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DTSTART;TZID=America/New_York:20150904T220000
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CREATED:20150830T095812Z
LAST-MODIFIED:20150830T095812Z
UID:10001772-1441404000-1441404000@royaleboston.com
SUMMARY:Zaxx
DESCRIPTION:21 + \nMgt reserves the right to refuse admission. Dress code applies. Admission not guaranteed after 12am.
URL:https://royaleboston.com/event/zaxx/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20150905T220000
DTEND;TZID=America/New_York:20150905T220000
DTSTAMP:20260410T180450
CREATED:20150830T100747Z
LAST-MODIFIED:20150830T100747Z
UID:10001774-1441490400-1441490400@royaleboston.com
SUMMARY:White Party
DESCRIPTION:21 + \nMgt reserves the right to refuse admission. Dress code applies. Admission not guaranteed after 12am.
URL:https://royaleboston.com/event/white-party-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:20150906T220000
DTEND;TZID=America/New_York:20150906T220000
DTSTAMP:20260410T180450
CREATED:20150830T100237Z
LAST-MODIFIED:20150830T100237Z
UID:10001773-1441576800-1441576800@royaleboston.com
SUMMARY:White Party
DESCRIPTION:21 + \nMgt reserves the right to refuse admission. Dress code applies. Admission not guaranteed after 12am.
URL:https://royaleboston.com/event/white-party/
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:20150911T200000
DTEND;TZID=America/New_York:20150911T200000
DTSTAMP:20260410T180450
CREATED:20150912T014122Z
LAST-MODIFIED:20150912T014122Z
UID:10001899-1442001600-1442001600@royaleboston.com
SUMMARY:Test
DESCRIPTION:
URL:https://royaleboston.com/event/test/
LOCATION:MA
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20150911T220000
DTEND;TZID=America/New_York:20150911T220000
DTSTAMP:20260410T180450
CREATED:20150830T101038Z
LAST-MODIFIED:20150830T101038Z
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SUMMARY:KAP SLAP
DESCRIPTION:21 + \nMgt reserves the right to refuse admission. Dress code applies. Admission not guaranteed after 12am.
URL:https://royaleboston.com/event/kap-slap/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20150912T120000
DTEND;TZID=America/New_York:20150912T120000
DTSTAMP:20260410T180450
CREATED:20150830T101640Z
LAST-MODIFIED:20150830T101640Z
UID:10001546-1442059200-1442059200@royaleboston.com
SUMMARY:A HARD CIDER FESTIVAL\, 12PM
DESCRIPTION:21 + \nMgt reserves the right to refuse admission.
URL:https://royaleboston.com/event/a-hard-cider-festival-12pm/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Special Events
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DTSTART;TZID=America/New_York:20150912T170000
DTEND;TZID=America/New_York:20150912T170000
DTSTAMP:20260410T180450
CREATED:20150830T101844Z
LAST-MODIFIED:20150830T101844Z
UID:10001547-1442077200-1442077200@royaleboston.com
SUMMARY:A HARD CIDER FESTIVAL\, 5PM
DESCRIPTION:
URL:https://royaleboston.com/event/a-hard-cider-festival-5pm/
LOCATION:MA
CATEGORIES:Special Events
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DTSTART;TZID=America/New_York:20150913T193000
DTEND;TZID=America/New_York:20150913T193000
DTSTAMP:20260410T180450
CREATED:20150623T183446Z
LAST-MODIFIED:20150623T183446Z
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SUMMARY:ZZ Ward
DESCRIPTION:Doors: 6:30 pm / Show: 7:30 pm \nThis event is 18 and over. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nI was born in Pennsylvania and raised in Oregon\, in a small town called Roseburg. I grew up listening to my Dad write and sing the blues and started performing with him in his blues bands when I was a kid. I fell in love with the sincerity of Etta\, the soul of Muddy and the power of Big Mama. When I got older I started writing hooks for and performing with local rappers from Eugene. I fell in love with hip-hop\, with it’s authenticity. Now I’m married to em both. DIRTY SHINE
URL:https://royaleboston.com/event/zz-ward/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20150914T190000
DTEND;TZID=America/New_York:20150914T190000
DTSTAMP:20260410T180450
CREATED:20150827T011102Z
LAST-MODIFIED:20150827T011102Z
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SUMMARY:Uncle Acid & The Deadbeats
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nThe Night Creeper is the new album by Uncle Acid & the Deadbeats. Contained within are ten tracks of the type of sonic psyche-frazzling heaviness and blood-drenched pop that have made Uncle Acid & the Deadbeats one of Britain’s great cult bands.  \nRecorded at Toe Rag studios in early 2015 with engineer Liam Watson (White Stripes\, Tame Impala\, Electric Wizard)\, their fourth opus The Night Creeper finds the quartet in full-on death-tripping\, third eye-widening mode. Here songs ooze louche evil over flesh-melting riffs that creep like hot magma bubbling up through the earth’s crust at their own malevolent pace. This album is in no hurry to destroy you. But it will. It will.  \nAs with previous creations\, The Night Creeper has a distinct concept as a starting point. “The idea is that this album could have started life as an old cheap\, grime-covered 25 cent pulp paperback like the type sold at news-stands outside subway stations\,” says enigmatic frontman Kevin Starrs. “But then perhaps it is adapted into a film noir\, which itself is then re-made twenty years later as an ultraviolent\, slasher Italian Giallo film. The album follows this aesthetic lineage as it descends from to trash to noir to something discernibly darker.” \nLyrically\, it concerns a street-creeping homeless figure\, whose story unravels over the course of the album. Things happen. Murders. But where the narrative is concerned Starrs is keen “to let listeners do the detective work themselves.” On songs like ‘Waiting For Blood’ and the album’s title track\, Uncle Acid & the Deadbeats wail like end times are finally upon us. By the close of the ethereal and utterly sparse hidden track ‘Black Motorcade’ egos and ids have been thoroughly shattered. Indeed the world itself sounds like it has been reduced to smoking ruins. May we ever recover? \nIn an age when the word is over-used\, Uncle Acid are indeed a true cult. Everything they do is covert\, their movements crepuscular\, the loyalty they inspire fervent. Every sneering melody and every piece of artwork is loaded with meaning\, designed to be pored over. Their press coverage is deliberately limited but doesn’t prevent them selling out US tours or joining Black Sabbath at their personal request. They only reveal what they want to reveal: chiefly that Uncle Acid & the Deadbeats began as a studio project circa 2009 in Cambridge\, the wild concept of Kevin Starrs. The rest is academic. \nBecause Uncle Acid & the Deadbeats exist in their own self-created world\, hoovering up trash/pop culture and spitting it back out in hot chunks of finely-hewn riffola and righteous rock ‘n roll noise. Make no mistake though they are a pop band too: a pop band of the most fuzzed-up\, subversive kind. One with three part harmonies that sing of death and murder. But a pop band all the same. \n“This album goes back to my original vision for the band\, which was to take our love of girl groups – The Ronettes\, The Shangri-La’s\, Phil Spector – and making it ultra-dark\, lyrically\,” says Starrs. “It’s about balancing those sugar melodies with evil\, insidious intent.” \nFollowing Volume 1 (2010)\, a debut born out of frustration and unemployment\, their follow-up Blood Lust (2011) was a homage to British Hammer and folk horror films of the 1970s\, a whirling head-trip of candle-lit mayhem; a world of withered hands\, ritual knives and gallows ropes. Their heavy psychedelia was likened to The Beatles\, had they followed their own helter skelter down into the darkest recesses of the 1970s. One review dubbed the band “the Bong Lennon\, the Crack Sabbath\, the Hex Pistols the world has been waiting for”. Meanwhile further information trickled down: joining Kevin Starrs\, the band’s line-up coalesced to include Yotam Rubinger (guitars)\, Dean Millar (bass) and Itamar Rubinger (drums) \nMind Control (2013) looked further afield\, to the post-Charles Manson US for inspiration. Think murders at Altamont\, Jim Jones dosing the Kool-Aid. Think MC5 and Blue Cheer\, Blue Oyster Cult and B-movie biker movies. Think war\, Watergate\, pornography\, serial killers dressed as Ronald McDonald\, suicidal TV evangelists and self-elected messiahs at every turn. Mind Control was the soundtrack to a culture of consumption hurtling headfirst into a neon-hued moral abyss. \nAnd now comes The Night Creeper\, Uncle Acid & the Deadbeats’ darkest journey yet. \nBen Myers / June 2015
