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DTSTART;TZID=America/New_York:20200501T220000
DTEND;TZID=America/New_York:20200501T220000
DTSTAMP:20260430T171947
CREATED:20200218T204713Z
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SUMMARY:[Postponed] - Gabriel & Dresden
DESCRIPTION:Due to the current guidelines set by the Commonwealth of Massachusetts\, this show has been postponed. All tickets will be honored at the rescheduled date (TBA). \nThank you for your patience and support. \nCall or text 617.733.0505 for VIP table reservations.\n21+
URL:https://royaleboston.com/event/gabriel-dresden/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20200505T190000
DTEND;TZID=America/New_York:20200505T190000
DTSTAMP:20260430T171947
CREATED:20191028T031130Z
LAST-MODIFIED:20200520T155337Z
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SUMMARY:[CANCELED] Highly Suspect - Night 1 of 2
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show has been canceled. Refunds are available at point of purchase. \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*** \nHighly Suspect \n \nFacebook\nTwitter \nTwo Time Grammy-nominated\, festival-storming trio Highly Suspect\, are returning with second album The Boy Who Died Wolf on November 18th. The moving\, jubilant LP from the Brooklyn alt-renegades follows two Top 10 Mainstream Rock hits (“Lydia\,” “Bloodfeather”) and two Grammy nominations (Best Rock Song\, Best Rock Album) just one year from the release of their 300 Entertainment debut\, 2015’s Mister Asylum. For the follow-up\, the band —  Johnny Stevens (guitar/vocals)\, and fraternal twin brother rhythm section Rich (bass/vocals) and Ryan Meyer (drums/vocals) — are reappearing stronger\, livelier and more mature.  \n“The title The Boy Who Died Wolf\, its like\, we were so young and now we’re adults\,” says Stevens. “I went through a lot of issues that I had to sort out and sometimes I cant believe that I’m alive. And now here I am traveling the world with my best friends\, making music\, and living the exact dream that we had set out to accomplish a long time ago … We’re learning a different lifestyle. And it’s good\, it’s positive. But it’s also hard to let go of everything that happened in the past.” \nThat new lifestyle comes in the wake of success that’s snowballed since 2014\, featuring Grammy nods; radio smashes; stops at major festivals (Lollapalooza\, Bonnaroo\, Reading and Leeds and so on); tours alongside Scott Weiland\, Chevelle  and Catfish & the Bottlemen to name a few; tours around the world including Australia\, New Zealand\, Europe and the UK as well as multiple headlining tours in the United States one of which is currently underway. The feeling of celebration infuses The Boy Who Died Wolf\, while still heading into haunted regions of Steven’s past\, yowling somewhere between the metronomic robot metal of Queens of the Stone Age\, the bluesy wallop of Jack White and the feedback-shrieking noise-pop of In Utero-era Nirvana.  \nTo record the LP\, the band traveled far from their New York comfort zone to Bogotá\, Colombia\, recording with Mister Asylum producer Joel Hamilton (The Black Keys and Wu-tang\, Tom Waits\, Elvis Costello\,). \n“Normally we would record in New York or L.A.\, and when we’re in those places we just have too many distractions\, too many friends\,” says Stevens. “When you’re trying to make art.. pure art\, it’s good to be secluded. So we were literally in a fortress\, 20-foot walls all around this compound in the middle of Bogota.” \n“The energy around you\, the culture that you’re taking in\, will affect the songs\,” he continues. “We were really enjoying ourselves. So I think there’s a little more step to this album. There’s happier tones. There’s some dark stuff too but there are simply more uplifting moments on this album.  I think we finally realized we are supposed to be here making music. That people like what we do. We had more trust in ourselves and each other and just let the music come out.” \nThe upbeat vibe begins to show its face lyrically in the lead single “My Name Is Human” (“I’m feeling the way that I’m feeling myself”)\, and then appears full force on the blazing desert-rock dynamite of “Postres” (“I’m havin’ fun for the rest of my days”)\, but takes a back seat in their dreamy cover of Real Life’s 1983 new wave swooner “Send Me an Angel” and on the anthemic “Little One” which reminds us all of the hopeless\, lovelorn pangs that most have undoubtedly felt in the pit of their guts somewhere along the lines. But even the more serious songs are steeped in an unrelenting optimism. A great friend of theirs took his own life while the band were in Colombia\, to which they responded with “For Billy\,” a beaming post-grunge burst.