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SUMMARY:The Jayhawks
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 4/15 at noon! \n*** \nThe Jayhawks \n\n[Website] [Facebook] [Twitter] \nThe incredible harmonies and distinctive arrangements of The Jayhawks set them apart from the rest of the Minneapolis music scene that emerged in the 1980s. By the early 90’s they became a driving force and inspiration behind the growing Americana movement. Combining the talents of singer-songwriters Gary Louris and Mark Olson\, The Jayhawks released their major label debut\, the acclaimed Hollywood Town Hall (1992) on the Def American label. This was followed by Tomorrow the Green Grass (1995)\, which produced the alternative radio hit single “Blue”. \nWhen Olson left to pursue a solo career\, Louris singularly took over the songwriting role in The Jayhawks creating the band’s enduring sound on some of their best selling and well-received albums including Smile (2000) and Rainy Day Music (2003). Louris continues to write and tour with the longtime core group of Marc Perlman\, Karen Grotberg\, and Tim O’Reagan. While the touring line-up has changed over the years and Olson briefly reappeared in 2010 to record and tour\, this classic lineup maintains a commitment to adventure and forward motion in their shows and in their recordings. Their latest album\, Paging Mr. Proust (2016)\, was produced in Portland with Peter Buck and Tucker Martine. \n*** \nFolk Uke \n \n[Website] [Facebook] [Twitter] \nCathy Guthrie and Amy Nelson\, also known as Folk Uke\, have been writing and performing together for over a decade. This duo is a unique amalgam of angelic harmonies often wrapped around edgy\, surprising lyrics. Folk Uke plays folk music in its truest form with a delightfully wicked twist.
URL:https://royaleboston.com/event/the-jayhawks/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160615T190000
DTEND;TZID=America/New_York:20160615T190000
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CREATED:20160222T170053Z
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SUMMARY:Jack Garratt
DESCRIPTION:WERS 88.9 Discovery Show \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 2/26 at noon! \n*** \n \n*** \nJack Garratt \n \n[Website] [Facebook] [Twitter] \nBritish artist-producer Jack Garratt could not have wished for a better introduction. The sharp young newcomer started 2015 as highly touted as he now looks to be concluding it\, and with the announcement of his self-written\, self-performed\, self-recorded\, and largely self-produced debut album now readied\, that heat looks set to reach fever pitch ahead of its February release. \nDrawing the dots between significant moments\, and landmark events of this fledgling career would already become a headache – the young Buckinghamshire artist has achieved more than he has any right to\, from bringing the house down at Radio 1’s Future Festival back in January\, selling out each and every UK and US show he’s played to ever expansive rooms\, through to being crowned BBC Introducing’s Artist of the Year at their annual televised awards ceremony this December. The scrapbook is bursting and that’s just volume one. Not bad for a guy who tends to do it all by himself. Maybe the humble ‘bedroom producer’ tag needs an update. \n“It’s a bloody minefield!” grins the larger-than-life Jack Garratt\, stroking that fine ginger beard of his in contemplation. \n“I loathe the idea that if I suggest that I produce my own songs then people presume I’m sat hunched over my laptop weeping into my own self-doubt. Life is too short for all that. I opened the door to a couple of excellent producers for Phase on a couple of songs\, and it was a really exciting experience. We got a lot done.” \nTruth be told\, Jack wasn’t even sure music was a legitimate pursuit\, and was already training to become a primary school music teacher when he dropped it all for those drums sticks\, pads and keys. It’s been a move none shrewder. \nHis first release\, the limited edition Remnants EP (self-released through Bubinga Records in early 2014 and featuring the first incarnation of Phase highlight\, ‘Worry’) was an invigorating\, almost spiritual listen. It married those distinct elements of electronica with classic guitar-fronted songwriting\, finding their skeletal shape from repeat listens to Channel Orange by Frank Ocean. \n“One Christmas\, everyone kept telling me to listen to Frank Ocean\, but that only made me not want to listen to him. Eventually I did\, and holy shit\, it virtually re-shaped what I wanted to do completely.” \nConversely\, another record that refused to budge from the stereo was Jack White’s Blunderbuss. \n“I would say that Blunderbuss and Channel Orange are the primary reasons that I do what I do now. I loved the raw\, bluesy riffs and crunch of Jack White\, but also that smoothness and ambience of Channel Orange. Why should they be incompatible? They shouldn’t\, so here we are.” \nBorn and raised in a Buckinghamshire village in the South of England\, Jack’s parents were musical and he learned to play instruments early\, something he’s never really stopped doing.  His initial acoustic shows were largely open-mic\, but the vision was to take the new sound and shows somewhere else completely. Everything you hear\, both on stage and off it\, is performed by Jack. The intimacy of the blues and Jack’s scintillatingly raw vocal can be juxtaposed with a bassline that rattles the foundations of the building. He keeps you on your toes\, and your hands in the air. \nThat Jack broadly produces all his own music is testament to the influence of leftfield production. He cites Flying Lotus\, Son Lux and Jai Paul as primary examples of taking something and twisting it into something obtuse\, fresh\, and interesting. \n“Those guys are just operating on a completely different plane. I love how disarming their productions can sound.” \nJack’s second EP\, Synesthesiac (released early Summer 2015 through Island Records)\, was indeed a quantum leap on from Remnants. The Love You’re Given\, which features here on Phase\, is a smouldering\, tranquil beauty that explodes in a haze of colour like a firework. Chemical\, another track that dazzles on the record\, is a gnarly beast that tangles multi-tracked handclaps with a beats-laden dancefloor-hookline. You couldn’t place it\, but you knew it was destined for far bigger venues\, which indeed Jack is already making light work of. \nA first single\, Weathered (one of the many ‘moments’ that pepper the live set)\, and the current second single Breathe Life\, show Jack confidently laying out his cards on the table. They are huge\, infectious pieces of work\, the sound of a young musician finding his feet and showing his strengths. They are songs that sit neatly on the radio playlists\, and songs with an innate sense to impress. Phase is a record that is\, indeed\, littered with them\, without any need to truly compromise what sparked all the initial interest. The propulsive Fire\, and the torchlight anthem in waiting\, Surprise Yourself\, are merely two of the handful of songs here that are yet to be documented in those impressive live shows. \nHaving sold-out a UK tour this Autumn\, which included a very special night at Shepherds Bush Empire\, and the recent announcement of a headline show at London’s Brixton Academy for April 2016\, this is an incredibly impressive feat for a young artist with only a handful of songs out there in the internet ether. You suspect it must\, therefore\, feel pretty good to be Jack Garratt right now. \n“At the moment every day brings something new\, something exciting. It’s blowing my mind. I really love it.” \n*** \nContact \n \n[Website] [Facebook] [Twitter] \nBoston\, Massachusetts.
