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DTSTART;TZID=America/New_York:20180601T220000
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DTSTAMP:20260407T101047
CREATED:20180411T141149Z
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SUMMARY:Sofa King Fridays w/ Ummet Ozcan
DESCRIPTION:Call or text 617.733.0505 for VIP Table Reservations. \n21+
URL:https://royaleboston.com/event/sofa-king-fridays-w-ummet-ozcan/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20180602T220000
DTEND;TZID=America/New_York:20180602T220000
DTSTAMP:20260407T101047
CREATED:20180524T143005Z
LAST-MODIFIED:20180524T143005Z
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SUMMARY:Naughty Nautical ft. Rico Suave & Friends
DESCRIPTION:21+ \nCall or text 617.733.0505 for VIP table reservations.
URL:https://royaleboston.com/event/naughty-nautical-ft-rico-suave-friends-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:20180608T180000
DTEND;TZID=America/New_York:20180608T213000
DTSTAMP:20260407T101047
CREATED:20180226T150040Z
LAST-MODIFIED:20180226T150040Z
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SUMMARY:Gomez - Bring It On 20th Anniversary Tour
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 6:30 pm \nTickets on sale NOW! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nGomez \n \nWebsite\nFacebook\nTwitter \n“No other record captures that period so perfectly\,” says Elbow’s Guy Garvey. “The concerns of the songs. The stories\, the experimental sounds. It was so brave for a band to record themselves at that time: it allowed a direct and undiluted account of the band as aspirational\, big-hearted friends in love with making music and each other. It dared us to record ourselves. But they did it first. It’s the most deserving recipient of the Mercury Prize in its history: a breathlessly ambitious and lovingly crafted masterpiece. It should be called Bring It ‘The Fuck’ On.” \nTo commemorate the 20th anniversary of Gomez’s Mercury Music Prize winning debut album\, Bring It On will be re-mastered and reissued as a super-deluxe 4CD with an accompanying remastered double LP release. The 4CD 20th Anniversary edition of Bring It On contains the original\, classic album remastered by Frank Arkwright @ Abbey Road studios and 35 previously unreleased tracks including 25 demos (recorded between January 1996 and August 1997) – 13 of which are appearing on an official Gomez release for the first time. \nThe band will be playing the album in its entirety on their forthcoming UK & Ireland tour (April/May 2018) plus Australian and US dates \nTwenty years on\, the debut album by Gomez sounds not of its time\, but ahead of its time. You can hear its echoes in so much of the music that followed it: not just in Elbow\, but in any artist who heard Bring it On and realised the possibilities of combining indie and roots music with lo-fidelity electronics: a modern experimental sensibility with a love of the past. Bring It On was an album that synthesised styles in a way that seemed remarkable then\, and now sounds utterly unforced and contemporary. Where so many of its contemporaries sound completely of their time\, Bring It On sounds as if it could have come out to equal acclaim at any point over the past 20 years. It’s a record that thoroughly merits its expanded 20th anniversary edition. \nBring it On sounds as if it’s been made by kids who’ve been exploring the outer expanses of Spotify\, scouring it for unlikely sources\, rather than four lads in a Southport garage\, and the fella they met at university. Though\, in a way\, Bring It On is the pre-streaming version of that very process\, bringing together all the five members’ tastes\, without ever allowing one style to dominate. You can hear their love of so much different music: Tom Waits\, Tim Buckley\, Prince\, Talking Heads\, Johnny Cash\, Portishead\, The Chemical Brothers\, Led Zeppelin\, Neil Young\, jazz and folk and indie and the West Coast and classic rock. Between them\, Ian Ball\, Ben Ottewell\, Tom Gray\, Paul Blackburn and Olly Peacock created something that was far more than the sum of its parts. \nIn 1998\, of course\, it sounded revolutionary. “Gomez came along at exactly the right moment\,” says the DJ Steve Lamacq\, who championed the band on his Radio 1 show. “After Britpop had collapsed in on itself\, there was a massive hole on the Evening Session\, waiting to be filled. But what we found was\, people reacting against the commerciality of the Britpop wave and heading off on all sorts of strange tangents. The audience was really receptive to sounds that maybe wouldn’t have fitted in a few years earlier.” \nGomez hadn’t even recorded with the intention of making an album\, which is perhaps why it sounds so unforced. The basis of the album was seven tracks recorded on an ancient four-track recorder. The band’s label\, Hut\, had to use the home recordings – for practical reasons. “They couldn’t recreate those recordings because they’d done them in one of their dad’s garages on the four-track\, and just after they’d finished doing the last one the thing broke\,” says Hut’s David Boyd. “So we decided it needed a little bit of mixing and embellishment\, but not a lot\, and they trotted off to Liverpool to do the touch-ups\, but to all intents and purposes that was Bring It On.” \nIn Liverpool\, engineer Ken Nelson awaited them\, and helped them turn those seven tracks into a whole album. “They’d have an idea and would look to me to make it work\,” Nelson says. “Their home-learned skills transferred well to the studio and I believe we learned so much from each other. I’d never worked with a band who were so creative before: it was truly exciting for me.” \nThe spectacular results had an immediate impact and influence\, Chris Martin admired Bring It On so much that Coldplay hired Ken Nelson to produce their first album (he went on to produce three for them). Indeed without some of Gomez’s freewheeling influence\, it’s much harder to imagine the British music scene making a comfortable home for the innovating likes of Alt-J\, Everything Everything & Field Music\, or across the pond where subsequent harmony bands blending indie\, antifolk and art rock have thrived. \nBring It On went on to win 1998’s Mercury Music Prize\, beating Pulp\, Massive Attack\, Cornershop and The Verve\, the judges describing the album as “an intriguing blend of swamp blues\, bar-room rock and eerie power”. \nBring It On remains the album Gomez are best known for in the UK\, but it was only the starting point for a spectacular career. The band built audiences internationally\, especially in the US and Australia. In the States\, in particular\, Gomez have become bigger and bigger\, with their two most recent albums\, A New Tide (2009) and Whatever’s on Your Mind (2011)\, becoming the highest-charting records of their career. \nBut Bring It On remains the landmark: The introduction to their singular nature. Hence the deluxe reissue. Hence the forthcoming anniversary tour on which many of the shows – including an appearance at the Royal Albert Hall – sold out in moments. Twenty years later? Once again\, bring it on. \n*** \nLilith \n \nWebsite\nFacebook\nTwitter \nhannah + kelsey
URL:https://royaleboston.com/event/gomez/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180608T220000
DTEND;TZID=America/New_York:20180608T220000
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CREATED:20180523T173116Z
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SUMMARY:Sofa King Fridays ft. Sam Feldt & The Knocks (DJ Set)
DESCRIPTION:Support by Cam Harris \n21+ \nCall or text 617.733.0505 for VIP table reservations.