URL:https://royaleboston.com/event/uncle-acid-the-deadbeats/
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:20150917T190000
DTEND;TZID=America/New_York:20150917T190000
DTSTAMP:20260410T180450
CREATED:20150830T102403Z
LAST-MODIFIED:20150830T102403Z
UID:10001548-1442516400-1442516400@royaleboston.com
SUMMARY:THIRD ANNUAL HEAVEN CAN WAIT GALA
DESCRIPTION:At our Heaven Can Wait Gala on Septemer 17\, 2015\, Last Hope K9 Rescue will auction off a number of fun and unique items to bid on to raise money for our organization.  \nJoin us for a night filled with music\, food\, and fun – all for a great cause.  \nHosted by none other than the amazing WAAF’s Danielle\, we will have live music from Bailout\, DJ So So\, a hosted bar\, passed hors d’oeuvre\, an amazing 3 course meal\, live AND silent auctions\, speakers\, and best of all pups.
URL:https://royaleboston.com/event/third-annual-heaven-can-wait-gala/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Special Events
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DTSTART;TZID=America/New_York:20150918T180000
DTEND;TZID=America/New_York:20150918T180000
DTSTAMP:20260410T180450
CREATED:20150827T011554Z
LAST-MODIFIED:20150827T011554Z
UID:10001770-1442599200-1442599200@royaleboston.com
SUMMARY:The Fall Of Troy
DESCRIPTION:Doors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and Over \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only.
URL:https://royaleboston.com/event/the-fall-of-troy/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20150919T180000
DTEND;TZID=America/New_York:20150919T180000
DTSTAMP:20260410T180450
CREATED:20150827T213147Z
LAST-MODIFIED:20150827T213147Z
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SUMMARY:Houndmouth
DESCRIPTION:NOTE: THIS SHOW IS SOLD OUT \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is 18 and over. \n*** \nIn the last four years\, Houndmouth have learned what it means to be a band. On their second album\, Little Neon Limelight\, they wear that wisdom like a badge of honor. \nLess than a half-decade ago in the small Indiana city of New Albany\, four pals were crafting tunes on their own\, with few ambitions of turning those songs into a spectacle. That all changed when these friends crossed paths\, and joined forces. Matt Myers\, Shane Cody\, Katie Toupin\, and Zak Appleby became the drums and keys\, guitars and harmonies of Houndmouth\, and those personal numbers became the irrepressible core of an outfit turned magnetic. \nIn 2012\, the group issued a self-titled EP on Rough Trade Records\, the legendary imprint that signed them after seeing a single gig. One of 2013’s most incandescent debuts\, their From the Hills Below the City LP affirmed what label owner Geoff Travis had heard: the sounds of Americana\, renewed by the youthful glow of songwriters\, musicians and pals unafraid to both celebrate and desecrate them. \nOthers noticed\, too. The Guardian noted that\, with From the Hills\, “reservations fade\,” while Rolling Stone’s David Fricke lauded the “earthy melancholy with a rude garage-rock streak.” Treks with the Drive-by Truckers and the Alabama Shakes followed\, plus performances at the Newport Folk Festival\, Lollapalooza and Bonnaroo. In cramped clubs and big theaters alike\, Houndmouth earned a reputation as a must-see act\, their hooks\, energy and charisma making them feel like a lifelong friend you’d just met.\nThat success\, though\, turned what had started as fun into something closer to work. Houndmouth learned that being full-time musicians required much more than the nine-to-five endeavors they had left behind in Indiana. But they grew into the role and grew from it. Experiences accumulated; perspectives expanded. Relationships stalled; others progressed. \n“We’re not in party mode all the time anymore\,” says Myers. “We’re refining how we write songs\, writing about people we love\, more important things than just nonsensical stuff.” If that was the charge\, then Little Neon Limelight is an unapologetic success. These eleven songs sparkle\, fade\, and sparkle again\, mixing innocence and experience\, acceptance and aspiration\, horror and hope. \nRecorded by Dave Cobb in Nashville\, Little Neon Limelight pairs the energy and nerves of raw first takes with the accents and moods of a more contemplative\, thoughtful unit. Hearts are broken and friends are exiled\, love grows cold and drugs do damage\, leaders make mistakes and money turns tricks. On the acoustic “Gasoline\,” one of the most poignant moments of Houndmouth’s catalog\, Toupin barbs the confessions of a perennial party girl with the specter of mortality. “Maybe I’ll meet my maker on a bedroom floor\,” she sings\, her voice fighting against its own existential fade as bowed cello traces her words. Haunted by samples of the buoyant opener and single “Sedona” and the noisy filigree of a Moog\, the beautifully downcast “For No One” stalks through personal blues with conviction. Its world-weariness has been incubated by the world it surveys.\nBut all of these feelings aren’t worn on Houndmouth’s collective sleeves: Despite the turmoil embedded within many of these songs\, they are equal parts energetic proclamation\, built with choruses that can’t be denied\, harmonies that can’t be escaped and rhythms that can’t be resisted. With its carousel keyboards and start-and-stop drums\, “Say I”” is a combination come-on and kiss-off that might make Keith Richards blush. For “15 Years\,” Houndmouth conjures barroom bluster to voice the woes of a prisoner\, backing the cries of his soul with howling organ and slashing guitar. When all the action drops into a shout-along\, gospel-strong bridge\, you might feel the urge to bust the fella out yourself. What’s the point of having the blues\, Houndmouth seems to say\, if you can’t have fun with them\, too? \nNowhere is that balance of tragedy and triumph better than on the romp “My Cousin Greg\,” a Band-style saga where each member takes a turn with a verse. Written about Myers’ actual cousin and former cover-band bandmate Greg\, these four minutes present the title guy as a mischievous\, enlightened and acerbic genius. He leaves Florida with his master’s degree in physics for a brainy job in Los Angeles\, raising metaphysical hell and questions along the way. Greg thinks his cousin has it made\, touring the country by van while playing the songs he’s written. \nBut Myers disagrees: “If you wanna live the good life/Well\, you better stay away from the limelight\,” the quartet sings as one in the chorus\, repeating the mantra as though it were their only lifeline to sanity. For those long drives\, it’s a reminder of the thrill and toil of what they now get to do. “For the first record\, we were floating around after having been thrown into this\,” explains Myers. “This time\, we were able to write more about experiences than random stories\, because that’s where we are in life. There had to be an attachment to what we recorded.” \nFor Little Neon Limelight\, the charged\, charming and preternaturally mature Houndmouth did exactly that.