URL:https://royaleboston.com/event/jack-garratt/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTEND;TZID=America/New_York:20160617T183000
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SUMMARY:[SOLD OUT] Oh Wonder
DESCRIPTION:Doors: 6:30 pm / Show: 7:00 pm \nThis event is all ages.\nSOLD OUT \nSecond show added on Sat. 6/18 due to overwhelming demand. Tickets for the 6/18 show available HERE.\n*** \n \n*** \nOh Wonder \n \n[Website] [Facebook] [Twitter] \nThere is a sign pinned to the wall of Oh Wonder’s recording studio in south-east London\, a pact of sorts\, signed by the band’s two members\, Josephine Vander Gucht and Anthony West\, in the winter of 2012. It isn’t a checklist or a plan so much as a setting down of shared dreams for their musical careers. “We wrote it to say that we’re dependent on one another\,” explains Josephine. “That there are things we want to achieve\, and we can help each other get there.” \nThat Oh Wonder have achieved all of these dreams in the first year since starting the project is testament to their talent and their perseverance\, but even they seem a little startled by how much more they have attained: the 100 million streams and now their debut album\, a collection of 15 impeccably-crafted songs that explore London and loneliness\, love and the need for human relationships. \nJosephine was a classically-trained solo performer and Anthony a singer and producer whose lives and careers overlapped for several years — a run of near-encounters and half-conversations at gigs and venues\, and vague introductions through musical acquaintances and mutual friends. It was only when they finally sat down in Anthony’s former studio in north London with a view to producing an EP of Josephine‘s solo material that they realised their great musical bond. “We found all our favourite bands were the same bands\, all our favourite songs were the same songs\,” says Anthony. “It was a day of saying ‘Oh you should listen to this’. And then the other one saying ‘I know that song. That’s one of my favourite songs.’” “It was\,” adds Josephine “really\, really odd. I’ve never had that. I’ve never felt that closely aligned with someone\, musically speaking\, and more widely in terms of how we view the world.” \nIt was Anthony’s suggestion that they begin writing together — purely for fun at first\, as an exercise in songwriting and collaboration while they pursued their other musical projects. The first song they wrote was called Body Gold and was\, Josephine says\, “the marker for what the sound of Oh Wonder was: electronic and somewhat R’n’B\, which was totally surprising\, and totally different to our solo work\, but we were really proud of it.” \nStill\, for 18 months they did nothing with it. Anthony moved to London and released an EP as part of a duo\, Josephine was busy writing and recording as Layla. “But we thought it was a waste to leave Body Gold unheard\,” says Anthony. And so they decided to post it on the internet\, anonymously. \nThat day they went to a café in east London\, posted the song on SoundCloud and emailed a few of their favourite music blogs about it. “We were in this café\,” Josephine remembers\, “and we were looking at the play-count\, and I think it said six plays\, and then all of a sudden these blogs started posting the song — really lovely write-ups saying ‘Who the hell are these people? They’re about to blow up the internet.’” They sat in the café and watched the play count climb to 100. A few weeks later it had reached 100\,000 plays. Just over a year later and they have tens of millions of plays and a string of sold out headline shows across the UK\, Europe\, Australia and the USA. “It was just really\, really bizarre. And odd. And completely accidental\,” she says. “We didn’t tell anyone it was us\, we didn’t ask people to listen\, we didn’t tell our friends\, it was so far removed from us. But I genuinely think that the reason so many people connected with it was because it was really sincere.” \nThe plan from the start was to release a song a month\, for the course of a year. “We approached it as a songwriting project rather than an artist project\,” continues Anthony. “And so the most important thing of all is the song and we would never release what we consider to be a bad song.” \nThey had already written two other tracks: Shark and All We Do — a track Josephine finds most affecting. “It’s about the human propensity to play it safe and not push yourself beyond the parameters of normal life\,” she says. “It’s about just existing and not wondering or being inquisitive. It’s about how a lot of people sink into the monotony of everyday life. And how it’s a shame\, because the world’s there for the taking\, and you’ve got to go grab it and have an adventure.” \nTheir own adventure soon gathered pace. They found they could write quickly\, finishing the body of a song in 20 minutes or so and spending more time\, they say\, on the production. “Writing together is a weird magical thing\,” says Josephine. “More than anybody else in the world I trust Ant. Which makes the writing process totally open\, totally vulnerable and non-judgmental\, and means you can say all of these things openly in a song.” \nThe things they chose to say all possess a striking tenderness and a tangible passion for life\, ranging from exquisite break-up songs Drive\, Landslide and The Rain to quiet rallies against materialism\, gambling\, gentrification and globalization\, and\, in Lose It\, a song that serves as a tribute to a night out they once had in Melbourne\, where as the sun came up\, Josephine found herself at a party dancing in her underwear to Destiny’s Child. “I’ve never before felt what I felt that night\,” she says. “I didn’t take any drugs\, and I wasn’t even drunk\, there was just something heady in the air. It was the first time I’d ever felt untethered from myself.” \nThough they vary from piano-led ballads to whip-sharp electronica\, what unites all of Oh Wonder’s songs is their extraordinary sense of humanity. “We didn’t realise it at first\, but a lot of our songs are about relationships and support\,” says Josephine. Anthony points to album opener Livewire\, “which is about needing someone to lift you up\, someone who can bring you up from your lowest point\, bring you back to life\, be the heartbeat you need…” and to White Blood\, about times in life\, in illness or difficulty\, when you “really need someone with you”\, and to Heart Hope\, inspired by watching the area around their home in east London rapidly gentrify\, and feeling that for all the shiny new buildings\, what people really need is other people\, “it’s saying actually all you need is a heart and a soul and to be connected to yourself and to each other.” \n“They’re songs about humans\, and about people being there in your life\,” says Josephine. “People need people. And that’s what this album looks at\, from all the different angles: it’s about being grateful for the people in your life\, for relationships of all sorts.” \nPerhaps most of all\, this album is Anthony and Josephine’s tribute to each other\, to the partnership they have formed\, the places it has taken them and the confidence they have given one another. \nJosephine tells a story that perhaps best sums up the depth of the belief they have in one another — the bond\, the trust\, and the faith they have in their own music: “I used to have lots of jobs\,” she says. “I worked in Waterstones\, and waiting tables\, and Ant was the person who told me to give them up. He told me to call up my boss and say “Sorry I can’t work at Waterstones anymore\, I’m being a musician.” He said “we’re going to do this. And that was the same day we wrote that sign.” \n*** \nLANY \n \n[Website] [Facebook] [Twitter] \nInitially harvested entirely behind a Windows computer during what industry veterans have comically–‐referenced as the most–‐productive handful of months by a new artist\, this genre–‐bending band is prepping a busy 1st quarter of touring in 2016 in what is destined to be the year LANY becomes a household name. Born in a Nashville bedroom\, LANY (pronounced LAY–‐NEE)\, comprised of Paul\, Les and Jake\, are a trio that started as a group of friends looking to combine their unique skills to “see what happens.” LANY had initial unprecedented success on Soundcloud’s platform which was enough to get Soundcloud’s internal cloud of executives to partner with the new artist\, and impactful social platforms like Snapchat have been avid supporters – LANY played their Holiday party this past December. \nMasochists in love with an underwritten theme of hopeless romance\, LANY front man Paul opens on debut cuts like “Walk Away\,” “youarefire” and “ILYSB\,” with vocals that are glacial while engaging\, and draw you into their heartbreak manifesto; and a vibe reminiscent of the 80s on tracks like “Made In Hollywood” and “4EVER!” LANY makes it clear that lethal good looks and vocal prowess are not mutually exclusive\, and even guys with all of the above get their hearts broken. \nSince their initial experiment to get feedback on what was just an idea little over a year ago\, LANY has released 2 EP’s to their dedicated and rapidly growing fan base. Often utilizing the success trends within the millennial landscape\, LANY has zeroed in on a gap in the music business that aches for a sound like theirs. \nIn 2015 LANY wrapped tours with Halsey\, Tove Styrke\, Zella Day\, Twin Shadow and X Ambassadors. They played Lollapalooza and Sloss Festival in the summer and ended the year with a headline run on the Westcoast. As for 2016\, in February they play Summit Series in Utah and perform 12 shows with Troye Sivan in North America; in March they play 11 Arena shows with Ellie Goulding in the UK; and then they go on to play Squamish and Shaky Knees Festivals.
