic history. The grungy cover of ‘How Does It Feel To Feel?’ by The Creation (the ’60s garage-psych band who’d given McGee’s label its name) harked back to familiar sounds\, but for the rest\, Ride strode boldly forward from behind their habitual wall of feedback and\, as they’d promised before\, just let it flow.\nAt Christmas\, the band played as un-billed support to Oasis at their biggest gig to date\, the 5\,000-capacity Brighton Centre. Without realising at the time\, this was to be the band’s last UK show\, the only dates that followed in 1995 were a fourth tour of Japan and one festival in Spain. However one Noel Gallagher watched the whole Ride set from the mixing desk at the back of the hall\, commenting at the end ‘It’s just as well we’re fucking good’.\nWith wives\, babies and new homes they’d barely had time to decorate yet\, the four now had lives of their own. They’d been at this for five years\, and while they’d all grown up together\, they’d developed their own domestic agendas away from the gang ethos.\nIt must’ve been a bastard to know what to do next. They each had their own ideas. It’s a miracle that they came up with anything at all\, but what they recorded through 1995 was ‘Tarantula’\, another quantum leap forward. However\, by the time it was released in March ’96 the band had announced that they had effectively split up. To hear what a high Ride flew out on\, how far they’d travelled since ‘Chelsea Girl\, ‘Leave Them All Behind’\, even ‘Birdman’\, just cue up ‘Black Night Crash’: a blast of bad-ass blues\, based on the car-smash voyeurism of JG Ballard’s ‘Crash’. Despite the lack of gigs\, the album still charted at 21.\n2001 saw the release of the re-mastered catalogue albums from the original analogue tapes\, “OX4 – The Best Of Ride”; a timely reminder of just how brilliant\, how different\, how influential\, and how fundamental they were to what has since followed. Alongside this was a 3xCD box set\, featuring “OX4″ alongside an album of previously unreleased material\, “Firing Blanks”\, and a live album of their Reading Festival show in August 92.\nA series of live shows in 2015 across the UK\, Europe and US have now been announced\, marking 20 years since the band’s last concerts. \nFroth \n \n[Website] [Facebook] [Twitter] \nJooJoo Ashworth- Guitar/VOX\nJeremy Katz- Bass\nCameron Allen- Drums\nNick Ventura- Guitar
URL:https://royaleboston.com/event/ride/
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:20170721T180000
DTEND;TZID=America/New_York:20170721T213000
DTSTAMP:20260404T155037
CREATED:20170401T192135Z
LAST-MODIFIED:20170401T192135Z
UID:10002502-1500660000-1500672600@royaleboston.com
SUMMARY:[CANCELED] Preservation Hall Jazz Band
DESCRIPTION:This show has been canceled. Refunds available at the point of purchase. \n*** \nPreservation Hall Jazz Band \n \n[Website] [Facebook] [Twitter] \nAt a moment when musical streams are crossing with unprecedented frequency\, it’s crucial to remember that throughout its history\, New Orleans has been the point at which sounds and cultures from around the world converge\, mingle\, and resurface\, transformed by the Crescent City’s inimitable spirit and joie de vivre. Nowhere is that idea more vividly embodied than in the Preservation Hall Jazz Band\, which has held the torch of New Orleans music aloft for more than 50 years\, all the while carrying it enthusiastically forward as a reminder that the history they were founded to preserve is a vibrantly living history. \nPHJB marches that tradition forward once again on So It Is\, the septet’s second release featuring all-new original music. The album redefines what New Orleans music means in 2017 by tapping into a sonic continuum that stretches back to the city’s Afro-Cuban roots\, through its common ancestry with the Afrobeat of Fela Kuti and the Fire Music of Pharoah Sanders and John Coltrane\, and forward to cutting-edge artists with whom the PHJB have shared festival stages from Coachella to Newport\, including legends like Stevie Wonder\, Elvis Costello and the Grateful Dead and modern giants like My Morning Jacket\, Arcade Fire and the Black Keys. \nSo It Is finds the classic PHJB sound invigorated by a number of fresh influences\, not least among them the band’s 2015 life-changing trip to Cuba. A visit to the island\, so integral to the evolution of jazz and New Orleans culture in general\, had long been in the works when President Obama’s diplomatic opening suddenly allowed for a more extensive journey than had originally seemed possible. \n“When the restrictions were lifted\,” says bandleader/composer/bassist Ben Jaffe\, “It was no longer just about going down there and playing a concert. We were able to explore a bit more\, which profoundly impacted the band not just musically but personally. In Cuba\, all of a sudden we were face to face with our musical counterparts. There’s been a connection between Cuba and New Orleans since day one – we’re family. A gigantic light bulb went off and we realized that New Orleans music is not just a thing by itself; it’s part of something much bigger. It was almost like having a religious epiphany.” \nProducer David Sitek\, a founder of art rock innovators TV on the Radio who has helmed projects by Kelis\, the Yeah Yeah Yeahs and Santigold among others\, offered both a keen modern perspective and a profound respect for the band’s storied history. Upon arriving in New Orleans to meet with the band\, Sitek recalls he and Jaffe accidentally stumbling into one of the city’s famed second-line parades. “I was struck by the visceral energy of the live music all around\, this spontaneous joy\, everything so immediate\,” he says. “I knew I had to make sure that feeling came out of the