URL:https://royaleboston.com/event/houndmouth/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20150919T220000
DTEND;TZID=America/New_York:20150919T220000
DTSTAMP:20260410T180450
CREATED:20150830T102843Z
LAST-MODIFIED:20150830T102843Z
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SUMMARY:ANDREW RAYEL
DESCRIPTION:21 + \nMgt reserves the right to refuse admission. Dress code applies. Admission not guaranteed after 12am.
URL:https://royaleboston.com/event/andrew-rayel/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20150919T220000
DTEND;TZID=America/New_York:20150919T220000
DTSTAMP:20260410T180450
CREATED:20150910T004333Z
LAST-MODIFIED:20150910T004333Z
UID:10001858-1442700000-1442700000@royaleboston.com
SUMMARY:ENFERNO
DESCRIPTION:
URL:https://royaleboston.com/event/enferno/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20150920T200000
DTEND;TZID=America/New_York:20150920T200000
DTSTAMP:20260410T180450
CREATED:20150909T001220Z
LAST-MODIFIED:20150909T001220Z
UID:10001815-1442779200-1442779200@royaleboston.com
SUMMARY:Joyce Manor
DESCRIPTION:Doors: 6:30 pm / Show: 7:30 pm \nThis event is all ages. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nJoyce Manor was conceived in the back of a car in the Disneyland parking lot—the kind of beginning California dreams are really made of. It was the fall of 2008 over a bottle of cheap booze when co-founders Barry Johnson (guitar\, vocals) and Chase Knobbe (guitar) decided to team up. They formed a power violence band where everyone would have Johnny Thunders-style glam-names … like “Joyce Manor” named after an apartment complex Barry walked past every day. But when longtime friend Andrew Jackson Jihad suddenly asked Barry if his old band wanted to open for their LA show\, he scrambled to say yes.\n“I was like\, ‘We have a new band!’ ‘What’s it called?’ And the first thing I thought of was … ‘Uh\, Joyce Manor!’ We didn’t even have a band. But they put it on the flyer.”\nSo Joyce Manor made their debut as an acoustic two-piece\, with Chase and Barry quickly learned that they were really a pop-punk band trapped inside a folk-punk duo—too many songs just demanded bass and drums. “Playing loud is just more fun\,” explains Barry.\nBy the end of 2009\, they’d made a new friend in new drummer Kurt Walcher and welcomed old friend Matt Ebert back from Portland to play bass. (“He moved back like\, ‘Dude\, wanna start a band?’” says Barry. “And I said\, ‘Wanna be in THIS band?’”) With their line-up settled\, they attacked their songs with new enthusiasm and neurotic precision\, discovering their own kind of beauty in simplicity and pursuing heartbroken punk perfection.\nTheir first self-titled album in 2011 exploded out of nowhere and their second in 2012 landed them on the storied Asian Man Records\, home of all of Barry’s first favorite bands. Across these two albums\, they discovered what Joyce Manor really sounded like—the speed and sense of melody of fellow South Bay band the Descendents\, the artfully bittersweet lyricism of Jawbreaker and the undeniable heart-on-sleeve honesty of the first two Weezer albums. By the close of 2013\, they had the experience\, the discipline and the inspiration to make one of those rare albums that redefines a young band—Never Hungover Again\, on Epitaph Records.\nSome of these songs\, they’d been working on for years\, says Barry. Joyce Manor never demos. They just mercilessly rehearse\, chopping and editing and reworking songs until there’s nothing left that lags. (“I just know when it’s right\,” says Barry) Guitarist Chase had graduated to a co-writing position with Barry\, pouring new ideas and techniques into the songs\, and while their first two albums were learn-as-you-go experiences\, they started Never Hungover Again with a vision\, a budget and two whole weeks to make exactly what they wanted. (That’s a long time in Joyce Manor world.) Friend and Philly producer Joe Reinhardt took the controls in Hollywood’s analog dreamland the Lair. They assigned the final mix to Tony Hoffer—the guy who found the definitive sound Supergrass\, Belle and Sebastian\, M83 and Phoenix.\nTogether\, they made an album of pop-punk in paradox\, right down to the title and photo on the cover. It’s something like believing the impossible\, says Barry\, or at least the too good to be true: “Those people look wasted—yeah\, there will definitely be a hangover! There will be pain!’” (Referring to the cover art). It is ten precisely put-together songs about how things fall apart\, with some of the saddest lyrics you’d ever shout along to from the front row.\nThere are broken homes\, drunken nights\, faltering relationships and the kind of numbness that makes you want to feel anything at all\, even if it hurts. Naturally\, there are some Morrissey-esque moments in there—like “In the Army Now” about watching friends grow out of music and move on. Or in “End of the Summer\,” which somehow puts a Big Star-style intro in front of Moz-ian vocals and a chorus that’s pure blue-album Weezer. “Heart Tattoo” is a pop-punk stormer (think Lifetime or Dillinger Four) about what really happens when you get a tattoo—“What about the regret?” asks Barry. And “Catalina Fight Song” is maybe Hungover’s definitive song\, about hanging out on the cliffs that overlook the Pacific—what locals call the end of the world—and thinking “What the fuck am I gonna do?”\nIf there’s a feeling to Never Hungover Again\, says Barry\, it’s a feeling he can’t quite pin down—some complex thing that’s part anger and part sadness. It’s the loneliness when you’re surrounded by people and that lostness when everything you’ve wanted seems to be right in front of you. And if there’s a single moment that defines Never Hungover Again\, it’s the way “The Jerk” ends with feedback and a chord ringing over Barry’s last shout of “It all goes wrong!”—because despite the confusion and sorrow and resignation\, it somehow sounds so right. \nJoyce Manor is:\nBarry Johnson (guitar\, vocals)\nChase Knobbe (guitar)\nMatt Ebert (bass)\nJeff Enzor (drums)
URL:https://royaleboston.com/event/joyce-manor/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20150922T200000
DTEND;TZID=America/New_York:20150922T200000
DTSTAMP:20260410T180450
CREATED:20150909T002143Z
LAST-MODIFIED:20150909T002143Z
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SUMMARY:An Evening with Dawes