URL:https://royaleboston.com/event/oh-wonder/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160617T220000
DTEND;TZID=America/New_York:20160617T220000
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SUMMARY:Nicky Romero
DESCRIPTION:21+ \n*Management reserves the right to refuse entry / Admission not guaranteed after midnight / No refunds of any kind all sales are final.
URL:https://royaleboston.com/event/nicky-romero/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20160618T183000
DTEND;TZID=America/New_York:20160618T183000
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CREATED:20160411T120030Z
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SUMMARY:Oh Wonder
DESCRIPTION:Second show added due to overwhelming demand! \nDoors: 6:30 pm / Show: 7:00 pm \nThis event is all ages.\nTickets on sale Fri. 4/15 at noon! \n*** \n \n*** \nOh Wonder \n \n[Website] [Facebook] [Twitter] \nThere is a sign pinned to the wall of Oh Wonder’s recording studio in south-east London\, a pact of sorts\, signed by the band’s two members\, Josephine Vander Gucht and Anthony West\, in the winter of 2012. It isn’t a checklist or a plan so much as a setting down of shared dreams for their musical careers. “We wrote it to say that we’re dependent on one another\,” explains Josephine. “That there are things we want to achieve\, and we can help each other get there.” \nThat Oh Wonder have achieved all of these dreams in the first year since starting the project is testament to their talent and their perseverance\, but even they seem a little startled by how much more they have attained: the 100 million streams and now their debut album\, a collection of 15 impeccably-crafted songs that explore London and loneliness\, love and the need for human relationships. \nJosephine was a classically-trained solo performer and Anthony a singer and producer whose lives and careers overlapped for several years — a run of near-encounters and half-conversations at gigs and venues\, and vague introductions through musical acquaintances and mutual friends. It was only when they finally sat down in Anthony’s former studio in north London with a view to producing an EP of Josephine‘s solo material that they realised their great musical bond. “We found all our favourite bands were the same bands\, all our favourite songs were the same songs\,” says Anthony. “It was a day of saying ‘Oh you should listen to this’. And then the other one saying ‘I know that song. That’s one of my favourite songs.’” “It was\,” adds Josephine “really\, really odd. I’ve never had that. I’ve never felt that closely aligned with someone\, musically speaking\, and more widely in terms of how we view the world.” \nIt was Anthony’s suggestion that they begin writing together — purely for fun at first\, as an exercise in songwriting and collaboration while they pursued their other musical projects. The first song they wrote was called Body Gold and was\, Josephine says\, “the marker for what the sound of Oh Wonder was: electronic and somewhat R’n’B\, which was totally surprising\, and totally different to our solo work\, but we were really proud of it.” \nStill\, for 18 months they did nothing with it. Anthony moved to London and released an EP as part of a duo\, Josephine was busy writing and recording as Layla. “But we thought it was a waste to leave Body Gold unheard\,” says Anthony. And so they decided to post it on the internet\, anonymously. \nThat day they went to a café in east London\, posted the song on SoundCloud and emailed a few of their favourite music blogs about it. “We were in this café\,” Josephine remembers\, “and we were looking at the play-count\, and I think it said six plays\, and then all of a sudden these blogs started posting the song — really lovely write-ups saying ‘Who the hell are these people? They’re about to blow up the internet.’” They sat in the café and watched the play count climb to 100. A few weeks later it had reached 100\,000 plays. Just over a year later and they have tens of millions of plays and a string of sold out headline shows across the UK\, Europe\, Australia and the USA. “It was just really\, really bizarre. And odd. And completely accidental\,” she says. “We didn’t tell anyone it was us\, we didn’t ask people to listen\, we didn’t tell our friends\, it was so far removed from us. But I genuinely think that the reason so many people connected with it was because it was really sincere.” \nThe plan from the start was to release a song a month\, for the course of a year. “We approached it as a songwriting project rather than an artist project\,” continues Anthony. “And so the most important thing of all is the song and we would never release what we consider to be a bad song.” \nThey had already written two other tracks: Shark and All We Do — a track Josephine finds most affecting. “It’s about the human propensity to play it safe and not push yourself beyond the parameters of normal life\,” she says. “It’s about just existing and not wondering or being inquisitive. It’s about how a lot of people sink into the monotony of everyday life. And how it’s a shame\, because the world’s there for the taking\, and you’ve got to go grab it and have an adventure.” \nTheir own adventure soon gathered pace. They found they could write quickly\, finishing the body of a song in 20 minutes or so and spending more time\, they say\, on the production. “Writing together is a weird magical thing\,” says Josephine. “More than anybody else in the world I trust Ant. Which makes the writing process totally open\, totally vulnerable and non-judgmental\, and means you can say all of these things openly in a song.” \nThe things they chose to say all possess a striking tenderness and a tangible passion for life\, ranging from exquisite break-up songs Drive\, Landslide and The Rain to quiet rallies against materialism\, gambling\, gentrification and globalization\, and\, in Lose It\, a song that serves as a tribute to a night out they once had in Melbourne\, where as the sun came up\, Josephine found herself at a party dancing in her underwear to Destiny’s Child. “I’ve never before felt what I felt that night\,” she says. “I didn’t take any drugs\, and I wasn’t even drunk\, there was just something heady in the air. It was the first time I’d ever felt untethered from myself.” \nThough they vary from piano-led ballads to whip-sharp electronica\, what unites all of Oh Wonder’s songs is their extraordinary sense of humanity. “We didn’t realise it at first\, but a lot of our songs are about relationships and support\,” says Josephine. Anthony points to album opener Livewire\, “which is about needing someone to lift you up\, someone who can bring you up from your lowest point\, bring you back to life\, be the heartbeat you need…” and to White Blood\, about times in life\, in illness or difficulty\, when you “really need someone with you”\, and to Heart Hope\, inspired by watching the area around their home in east London rapidly gentrify\, and feeling that for all the shiny new buildings\, what people really need is other people\, “it’s saying actually all you need is a heart and a soul and to be connected to yourself and to each other.” \n“They’re songs about humans\, and about people being there in your life\,” says Josephine. “People need people. And that’s what this album looks at\, from all the different angles: it’s about being grateful for the people in your life\, for relationships of all sorts.” \nPerhaps most of all\, this album is Anthony and Josephine’s tribute to each other\, to the partnership they have formed\, the places it has taken them and the confidence they have given one another. \nJosephine tells a story that perhaps best sums up the depth of the belief they have in one another — the bond\, the trust\, and the faith they have in their own music: “I used to have lots of jobs\,” she says. “I worked in Waterstones\, and waiting tables\, and Ant was the person who told me to give them up. He told me to call up my boss and say “Sorry I can’t work at Waterstones anymore\, I’m being a musician.” He said “we’re going to do this. And that was the same day we wrote that sign.” \n*** \nLANY \n \n[Website] [Facebook] [Twitter] \nInitially harvested entirely behind a Windows computer during what industry veterans have comically–‐referenced as the most–‐productive handful of months by a new artist\, this genre–‐bending band is prepping a busy 1st quarter of touring in 2016 in what is destined to be the year LANY becomes a household name. Born in a Nashville bedroom\, LANY (pronounced LAY–‐NEE)\, comprised of Paul\, Les and Jake\, are a trio that started as a group of friends looking to combine their unique skills to “see what happens.” LANY had initial unprecedented success on Soundcloud’s platform which was enough to get Soundcloud’s internal cloud of executives to partner with the new artist\, and impactful social platforms like Snapchat have been avid supporters – LANY played their Holiday party this past December. \nMasochists in love with an underwritten theme of hopeless romance\, LANY front man Paul opens on debut cuts like “Walk Away\,” “youarefire” and “ILYSB\,” with vocals that are glacial while engaging\, and draw you into their heartbreak manifesto; and a vibe reminiscent of the 80s on tracks like “Made In Hollywood” and “4EVER!” LANY makes it clear that lethal good looks and vocal prowess are not mutually exclusive\, and even guys with all of the above get their hearts broken. \nSince their initial experiment to get feedback on what was just an idea little over a year ago\, LANY has released 2 EP’s to their dedicated and rapidly growing fan base. Often utilizing the success trends within the millennial landscape\, LANY has zeroed in on a gap in the music business that aches for a sound like theirs. \nIn 2015 LANY wrapped tours with Halsey\, Tove Styrke\, Zella Day\, Twin Shadow and X Ambassadors. They played Lollapalooza and Sloss Festival in the summer and ended the year with a headline run on the Westcoast. As for 2016\, in February they play Summit Series in Utah and perform 12 shows with Troye Sivan in North America; in March they play 11 Arena shows with Ellie Goulding in the UK; and then they go on to play Squamish and Shaky Knees Festivals.