URL:https://royaleboston.com/event/sofa-king-fridays-ft-sam-feldt-the-knocks/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20180609T220000
DTEND;TZID=America/New_York:20180609T220000
DTSTAMP:20260407T101047
CREATED:20180502T160012Z
LAST-MODIFIED:20180502T160012Z
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SUMMARY:Royale Saturdays ft. Snakehips
DESCRIPTION:Call or text 617.733.0505 for VIP table reservations. \n21+
URL:https://royaleboston.com/event/royale-saturdays-ft-snakehips/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20180613T183000
DTEND;TZID=America/New_York:20180613T183000
DTSTAMP:20260407T101047
CREATED:20180427T160002Z
LAST-MODIFIED:20180427T160002Z
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SUMMARY:[SOLD OUT] A Celebration of the life and art of Caleb Scofield ft. Cave In\, Old Man Gloom\, Converge\, Young Widows\, The Cancer Conspiracy
DESCRIPTION:A Celebration of the life and art of Caleb Scofield featuring:\nCave In\nOld Man Gloom\nConverge\nYoung Widows – NO LONGER PLAYING DUE TO FAMILY EMERGENCY\nThe Cancer Conspiracy \n100% of all proceeds to be donated to the Scofield Family \n— \nDoors: 6:30 pm / Show: 7:00 pm \nSOLD OUT \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n***
URL:https://royaleboston.com/event/celebration-life-art-caleb-scofield-ft-cave-old-man-gloom-converge-young-widows-cancer-conspiracy/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180614T200000
DTEND;TZID=America/New_York:20180614T200000
DTSTAMP:20260407T101047
CREATED:20180108T233253Z
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SUMMARY:[SOLD OUT] King Gizzard and the Lizard Wizard
DESCRIPTION:SOLD OUT! \nPresented by Bowery Boston \nDoors: 8:00 pm / Show: 9:00 pm \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nKing Gizzard and the Lizard Wizard \n \n[Website] [Facebook] [Twitter] \n“Nonagon infinity opens the door\,” sings Stu Mackenzie\, frontman of Australian psych-rockers King Gizzard & The Lizard Wizard. It turns out\, though\, that once the door’s open\, it never closes. That’s because the Melbourne septet has ingeniously crafted what may be the world’s first infinitely looping LP. Each of the nine\, complex\, blistering tracks on ‘Nonagon Infinity’ seamlessly flows into the next\, with the final song linking straight back into the top of the opener like a sonic mobius strip. It’s exactly the kind of ambitious vision that prompted Rolling Stone to dub the band “one of the most compelling collectives of art-rock experimentalists in recent years.” But far from a simple conceptual experiment\, the album is both an exhilarating shot of adrenaline and a remarkable feat of craftsmanship\, the result of painstaking planning and an eye for detail years in the making. \nThe roots of ‘Nonagon Infinity’ stretch back to 2014\, when King Gizzard recorded their critically acclaimed album “I’m In Your Mind Fuzz\,” which was hailed by Pitchfork as “dense\, intricately crafted\, and most importantly\, powerful.” \n“We actually wanted to do this with ‘Mind Fuzz\,’ but it just didn’t work\,” explains Mackenzie. “We ended up writing songs that needed to be on that record but didn’t connect to the others\, so we had to abandon the idea\, but the seeds were sown.” \nTo an outsider\, it may have seemed like the band had completely given up on the concept\, as the ever-prolific group quickly followed ‘Mind Fuzz’ with two more records in 2015\, ‘Quarters’—described by The Guardian as “the neon intersection of DIY psych and 1960s beach pop”—and the stripped-down ‘Paper Mache Dream Balloon\,’ which earned praise from NPR to Stereogum. The truth\, though\, was that King Gizzard was honing in on the ‘Nonagon Infinity’ material the whole time\, test-driving various tracks in their explosive live shows to prep for the monumental task of stitching them all together into one searing\, multi-movement epic. \n“We really wanted to focus on things that felt good live\,” says Mackenzie. “We’d grab a little riff here or a little groove there\, and we’d jam on them and form songs out of them\, which was the opposite of ‘Paper Mache\,’ where we were making songs in an acoustic\, classic-songwriting kind of way. I wanted to have an album where all these riffs and grooves just kept coming in and out the whole time\, so a song wasn’t just a song\, it was part of a loop\, part of this whole experience where it feels like it doesn’t end and doesn’t need to end.” \nRecorded at Daptone Studios in Brooklyn\, the final result is an intricate and immersive listening experience. Lyrical refrains and musical motifs establish themselves and then submerge beneath the chaos\, only to resurface unexpectedly later like familiar companions on a labyrinthine journey. Motorhead-grade riffs give way to King Crimson and Yes-levels of prog complexity\, as songs churn through unusual time signatures and shifting rhythms with blunt force\, laying waste to everything in their path. \n“I wanted it to feel like a horror or sci-fi movie\,” explains Mackenzie of the album’s dark overtones. “The lyrics came as a stream of consciousness\, all of these elements just falling out of my head as it was happening.” \n“Big Fig Wasp” references a particularly macabre insect that must kill itself in order to perpetuate the species\, while “Gamma Knife\,” with its 11/8-time drum solo\, is named for a surgical tool that burns cuts into the skin\, and “People-Vultures” plays like a sinister film soundtrack. Album opener “Robot Stop” pulls more directly from the band’s recent experiences\, inspired in part by their relentless work ethic and tour schedule\, which has included festival performances at Bonnaroo\, Glastonbury\, Montreux Jazz & Roskilde as well as countless sold out dates in rooms across the USA\, UK\, Europe and Australia. \n“That song’s about feeling overworked\, like a bit of a robot that’s just going to crash and die or something\,” he says with a laugh. “But you get yourself up and do it again and you robot on and you’re alright. It was one of the early ones we wrote for the record\, and I think when that song came together\, everybody started to feel like were going to actually be able to pull off this never-ending album idea.” \nTo say they pulled it off would be an understatement. The record is a force to be reckoned with on par with the road trains Mackenzie references in the album’s final track. \n“In the Australian desert\, in the outback\, there are what’s called road trains\, which are these massive trucks pulling heaps of carriages that can end up being 50 meters long\,” he explains. “They drive on the road really\, really fast\, and they’re deadly\, with these bars in the front to kill kangaroos and anything else in their path.” \n‘Nonagon Infinity’ has opened the door for King Gizzard & The Lizard Wizard\, and they’re barreling ahead with more momentum than ever before now. Much like those road trains\, with a band this good\, the safest place to be is onboard. \nKing Gizzard & The Lizard Wizard are: \nStu Mackenzie – Guitar\, lead vocals \nJoe Walker – Guitar\, vocals \nEric Moore – Drums \nAmbrose Kenny-Smith – Harmonica\, vocals \nLucas Skinner – Bass \nCook Craig – Guitar \nMichael Cavanagh – Drums \n  \n*** \nAmyl and the Sniffers \n \n[Website] [Facebook] \nAmy Taylor – Vocals\nDec Martens – Guitar\nBryce Wilson – Drums\nGus Romer – Bass