DESCRIPTION:NOTE: THIS SHOW IS SOLD OUT \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. \n*** \n“And may all your favorite bands stay together\,” sings Taylor Goldsmith on the title track to Dawes’ fourth album\, All Your Favorite Bands\, on their own HUB Records\, harking back to a time when that very special rock group helped define who you were\, expressing the joy and passion the foursome put into the release.\n“Your favorite band can identify you\, express how you see yourself\,” explains Goldsmith\, who co-wrote the song with Jonny Fritz and is the sole author of the album’s other eight tracks. “They enable you to articulate your feelings through the way they play their instruments and the lyrics.”\nOn All Your Favorite Bands\, Dawes manage to transcend their well-documented Southern California influences to establish their own sound and themes\, which range from the glass half full optimism of the first single\, “Things Happen” and the minor-chord tension of “I Can’t Think About It Now” (featuring background vocals from Gillian Welch and the McCrary Sisters) to the soulful gospel of “Waiting for Your Call\,” the rocking tongue-in-cheek lyrics of “Right On Time” and the epic\, Dylan-esque set piece\, “Now That It’s Too Late\, Maria.”\nProduced by David Rawlings (Dave Rawlings Machine\, Gillian Welch\, Robyn Hitchcock\, Old Crow Medicine Show\, Willie Watson) at Woodland Sound Studios in Nashville\, Dawes recorded these new songs after they had already been road-tested in front of live audiences in intimate venues from Sonoma to Santa Barbara\, with Rawlings in tow. The producer even played guitar solos on two of the tracks (including that jangling noir Epiphone acoustic on “Somewhere Along the Way”)\, with Richard Bennett on acoustic guitar and Paul Franklin on pedal steel\, also contributing.\n“We played and recorded the songs as a band\, with very few overdubs\,” explains Taylor. “It was a real joy to work with Dave\, who is such an incredible musician with a deep understanding of what goes into a song. We found ourselves immediately speaking a language we both understood.”\nRawlings originally jammed with the band when they were Simon Dawes in their North Hills\, CA\, rehearsal space around seven years ago\, then joined the group on one memorable occasion at the tiny Crepe Place in Santa Cruz for a raucous encore after one of his own shows down the street. Dave threw his hat in the ring to produce them\, mutually agreeing on the goal of making their recordings sound more like they do live.\n“I was always a big supporter of the way they went about things\, and how hard they worked\,” said Rawlings. “I was also impressed with their growth as musicians.”\nThe pairing of Dawes with Rawlings couldn’t have been a more perfect match of band and producer.\n“Playing these songs with them in a live setting in front of an audience before we ever set foot in the studio was a lot of fun\,” enthused Rawlings. “I was really pleased to see the new material not just holding its own with the older stuff\, but in some cases sound even better and fresher.”\nFresh from his game-changing experience working on the New Basement Tapes with producer T Bone Burnett and bandmates Marcus Mumford\, Elvis Costello\, Jim James\, Rhiannon Giddens\, Taylor took the spontaneity and organic interaction of those sessions – along with a newfound self-confidence – into recording the new album.\n“We didn’t get super-precious about it\,” he said. “The rest of the band were able to react and respond in the moment\, so even during the guitar solos\, you can hear everyone else expressing themselves as well.”\nThe first single\, “Things Happen\,” is accompanied by a video that expresses Dawes’ joie de vivre\, a bittersweet tale of a Beatles busker (played by their actor friend Nate Michaux) who works Hollywood Blvd.\, where he meets fellow street performers Charlie Chaplin (Taylor)\, Elvis Presley (Gelber) and Marilyn Monroe (Strathairn in drag).\n“In a literal way\, I’m singing to a friend\, but I’m also giving myself a pep talk\,” said Taylor. “Things might be bad\, but the only thing you can do is shift your perspective to deal with it. Hoping it will go away by itself is a little unreasonable.”\nThere are also glimpses of past relationships in “Somewhere Along the Way” and “Waiting for Your Call\,” while “I Can’t Think About It Now” offers a disquieting view of how repressing your problems ends up making things worse\, and “Right on Time” describes the serendipity that makes up a long-lasting romance\, posing a dichotomy between the dramatic music and the blatantly over-the-top lyrics. The sprawling\, nine-minute-plus “Now That It’s Too Late Maria” was the first song the band recorded in the studio\, and set the template for the album’s loose-limbed\, yet deliberate approach.\n“Griffin played a relaxed\, mid-tempo beat and I just started singing it that way\,” recalls Taylor. “Dave just told us not to think about what we were doing\, just do it\, and that’s what we did. It was a very special moment for us as a band. It really set the mood and made us confident and comfortable in our own skin\, helped us embrace ourselves as a band. We realized nobody could do what the four of us do together.”\nMaking the new album helped Dawes realize just how special – and unique – they were as a unit. It’s a worthy addition – and a noticeable advance – on their three previous albums\, 2009’s debut North Hills\, 2011’s Nothing Is Wrong and 2013’s Stories Don’t End.\n“They are a tremendously talented group of guys focused solely on the music as part of their lives\,” offered Rawlings. “I remember sitting in the control room with Taylor and Griff as they went through their iPods and pulled out pieces of songs\, swapping ideas back and forth over a great breadth of different styles from all different eras. There’s a good level of passion and friction\, and there was a healthy give-and-take\, of questioning things\, then coming to an informed decision in the studio. I certainly learned a great deal working on this album.”\nTaylor suggested the energy of All Your Favorite Bands matches that of their very first album\, though this time the spontaneity was part of a concerted plan rather than the necessity of budgetary limitations.\n“There is so much joy in these songs\, they make me smile when I hear them\,” he concluded. “We woke up every day looking forward to the fact we would be playing together in the studio. That’s all we ever care about doing.”\nAll Your Favorite Bands is the kind of album that could well make Dawes your favorite band.
URL:https://royaleboston.com/event/an-evening-with-dawes/
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:20150924T220000
DTEND;TZID=America/New_York:20150924T220000
DTSTAMP:20260410T180450
CREATED:20150830T103104Z
LAST-MODIFIED:20150830T103104Z
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SUMMARY:RUBY ROSE
DESCRIPTION:
URL:https://royaleboston.com/event/ruby-rose/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
GEO:42.3499959;-71.0656288
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150924T220000
DTEND;TZID=America/New_York:20150924T220000
DTSTAMP:20260410T180450
CREATED:20150911T213424Z
LAST-MODIFIED:20150911T213424Z
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SUMMARY:BLASTERJAXX
DESCRIPTION:
URL:https://royaleboston.com/event/blasterjaxx-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:20150925T220000
DTEND;TZID=America/New_York:20150925T220000
DTSTAMP:20260410T180450
CREATED:20150830T103704Z
LAST-MODIFIED:20150830T103704Z
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SUMMARY:LAIDBACK LUKE
DESCRIPTION:21 + \nMgt reserves the right to refuse admission. Dress code applies. Admission not guaranteed after 12am.
URL:https://royaleboston.com/event/laidback-luke/
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:20150926T220000
DTEND;TZID=America/New_York:20150926T220000
DTSTAMP:20260410T180450
CREATED:20150830T103912Z
LAST-MODIFIED:20150830T103912Z
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SUMMARY:БУМБОКС BOOMBOX / UA
DESCRIPTION:All ages. \nMgt reserves the right to refuse admission. Dress code applies. Admission not guaranteed after 12am.