\n“The song is not a downer\, it’s sad\, but it’s a charged up anthem\,” explains Stevens. “It’s what he would have wanted. It was a really sad moment but he was such a happy person. So that song is something he can blare through his Harley speakers wherever he is now.” \nJohnny describes Billy as an “original crewmember” of MCID\, the collective shouted out on Highly Suspect’s jackets\, hats\, lyrics and tattoos. “That’s our ethos\,” says Johnny of the acronym that stands for “My Crew Is Dope.” “We’re trying to invite any and all positive people to what was once exclusively for us. We’ve realized its bigger than us; as long as you’re not a racist\, not a homophobe and you have good intentions then we welcome you to join the family and spread the love.” In turn\, Wolf’s “Viper Strike” namechecks MCID in a venomous\, knives-out attack on bigots: “We’re all equal except for you/’Cause you’re an asshole with an ugly point of view” \n“It’s a family of positivity that we’re really trying to build\,” says Johnny. “Our whole purpose is not just about being some famous fuckin’ band\, but kind of making a movement. Making a difference for our generation who are so constantly misled. We barely made it out of the wrong mentality. We want to help. We’re no fuckin hippies\, those days are gone. The irony is that now you have to “fight” for positivity. Which is crazy but so be it. We’re strapped and ready to defend free thinking. When you come to our shows\, it’s kind of like this family affair.” \n*** \nSummer Cannibals \nSummer Cannibals at Cobalt Studios in Portland\, OR\, March 2019. Photo by Jason Quigley. \nWebsite\nFacebook\nTwitter \nYou know what you did\, you know what I saw. Now I take back my doubt so that you’ll crawl.  \nSummer Cannibals’ fourth album Can’t Tell Me No\, out June 28th on Tiny Engines\, is a defiant release whose very existence is the result of taking back power—after escaping a manipulative personal and creative relationship\, guitarist/vocalist and bandleader Jessica Boudreaux chose to scrap an entire record that had been finished for over a year and start from scratch. “We had to sacrifice an album we’d worked hard on so that someone abusive and manipulative couldn’t benefit from it\,” says Boudreaux. “It was\, in a matter of 24 hours\, making the decision to start something new or let them win.”  \nCreation and determination prevailed; along with Cassi Blum\, Devon Shirley\, and Ethan Butman\, Boudreaux wrote and recorded and mixed many of the new tracks during 14-hour days. She and Blum hunkered down in Boudreaux’s home studio\, where they had been already been engineering records for other bands\, and finished Can’t Tell Me No as Summer Cannibals’ first entirely self-engineered and produced album.  \n“Writing this record and making it ourselves was about liberation from the parts of an industry that have protected abusers for way too long\, and about saying fuck you to the people who have invalidated my and so many others’ experiences of abuse\,” says Boudreaux. “It’s really easy for people to condemn the government and figures we see on the news\,” says Boudreaux\, “but those same people often fail when it comes to standing up to and calling out the people in their lives who are just as evil.” Songs like “False Anthem” confront this cowardice; “Hate who they are\, say you hate what they do\,” snarls Boudreaux against an insistent\, hard-charging guitar\, “but you love all the things that they promise you.” \nThe Cannibals formed in 2012 and gained a fervent following on the local Portland scene\, eventually playing with some of their musical heroes including L7\, Mudhoney\, Stephen Malkmus and the Jicks\, and The War on Drugs\, and touring with Ted Leo & the Pharmacists and Cursive. They’ve played some major festivals including Sasquatch\, Project Pabst and Riot Fest\, and made their TV debut in 2016 on Last Call with Carson Daly. Along the way\, they released 2013’s No Makeup and 2015’s Show Us Your Mind on their own label\, New Moss Records\, and 2016’s Full Of It on Kill Rock Stars. Show Us Your Mind appeared on NPR’s Sound Opinions Best of list in 2015\, and Pitchfork said that on Full Of It\, the Cannibals “expertly balance flame-belching Mad Max riffage with lyrics frankly exploring questions of co-dependence and need.”   \nNow with Can’t Tell Me No\, the Cannibals are as honest and confrontational as they’ve ever been; though ironically\, more harmonious as a band. With the inspiration and adrenaline driving the new album’s creation\, the current members of Summer Cannibals are working together in a new\, reinvigorated way. “This is the first time that we’ve had all four members who are really dedicated and care about their role in the band\,” says Boudreaux. “We function as a unit and everything goes so smoothly. I think we all feel very supported.” That support comes through in the confidence on songs like “Like I Used To\,” a self-assured anthem to the renewal that comes with independence and leaving violent toxicity behind you. \nBecause where there is anger there is also hope\, and Can’t Tell Me No is\, as much as anything\, about finding love and acceptance on the other side of pain. “Part of getting over my past has meant looking forward and letting myself know that I’m capable of love in the context of an honest\, open and communicative relationship\,” says Boudreaux. Songs like “Into Gold” encapsulate this; a warm\,Be My Baby manifesto that promises “I’ll be the one to want to break this mold\, pull you out of the dark and back into gold.”  \nAnd on a larger scale\, Can’t Tell Me No stands up not just to a relationship or an industry\, but to the people and constructs that have been trying to silence women and hold them down for so long. “It’s about doing the right thing\,” says Boudreaux\, “even when it’s terrifying.”
URL:https://royaleboston.com/event/highly-suspect-night-1-of-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:20200506T190000
DTEND;TZID=America/New_York:20200506T190000
DTSTAMP:20260430T171947
CREATED:20191028T031433Z
LAST-MODIFIED:20200520T155410Z
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SUMMARY:[CANCELED] Highly Suspect - Night 2 of 2
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show has been canceled. Refunds are available at point of purchase. \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*** \nHighly Suspect \n \nFacebook\nTwitter \nTwo Time Grammy-nominated\, festival-storming trio Highly Suspect\, are returning with second album The Boy Who Died Wolf on November 18th. The moving\, jubilant LP from the Brooklyn alt-renegades follows two Top 10 Mainstream Rock hits (“Lydia\,” “Bloodfeather”) and two Grammy nominations (Best Rock Song\, Best Rock Album) just one year from the release of their 300 Entertainment debut\, 2015’s Mister Asylum. For the follow-up\, the band —  Johnny Stevens (guitar/vocals)\, and fraternal twin brother rhythm section Rich (bass/vocals) and Ryan Meyer (drums/vocals) — are reappearing stronger\, livelier and more mature.  \n“The title The Boy Who Died Wolf\, its like\, we were so young and now we’re adults\,” says Stevens. “I went through a lot of issues that I had to sort out and sometimes I cant believe that I’m alive. And now here I am traveling the world with my best friends\, making music\, and living the exact dream that we had set out to accomplish a long time ago … We’re learning a different lifestyle. And it’s good\, it’s positive. But it’s also hard to let go of everything that happened in the past.” \nThat new lifestyle comes in the wake of success that’s snowballed since 2014\, featuring Grammy nods; radio smashes; stops at major festivals (Lollapalooza\, Bonnaroo\, Reading and Leeds and so on); tours alongside Scott Weiland\, Chevelle  and Catfish & the Bottlemen to name a few; tours around the world including Australia\, New Zealand\, Europe and the UK as well as multiple headlining tours in the United States one of which is currently underway. The feeling of celebration infuses The Boy Who Died Wolf\, while still heading into haunted regions of Steven’s past\, yowling somewhere between the metronomic robot metal of Queens of the Stone Age\, the bluesy wallop of Jack White and the feedback-shrieking noise-pop of In Utero-era Nirvana.  \nTo record the LP\, the band traveled far from their New York comfort zone to Bogotá\, Colombia\, recording with Mister Asylum producer Joel Hamilton (The Black Keys and Wu-tang\, Tom Waits\, Elvis Costello\,). \n“Normally we would record in New York or L.A.\, and when we’re in those places we just have too many distractions\, too many friends\,” says Stevens. “When you’re trying to make art.. pure art\, it’s good to be secluded. So we were literally in a fortress\, 20-foot walls all around this compound in the middle of Bogota.” \n“The energy around you\, the culture that you’re taking in\, will affect the songs\,” he continues. “We were really enjoying ourselves. So I think there’s a little more step to this album. There’s happier tones. There’s some dark stuff too but there are simply more uplifting moments on this album.  