URL:https://royaleboston.com/event/king-gizzard-lizard-wizard/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180615T220000
DTEND;TZID=America/New_York:20180615T220000
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CREATED:20180524T233046Z
LAST-MODIFIED:20180524T233046Z
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SUMMARY:Sofa King Fridays ft. 12th Planet
DESCRIPTION:21+ \nCall or text 617.733.0505
URL:https://royaleboston.com/event/sofa-king-fridays-ft-12th-planet/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20180616T180000
DTEND;TZID=America/New_York:20180616T213000
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SUMMARY:Okkervil River
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nTickets on sale NOW! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n***\nOkkervil River \n \nWebsite\nFacebook\nTwitter \nIn 2017 I started regularly attending Quaker meetings for worship\, I spent a lot of time in therapy\, and I started microdosing psychedelics. I had asked the band I’d hired to play on my last album Away to be my new band\, the new version of Okkervil River\, and we’d gone on a long tour of America and Europe that was my favorite touring experience I’ve had since 2003. In some ways\, I felt like a kid again. I realized how phenomenally lucky I am that I’ve been able to play music for this long.  \nThe election happened while we were in Brussels\, on a rainy horrible morning. Crossing over into England later that day\, I met a border guard who had worked at the Berlin wall on the night that crowds of East Germans showed up wanting to cross over\, when someone on his side had to make a judgment call to open fire or to let everyone through. He told me the story\, trying to make me feel better\, and I couldn’t help crying in front of him. He looked at me sadly\, like a nice dad wearing a police uniform. \nThe new band had a recording date booked to work on songs while we were still tight from tour\, and I had some material prepared but I wanted to write more. And if December 2016 was good for anything it was good for writing new songs. I wrote “The Dream and the Light” at a vacation home adjoining Frank Sinatra’s old place in Palm Springs; a friend’s father had died and she was treating herself and his nurse to a vacation and invited some friends along. Then I went to the Away cabin and wrote more new songs. We hit the studio and recorded about ten songs in three days\, everybody playing together in the room and me singing vocals live. “The Dream and the Light\,” “How It Is\,” “External Actor” and “Pulled Up the Ribbon” were recorded during those sessions\, as was “Famous Tracheotomies\,” an autobiographical song about a lengthy hospitalization I experienced as a little kid. \nI had intended the new songs to continue in the exact sonic vein of Away\, but almost immediately they started to diverge somewhat wildly. The sound was more electric and playful – it was a happy sound\, because I was happier than I’d been in years. I decided to keep going in that direction. \nI scheduled another recording session for a couple months later and I went back upstate to write more songs in the dead of winter\, snowed in\, no way to get to town. And then I got back to Brooklyn I started writing songs with members of my band. I’ve never done that before\, written with the band.  I love this band. We added another nine songs and recorded those\, including “Family Song\,” “Shelter Song” and “Human Being Song.” \nOn a little tour through the South I decided I wanted to write one last song\, something upbeat and catchy. So we gathered together in my hotel room in Charleston\, West Virginia the morning after a radio performance and wrote “Love Somebody” quickly before they kicked us out of the room. We hit the road and were immediately held up in traffic diverted for the motorcade from that disgusting Boy Scouts speech.  \nI kept working on all the tracks until some of them started sounding more finished than others and I had enough finished-sounding ones to put a record out. I wanted to put it out quickly. It’s so much more fun that way\, and this record is supposed to be fun\, and to hopefully make people feel happy. \nWhen I gave these songs to Shawn Everett to mix\, he saw something even further in it than I saw and he made all the tracks sing. His production reminds me of my favorite experiences of recording Black Sheep Boy and The Stage Names with the brilliant Brian Beattie\, who taught me more about music than anyone I’ve ever met. But Shawn also brought this new energy to it that elevated it and took it in a direction I hadn’t quite known it was pointing in. It was so great hearing the mixes coming back\, hearing the whole thing in full\, one year of my life condensed into 50 minutes. I was thrilled. \nWhen the album was finished\, I moved out of New York City. \n***\nStar Rover \n \nWebsite\nTwitter \nWestern Winds Bitter Christians by Star Rover \n“Star Rover specializes in an alluring sort of pastoral punk that suggests a collaboration between Deerhoof and John Fahey”- Time Out New York
URL:https://royaleboston.com/event/okkervil-river-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180616T220000
DTEND;TZID=America/New_York:20180616T220000
DTSTAMP:20260407T101047
CREATED:20180606T151541Z
LAST-MODIFIED:20180606T151541Z
UID:10001927-1529186400-1529186400@royaleboston.com
SUMMARY:Black Light Party ft. Tone Terra
DESCRIPTION:21+ \nCall or text 617.733.0505 for VIP table reservations.