URL:https://royaleboston.com/event/%d0%b1%d1%83%d0%bc%d0%b1%d0%be%d0%ba%d1%81-boombox-ua/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Special Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150926T220000
DTEND;TZID=America/New_York:20150926T220000
DTSTAMP:20260410T180450
CREATED:20150923T230240Z
LAST-MODIFIED:20150923T230240Z
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SUMMARY:SMOOCH
DESCRIPTION:21+
URL:https://royaleboston.com/event/smooch/
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:20150927T220000
DTEND;TZID=America/New_York:20150927T220000
DTSTAMP:20260410T180450
CREATED:20150908T235125Z
LAST-MODIFIED:20150908T235125Z
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SUMMARY:MR PINK LAUNCH PARTY
DESCRIPTION:21+ \nMANAGEMENT RESERVES THE RIGHT TO REFUSE ADMISSION. DRESS TO IMPRESS.
URL:https://royaleboston.com/event/mr-pink-launch-party/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub,Special Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20150928T190000
DTEND;TZID=America/New_York:20150928T190000
DTSTAMP:20260410T180450
CREATED:20150909T003124Z
LAST-MODIFIED:20150909T003124Z
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SUMMARY:Lianne La Havas
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nThe young English singer/songwriter/guitarist Lianne La Havas’s debut 2012 album Is Your Love Big Enough? received more accolades than many artists experience in their entire career. Sparked by a sensational introduction on Later with Jools Holland\, the year-plus that followed the album’s release included more than 120 shows across Europe\, North America\, and Japan—including two sold-out London shows at the O2 Shepherd’s Bush Empire and a sold-out headline show at the Somerset House Summer Series—and a top five position on the UK chart. Is Your Love Big Enough? won iTunes’ Album of the Year in the UK and earned Ivor Novello Best Album and Barclaycard Mercury Prize nominations.  \nThe media concurred\, with the Associated Press calling Is Your Love Big Enough? “Not just one of the year’s best debuts\, but one of the year’s best albums\,” NPR praising “the sound of a new and electrifying voice\,” and the Los Angeles Times saying “With Is Your Love Big Enough?\, Miss La Havas vaults right to the big leagues.” Artists that La Havas had admired soon began reaching out to her\, to express support and/or collaborate\, including Prince\, Stevie Wonder\, Jill Scott and Justin Vernon (Bon Iver). \nAfter touring for the album came to a close\, it was time to reacquaint herself with family and old friends as La Havas returned to what she calls “real life.” To recharge\, she took a trip with her mother\, who is of Jamaican heritage\, to the Caribbean island. Little did she know that this holiday would sow the seeds for her next record. \n“It turned out to be a life-changing experience\,” says La Havas (whose father is of Greek heritage). “I was brought up by my Jamaican grandparents\, and I was well acquainted with a lot of their culture\, like the food and the manner of their generation. So when I actually went there it was strangely familiar—but also completely unlike any other place that I’d been. It was just so amazing to know all about a place and to even be able to understand strong patois\, without ever having been there.” \nDuring this time of self-discovery\, La Havas enjoyed emotional reunions with long-lost relatives\, spent time in Kingston’s clubs\, and even jammed in front of her family for the first time during a session with acclaimed dancehall/reggae producer Stephen McGregor. Discovering her roots inspired La Havas to reflect on the connections between the present and the past\, which in turn sparked the songs that would become her future. “Everything seemed to have a lot more clarity\, and I really wanted to speak about it\,” she says. \nLa Havas’ new album\, Blood\, is a collection that shakes\, shimmies\, and swings with imaginative and immersive grooves. “It seems as though you hear music everywhere you go in Jamaica and there are gigs going on all the time at the beach\,” she says. “People appear to have an in-built ability to dance\, which comes from a deep-rooted connection to the feeling in the music. I found a new way to enjoy rhythms and syncopation and how to interweave delicate guitar parts with more aggressive sounding beats. What I definitely took from Jamaica is how to write songs based on the feeling of the rhythm and to build from there\, and I’ve applied that philosophy\, in some form\, to everything I’ve written thereafter.” \nThe first single\, “Unstoppable\,” is particularly indicative of that bass- and groove-orientated feeling. Produced and co-written by Adele/FKA twigs collaborator Paul Epworth and founded on an instrumental recording by The Invisible\, “Unstoppable” is a song that La Havas wrote to help to repair a relationship that she had ended. “It represents having a new phase of understanding in our relationship. My former boyfriend was interested heavily in astronomy\, so Paul and I wanted to find some way to relate galactic celestial speak to this love story to support its unconventional and multi-faceted nature.” \nLyrically\, the songs that emerged are almost all related to “the feeling of who you are and where you come from\,” she says. The centerpiece of that approach is “Green & Gold\,” which was written and produced with Jamie Lidell and Matt Hales. It weaves Jamaican and Greek imagery into an autobiographical narrative that offers insight into the “weird and wonderful journey that I’ve been on since I was a child” In fact\, it was La Havas’ second generation Greek-English father—a stonemason and enthusiastic accordion player and instrumentalist—who was the primary musical influence in her life and first taught her guitar and piano. \nFamily is of course a prominent theme on Blood\, from “Fairytale”—about La Havas’ close relative whose ability to suddenly become an “amazing and capable” single mother has been a source of inspiration—to “Good Goodbye\,” which addresses her dear friend losing her grandfather and also relates to her own grandmother. “It’s about appreciating your elders\, but also all of your loved ones\,” she explains. “If you have the opportunity\, you should spend as much time with them as possible; if it’s going to be goodbye\, make sure it’s a good one.” \n“Midnight” best encapsulates La Havas’ adventures in life and music. “Being in Jamaica and writing this song really signified the coming of a new phase\, as well as having a new understanding of everything as I enter my mid-20s and find a new sense of independence\,” she summarizes. “For me\, it’s got an overall sentiment of empowerment and emancipation.” \nThat next stage commenced with a steady succession of guest appearances. There’s been another recording with Is Your Love Big Enough? producer Matt Hales (who again collaborated with La Havas on Blood\, notably on “Wonderful\,” which they co-wrote with Disclosure’s Howard Lawrence) on the recent Aqualung track “Egg Shells\,” as well as guest vocals on Alt-J’s “Warm Foothills” and Tourist’s “Patterns.” \nMost extraordinary of all was La Havas’ contribution to Prince’s Art Official Age album (also on Warner Bros.)\, which was recorded over the course of a heady weekend at Paisley Park. “Anyone liking my music is great\, but it’s just a bit crazier when it’s someone that you’ve admired all your life—memorized all of their lyrics\, etc.—and they then turn out to be wonderful people that just happen to be like-minded.” \nFamily and friends\, the past and the future\, and an international array of cultural influences are all part of a rich tapestry that makes up Blood. “I’m constantly surprised by the coincidences of life” admits Lianne. “The title Blood reminds me that there are connections between pretty much everything\, no matter what.” \nWith major summer shows already confirmed—including Glastonbury\, Latitude and Bestival—followed by headline tours of the UK\, USA\, and Europe\, the stage is set for Lianne La Havas to continue\, as the Daily Mail predicted\, her ascent as “Britain’s next big female star.