I think we finally realized we are supposed to be here making music. That people like what we do. We had more trust in ourselves and each other and just let the music come out.” \nThe upbeat vibe begins to show its face lyrically in the lead single “My Name Is Human” (“I’m feeling the way that I’m feeling myself”)\, and then appears full force on the blazing desert-rock dynamite of “Postres” (“I’m havin’ fun for the rest of my days”)\, but takes a back seat in their dreamy cover of Real Life’s 1983 new wave swooner “Send Me an Angel” and on the anthemic “Little One” which reminds us all of the hopeless\, lovelorn pangs that most have undoubtedly felt in the pit of their guts somewhere along the lines. But even the more serious songs are steeped in an unrelenting optimism. A great friend of theirs took his own life while the band were in Colombia\, to which they responded with “For Billy\,” a beaming post-grunge burst.\n“The song is not a downer\, it’s sad\, but it’s a charged up anthem\,” explains Stevens. “It’s what he would have wanted. It was a really sad moment but he was such a happy person. So that song is something he can blare through his Harley speakers wherever he is now.” \nJohnny describes Billy as an “original crewmember” of MCID\, the collective shouted out on Highly Suspect’s jackets\, hats\, lyrics and tattoos. “That’s our ethos\,” says Johnny of the acronym that stands for “My Crew Is Dope.” “We’re trying to invite any and all positive people to what was once exclusively for us. We’ve realized its bigger than us; as long as you’re not a racist\, not a homophobe and you have good intentions then we welcome you to join the family and spread the love.” In turn\, Wolf’s “Viper Strike” namechecks MCID in a venomous\, knives-out attack on bigots: “We’re all equal except for you/’Cause you’re an asshole with an ugly point of view” \n“It’s a family of positivity that we’re really trying to build\,” says Johnny. “Our whole purpose is not just about being some famous fuckin’ band\, but kind of making a movement. Making a difference for our generation who are so constantly misled. We barely made it out of the wrong mentality. We want to help. We’re no fuckin hippies\, those days are gone. The irony is that now you have to “fight” for positivity. Which is crazy but so be it. We’re strapped and ready to defend free thinking. When you come to our shows\, it’s kind of like this family affair.” \n*** \nSummer Cannibals \nSummer Cannibals at Cobalt Studios in Portland\, OR\, March 2019. Photo by Jason Quigley. \nWebsite\nFacebook\nTwitter \nYou know what you did\, you know what I saw. Now I take back my doubt so that you’ll crawl.  \nSummer Cannibals’ fourth album Can’t Tell Me No\, out June 28th on Tiny Engines\, is a defiant release whose very existence is the result of taking back power—after escaping a manipulative personal and creative relationship\, guitarist/vocalist and bandleader Jessica Boudreaux chose to scrap an entire record that had been finished for over a year and start from scratch. “We had to sacrifice an album we’d worked hard on so that someone abusive and manipulative couldn’t benefit from it\,” says Boudreaux. “It was\, in a matter of 24 hours\, making the decision to start something new or let them win.”  \nCreation and determination prevailed; along with Cassi Blum\, Devon Shirley\, and Ethan Butman\, Boudreaux wrote and recorded and mixed many of the new tracks during 14-hour days. She and Blum hunkered down in Boudreaux’s home studio\, where they had been already been engineering records for other bands\, and finished Can’t Tell Me No as Summer Cannibals’ first entirely self-engineered and produced album.  \n“Writing this record and making it ourselves was about liberation from the parts of an industry that have protected abusers for way too long\, and about saying fuck you to the people who have invalidated my and so many others’ experiences of abuse\,” says Boudreaux. “It’s really easy for people to condemn the government and figures we see on the news\,” says Boudreaux\, “but those same people often fail when it comes to standing up to and calling out the people in their lives who are just as evil.” Songs like “False Anthem” confront this cowardice; “Hate who they are\, say you hate what they do\,” snarls Boudreaux against an insistent\, hard-charging guitar\, “but you love all the things that they promise you.” \nThe Cannibals formed in 2012 and gained a fervent following on the local Portland scene\, eventually playing with some of their musical heroes including L7\, Mudhoney\, Stephen Malkmus and the Jicks\, and The War on Drugs\, and touring with Ted Leo & the Pharmacists and Cursive. They’ve played some major festivals including Sasquatch\, Project Pabst and Riot Fest\, and made their TV debut in 2016 on Last Call with Carson Daly. Along the way\, they released 2013’s No Makeup and 2015’s Show Us Your Mind on their own label\, New Moss Records\, and 2016’s Full Of It on Kill Rock Stars. Show Us Your Mind appeared on NPR’s Sound Opinions Best of list in 2015\, and Pitchfork said that on Full Of It\, the Cannibals “expertly balance flame-belching Mad Max riffage with lyrics frankly exploring questions of co-dependence and need.”   \nNow with Can’t Tell Me No\, the Cannibals are as honest and confrontational as they’ve ever been; though ironically\, more harmonious as a band. With the inspiration and adrenaline driving the new album’s creation\, the current members of Summer Cannibals are working together in a new\, reinvigorated way. “This is the first time that we’ve had all four members who are really dedicated and care about their role in the band\,” says Boudreaux. “We function as a unit and everything goes so smoothly. I think we all feel very supported.” That support comes through in the confidence on songs like “Like I Used To\,” a self-assured anthem to the renewal that comes with independence and leaving violent toxicity behind you. \nBecause where there is anger there is also hope\, and Can’t Tell Me No is\, as much as anything\, about finding love and acceptance on the other side of pain. “Part of getting over my past has meant looking forward and letting myself know that I’m capable of love in the context of an honest\, open and communicative relationship\,” says Boudreaux. Songs like “Into Gold” encapsulate this; a warm\,Be My Baby manifesto that promises “I’ll be the one to want to break this mold\, pull you out of the dark and back into gold.”  \nAnd on a larger scale\, Can’t Tell Me No stands up not just to a relationship or an industry\, but to the people and constructs that have been trying to silence women and hold them down for so long. “It’s about doing the right thing\,” says Boudreaux\, “even when it’s terrifying.”
URL:https://royaleboston.com/event/highly-suspect-night-1-of-2-2/
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:20200511T190000
DTEND;TZID=America/New_York:20200511T190000
DTSTAMP:20260430T171947
CREATED:20200114T174131Z
LAST-MODIFIED:20200316T182931Z
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SUMMARY:[POSTPONED] The Darkness
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:00 pm / Show: 8:00 pm \nThis show has been postponed to a TBD date. All tickets will be honored for the new date. \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*** \nThe Darkness \n \nWebsite\nFacebook\nTwitter \n*** \nThe Dead Deads \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/the-darkness-2/
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/2020/01/TheDarkness-1200x628.jpg
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200513T180000
DTEND;TZID=America/New_York:20200513T180000
DTSTAMP:20260430T171947
CREATED:20200218T180033Z
LAST-MODIFIED:20200324T160538Z
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SUMMARY:[CANCELED] The Receiving End of Sirens & Envy on the Coast
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nThis show has been canceled. Refunds are available at point of purchase. \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*** \nThe Receiving End of Sirens \nFacebook\nTwitter \n*** \nEnvy on the Coast \nFacebook\nTwitter
URL:https://royaleboston.com/event/the-receiving-end-of-sirens-envy-on-the-coast/
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/2020/02/0513-BOS-Sirens-1200x1200-1.jpg
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200514T190000
DTEND;TZID=America/New_York:20200514T190000
DTSTAMP:20260430T171947
CREATED:20191121T221415Z
LAST-MODIFIED:20191122T182437Z
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SUMMARY:7th Annual Battle of the Biotech Bands
DESCRIPTION:For more information on the event and sponsorship opportunities: www.battleofthebiotechbands.com \nDoors – 6:30 PM\nShow – 7:00 PM\n21+ \nCash Bar\, hors d’oeuvres.