URL:https://royaleboston.com/event/black-light-party-ft-tone-terra/
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:20180617T190000
DTEND;TZID=America/New_York:20180617T190000
DTSTAMP:20260407T101047
CREATED:20180313T164511Z
LAST-MODIFIED:20180313T164511Z
UID:10002618-1529262000-1529262000@royaleboston.com
SUMMARY:Jungle
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nTickets on sale now! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nJungle \n \nWebsite\nFacebook\nTwitter \n*** \n Triathalon  \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/jungle/
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:20180622T220000
DTEND;TZID=America/New_York:20180622T220000
DTSTAMP:20260407T101047
CREATED:20180319T140035Z
LAST-MODIFIED:20180319T140035Z
UID:10002625-1529704800-1529704800@royaleboston.com
SUMMARY:Sofa King Fridays w/ Krewella (DJ Set)
DESCRIPTION:21+ \nCall or Text 617.733.0505 for VIP Table Reservations.
URL:https://royaleboston.com/event/sofa-king-fridays-w-krewella-dj-set/
LOCATION:279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180623T220000
DTEND;TZID=America/New_York:20180623T220000
DTSTAMP:20260407T101047
CREATED:20180612T171208Z
LAST-MODIFIED:20180612T171208Z
UID:10001928-1529791200-1529791200@royaleboston.com
SUMMARY:Summer Bash ft. DJ Tao
DESCRIPTION:21+
URL:https://royaleboston.com/event/summer-bash-ft-dj-tao/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180624T204500
DTEND;TZID=America/New_York:20180624T204500
DTSTAMP:20260407T101047
CREATED:20180612T204435Z
LAST-MODIFIED:20180612T204435Z
UID:10001935-1529873100-1529873100@royaleboston.com
SUMMARY:Nepathya Live in Boston 2018
DESCRIPTION:21+ \nValid US Government/State-issued ID or international passport required. \n  \nDoors @ 7:30pm \nShow @ 8:45pm
URL:https://royaleboston.com/event/nepathya-live-in-boston-2018/
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:20180626T183000
DTEND;TZID=America/New_York:20180626T183000
DTSTAMP:20260407T101047
CREATED:20180128T170008Z
LAST-MODIFIED:20180128T170008Z
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SUMMARY:[SOLD OUT] Frank Turner & The Sleeping Souls - Night 1
DESCRIPTION:NOTE: June 26\, 27\, 29\, and 30 shows are now SOLD OUT.  \nDue to overwhelming demand\, TWO MORE shows have been added on July 1 and 2. \nTickets for July 1 and 2 shows are still available HERE. \n*** \nPresented by Bowery Boston \nDoors: 6:30 pm / Show: 7:30 pm \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nFrank Turner & The Sleeping Souls \n \nWebsite\nFacebook\nTwitter \nFrank Turner has announced details of his forthcoming seventh studio album entitled Be More Kind available on May 4th via Xtra Mile Recordings/Polydor UK /Interscope Records. The album is available for pre-order and those who pre-order will receive instant downloads of “1933” and the previously released track “There She Is” from the 2017 release Songbook. \nMonths after the release of Songbook\, a career-spanning retrospective which also saw reworked versions of tracks from across the past decade\, Be More Kind represents a thematic and sonic line in the sand for the 36-year-old. It’s a record that combines universal anthems with raw emotion and the political and the personal\, with the intricate folk and punk roar trademarks of Turner’s sound imbued with new\, bold experimental shades. Be More Kind is produced by Austin Jenkins and Joshua Block\, formerly of psychedelic-rock Texans White Denim\, and Florence And The Machine and Halsey collaborator Charlie Hugall. “I wanted to try and get out of my comfort zone and do something different\,” says Turner. \nTurner was halfway through writing a very different sort of album\, a concept record about women from the historical record who had been ignored\, when he was reading a collection of Clive James’ poetry and one particular line compelled him to re-think his direction. It was from a poem called Leçons Des Ténèbres: “I should have been more kind. It is my fate. To find this out\, but find it out too late.” “It devastated me the first time I read it\,” he says. \nTurner and his band\, the Sleeping Souls\, were on tour in the USA in 2016 “when the world decided to go collectively nuts” and the songs that make up Be More Kind started to come together. “Somewhere in the record\, there’s a convergence of the ideas of personal and political\, which is a central theme of the album\,” Turner says. One of the driving themes of the album is empathy\, even for your enemy. “You should at least be able to inhabit the mental universe of the people you disagree with. If you can’t do that\, then how do you communicate with people other than through force of arms\, which is something we all agree is a bad idea.” \nTurner’s last two records\, 2013’s Tape Deck Heart and 2015’s Positive Songs For Negative People\, dealt with the fallout from a break-up and saw Turner struggling to cover the cracks in his personal life. Now happily in a relationship and living with his partner and their cat\, he again set his sights to the bigger picture. Positive Songs… was cut in nine\, intense days whereas Be More Kind was made over a period of seven months\, giving Turner the opportunity to turn songs on their head\, try different versions and shake up the dynamics within his band. \nThe first track to be released from Be More Kind is “1933\,” a clattering\, state-of-the-nation anthem. Furious and direct\, it’s inspired by articles Turner saw that suggested the alt-right was punk rock. “That filled me with a mixture of incredulity and anger\,” says Turner. “The idea that Breitbart or Steve Bannon think they have anything to do with punk rock makes me extremely angry.” \nThe Be More Kind World Tour will begin in the UK in April and head to North America on May 31\, with its first leg playing to over 200\,000 people across the UK\, the USA\, Europe\, Canada\, Australia and New Zealand\, taking them through to Christmas. Turner promises that 2019 will include visits to some “slightly more weird and wonderful places.” \n*** \nSpeedy Ortiz \n \nWebsite\nFacebook\nTwitter \n“Necessary brattiness” is the motto for Speedy Ortiz’s dauntless new collection of songs\, Twerp Verse. The follow-up to 2015’s Foil Deer\, the band’s latest indie rock missive is prompted by a tidal wave of voices\, no longer silent on the hurt they’ve endured from society’s margins. But like many of these truth-tellers\, songwriter\, guitarist and singer Sadie Dupuis scales the careful line between