URL:https://royaleboston.com/event/lianne-la-havas/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20151001T200000
DTEND;TZID=America/New_York:20151001T200000
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CREATED:20150909T003554Z
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SUMMARY:Yacht Rock Revue
DESCRIPTION:Doors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nThe Yacht Rock Revue is the greatest show on Surf and the finest tribute to ’70s light rock to ever perform anywhere. Ever. Their spot-on renditions of Hall & Oates\, Michael McDonald\, Steely Dan\, and the rest of the Time-LifeInfomercial Catalog have enthralled fans across the United States. It goes without saying they have taken their act to the high seas\, performing showcase sets on music cruises with Weezer\, Kid Rock\, Train\, Zac Brown Band\, Sister Hazel\, and fitness guru Jillian Michaels. \nBy blurring the lines between a tribute\, an original act\, and a comedic troupe\, the Yacht Rock Revue has forged a unique niche market and a special bond with their fans. The band attacks each song as if it were their own\, and the energy exchanged between the band and the crowd has more in common with a stadium U2 show than that of a typical bar band.\nThe band has won accolades ranging from “Best Place to Get Drunk With Your Dad” to “Best Overall Music Act in Atlanta” to “Best Place to Start an Extramarital Affair\,” and has been name-dropped by the New York Times\, Pitchfork\, the Guardian UK\,Spin\, TimeOut New York\, Billboard\, MTV.com\, and (probably) your mom at her last cocktail party.  \nSpeaking of name-dropping\, members of the band have played on-stage with members of Weezer\, Billy Joel\, Walter Egan\, .38 Special\, John Mayer\, Zac Brown Band\, Little River Band\, Sheryl Crow\, Noel Gallagher\, Starbuck\, Sarah McLachlan\, Don Henley\, Lynyrd Skynyrd\, Neil Finn\, Jellyfish\, Devo\, Nine Inch Nails\, Joan Jett\, Wet Willie\, Bon Jovi\, Skid Row\, and the Saturday Night Live Band. (None of those were a joke.)
URL:https://royaleboston.com/event/yacht-rock-revue/
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:20151002T180000
DTEND;TZID=America/New_York:20151002T180000
DTSTAMP:20260410T180450
CREATED:20150909T003926Z
LAST-MODIFIED:20150909T003926Z
UID:10001822-1443808800-1443808800@royaleboston.com
SUMMARY:Destroyer
DESCRIPTION:Doors: 6:00 pm / Show: 7:00 pm \nThis event is 18 and over. \nPresented by RadioBDC. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nTrouble in Dreams continues Bejars lyrical and musical assault on all that is stagnant in modern popular music. His is a body of work that consistently flouts convention in favor of musical leaps of faith\, statements of purpose cloaked in subterfuge\, and the joyous refrain of an optimists heart cloaked in cynicism. Anthems sprawl with shifting layers of guitar and piano\, spinning just to the edge of chaos and back\, while referencing fantastical realms and mysterious women who may or may not approve of our interloping voyeurism.  \nWritten during an extended stay in Spain during the spring and summer of 2007\, Trouble in Dreams is both soothing and jarring\, sparing us neither his lyrical bite nor pulling any punches. Trouble in Dreams is yet another brilliant entry in the astonishing Destroyer canon. \nDan Bejar started Destroyer as a solo home-recording project in the early to mid-nineties. In 1996\, he released his debut full length of stripped-down\, lo-fi electric folk\, Well Build Them a Golden Bridge. Soon the Destroyer template expanded to include a rhythm section\, and Bejar was compelled to head into a proper studio to record City of Daughters in 1998. It was with Daughters that Bejar began to develop his own unique lyrical voice\, a voice that continued to evolve and refine itself over the course of his next two records\, Thief and Streethawk: A Seduction. Destroyer seemingly had produced its masterwork with Streethawk\, a highly refined send-up and condemnation of popular culture\, an idea honed to razor-sharp precision. The album became one of the most acclaimed recordings of 2001\, and the Destroyer mystique captured music fans and critics alike.\nThis Night\, the Destroyer debut for Merge\, is an epic full of indulgences and flights of fancy that seemed the perfect foil to the sleek and streamlined approach of earlier recordings. This Night both baffles and seduces\, leaving jaws on the floor and confounding both fans and critics. Bejar took another turn towards the unexpected with Your Blues\, his second recording for Merge\, wherein he stripped Destroyer down to its barest essentials once again\, with MIDI-synthesizer symphonies that explored what Bejar dubbed European Blues\, a vainglorious retreat from American rock traditions\, celebrating an exercise in old-world excess within limited means. Those who had been pining for a new Streethawk were left shaking their heads\, forced to admit that the last thing Destroyer was ever going to give them was anything close to what they expected (or hoped for). Bejar had everyone right where he wanted: dazed\, confused\, and not knowing what was to come next.  \nWhat came next was yet another triumph. Destroyers Rubies was hailed as the second coming by many longtime fans and firmly established Destroyer as a critical and commercial success without ever having compromised Bejars vision at any point along the way. On its March 2006 cover\, The Fader proclaimed him Rocks Exiled King and we could not agree more. But it was a case of self-imposed exile\, as Bejar and company have never had much use for the trappings of indie-rock fame. \nOver the course of his career as Destroyer\, Dan Bejar has established himself and his band as one of the most unpredictable success stories in modern popular music. As a songwriter\, Bejar is recognized as having few peers. As a musician\, he is like the court jester\, waiting in the wings\, poking fun at those who take themselves too seriously and skewering those who would celebrate commerce as art.
URL:https://royaleboston.com/event/destroyer/
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:20151002T220000
DTEND;TZID=America/New_York:20151002T220000
DTSTAMP:20260410T180450
CREATED:20150830T104435Z
LAST-MODIFIED:20150830T104435Z
UID:10001553-1443823200-1443823200@royaleboston.com
SUMMARY:MATOMA
DESCRIPTION:21 + \nMgt reserves the right to refuse admission. Dress code applies. Admission not guaranteed after 12am.
URL:https://royaleboston.com/event/matoma/
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:20151003T180000
DTEND;TZID=America/New_York:20151003T180000
DTSTAMP:20260410T180450
CREATED:20150909T004535Z
LAST-MODIFIED:20150909T004535Z
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SUMMARY:Ibeyi
DESCRIPTION:Doors: 6:00 pm / Show: 7:00 pm \nThis event is all ages. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nLisa and Naomi Diaz are the daughters of the late Cuban percussionist Anga Diaz. Naomi plays percussive instruments\, the Cajon and the Batas\, while Lisa plays piano. Together the twins have learned the songs of their father’s culture\, Yoruba. \nYoruba travelled from West Africa to Cuba with slavery in the 1700s. The Yoruba people have the highest twinning rate in the World\, and twins occupy an important position within Yoruba culture. Ibeyi is pronounced “ee-bey-ee” and translates as “Twins” in Yoruban. \nIbeyi sing in English and Yoruban\, and have created a minimalist sound that merges elements of their heritage with their natural love of modern music as teenagers growing up in Paris\, citing artists such as James Blake and King Krule amongst their wide range of influences. \nIbeyi are currently recording their debut album for XL\, with Richard Russell on production.