URL:https://royaleboston.com/event/oh-wonder-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:20160618T220000
DTEND;TZID=America/New_York:20160618T220000
DTSTAMP:20260413T204545
CREATED:20160616T183549Z
LAST-MODIFIED:20160616T183549Z
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SUMMARY:Richard Fraioli
DESCRIPTION:21+
URL:https://royaleboston.com/event/richard-fraioli/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20160620T190000
DTEND;TZID=America/New_York:20160620T190000
DTSTAMP:20260413T204545
CREATED:20160427T145151Z
LAST-MODIFIED:20160427T145151Z
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SUMMARY:[SOLD OUT] Jon Bellion
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is All Ages. \nThis show is SOLD OUT! \n*** \n \n  \n  \n*** \nJon Bellion \n \n[Website] [Facebook] [Twitter] \nJon Bellion is a singer\, songwriter and producer from New York. After beginning his career as a songwriter\, Bellion signed to Visionary Music Group\, an independent label based out of New York in August of 2012. Jon’s sound is an eclectic mix of pop\, hip hop\, rap and soul\, citing musical influences like Andre 3000 and Kanye West. \nJon recently released “The Definition\,” an 11 track album that really captures his genre blending sound. Jon wrote and produced 10 of the 11 tracks on the album. An amazing feat that continues to separate him from any other singer is his ability to produce his entire catalog that’s helped make his first projects musically diverse. The rollout to “The Definition” included singles\, “Munny Right\,”Luxury\,””Simple and Sweet\,”and “Carry Your Throne.” \nBellion’s 2014 was highlighted by his national headline tour\, “The Beautiful Mind Tour\,” selling out cities such as Los Angeles\, New York\, Chicago\, Minneapolis\, San Francisco\, Boston and Chappell Hill. In December 2014\, Bellion was named the winner of Spotify’s Emerging Artist program. Jon is working on his next album throughout 2015 and expects to return on the road. \n*** \nSonReal \n \n[Website] [Facebook] [Twitter] \nFlanked by a squad of quirky characters unafraid to rock bowl cuts and mustaches\, spitting bars like nobody’s business\, and melting hearts left and right\, SonReal would be just as at home in a Wes Anderson or Farrelly Brothers movie as he is behind a mic.\nHip-hop has never seen a maestro quite like the British Columbia-born rapper\, singer\, and songwriter. That’s why he’s already earned multiple Canadian Juno Award nominations including “Rap Recording of the Year” for “Everywhere We Go” in 2014\, racked up millions of Spotify streams and YouTube views\, and packed shows all over the continent. However\, his story begins in the tiny town of Vernon. \nGrowing up\, he’d watch his father sing and play country songs on an acoustic guitar with rapt attention. By high school\, he started frequenting the local skate park\, and became infatuated with the lifestyle of music and skateboarding. At the time\, his musical tastes spanned everything from Guns N’ Roses to Green Day\, but listening to Nas’s Illmatic and Mobb Deep’s The Infamous resonate through the park would change his life. \n“As a kid from a small town\, I loved hearing stories of these artists from Queensbridge and Brooklyn\,” he says. “It was like listening to an exciting movie play out. That made me want to rap.” \nFollowing high school\, SonReal spent his days working as a carpenter and his nights writing and recording countless songs at home. Quietly and diligently honing his skills\, he released a series of buzzing mixtapes beginning with Where’s Waldo in 2011 and followed by Words I Said and Good News just a year later. Hailing from Canada meant he had to grind twice as hard to be heard globally. \n“There weren’t any studios in my town\,” he explains. “I couldn’t have a mentor\, because no one was rapping. I taught myself making music on an old desktop. Touring is tough because you have to drive longer distances in much worse weather than America. I got made fun of a lot. During the week\, I was always getting fired from carpentry jobs\, because I’d be up late recording or I’d quit to go on tour. I never gave up though. I decided I had to go big.” \nHe did just that with the music video for “Everywhere We Go.” Boasting the best talent show sequence since Napoleon Dynamite\, it introduced a bevy of memorable mischief makers and spotlighted the many sides of SonReal. The clip would rack up over one million views in less than a month as he received acclaim from MTV Canada\, Noisey/Vice\, Earmilk\, HipHopDX\, and many more\, setting the stage for a recording deal with independent label Black Box Recordings. \n“There’s so much static out there\,” he sighs. “It’s so easy to make a music video with an SLR. I had to do something deeper. I’m not good at standing in front of a car rapping or dancing on a roof with a bunch of girls in a club. It’s not me. I strive to be myself and do things I want no matter how much they scare the fuck out of me. All of the characters are big extensions of who I am.”\nHe continued this visual tradition with “Preach\,” which would receive Much Music Video Awards nominations for “Hip Hop Video of the Year” in 2015. Along the way\, he toured Canada many times\, and embarked on his first U.S. run during 2015. Signing to Capitol Music Group\, he ventured down to Los Angeles to record with the likes of super producer RedOne [Lady Gaga\, Nicki Minaj] and Rahki [Kendrick Lamar\, Eminem]. \nHis 2016 single\, “Can I Get A Witness\,” puts him on the stand (literally) to speak to his biggest audience yet. Produced by RedOne and Rush\, the track shimmies between a funky bass line and delicate beat as SonReal deftly presents his lyrical case before an unshakable refrain. Meanwhile\, the unforgettable crew from “Everywhere We Go” makes their return on-screen. \n“Even though I was working with a pop producer which I was very much not used to\, I didn’t sacrifice anything\,” he assures. “The song is undeniably me. From the moment we got into the studio\, I told Red that. Some people will ride with you all day\, and some people won’t. We aren’t following anyone. I’m giving you exactly who I am.” \nOn his forthcoming major label full-length debut\, SonReal officially invites everybody into his world. \n“When I started making music\, all I ever wanted to do was make people laugh\, make people cry\, and make people feel something\,” he leaves. “That’s what music did for me. That’s why I try to do different things under the same umbrella. If the listener feels emotion when listening to it\, I have done my job.” \n***\nBlaque Keyz \n \n[Website] [Facebook]
URL:https://royaleboston.com/event/jon-bellion/
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:20160621T200000
DTEND;TZID=America/New_York:20160621T200000
DTSTAMP:20260413T204545
CREATED:20160607T175628Z
LAST-MODIFIED:20160607T175628Z
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SUMMARY:Girls Night Out
DESCRIPTION:Girls Night Out The Show “Break The Rules 2016 Tour” \nShowtime 8pm \nLadies mark your calendars and tell all your friends you have a date with the #1 Male Revue show in the country! Direct from Las Vegas comes GIRLS NIGHT OUT the SHOW! Ladies this is the real deal featuring cast members formerly of the world famous Chippendales\, Men of LAS VEGAS\, & Australia’s Thunder from Down Under just to name a few live on stage for the biggest most exciting ladies night event of the year!