what she calls being “outrageous and practical” in order to be heard at all. \n“You need to employ a self-preservational sense of humor to speak truth in an increasingly baffling world\,” says Dupuis. “I call it a ‘twerp verse’ when a musician guests on a track and says something totally outlandish – like a Lil Wayne verse – but it becomes the most crucial part. This record is our own twerp verse\, for those instances when you desperately need to stand up and show your teeth.” \nTwerp Verse was tracked in Brooklyn DIY space Silent Barn\, mixed by Omaha legend Mike Mogis (Bright Eyes\, Rilo Kiley) and mastered by Grammy-nominated engineer Emily Lazar (Sia\, Haim\, Beck). The record pulls from the most elastic pop moments in Squeeze’s Argybargy and the seesawing synth-rock of Deerhoof and the Rentals. With Dupuis on guitars\, vocals\, and synths\, supporting guitarist Andy Molholt (of psych pop outfit Laser Background) now joins Speedy veterans Darl Ferm on bass and Mike Falcone on drums – and together they accelerate the band’s idiosyncrasy through the wilderness of Dupuis’ heady reflections on sex\, lies and audiotape. \nDupuis\, who both earned an MFA in poetry and taught at UMass Amherst\, propels the band’s brain-teasing melodies with her serpentine wit. Inspired by the cutting observations of Eve Babitz\, Aline Crumb’s biting memoirs\, and the acute humor of AstroPoet Dorothea Lasky\, Dupuis craftily navigates the danger zone that is building intimacy and political allyship in 2018. Now as public pushback against the old guards reaches a fever pitch – in the White House\, Hollywood and beyond – the band fires shots in disillusioned Gen Y theme “Lucky 88\,” and casts a side-eye towards suitors-turned-monsters in the cold-blooded single “Villain.” Closing track “You Hate The Title” is a slinky traipse through the banality of this current moment in patriarchy – in which survivors are given the mic\, but nitpicked over the timbre of their testimonies. “You hate the title\, but you’re digging the song\,” Dupuis sings wryly\, “You like it in theory\, but it’s rubbing you wrong.” Tuned smartly to the political opacity of the present\, Twerp Verse rings clear as a bell. \n*** \nThe Homeless Gospel Choir \n \nWebsite\nFacebook\nTwitter \nDerek Zanetti\, also known as The Homeless Gospel Choir\, is a protest singer\, author and artist based out of Pittsburgh\, PA. \nThrough his on-stage humor and vulnerability\, Derek creates an atmosphere of inclusion and community. He engages with the audience in a way that allows them to know that they’re not alone. \nHis new record\, Normal\, was described by Frank Turner as “a generationally defining album for the underground punk scene.” He also said\, “In half an hour\, Derek reminded me of what punk’s supposed to be.” \nDerek’s new album\, Normal\, is out now on A-F Records.
URL:https://royaleboston.com/event/frank-turner-sleeping-souls-night-1/
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:20180627T183000
DTEND;TZID=America/New_York:20180627T183000
DTSTAMP:20260407T101047
CREATED:20180128T170055Z
LAST-MODIFIED:20180128T170055Z
UID:10002601-1530124200-1530124200@royaleboston.com
SUMMARY:[SOLD OUT] Frank Turner & The Sleeping Souls - Night 2
DESCRIPTION:NOTE: June 26\, 27\, 29\, and 30 shows are now SOLD OUT.  \nDue to overwhelming demand\, TWO MORE shows have been added on July 1 and 2. \nTickets for July 1 and 2 shows are still available HERE. \n*** \nPresented by Bowery Boston \nDoors: 6:30 pm / Show: 7:30 pm \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nFrank Turner & The Sleeping Souls \n \nWebsite\nFacebook\nTwitter \nFrank Turner has announced details of his forthcoming seventh studio album entitled Be More Kind available on May 4th via Xtra Mile Recordings/Polydor UK /Interscope Records. The album is available for pre-order and those who pre-order will receive instant downloads of “1933” and the previously released track “There She Is” from the 2017 release Songbook. \nMonths after the release of Songbook\, a career-spanning retrospective which also saw reworked versions of tracks from across the past decade\, Be More Kind represents a thematic and sonic line in the sand for the 36-year-old. It’s a record that combines universal anthems with raw emotion and the political and the personal\, with the intricate folk and punk roar trademarks of Turner’s sound imbued with new\, bold experimental shades. Be More Kind is produced by Austin Jenkins and Joshua Block\, formerly of psychedelic-rock Texans White Denim\, and Florence And The Machine and Halsey collaborator Charlie Hugall. “I wanted to try and get out of my comfort zone and do something different\,” says Turner. \nTurner was halfway through writing a very different sort of album\, a concept record about women from the historical record who had been ignored\, when he was reading a collection of Clive James’ poetry and one particular line compelled him to re-think his direction. It was from a poem called Leçons Des Ténèbres: “I should have been more kind. It is my fate. To find this out\, but find it out too late.” “It devastated me the first time I read it\,” he says. \nTurner and his band\, the Sleeping Souls\, were on tour in the USA in 2016 “when the world decided to go collectively nuts” and the songs that make up Be More Kind started to come together. “Somewhere in the record\, there’s a convergence of the ideas of personal and political\, which is a central theme of the album\,” Turner says. One of the driving themes of the album is empathy\, even for your enemy. “You should at least be able to inhabit the mental universe of the people you disagree with. If you can’t do that\, then how do you communicate with people other than through force of arms\, which is something we all agree is a bad idea.” \nTurner’s last two records\, 2013’s Tape Deck Heart and 2015’s Positive Songs For Negative People\, dealt with the fallout from a break-up and saw Turner struggling to cover the cracks in his personal life. Now happily in a relationship and living with his partner and their cat\, he again set his sights to the bigger picture. Positive Songs… was cut in nine\, intense days whereas Be More Kind was made over a period of seven months\, giving Turner the opportunity to turn songs on their head\, try different versions and shake up the dynamics within his band. \nThe first track to be released from Be More Kind is “1933\,” a clattering\, state-of-the-nation anthem. Furious and direct\, it’s inspired by articles Turner saw that suggested the alt-right was punk rock. “That filled me with a mixture of incredulity and anger\,” says Turner. “The idea that Breitbart or Steve Bannon think they have anything to do with punk rock makes me extremely angry.” \nThe Be More Kind World Tour will begin in the UK in April and head to North America on May 31\, with its first leg playing to over 200\,000 people across the UK\, the USA\, Europe\, Canada\, Australia and New Zealand\, taking them through to Christmas. Turner promises that 2019 will include visits to some “slightly more weird and wonderful places.” \n*** \nJeff Rosenstock \n \nWebsite\nFacebook\nTwitter \nJeff Rosenstock is a musician from Brooklyn via Long Island (which I guess is like saying Long Island via Long Island) who has sang and written songs for Bomb the Music Industry!