studio. It needed to be alive. It needed to sound dangerous.” \nFor those wary that a band with the rich history of the PHJB is tackling new material\, Jaffe is quick to point out that Preservation Hall – which his parents\, Allan and Sandra Jaffe\, founded in 1961 – was never meant to be a museum. At its beginnings it broke racial boundaries to present the living legends of New Orleans music\, living links to the origins of jazz. Today\, with a band whose ages range nearly 60 years\, the mission remains the same: to pass on the traditions while continually revitalizing it with new blood and fresh ideas. \n“I see it as something that’s necessary for the evolution and survival of New Orleans music\,” Jaffe says. “Interpreting the repertoire that’s been around for a hundred years is one thing\, but the challenge is to keep that repertoire and those traditions alive while at the same time being honest about who you are as a musician\, allowing all of your musical influences to be reflected in what you create.” \nWhile that’s always been a key component of the PHJB\, whether at their world-famous French Quarter home or on stages around the world\, it took on a renewed urgency in the aftermath of Hurricane Katrina. “When something that catastrophic happens in your life\,” Jaffe says\, “it becomes important to understand and focus on the things that are most important.” The band began charting a new path with the release of That’s It!\, their first album of original material\, in 2013. So It Is continues and significantly expands on that expedition. \nThe music on So It Is\, penned largely by Jaffe and 84 year-old saxophonist Charlie Gabriel in collaboration with the entire PHJB\, stirs together that variety of influences like classic New Orleans cuisine. Longtime members Jaffe\, Gabriel\, Clint Maedgen and Ronell Johnson have been joined over the past18 months by Walter Harris\, Branden Lewis and Kyle Roussel\, and the new blood has hastened the journey into new musical territory. The album’s seven new pieces of buoyant\, window-rattling funk find common ancestry with the Afro-Cuban sounds that the band heard in the streets of Havana (witness the NOLA-meets-Cuba bounce of “La Malanga”)\, Fela Kuti’s Nigerian funk and the entrancing melodies of Ethiopian jazz (most evident on the sinuous “Innocence”)\, the passion of envelope-pushing ‘60s jazz and soul pioneers\, and the intense grooves of their modern Coachella counterparts – then filters them all through a Crescent City lens to emerge with something that compels the listener to move. \n“When we play music\, the barometer for us as a band is whether the locals are reacting\,” Jaffe explains. “In New Orleans we play music for dances and parades\, funerals and church. It’s important to us to make music people connect to\, that people dance to\, that people really feel\, emotionally and physically.  That’s the tradition we grew up with\, that’s what we know.” \nPreservation Hall Jazz Band: \nBEN JAFFE – Bass (upright)\, Tuba\, Percussion\nCHARLIE GABRIEL – Saxophone (tenor)\, Clarinet\nCLINT MAEDGEN – Saxophone (tenor)\, Percussion\nRONELL JOHNSON – Trombone\nWALTER HARRIS – Drums\, Percussion\nKYLE ROUSSEL – Piano\, Wurlitzer\, Organ\nBRANDEN LEWIS – Trumpet
URL:https://royaleboston.com/event/preservation-hall-jazz-band/
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/2017/04/14530-05A6577.jpg
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GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170721T220000
DTEND;TZID=America/New_York:20170721T220000
DTSTAMP:20260404T155037
CREATED:20170524T220145Z
LAST-MODIFIED:20170524T220145Z
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SUMMARY:Sofa King Fridays w/ Dzeko
DESCRIPTION:VIP Inquiries please call 617.733.0505 \nThis event is 21+ \nDress Code: No shorts\, hats\, boots\, athletic wear\, tanks\, flip flops\, or backpacks. Please see FAQ/Policy page for more details.
URL:https://royaleboston.com/event/sofa-king-fridays-w-dzeko/
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:20170722T220000
DTEND;TZID=America/New_York:20170722T220000
DTSTAMP:20260404T155037
CREATED:20170629T165002Z
LAST-MODIFIED:20170629T165002Z
UID:10002525-1500760800-1500760800@royaleboston.com
SUMMARY:#WCKDsaturdays w/ Costa
DESCRIPTION:VIP Inquiries please call 617.733.0505 \nThis event is 21+ \nDress Code: No shorts\, sneakers\, hats\, boots\, athletic wear\, tanks\, flip flops\, or backpacks. Please see FAQ/Policy page for more details.
URL:https://royaleboston.com/event/wckdsaturdays-w-buddy-costa-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170728T220000
DTEND;TZID=America/New_York:20170728T220000
DTSTAMP:20260404T155037
CREATED:20170524T220258Z
LAST-MODIFIED:20170524T220258Z
UID:10001798-1501279200-1501279200@royaleboston.com
SUMMARY:Sofa King Fridays w/ Peking Duk
DESCRIPTION:VIP Inquiries please call 617.733.0505 \nThis event is 21+ \nDress Code: No shorts\, hats\, boots\, athletic wear\, tanks\, flip flops\, or backpacks. Please see FAQ/Policy page for more details.
URL:https://royaleboston.com/event/sofa-king-fridays-w-peking-duk/
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:20170729T220000
DTEND;TZID=America/New_York:20170729T220000
DTSTAMP:20260404T155037
CREATED:20170629T165220Z
LAST-MODIFIED:20170629T165220Z
UID:10002526-1501365600-1501365600@royaleboston.com
SUMMARY:#WCKDsaturdays w/ DJ RM & NRG
DESCRIPTION:VIP Inquiries please call 617.733.0505 \nThis event is 21+ \nDress Code: No shorts\, sneakers\, hats\, boots\, athletic wear\, tanks\, flip flops\, or backpacks. Please see FAQ/Policy page for more details.
URL:https://royaleboston.com/event/wckdsaturdays-w-nrg/
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
END:VCALENDAR