URL:https://royaleboston.com/event/ibeyi/
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:20151004T200000
DTEND;TZID=America/New_York:20151004T200000
DTSTAMP:20260410T180450
CREATED:20150830T104740Z
LAST-MODIFIED:20150830T104740Z
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SUMMARY:ELLI KOKKINOU
DESCRIPTION:21 + \nMgt reserves the right to refuse admission. Dress code applies. Admission not guaranteed after 12am.
URL:https://royaleboston.com/event/elli-kokkinou/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Special Events
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DTSTART;TZID=America/New_York:20151005T190000
DTEND;TZID=America/New_York:20151005T190000
DTSTAMP:20260410T180450
CREATED:20150909T012304Z
LAST-MODIFIED:20150909T012304Z
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SUMMARY:MS MR
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. \nRadio 92.9 Presents – How Does It Feel Tour \nPlease note the band will be donating a dollar per every ticket on this tour going to Third Wave Fund. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nIn 2014\, Lizzy Plapinger and Max Hershenow came back to New York City to start work on their sophomore album as MS MR. Only three years had passed since the first time they’d met up in secret\, former college classmates with day jobs\, spinning musical fragments into private worlds in front of Max’s laptop in Brooklyn. They made their name on their early songs “Bones” and “Hurricane\,” and since then\, Lizzy and Max have amassed 30 million album streams\, played festival main stages\, become known and celebrated as an alt-pop duo with a wide magnetism\, a contagious exuberance and a distinctly technicolor style. Far from the days when they would release their music anonymously on Tumblr\, they came back to New York altered and focused—better lyricists\, vocalists\, producers and performers. They were after the complicated alchemy of subversion and directness that they saw defining the modern pop act; they were no longer aiming for serendipity but for control. And yet\, for all the exhilaration the past two years had brought them\, the duo was dizzied\, too. They had a thousand ideas and one album to make\, and to do so\, MS MR found themselves seeking out the feel of those early\, nameless days—the visceral\, bare-bones intimacy that had been their music’s genesis. Secondhand Rapture\, the music they’d played in front of crowds tens of thousands deep–the album that they’d finished at the legendary Electric Lady Studios—had been recorded\, after all\, for $500 in spare rooms in Brooklyn. As they started to hammer out the ideas that would eventually result in the ecstatic\, high-octane How Does It Feel\, it wasn’t glamour but a certain DIY gravity that set their compass straight. Lizzy and Max rented a room in Bushwick and brought in MS MR’s drummer Zach Nicita to co-produce. For three months\, they worked the way they had in the beginning: all day\, all night\, no engineers\, no outside people\, no special equipment. Just like he had in the beginning\, Max strung up Lizzy’s makeshift vocal booth by thumbtacking heavy blankets to the walls. When you make music like this\, everything becomes exposed and apparent; MS MR’s intentions were clear\, and the heart of How Does It Feel mirrors them. It’s a simultaneous re-grounding and a conscious\, triumphant evolution. Like both the Candy Bar Creep Show EP and their full-length debut Secondhand Rapture\, this album is dark\, epic\, synesthetic alt-pop\, laced with sugary hooks and bitter colloquial lyricism.  \nAnd at the same time\, How Does It Feel comes in bright\, sharp\, big and new. The propulsive bass and drum rhythms that drive MS MR’s live show are heady and forceful in these tracks. Max’s production\, as hypnotic as ever\, has an amplified certainty about it; the album’s backdrop is a kaleidoscope of brassy synth and percussive horns\, electronic and organic textures all dressed up and disguised. Lizzy’s vocals\, still warmly intimate\, are marked by a new sense of presence\, height and command. This sonic directness makes How Does It Feel the rare second album that feels more personal than the first. The sound of the record puts Max and Lizzy up front\, magnifying their disparate\, complementary backgrounds\, bringing them out of the surreal\, shadowy atmosphere of their early releases. In the dynamism in the album’s melodies you can hear the way that Lizzy\, born and raised in the UK\, still has the midnight energy of the London indie pop scene in her veins; there’s a plurality and energy to her vocal lines that invokes her work developing other artists as the co-founder of the boutique pop label Neon Gold. There’s a sense of brazen forward movement and physicality that suffuses every song\, telling of Max’s adolescence in Latin America\, of the band he started at Vassar\, of his time as a choreographer and dance student at Martha Graham Dance Company. The story of MS MR is the story of two people’s instincts meeting at a transportive place. Lizzy and Max both think of making music as creating universes\, every song something self-contained and new. They balance the scale of this aspiration with their remarkably direct songwriting\, and How Does It Feel shows MS MR in a place of simultaneous tenacity and abandon\, the place where you have to be to make a second world: it’s the animus of the album\, uniting it through a deliberately wide array of tones\, thoughts\, tempos\, textures. The album begins at a sprint\, with Lizzy opening “Painted” in a chant\, a meditation\, a teasing curse: her repeated “What did you think would happen” carries through the track as the song builds to a catharsis\, catches fire. The same story of tumultuous creation continues in the cheeky\, deliciously controlled\, Timbaland-inflected “No Guilt In Pleasure\,” as Lizzy sings\, “No one on the outside has heard from me in weeks/ Wrapped up in the chaos/ Come too far to recede\,” before releasing herself to the chorus\, with its final line: “Who are we to stay away?”