\, Kudrow and The Arrogant Sons of Bitches. \n*** \nRestorations \n \nWebsite\nFacebook\nTwitter \nDave Klyman – Guitar/Backing Vocals\nJon Loudon – Guitar/Vocals\nBen Pierce – Keys/Guitar/Backing Vocals\nDan Zimmerman – Bass/Backing Vocals
URL:https://royaleboston.com/event/frank-turner-sleeping-souls-night-2/
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:20180629T173000
DTEND;TZID=America/New_York:20180629T213000
DTSTAMP:20260407T101047
CREATED:20180101T230019Z
LAST-MODIFIED:20180101T230019Z
UID:10002605-1530293400-1530307800@royaleboston.com
SUMMARY:[SOLD OUT] Frank Turner & The Sleeping Souls - Night 3
DESCRIPTION:NOTE: June 26\, 27\, 29\, and 30 shows are now SOLD OUT.  \nDue to overwhelming demand\, TWO MORE shows have been added on July 1 and 2. \nTickets for July 1 and 2 shows are still available HERE. \n*** \nPresented by Bowery Boston \nDoors: 5:30 pm / Show: 6:00 pm \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nFrank Turner & The Sleeping Souls \n \nWebsite\nFacebook\nTwitter \nFrank Turner has announced details of his forthcoming seventh studio album entitled Be More Kind available on May 4th via Xtra Mile Recordings/Polydor UK /Interscope Records. The album is available for pre-order and those who pre-order will receive instant downloads of “1933” and the previously released track “There She Is” from the 2017 release Songbook. \nMonths after the release of Songbook\, a career-spanning retrospective which also saw reworked versions of tracks from across the past decade\, Be More Kind represents a thematic and sonic line in the sand for the 36-year-old. It’s a record that combines universal anthems with raw emotion and the political and the personal\, with the intricate folk and punk roar trademarks of Turner’s sound imbued with new\, bold experimental shades. Be More Kind is produced by Austin Jenkins and Joshua Block\, formerly of psychedelic-rock Texans White Denim\, and Florence And The Machine and Halsey collaborator Charlie Hugall. “I wanted to try and get out of my comfort zone and do something different\,” says Turner. \nTurner was halfway through writing a very different sort of album\, a concept record about women from the historical record who had been ignored\, when he was reading a collection of Clive James’ poetry and one particular line compelled him to re-think his direction. It was from a poem called Leçons Des Ténèbres: “I should have been more kind. It is my fate. To find this out\, but find it out too late.” “It devastated me the first time I read it\,” he says. \nTurner and his band\, the Sleeping Souls\, were on tour in the USA in 2016 “when the world decided to go collectively nuts” and the songs that make up Be More Kind started to come together. “Somewhere in the record\, there’s a convergence of the ideas of personal and political\, which is a central theme of the album\,” Turner says. One of the driving themes of the album is empathy\, even for your enemy. “You should at least be able to inhabit the mental universe of the people you disagree with. If you can’t do that\, then how do you communicate with people other than through force of arms\, which is something we all agree is a bad idea.” \nTurner’s last two records\, 2013’s Tape Deck Heart and 2015’s Positive Songs For Negative People\, dealt with the fallout from a break-up and saw Turner struggling to cover the cracks in his personal life. Now happily in a relationship and living with his partner and their cat\, he again set his sights to the bigger picture. Positive Songs… was cut in nine\, intense days whereas Be More Kind was made over a period of seven months\, giving Turner the opportunity to turn songs on their head\, try different versions and shake up the dynamics within his band. \nThe first track to be released from Be More Kind is “1933\,” a clattering\, state-of-the-nation anthem. Furious and direct\, it’s inspired by articles Turner saw that suggested the alt-right was punk rock. “That filled me with a mixture of incredulity and anger\,” says Turner. “The idea that Breitbart or Steve Bannon think they have anything to do with punk rock makes me extremely angry.” \nThe Be More Kind World Tour will begin in the UK in April and head to North America on May 31\, with its first leg playing to over 200\,000 people across the UK\, the USA\, Europe\, Canada\, Australia and New Zealand\, taking them through to Christmas. Turner promises that 2019 will include visits to some “slightly more weird and wonderful places.” \n*** \nTim Barry \n \nWebsite\nFacebook \nThe first time one of his friend’s fathers saw singer/songwriter Tim Barry perform\, he summed up his thoughts with a Yogi Berra-worthy declaration: “You’re old-timey in a modern way.” \nThat’s a near perfect description for the artist who sums up his latest solo release\, Lost & Rootless in a single word: WOODEN. “That’s the feel that I was going for when I picked the songs\,” says Barry. “There’s violin\, voice\, a wooden resonator guitar…there’s a very subtle electric bass on one track\, but otherwise I wanted to do a wooden record.” \nTo create that stripped-down\, earthy sound\, Barry (along with sometime accompanists Josh Small and sister Caitlin Hunt) selected an equally wooden venue: his own shed\, mic’d up and MacGyvered with blankets\, bits of carpet\, and pallets for soundproofing. This gave Tim an opportunity musicians are rarely afforded: the ability to record any moment that inspiration struck\, without racing the clock or pulling out the wallet. “It’s not always relaxing in the studio unless you have so much loot you don’t care how much time you spend in there. To