URL:https://royaleboston.com/event/girls-night-out/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub,Special Events
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DTSTART;TZID=America/New_York:20160622T190000
DTEND;TZID=America/New_York:20160622T190000
DTSTAMP:20260413T204545
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LAST-MODIFIED:20160328T140019Z
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SUMMARY:[SOLD OUT] Gregory Alan Isakov and The Ghost Orchestra
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nThis show is SOLD OUT \n*** \n \n*** \nGregory Alan Isakov and The Ghost Orchestra \n \n[Website] [Facebook] [Twitter] \nBorn in Johannesburg\, South Africa\, and calling Colorado home\, Gregory Alan Isakov has been traveling all his life. Songs that hone a masterful quality tell a story of miles and landscapes\, and the search for a sense of place. His song-craft lends to deep lyrical masterpieces\, with hints of his influences\, Leonard Cohen and Bruce Springsteen. He has been described as “strong\, subtle\, a lyrical genius.” Isakov has just completed an album of his songs played in collaboration with The Colorado Symphony\, scheduled to be released June 10\, 2016. As part of this symphony record release tour\, he will be playing with The Ghost Orchestra\, a symphonic ensemble made up of Colorado’s own\, including members of The Colorado Symphony. \n“[Isakov] churns up his own musical atmosphere\, ruled by the moon and the sea\, at least aesthetically if not always lyrically. That he can do the same thing alone onstage…is remarkable.”\nNO DEPRESSION \n“…Isakov’s presence [is] delicately hypnotic\, proving folk music can be electric and impassioned without that virulent Mumford strum.”\nROLLING STONE \n“…an eloquent lyricist who delivers soul searching ruminations filled with cosmic pondering\, nomadic wisdom and plenty of earthy metaphors. His understated voice has a hushed force akin to that of Jose Gonzalez’s and\, at its best\, the alluring comfort of Paul Simon’s.”\nTHE WASHINGTON POST \n*** \nMandolin Orange \n \n[Website] [Facebook] [Twitter] \nAfter the breakout critical success of Mandolin Orange’s Yep Roc debut\, This Side of Jordan\, you’d expect the relentless onslaught of touring that accompanied it to seep into the writing of the North Carolina duo’s follow-up. You’d expect the sound to reflect long days on the road\, long nights onstage\, unfamiliar cities\, countless miles. You’d expect the classic “road record.”\nBut you’d be wrong. \n“All of these songs are definitely a product of being on the road\,” says multi- instrumentalist/singer Emily Frantz of Mandolin Orange’s gorgeous new album\, Such Jubilee\, “but they’re not about the road.” \n“They’re about home\,” explains songwriter/multi-instrumentalist/singer Andrew Marlin. “Not because we were missing it\, but because when you’re gone so much\, you start realizing what you have and what’s waiting for you. You realize there’s this place to come back to at the end of the journey.” \nThe road has been good to Mandolin Orange since the 2013 release of This Side of Jordan. NPR called the album “effortless and beautiful\,” naming it one of the year’s best folk/Americana releases\, while Magnet dubbed it “magnificent\,” and American Songwriter said it was “honest music\, shot through with coed harmonies\, sweeping fiddle\, mandolin\, acoustic guitar and the sort of unfakeable intimacy that bonds simpatico musicians like Gillian Welch and David Rawlings.” The record earned them performances everywhere from the iconic Newport Folk Festival to Pickathon\, as well as tours with Willie Watson\, Gregory Alan Isakov\, The Wood Brothers\, and more. \nFor the Such Jubilee sessions\, Marlin and Frantz set up facing each other with just a vocal and instrumental mic each in Asheville’s Echo Mountain studio. It proved to be the perfect setup to capture the undeniable chemistry of their live performances. \nOn “Settled Down\,” Marlin looks at what it takes to find that nearly-telepathic level of comfort in a relationship\, singing\, “Moments\, just fleeting times with little wings of gold / remind us of how real we find true love in every sign of getting older.” “Daylight” looks for peace in long- term companionship and trust\, “That Wrecking Ball” meditates on the sometimes ravaging passage of time\, and album closer “Of Which There Is No Like” is a delicate\, wistful duet about coming home. \nNot all of the songs are purely introspective\, though. “Jump Mountain Blues” brings to life a haunting Native American legend from the rural Virginia town where Marlin spent weekends growing up\, “Rounder” is written in the cowboy tradition and can be heard as a statement against capital punishment\, and the ambitious “Blue Ruin” was penned in response to the horrific violence at Sandy Hook. \nIt’s a weighty moment on an album that doesn’t shy away from grappling with difficult topics: intimacy\, death\, distance\, regret. Such Jubilee is a record about home\, both the place and the idea. Some days it’s a safe\, warm\, loving refuge from the world outside. Other days it’s cold and empty and too quiet. Either way\, it’s always waiting for you at the end of the road.