URL:https://royaleboston.com/event/7th-annual-battle-of-the-biotech-bands/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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DTSTART;TZID=America/New_York:20200516T180000
DTEND;TZID=America/New_York:20200516T180000
DTSTAMP:20260430T171947
CREATED:20200221T170051Z
LAST-MODIFIED:20200324T160523Z
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SUMMARY:[CANCELED] The Receiving End of Sirens & Envy on the Coast
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 7:00 pm \nThis show has been canceled. Refunds are available at point of purchase. \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*** \nThe Receiving End of Sirens \nFacebook\nTwitter \n*** \nEnvy on the Coast \nFacebook\nTwitter
URL:https://royaleboston.com/event/the-receiving-end-of-sirens-envy-on-the-coast-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:20200518T193000
DTEND;TZID=America/New_York:20200518T193000
DTSTAMP:20260430T171947
CREATED:20200203T150736Z
LAST-MODIFIED:20200320T144844Z
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SUMMARY:[POSTPONED] Uncle Acid & the Deadbeats
DESCRIPTION:Presented by Bowery Boston \nDoors: 7:30 pm / Show: 8:30 pm \nThis show has been postponed to a TBD date. All tickets will be honored for the new date. \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*** \nUncle Acid & The Deadbeats \n \nWebsite\nFacebook \nUncle Acid – Wasteland. By Dom Lawson.\nYou can probably feel it already. Amid the shimmering haze of dusk. In the marrow of your bones. The darkness is getting darker. Malevolent forces are on the prowl. The wasteland is beckoning. Uncle Acid is on his way home.\nThe brainchild of mercurial Cambridgeshire mystic Kevin Starrs\, Uncle Acid & The Deadbeats have been making extraordinary music since 2009. Always too bold and idiosyncratic to be easily pigeonholed\, they emerged from an obscure corner of the labyrinthine English underground as shadowy purveyors of a new and overwhelmingly psychedelic take on the gruff and gritty rudiments of hard rock and turbo-blues\, powered by the dark\, lysergic heart of the late ‘60s and early ‘70s and drenched in woozily macabre imagery. Steeped in both the wayward melodies and mischievous arrangements of psychedelic pop and the dissonant thunder of proto-metal and doom\, Starrs’ greatest feat has been to create an entirely fresh sonic world from these most familiar of ingredients.\nUncle Acid & The Deadbeats’ reputation was swiftly built on towering\, riff-driven milestones like 2011’s breakthrough opus Blood Lust and its warped and wicked follow-up\, Mind Control (2013); both released through Rise Above Records and subsequently showered with critical acclaim. By the time Starrs’ band created The Night Creeper in 2015\, their mutation into heavy music’s most unmistakable eccentrics was complete\, as their leader cranked up the melodic weirdness\, rendering his monstrous ideas in something approaching three-dimensional Technicolor.\nFirmly established as cult heroes\, Uncle Acid & The Deadbeats consolidated The Night Creeper’s triumph by touring the world extensively\, including a string of sold out shows in the U.S.\, Europe and Australia. After sustaining that momentum with Starrs’ long-awaited remix of his band’s hard-to-find eponymous debut album from 2010\, the singer/guitarist and his henchmen spent much of the last year immersed in the process of making a fifth full-length album. 47 minutes of vital\, audacious and frequently bewildering heavy psychedelia\, it bears the title Wasteland and is instantly recognisable as Starrs’ most immersive and evocative body of work yet.\n“There’s not enough melody or harmony in new music for my liking\,” says Starrs. “I wanted to go even further with all of that this time\, and really force it down people’s throats! It’s important to me that someone keeps it going\, especially in heavy music. I always write to my own tastes\, so as long as it appeals to me\, I don’t really think about it. But I would say that it’s all been an instinctive progression.”\nA disorientating journey through Starrs’ wonkiest dreams\, Wasteland glides majestically from punchy and direct psych-rock anthems like I See Through You and Shockwave City to the viscous\, somnambulant ooze of the eight-minute No Return and the twinkly-eyed bad trip of the album’s mesmerising title track. Recorded at the legendary Sunset Sound studio in Los Angeles\, Wasteland boasts the kind on irresistibly raw and exuberant sound that only the greatest bands can generate. Later completed at Starrs’ own studio\, the new songs showcase a newly refreshed line-up\, with Starrs once again joined by long-time bassist Vaughn Stokes (who will play rhythm guitar at future live shows\, handing over bass duties to Jus Smith) and also latest recruit\, drummer Jon Rice.