be able to go into my shivering cold shed and play music whenever it hit me was pretty awesome\,” he says. \nOpening Lost & Rootless with the forlorn “No News From The North” (drawn from 2005’s solo debut Laurel Street Demos\, one of which he has re-recorded for each subsequent release)\, Barry then unspools twelve more songs toggling between spare soliloquies and toe-tappers\, telling tales of sadness and of celebration\, and portraying the narrator as both partier and poet. \nWith a cohesive musical feel\, a vivid cast of characters\, and not one but two mentions of his own daughter Lela Jane\, one might think there’s a larger tale being told here. Don’t spend too much time trying to tie it all together\, though: “I’m not bright enough to make a concept record!” Tim exclaims. “Going all the way back to the early days of my music\, I just write what’s around me\, what I feel\, who I know.” \nThe album is thick with examples of that that autobiographical (and auto-geographical) writing style\, featuring references to Richmond’s Laurel Street\, its Manchester neighborhood\, and the James River (each also calling back to Barry’s past recordings). His surroundings also set the scene for one of the album’s story song highlights: “Solid Gone\,” about one family’s fight to survive outside the confines of the law. Tim notes that the subject matter reads a bit like a country music stereotype\, “But that’s what it’s about: drugs\, guns and family. I’m not sure the average fan of Willie Nelson would like it\, but it’s what happens in the state of Virginia.” \nThe one song on the album that’s not drawn from Barry’s background or environment is a reverent cover of “Clay Pigeons” by the late Austin musician Blaze Foley (the subject of the Lucinda Williams song “Drunken Angel”). Originally turned on to the song via a mixtape from a friend\, Tim quickly became obsessed. “It was just TOO GOOD\,” he stresses. Seeing that the song only had a paltry number of YouTube views\, “I started asking everyone I knew if they knew the song. Only two people out of maybe twenty did\, so I said\, “F*** that\, I’m recording this!” \nOf course\, the challenges of making an album don’t end with the recording: figuring out the best order for the songs is another chore entirely. In keeping with his old-school approach to creating the music\, Tim took to a slightly vintage sequencing method. “My favorite part of the entire recording project is using cassette to sequence the album\,” he says. “I really believe in listening beginning to end\, and it forces me to listen all the way through. Then if I want to change it\, I’ve got to sit down with the CD and hit play and record and do it all over again. That’s how I’m going to do it from now on.” \nWith the release of Lost & Rootless this fall\, and the tenth anniversary of his solo career in 2015\, you can bet that Tim will be playing a town near you soon\, whether it’s a bourbon-soaked hole in the wall or as the opener for one of his longtime comrades. As he chuckles\, “All my peers are becoming stars\, and I’m staying exactly the same. I’m just excited to get the record out and get back on the road!”
URL:https://royaleboston.com/event/frank-turner-sleeping-souls-night-3/
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
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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180629T220000
DTEND;TZID=America/New_York:20180629T220000
DTSTAMP:20260407T101047
CREATED:20180614T210012Z
LAST-MODIFIED:20180614T210012Z
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SUMMARY:Sofa King Fridays - NGHTMRE & Slander Present "Gud Vibrations"
DESCRIPTION:21+ \nCall or text 617.733.0505 for VIP table reservations.
URL:https://royaleboston.com/event/sofa-king-fridays-nghtmre-slander-present-gud-vibrations/
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:20180630T173000
DTEND;TZID=America/New_York:20180630T213000
DTSTAMP:20260407T101047
CREATED:20180101T230046Z
LAST-MODIFIED:20180101T230046Z
UID:10002606-1530379800-1530394200@royaleboston.com
SUMMARY:[SOLD OUT] Frank Turner & The Sleeping Souls - Night 4
DESCRIPTION:NOTE: June 26\, 27\, 29\, and 30 shows are now SOLD OUT.  \nDue to overwhelming demand\, TWO MORE shows have been added on July 1 and 2. \nTickets for July 1 and 2 shows are still available HERE. \n*** \nPresented by Bowery Boston \nDoors: 5:30 pm / Show: 6:00 pm \nPlease note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches\, backpacks\, professional cameras\, video equipment\, large bags\, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry. \n*** \n \n*** \nFrank Turner & The Sleeping Souls \n \nWebsite\nFacebook\nTwitter \nFrank Turner has announced details of his forthcoming seventh studio album entitled Be More Kind available on May 4th via Xtra Mile Recordings/Polydor UK /Interscope Records. The album is available for pre-order and those who pre-order will receive instant downloads of “1933” and the previously released track “There She Is” from the 2017 release Songbook. \nMonths after the release of Songbook\, a career-spanning retrospective which also saw reworked versions of tracks from across the past decade\, Be More Kind represents a thematic and sonic line in the sand for the 36-year-old. It’s a record that combines universal anthems with raw emotion and the political and the personal\, with the intricate folk and punk roar trademarks of Turner’s sound imbued with new\, bold experimental shades. Be More Kind is produced by Austin Jenkins and Joshua Block\, formerly of psychedelic-rock Texans White Denim\, and Florence And The Machine and Halsey collaborator Charlie Hugall. “I wanted to try and get out of my comfort zone and do something different\,” says Turner. \nTurner was halfway through writing a very different sort of album\, a concept record about women from the historical record who had been ignored\, when he was reading a collection of Clive James’ poetry and one particular line compelled him to re-think his direction. It was from a poem called Leçons Des Ténèbres: “I should have been more kind. It is my fate. To find this out\, but find it out too late.” “It devastated me the first time I read it\,” he says. \nTurner and his band\, the Sleeping Souls\, were on tour in the USA in 2016 “when the world decided to go collectively nuts” and the songs that make up Be More Kind started to come together. “Somewhere in the record\, there’s a convergence of the ideas of personal and political\, which