URL:https://royaleboston.com/event/ms-mr/
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:20151007T200000
DTEND;TZID=America/New_York:20151007T200000
DTSTAMP:20260410T180450
CREATED:20150909T014215Z
LAST-MODIFIED:20150909T014215Z
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SUMMARY:JD McPherson
DESCRIPTION:Doors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. \nPresented by 92.5 the River \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nAs a visual artist\, Broken Arrow\, Okla.\, native JD McPherson is well versed in the process of working within clearly defined formal parameters\, and he employs a similarly rigorous discipline with his music. On Signs & Signifiers (Rounder\, April 17)\, McPherson’s seductively kickass debut album\, produced by JD’s musical partner\, Jimmy Sutton\, this renaissance man/hepcat seamlessly meshes the old and the new\, the primal and the sophisticated\, on a work that will satisfy traditional American rock ’n’ roll and R&B purists while also exhibiting McPherson’s rarefied gift for mixing and matching disparate stylistic shapes and textures. \n“There are little subcultures within the roots scene\, where people are really into rockabilly\, traditional hillbilly stuff or old-timey music\,” JD points out\, “but there aren’t a whole lot of folks making hard-core rhythm & blues hearkening back to Specialty\, Vee-Jay or labels like that. That’s what Jimmy and I really like\, and our only intention going in was just to make a solid rhythm & blues/rock ’n’ roll record. But I didn’t want to make a time-machine record\, so we tried to make something relevant but with all the things we love about rock ’n’ roll and rhythm & blues and mesh it all together. We both have eclectic tastes; Jimmy likes the Clash as much as he likes Little Richard\, and I like the Pixies\, T.Rex\, hip-hop and all kinds of stuff. So we came up with a couple of weird songs and put them on the record\, hoping that it wouldn’t scare off any of our ultra-selective fanbase.” \nJD needn’t have worried. It’s highly unlikely that even the most discerning listeners would guess that the arrangement on his cover of Tiny Kennedy’s R&B chestnut “Country Boy” incorporates not only the tambourine beat of Ruth Brown’s 1955 Atlantic single “Mama\, He Treats Your Daughter Mean\,” but also Raekwon and RZA’s “abstract\, out-of-tune piano loops” on Wu-Tang Clan’s innovative ’93 LP Enter the Wu-Tang; or that the mesmerizing churner “Signs & Signifiers” is powered by an unchanging tremolo guitar figure modeled on Johnny Marr’s part on the Smiths’ “How Soon Is Now.” Then there’s “Firebug\,” which JD “wanted to sound as if Stiff Little Fingers had recorded at Del-Fi Records.” And while it may not have been specifically what McPherson and Sutton were going for\, the haunting dreamscape “A Gentle Awakening” seems to chart a course from “Heartbreak Hotel” through Terence Trent D’Arby to Amy Winehouse.  \nNever has an album of so-called “retro” music been laced with such a rich payload of postmodern nuance. But that was precisely the intent of what JD describes\, only half-facetiously\, as “an art project disguised as an R&B record.”  \n“It’s weird\,” says Sutton\, “when you grow up being a fan of ‘older’ music and all of a sudden you’re making a record\, you’re thinking\, are we just recreating something—a museum piece—or are we actually bringing it forward? It’s interesting\, because if you make something today and it moves you today\, in that sense it’s contemporary. I like that juxtaposition of classic and fresh\, something old yet new that can actually take you somewhere now.” \nOf course\, pushing the genre envelope doesn’t work unless the artist has the chops and feel to capture the form in its pure state to begin with. Check out\, for example\, “Dimes for Nickels\,” McPherson’s vital evocation of the very moment when R&B and hillbilly music had a baby and they called it rock ’n’ roll\, or the Jackie Wilson-meets-Elvis exuberance of “Scratching Circles\,” or the lascivious ecstasy of the Little Richard doppelganger “Scandalous\,” (although the “gold-capped tooth” reference in the first line is lifted from the Leiber-Stoller Coasters classic “Love Potion #9”). But for all we know\, these tracks\, too\, may have been secretly embedded with elements from far afield\, their stylistic twists hiding in plain sight. This cat is wicked-clever—and man\, can he ever deliver this righteous shit. \nMcPherson took a circuitous path to get to this point. Broken Arrow butts up against Tulsa\, a cultural oasis in the Heartland that has long been not only a musical hotbed but also a bustling center of the contemporary arts. “Tulsa’s got a lot of resources for people who are into weirdo art\,” JD points out. And he gravitated toward it. “I did my undergraduate studies at the University of Oklahoma in experimental film\,” he says. “I wanted to paint\, do installation\, make video art\, performance stuff\, sculpture. I’ll bet I’m the only person to have received graduate credit hours in card magic.” He wound up with an M.F.A. from the University of Tulsa in open media\, a discipline designed specifically for his interests and ambitions. \nBut all along the way\, music was an integral part of McPherson’s life. His dad introduced him to Delta blues and jazz as a kid\, and after getting into Hendrix\, Led Zeppelin and punk rock during high school\, he picked up a Buddy Holly box set. “Something about that scratched an itch\,” he says. “Then I started getting into the black side of rock ’n’ roll: Larry Williams\, Little Richard\, Art Neville’s stuff on Specialty\, then soul and Jamaican rocksteady.” While studying visual arts\, he also played in bands\, doing everything from punk to western swing. JD was still scratching that itch when he recorded some originals with his previous band and took a shot in the dark. Well aware of Sutton’s status as a heavy hitter on the roots scene and the leader of R&B group the Four Charms\, he fired off a MySpace friend request and asked if the producer/bassist would listen to his demos.  \n“I get sent stuff all the time\, and it’s always the same\,” says Sutton\, “but I checked JD out and there was definitely something there. He wowed me—his voice\, his songwriting. So we started talking\, and we were always on the same page about the music we dig and where we wanted to take it. He had great ideas but he was still an open book. I was just trying to push him to stay true to himself. So the idea became to create a record that was honest and live.” \nSix months into their budding partnership\, JD arrived at Sutton’s newly completed home studio in Chicago—a sort of working shrine to all-tube recording as it was practiced a half-century ago\, right down to Jimmy’s collection of vintage mics and his early-’60s Berlant/Concertone quarter-inch tape machine. Also on hand was Sutton’s go-to guy Alex Hall\, “a Brian Eno type” according to JD\, who multitasks as engineer\, drummer and keyboard player.  \n“I showed up and I said\, ‘I got this song ‘Dimes for Nickels\,’ and I want it to be like a Chess Chuck Berry thing\, slowed down\, with a flat-tire beat\,’” JD remembers. “Jimmy and Alex are from Chicago—they know that stuff backwards and forwards—and we nailed it in two takes.” Within a week\, they’d banged out a dozen tracks\, recording during the day and writing at night with a guitar and a laptop.  \nIn order to make sure the album got heard by JD’s potential core audience\, Sutton threw some chum in the water\, pressing up a limited run on his brand-new Hi-Style label and directing it at the roots community. JD and Jimmy\, who’s also a visual artist\, then applied those skills to the making of a striking video for opening track “North Side Girl\,” which has now registered well over 350\,000 YouTube views.  \n“When the album came out\, we immediately got a really strong response from that crowd\,” JD recalls. “Then we put that video out\, and it went all over the place within a week. Not too long after that\, we started getting calls from managers\, prospective booking agents\, and it turned into this weird journey. By early last year\, we were talking to some major labels and the folks at Rounder\, who found out about us from the video. What made it the perfect storm was\, as all that was happening\, I lost my job—I was a middle school art teacher. I loved that job but\, sign of the times\, they started laying off the art department and I was part of the fallout. So I collected my paycheck through the summer and toured.” After which he signed with Rounder. \nHaving finally decided on his artistic direction\, JD isn’t looking back. “Although I grew up wanting to be a visual artist\, I’ll tell you what: the most satisfaction I’ve ever had as an artist is right now\,” he says. “Because as much as I love artists like Joseph Beuys\, I love David Bowie and Little Richard more. I was doin’ OK\, I had some things going\, but I’d rather do this\, make music the priority. There’s more instant gratification—you play a show and right away you feel like it’s something worthwhile\, and a lot of people are in on it. So I’m definitely into continuing to explore all this stuff. It’s really exciting—knock on wood.” \nJD has no doubts about the viability of the choice he’s made. “Working within a genre has been done in all kinds of mediums—look at Alfred Hitchcock\,” he points out. “It’s been established that rock ’n’ roll is a viable form—it’s hard-wired into American brains to understand swinging blues stuff. So it’s not surprising to me that kids are into the Black Keys and Adele. It just had to be presented to them.” \nSo now it’s JD McPherson’s turn to step up to the plate and give it a good whack. Go get ’em\, tiger.
URL:https://royaleboston.com/event/jd-mcpherson/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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