\n“We recorded the basic tracks the way we always do\,” says Starrs. “Everyone in one room\, live and straight to tape. We worked with a great engineer called Geoff Neal (NIN/Motorhead/Fuzz)\, who really understood what we were going for and how to capture it. Playing in the same room where so many classic albums were made definitely inspired us. Even small things like running the guitars through the same echo chamber that Van Halen used in the ‘70s\, it all added to the overall experience.”\nYet more confirmation that Uncle Acid exist in their own musical universe\, Wasteland is also a powerful cautionary tale: one rooted in the alien landscapes of Starrs’ imagination\, but with a very clear connection to the deranged chaos of today’s political world. As humanity cheerfully circles the plughole\, Dystopian visions and present-day horrors have become more-or-less interchangeable\, making Wasteland’s ghoulish surrealism a lot more pertinent and disturbing in the process.\n“The album is set in a land where people live in walled cities\, under heavy surveillance\, cut off and in fear of one another\,” Starrs explains. “All their thoughts\, knowledge and memories have been wiped clean\, leaving them like the living dead\, barely functioning and addicted to the glow of flickering propaganda screens.”\n“In the underworld\, there are program discs for the brain that can replace stolen thoughts and allow people to finally think for themselves\,” he continues. “It gives them knowledge to escape the misery of the cities and to reach the freedom of the outer wastelands\, but the wasteland\, of course\, is total hell on earth. The general idea seemed quite fitting with all the propaganda and misinformation that we’ve been bombarded with in recent years.”\nWhile most musicians seem content to chase their own (or other people’s tails)\, Uncle Acid & The Deadbeats remain proud and resolute individualists and Wasteland is simply their most powerful and memorable spurge of creativity to date. Masterfully echoing the magical atmospheres of heavy music’s turbulent past while sounding entirely unlike anything else available to human ears\, this is what happens when the shadows come to life and suffocating darkness\, Uncle Acid & The Deadbeats style\, is the only show in town.  \n*** \nTwin Temple \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/uncle-acid-the-deadbeats-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20200529T180000
DTEND;TZID=America/New_York:20200529T180000
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SUMMARY:[CANCELED] lovelytheband
DESCRIPTION:Presented by Bowery Boston \nDoors: 6:00 pm / Show: 6:30 pm \nThis show has been canceled. Refunds are available at point of purchase. \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 open to all ages.  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*** \nlovelytheband \n \nWebsite\nFacebook\nTwitter \nMusic gives a voice to those who need it when they need it the most. Our favorite artists say the difficult things out loud\, so we don’t have to — but can learn how to. \nBy the same token\, lovelytheband translate emotions\, anxieties\, and feelings into lush\, layered\, and lively indie pop anthems. When the band was founded by lead singer Mitchy Collins\, guitarist Jordan Greenwald and drummer Sam Price in 2017\, the trio maintain a lasting connection to listeners by holding nothing back. \n“I really believe the importance of songwriting is saying something when someone else doesn’t know how to\,” affirms Mitchy. “In the songs\, I’m talking about life\, trials\, tribulations\, depression\, anxiety\, and shit I deal with as well as the headaches that come along with the good and bad days. My problems don’t define me\, but we should embrace every side of who we are. The message is\, ‘Everything will be fine.'” \nThis message immediately resonated among audiences everywhere. A centerpiece of the everything I could never say… EP\, the group’s debut single “broken” caught fire as “the longest running #1 track on Alternative Radio thus far in 2018” with six weeks at the top. In under a year\, it amassed 25 