is a central theme of the album\,” Turner says. One of the driving themes of the album is empathy\, even for your enemy. “You should at least be able to inhabit the mental universe of the people you disagree with. If you can’t do that\, then how do you communicate with people other than through force of arms\, which is something we all agree is a bad idea.” \nTurner’s last two records\, 2013’s Tape Deck Heart and 2015’s Positive Songs For Negative People\, dealt with the fallout from a break-up and saw Turner struggling to cover the cracks in his personal life. Now happily in a relationship and living with his partner and their cat\, he again set his sights to the bigger picture. Positive Songs… was cut in nine\, intense days whereas Be More Kind was made over a period of seven months\, giving Turner the opportunity to turn songs on their head\, try different versions and shake up the dynamics within his band. \nThe first track to be released from Be More Kind is “1933\,” a clattering\, state-of-the-nation anthem. Furious and direct\, it’s inspired by articles Turner saw that suggested the alt-right was punk rock. “That filled me with a mixture of incredulity and anger\,” says Turner. “The idea that Breitbart or Steve Bannon think they have anything to do with punk rock makes me extremely angry.” \nThe Be More Kind World Tour will begin in the UK in April and head to North America on May 31\, with its first leg playing to over 200\,000 people across the UK\, the USA\, Europe\, Canada\, Australia and New Zealand\, taking them through to Christmas. Turner promises that 2019 will include visits to some “slightly more weird and wonderful places.” \n*** \nDave Hause & The Mermaid \n \nWebsite\nFacebook\nTwitter \nSometimes you have to move forward in order to see where you started out—and the hardscrabble wisdom that one gains from that type of journey forms the backbone of Dave Hause’s third full-length\, Bury Me In Philly. “Punk rock guilt is a real thing\,” the lifelong Philadelphian says from his new home in California. “I like to make rock n’ roll music because that’s what I love and I don’t care if Zeppelin or the Stones aren’t cool to the punks… it’s cool to me and that’s what matters.” In that spirit\, Bury Me In Philly is a love letter both to his hometown as well as the larger-than-life rock acts he grew up worshiping as a teenager. \nFor the follow-up to 2013’s Devour\, a newly sober Hause holed up in his new home and wrote nearly forty songs\, eleven of which would end up as Bury Me In Philly. “The first song I wrote for this album was the title track and I didn’t realize it at the time but that really set the tone for the album\,” he explains. “One thing I was focused on was trying to make the songs more concise and uplifting than the last record. My last album was a divorce record and during the touring of it I fell in love with my fiancé\, moved to California and things got a lot better.” Hause’s newfound perspective allowed him to dig even deeper as a songwriter whether he’s getting intimately introspective on the tender ballad “Wild Love” or channeling that into shot of sonic adrenaline on monster anthems such as “Shaky Jesus.” \nAlthough Bury Me In Philly is a Dave Hause album\, it was also greatly inspired by the other people involved in the production of the album\, most notably Eric Bazilian of Philadelphia rock legends The Hooters. “The Hooters were the first concert I ever saw when I was eight years old and it definitely made a huge impression on me\,” Hause explains. In fact\, during the pre-production process Hause was constantly sending songs to Bazilian who actually performed The Hooters classic “And We Danced” onstage with the Hause the last time he was in town. “Things weren’t working out with my original producer and Eric expressed that he would want to produce the album and suddenly he went from my hero to a causal friend to a co-collaborator.” Recorded at Bazilian’s home studio with him and Grammy Award winning producer William Wittman\, the album is the ultimate homage to Hause’s past and is a timeless take on rock music’s enduring spirit. \nAdditionally\, these songs are united by Hause’s intent dedication to his craft\, which punk fans are already familiar with from his role as front man in The Loved Ones and guitarist/vocalist in The Falcon. From the fuzzed-out boogie of “Dirty Fucker” to the folksy sing-along vibe of “Helluva Home” and the classic rock-inspired groove of “The Mermaid\,” Bury Me In Philly may not be an easy album to categorize but it’s a joy to get lost inside. Hause also kept things in the family this time around by co-writing the album with his 23-year-old brother Tim\, who helped bring a fresh perspective to the recordings. “I’ve never had a musical soulmate but during this process I realized it’s my brother\,” Hause explains. “Who I think of as this cute cuddly infant is now this grown man who is really talented and focused and he’s not drinking and partying his way through life the way that I was at that age. It’s really cool.” \nWhile virtually every song on Bury Me In Philly could be played on the radio\, the album is much more than a collection of singles. “I still write in the paradigm of albums you know?” Hause says. “I think there should be melodic through lines and each track on the album should compliment the other ones. You want to plan an album like a live set: You want a batch of songs that kick off the record\, then you want some left turns. You want to take people on a journey.” The road to get to this point may have had its share of obstacles but looking back Hause wouldn’t trade his experiences for anything. “The ringing of that broken bell\, it always seems to cast its spell. I was young and I flinched before\, but I ain’t flinching anymore\,” Hause sings over a soaring slide guitar on “The Flinch” ….and you can tell that he means it. Coming full circle rarely sounds this inspired.
URL:https://royaleboston.com/event/frank-turner-sleeping-souls-night-4/
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:20180630T220000
DTEND;TZID=America/New_York:20180630T220000
DTSTAMP:20260407T101047
CREATED:20180612T171314Z
LAST-MODIFIED:20180612T171314Z
UID:10001929-1530396000-1530396000@royaleboston.com
SUMMARY:FUC*!N' GONUTS ft. the deadbeatz
DESCRIPTION:21+
URL:https://royaleboston.com/event/fucn-gonuts-ft-the-deadbeatz/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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