million total global streams. BuzzFeed summed it up as “So. Damn. Good.” Billboard proclaimed the group among “10 Rock & Alternative Artists to Watch in 2018” as they supported Vance Joy and AWOLNATION on tour between headlining dates everywhere. Everything paved the way for the arrival of the band’s first full-length\, finding it hard to smile [RED MUSIC]. Produced by “broken” collaborator Christian Medice\, these 16 tracks entrance\, engage\, and enchant\, offsetting shimmering keys\, sweeping synths\, and spacey guitars with cathartic\, compelling\, and catchy choruses. \nThe title speaks directly to its thematic push-and-pull. \n“finding it hard to smile touches on my life\,” says Mitchy. “There are days when it’s hard to even walk out of my front door or get out of bed. So\, you find the will to power through\, call on your friends\, and rely on loved ones to pick you up when you’re down and bring magic out of you. A lot of the record is about embracing who you are as well as dealing with relationships\, breakups\, nostalgia\, and unrequited love. It’s really introspective for me.” \nThey preceded the album’s release with the single “these are my friends\,” which quickly cracked 2 million streams worldwide. Wound up by faint guitar and a chant\, “These are my friends\, these are my friends\, I love them\,” the track crescendos towards an ambitious arena-ready hook. \n“I was walking around Los Angeles one day thinking\,” he recalls. “I left a party where I had a really good time at. Right after\, I wrote the main lyric in my phone. I held onto it for a little while\, but it eventually turned into a song about wanting love and wanting to fit in. I brought it to the guys in the studio\, and they really took it to the next level. It becomes a lovelytheband song when everyone is on it.” \nWhether it’s the feedback buzz and 808 rush of “pity party” or orchestral ambiance on “alone time\,” the soundscapes mirror the emotional ebb and flow encoded in the lyrics. Elsewhere\, the intimate “maybe i’m afraid” unveils an infectious confession as the band admits their fears without filter. \n“It’s one of my proudest moments as a songwriter\,” says the frontman. “It turned into the story of relationship. You’re in it. You know things are beautiful\, but you’re scared to commit to the other personal. I think a lot of people struggle with the same thing. It feels relatable.” \nAs they round out 2018 on a headlining tour and hitting the stages of Lollapalooza\, the Billboard Hot 100 Festival\, and more\, lovelytheband’s voice will only get dramatically louder. \nIt might just make crowds feel better too… \n“I hope when you listen to it\, you can find some solace or reassurance\,” Mitchy leaves off. \n“Maybe you didn’t know how to communicate something aloud\, and it helps for us to talk about it. Hearing it might inspire you to make a move. Music moved me and gave me a little hope as a kid. I hope you can take away something from this in the same way my favorite records helped me. That would be my biggest goal with lovelytheband.” \n*** \nTessa Violet \n \nWebsite\nFacebook\nTwitter \nLast year Violet released “Crush” – the first single from her forthcoming album Bad Ideas. In the time since her last three singles have exploded\, Tessa has gone from an acoustic-leaning solo artist\, to an inspirational female fronting a shredding live band (anchored by badass drummer Jess Bowen). Although her recordings are competitive modern productions which perform well on playlists\, her live show has a raw organic energy that is intoxicating. She sold out her first ever headline shows (The Troubadour in LA; and Mercury Lounge in NYC; two show at Camden Assembly Hall in London) and finally achieved her goal of bonafide rock queen when she was offered her first festival slot at Lollapalooza (incidentally selected by Billboard as one of the 10 new festival acts to look out for in 2019). In addition she was tapped for main support for AJR’s west coast leg on their Neotheater tour this September\, and COIN’s US tour in February. The sole songwriter on all but one of her releases\, Tessa Violet is one to look out for. Her album Bad Ideas came out 10/25 while she was on her headline tour of Europe and Spotify promoted the album release on a Billboard in Times Square! \n*** \nValley \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/lovelytheband/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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