URL:https://royaleboston.com/event/gregory-alan-isakov-and-the-ghost-orchestra/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160623T190000
DTEND;TZID=America/New_York:20160623T190000
DTSTAMP:20260413T204545
CREATED:20160327T160027Z
LAST-MODIFIED:20160327T160027Z
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SUMMARY:Allen Stone
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 4/1 at noon! \n*** \n \n*** \nAllen Stone \n[Website] [Facebook] [Twitter] On his third full-length album\, soul artist Allen Stone proves himself deeply devoted to making uncompromisingly soulful music that transcends all pop convention. Made in collaboration with Swedish soul singer/songwriter/phenom Magnus Tingsek\, Radius captures the warm energy of that creative connection and transports the listener to a higher and more exalted plane. Now embarking even higher ATO Records will be releasing Radius Deluxe on March 25th\, which will include a second disc of 7 bonus tracks that didn’t make the original record release. \n“I couldn’t be happier to return to ATO\,” Stone exclaimed. “They are a label that works tirelessly for their artists. Their team is made up of genuine music lovers whose concern is creating timeless art not bolstering their 401k’s.” \nRadius marks the follow-up to the Chewelah\, Washington-bred 28-year-old’s self-released and self-titled 2011 sophomore effort that climbed to the top 10 on Billboard’s Heatseekers chart. As the New York Times recently said Stone’s lyrics “promise honest sentiments\, grooves built with physical instruments and a gospel-rooted determination to uplift … glimmers of Al Green\, Bill Withers\, Curtis Mayfield\, George Clinton\, Prince and a bit of Sting.” \nAlong with immersing himself in a songwriting approach that involved unflinching examination of “some very dark and negative moments in my life\,” Stone shaped the sound and feel of Radius by pushing himself to “get past the boundaries of what I felt comfortable with\, so that I could progress into a whole new level of creativity.” Despite that sometimes-daunting process\, Radius wholly reveals Stone’s easy grace in blending everything from edgy soul-pop and earthy folk-rock to throwback R&B and Parliament-inspired funk. \nCulled from several dozen songs penned through a year and a half of constant writing and refining\, Radius Deluxe bears a title that reflects both its scope and intimacy. \n“The radius is that line extending from the center of the circle to its exterior\,” says Stone. “And in a lot of ways this album is about getting out things deep inside—whether it’s love or insecurity or joy or frustration about things going on today.” \nWhen it comes to the new bonus tracks Stone added\, “I am very excited for “Bed I Made” to finally be released to the public. It’s a song that has long been a favorite of my audience and I’m glad that they will finally have a studio version.” \nRadius first began to come to life back in the fall of 2013\, when Stone headed to Sweden to join in a writing session with Tingsek. “His musicality is so outside-the-box\, and it really stretched me as an artist\,” says Stone\, who’d tapped Tingsek as one of his opening acts for an 85-date headlining tour in 2012. “We just kept on throwing a wrench into the works and tried to create something that’s the complete antithesis of what you’d expect from pop music.” \nAfter recording the bulk of the album in Sweden\, Stone rounded out Radius’s production at his own studio in the woods of northeast Washington and in L.A.-based sessions with producers like Benny Cassette (Kanye West) and Malay (a co-producer on Frank Ocean’s channel ORANGE). \nLike many of his own musical heroes—Stevie Wonder chief among them—Stone pulls off the near-magical feat of channeling a weight-of-the-world sensitivity into his songs while still radiating hope and promise. And though that depth of consciousness feels transmitted from a more golden era\, Radius continually hones in on issues both timeless and of-the-moment\, with Stone’s breezily poetic lyrics touching on topics ranging from rampant materialism (on the tenderly string-accented\, harmony-soaked “American Privilege”) and the toxic takeover of technology in art (on the gutsy and groove-heavy “Fake Future”). \n“That song’s mainly about how technology’s infiltrating music in a way that’s making it less and less human and taking all the heart out of it\,” Stone says of the latter track\, a soul-pop powerhouse peppered with playfully cutting lines like “Rock stars pushing buttons/Few actually play/City wasn’t ever built on lights and Special K.” And as evidenced by Radius’s lush yet raw sonic landscape—wherein the only hint of synth comes from a Moog analog synthesizer—Stone stayed true to his pledge to “keep fakeness completely out of this record” and rely entirely on live instrumentation. \nEqually introspective and outwardly searching\, Radius also finds Stone exploring intensely personal matters\, such as depression on the stark and lovely\, acoustic-guitar-woven ballad “Circle” (“That one was written at a pretty dark time for me\,” Stone points out. “It’s about how depression can put you into a kind of circle\, where you’re just trying to find a way out but it keeps on leading you back inside”). Showing his skill at crafting a killer love song as well\, Stone looks at heartbreak and regret on the aching\, electric-piano-infused “I Know That I Wasn’t Right\,” slips into hopeless romanticism on the dreamy R&B pastiche “Barbwire\,” and unleashes some starry-eyed affection on the dance floor-ready “Symmetrical”. And in tracks like the ultra-catchy album-opener “Perfect World” and the fiery\, horn-laced “Freedom\,” Radius unfolds into epically joyful anthems that show the full range and power of Stone’s vocals. \nStone started working those vocals as a kid\, thanks largely to his parents’ influence. “My father was a minister so I spent about half my childhood in church\, watching my mom and dad sing together and lead the congregation in song\,” he recalls. By the time he was 11 he’d picked up a guitar and written his first song\, and soon began self-recording demo tapes to pass along to classmates. Although Stone enrolled in Bible College after high school\, he quickly dropped out to move to Seattle and kick start his music career. “I had an ’87 Buick and I’d drive up and down the west coast\, playing any gig I could get just to try to put my music out there\,” he says. \nAt age 22\, Stone self-released his debut album\, 2010’s Last To Speak. But it was his self-titled follow-up (on which he joined forces with former Miles Davis keyboardist Deron Johnson) that ended up earning him serious recognition. Along with entering the top five on iTunes’ R&B/Soul chart after its digital release\, Allen Stone prompted him to score appearances on such late-night talk shows like Conan. And upon partnering with ATO Records for a physical release of his self-titled album in 2012\, Stone soon turned up on the likes of the Late Show with David Letterman and landed a gig as the opening act for soul legend Al Green. In the midst of the buzz\, he also took up a grueling touring schedule\, tearing through nearly 600 shows in just two years. \nFor Stone\, all that time onstage went a long way in preparing him for the many creative breakthroughs he’s made on Radius. \n“I think you really grow as a musician when you’re playing right in front of people\, and for me constantly growing and progressing and getting better is really the most important thing\,” he says. Ruminating on the emotional undertones of his new album’s title and noting that\, “the center of me is my heart\,” Stone says he also hopes that Radius will ultimately help listeners shed new light on their own struggles. “There’ve been times in my life when records were my saving grace and really helped me to figure out who I am\, and I’d love for my music to have that kind of impact on a kid who’s looking for his or her own place in this life\,” he says. “Because I absolutely believe that if you’re going to stand at a microphone and say something\, you need to recognize that as a privilege. You’ve got to be incredibly careful about it\, and really put all your heart into the message that you’re sending out into the world.” \n*** \nGreat Caesar \n \n[Website] [Facebook] [Twitter] \nIn the dead of winter\, the grand summer homes of the Hamptons sit vacant and silent\, their yards piling high with snow behind the perfectly manicured hedges that line the quiet streets… or so you might expect. But\, if you paid a visit to Southampton\, NY last winter\, you may have noticed that one house in particular was neither vacant nor silent\, but rather spilling over with raucous music and joyful listeners. A knock on the door would have welcomed you into the winter retreat of Great Caesar\, the six-piece\, Brooklyn-based band bringing together chamber rock and indie soul in a singularly anthemic and captivating blend. Don’t fret if you missed those wild winter nights\, though. They were just the warm-up. Now\, with a new EP (titled ‘Jackson’s Big Sky’ after that Southampton house) and extensive US tour dates on the way\, Great Caesar is ready to bring their one-of-a-kind sound directly to you. \nThe band’s roots stretch back to Connecticut\, where frontman/guitarist/singer John-Michael Parker teamed with bassist Adam Glaser\, trumpeter Tom Sikes\, and guitarist Mike Farrell while they were all still in high school. They built a local following exploring a variety of sounds\, and added drummer Thomas Stephens and vocalist Niki Morrissette after relocating to New York City.  \n“I went to Yale\, and we had a guy at NYU\, a guy at UConn\, and another at Williams\, so we started going all over playing shows at each other’s schools\,” explains Parker. “We recorded a few songs at a little studio and printed a bunch of copies of that first CD. We weren’t thinking about the music industry or anything at the time — we were just doing it for fun\, and to make something for ourselves.” \nThat all changed when a filmmaker approached the band with an ambitious concept for a video for their song “Don’t Ask Me Why” centered around themes of social justice and drawing parallels between the civil rights movement of the 1960’s and the modern fight for gender and sexual equality.  \n“When we lost our initial source of funding\, we decided to do it ourselves and raised $50\,000 on Kickstarter\,” says Parker\, who tapped Beirut/Modest Mouse producer Griffin Rodriguez to helm the recording of the song along with three additional tracks that would make up their self-titled EP. “It was a three-week shoot and it took four or five months to actually release it\, but we somehow managed to get connected to Upworthy\, and when the video went out\, it got more than 100\,000 views in its first week.” \nMTV raved that it “proves love conquers all\,” while Relix said it “challenges viewers to take a stand for equality” and named Great Caesar a band “on the verge.” The video garnered attention from influencers and tastemakers as varied as Russell Simmons and Deepak Chopra to Arsenio Hall and Superbowl champion/LGBT advocate Brendon Ayanbadejo\, and it earned the band an invitation to perform and speak at TEDxHollywood\, Summit Series\, and The Feast. \nWith excitement around the group growing\, Great Caesar left Brooklyn behind for two months in early 2015 to hunker down in Southampton and focus on new music and their first tour to SXSW. On two different weekends\, they invited a few dozen friends and fans from the city to come live in the house with them and listen to the new tunes. The morning after one of those winter showcases\, they filmed a live performance using empty cans and kitchenware for percussion that landed them on a featured post from NPR as a standout performance in the Tiny Desk Concert contest. Living together in such close quarters proved to be an invaluable experience for the band\, both for personal bonding and for their creative output\, which was partly inspired by a life-changing visit to the Marion Correctional Institution in Ohio. \n“None of us knew what to expect\, but we ended up having this incredibly powerful experience\,” says Parker of the performance\, which they routed into a national tour last fall. “First\, we got to be a part of a spoken word session that a few of the guys were doing\, where we’d play a little bit and they’d share their poetry. It was honest\, vulnerable\, and really skillful. When the time came for our show\, over 100 inmates filed into the chapel\, and we just dove right in. As soon as we finished the first song\, ‘Still Love\,’ everyone jumped to their feet and gave us a standing ovation\, which sort of shocked us. But then they jumped up and cheered for every song after that\, too\, and by the end of the set\, we had this very emotional\, visceral experience of the power of music and performance. It was an important moment for our band to see the impact we can have on folks\, and to feel the impact an audience can have on us\, even when we’re least expecting it.” \nTwo songs Parker penned while reflecting on the band’s experience at Marion—the warm and soulful lead single “Hey Mama” and the harmony-rich\, chamber-folk track “Jolene”—are early indications of the band’s remarkable growth and maturity in the short time since their last release. Recorded at the iconic Bear Creek studio outside Seattle with producer Ryan Hadlock (The Lumineers\, Vance Joy)\, the tracks showcase sophisticated arrangements full of dreamy guitars\, lush horns\, and infectious melodies.  \nThese tracks\, though\, are only a part of this new beginning for Great Caesar. ‘Jackson’s Big Sky’ is out now\, soon to be followed by a US tour\, and more videos are already in the works. And who knows\, maybe they’ll play another snowy house show or two while they’re at it. The band may have found their sound in the dead of winter\, but everything Great Caesar touches is heating up.
URL:https://royaleboston.com/event/allen-stone-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160624T220000
DTEND;TZID=America/New_York:20160624T220000
DTSTAMP:20260413T204545
CREATED:20160421T230142Z
LAST-MODIFIED:20160421T230142Z
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SUMMARY:Jauz
DESCRIPTION:21+ \n*Management reserves the right to refuse entry / Admission not guaranteed after midnight / No refunds of any kind all sales are final.
URL:https://royaleboston.com/event/jauz/
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:20160625T183000
DTEND;TZID=America/New_York:20160625T183000
DTSTAMP:20260413T204545
CREATED:20160503T223706Z
LAST-MODIFIED:20160503T223706Z
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SUMMARY:The English Beat / Soul Asylum
DESCRIPTION:Doors: 6:30 pm / Show: 7:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 5/6 at noon! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nThe English Beat \n[Website] [Facebook] [Twitter] \nThe English Beat is a band with an energetic mix of musical styles and a sound like no other. The band’s unique sound has allowed it to endure for nearly three decades and appeal to fans\, young and\nold\, all over the world.  \nWhen The English Beat (known simply as The Beat in their native England) rushed on to the music scene in 1979\, it was a time of massive social and political unrest and economic and musical upheaval. This set the stage for a period of unbridled musical creativity\, and thanks in large part to the Punk movement and it’s DIY approach to making music\, artists like The Beat were able to speak out and speak their mind on the news of the day\, as in “Stand Down Margaret”\, things that mattered to them and the youth culture\, as in “Get A Job”\, and universal matters of the heart and soul\, as in their classic hits “I Confess” and “Save It For Later”. \nThe original band consisted of singer-songwriter Dave Wakeling on vocals and guitar\, Andy Cox on guitar\, David Steele on bass\, and Everett Morton on drums – later additions Ranking Roger (toasting)\nand foundational First Wave Ska legend Saxa (saxophone) completed the outfit. The band crossed over fluidly between soul\, reggae\, pop and punk\, and from these disparate pieces they created an infectious dance rhythm. \nThe Beat first came to prominence as founding members of the British Two Tone Ska movement\, with their classic first album “Just Can’t Stop It” fitting squarely in that genre. Along with their\ncontemporaries The Specials\, The Selecter\, and Madness\, the band became an overnight sensation and one of the most popular and influential bands of that movement. \nHowever\, band leader Dave Wakeling never felt constrained by the movement. Dave has always viewed ska as a springboard\, not a straight jacket. Indeed\, the band’s sound continued to evolve over\ntheir first three studio albums\, through the General Public era (a band formed by Dave with Ranking Roger\, the toaster from The Beat)\, and has continued it’s evolution with the forthcoming English Beat album “Here We Go Love”\, a PledgeMusic crowd-funded album set for release in 2016\, the band’s first new album since 1982’s “Special Beat Service”. \nConsummate showman that he is\, Dave Wakeling has continued to keep The Beat alive and strong. Dave continues to tour the world as The English Beat with an amazing all-star ska backing band playing all the hits of The Beat\, General Public\, and songs from his new album “Here We Go Love”. \nYou just can’t stop The English Beat! \n*** \nSoul Asylum \n \n[Website] [Facebook] [Twitter] \n“A friend asked me what kind of records I want to make\, and my answer was that I always want to make a record that I want to hear that’s not already in my record collection\,” says Dave Pirner. “I think we got that on this one.” \nPirner is referring to Change of Fortune\, Soul Asylum’s eleventh studio album\, and its first for Entertainment One Music (eOne Music). The dozen-song set embodies the band’s trademark balance of rocking abandon\, infectious melodic craft and raw-nerved emotional depth\, boasting a compelling set of new Pirner compositions while showcasing the strength and versatility of Soul Asylum’s current lineup\, which teams founding singer/guitarist Pirner with guitarist Justin Sharbono\, bassist Winston Roye and drummer Michael Bland. \nThree and half decades down the road from the band’s indie-punk origins\, Change of Fortune — co-produced by the band and longtime studio collaborator John Fields — is classic Soul Asylum\, with such musically and lyrically pointed new tunes as first single “Supersonic\,” “Can’t Help It\,” “Doomsday\,” “Make It Real\,” and the title track packing a familiar sonic and emotional punch\, while carrying a hard-won sense of survival and perseverance that honors Soul Asylum’s storied history while pointing towards the future. \n“It’s more honest than any record I’ve made in a very long time\, just because there was no one looking over my shoulder and editing me\, which was very liberating for me\,” says Pirner. “It sounds like the vision that I had in mind a really long time ago. When I listen to it\, I think\, ‘That sounds like Soul Asylum\,’ and that’s as good as it gets for me.”  \nChange of Fortune — which features an appropriately arresting cover image by world-renowned wildlife photographer TK — marks the recording debut of the current Soul Asylum lineup\, which has racked up a considerable amount of roadwork and honed its combustible musical chemistry since Sharbono and Roye joined in 2012. Drummer and multi-talented right-hand man Bland joined Soul Asylum in 2005 with an extensive resume that includes work with fellow Minneapolitans Prince and Paul Westerberg. \n“I would say\, without reservation\, that my band is probably the best band on the planet\,” Pirner asserts\, adding\, “That always gets me in trouble\, but it’s not because of me; it’s because of Michael and Winston and Justin. It’s incomprehensible to me that the elements have fallen into place the way they have\, but it’s driving me nuts how much I love this band.” \nSoul Asylum has been inspiring that level of passion since 1981\, when the band\, initially known as Loud Fast Rules\, formed in Minneapolis. The band’s raucous live sets and early releases on the hometown indie label Twin/Tone — including the albums Say What You Will\, Made to Be Broken and While You Were Out — earned it a loyal fan base and widespread critical acclaim. \nSoul Asylum’s indie success led to the band entering the major-label mainstream with 1988’s Hang Time and its 1990 follow-up And the Horse They Rode In On\, and achieving a platinum-level commercial breakthrough with 1992’s Grave Dancers Union and 1995’s Let Your Dim Light Shine. Grave Dancers Union featured the international hits “Runaway Train\,” which won a 1994 Grammy as Best Rock Song\, and “Black Gold\,” while Let Your Dim Light Shine spawned the hit “Misery.” The band went on hiatus after 1998’s Candy from a Stranger\, during which time Pirner released his first solo effort\, Faces & Names. Soul Asylum returned to action in 2006 with The Silver Lining and released Delayed Reaction six years later. \n“When I was a kid\, I wanted to be in a band\, and I decided that’s what I was gonna do\, and that hasn’t changed\,” Pirner notes. “This whole thing is an act of faith\, and the worse the music business gets\, the more of an act of faith it becomes. But I don’t give a f—\, I’m gonna keep doing this until the day I die. We’re always struggling to figure out how we’re gonna make this work\, but I’m not going to waver.  \n“People who feel disenfranchised tend to identify with Soul Asylum\,” Pirner observes. “I’ll look out at the crowd and see people singing along with my songs of frustration and insecurity\, and the irony is not lost on me. There’s a part of me that’s never gonna fit in\, but I love being around people who love music\, and I’m very loyal to the idea of whatever Soul Asylum is. The future is bright\, everything is good\, and if there’s something in this record that can make people feel like things are gonna be OK\, then it’s mission accomplished.”
URL:https://royaleboston.com/event/the-english-beat-soul-asylum/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160625T220000
DTEND;TZID=America/New_York:20160625T220000
DTSTAMP:20260413T204545
CREATED:20160616T191100Z
LAST-MODIFIED:20160616T191100Z
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SUMMARY:Tommy Trash
DESCRIPTION:21+
URL:https://royaleboston.com/event/breeazy-4/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20160701T220000
DTEND;TZID=America/New_York:20160701T220000
DTSTAMP:20260413T204545
CREATED:20160511T191148Z
LAST-MODIFIED:20160511T191148Z
UID:10002374-1467410400-1467410400@royaleboston.com
SUMMARY:Knife Party
DESCRIPTION:21+ \n*Management reserves the right to refuse entry / Admission not guaranteed after midnight / No refunds of any kind all sales are final.
URL:https://royaleboston.com/event/knife-party/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20160702T220000
DTEND;TZID=America/New_York:20160702T220000
DTSTAMP:20260413T204545
CREATED:20160616T192015Z
LAST-MODIFIED:20160616T192015Z
UID:10001683-1467496800-1467496800@royaleboston.com
SUMMARY:FREEDOM
DESCRIPTION:21+
URL:https://royaleboston.com/event/bermudez/
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:20160703T220000
DTEND;TZID=America/New_York:20160703T220000
DTSTAMP:20260413T204545
CREATED:20160627T194905Z
LAST-MODIFIED:20160627T194905Z
UID:10002400-1467583200-1467583200@royaleboston.com
SUMMARY:Hot Mess Sunday
DESCRIPTION:21+
URL:https://royaleboston.com/event/hot-mess-sunday/
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:20160707T190000
DTEND;TZID=America/New_York:20160707T190000
DTSTAMP:20260413T204545
CREATED:20160406T154015Z
LAST-MODIFIED:20160406T154015Z
UID:10002295-1467918000-1467918000@royaleboston.com
SUMMARY:Swans
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 4/8 at noon! \n*** \n \n*** \nSwans \n \n[Website] [Facebook] \nI started Swans in 1982 in NYC. At the time\, I had no musical skills whatsoever\, just instinct and a need to make something happen. The music changed constantly over the years\, and I’m gratified it reached\, and continues to reach\, a fair number of people. After 15 years\, I decided to end Swans\, as the name had become a burden and the associations no longer fit with what I wanted to do into the future. I started Angels of Light in 1999\, and that’s my main musical focus now. I also run Young God Records and release (and sometimes produce) music by people whose music I enjoy. \nDozens of people came and went through the 15 years of Swans existence. These are the people that spring immediately to mind: Michael Gira\, Norman Westberg\, Roli Mossiman\, Harry Crosby\, Sue Hanel\, Jonathan Kane\, Algis Kizys\, Jarboe\, Ted Parsons\, Steve Mcallister\, Larry Mullins\, Virgil Moorefield\, Vudi\, Joe Goldring\, Ronaldo Gonzales\, Vinnie Signorelli\, Christoph Hahn\, Ivan Nahem\, Bill Rieflin\, Bill Bronson\, Phil Puleo\, Anton Fier\, Jenny Wade\, Clinton Steele…and more… \nPS – Jarboe was the longest-lasting Swans contributor of those listed above and contributed more than can be mentioned here. To learn more about her\, go to thelivingjarboe.com \nHere’s some of the music that I enjoyed during the time of Swans: Throbbing Gristle\, Psychic TV\, The Stooges\, Brian Eno\, Teenage Jesus And The Jerks\, DNA\, The Contortions\, Glenn Branca\, Black Flag\, early Pink Floyd\, This Heat\, Kraftwerk\, Herman Nitsch\, Cabaret Voltaire\, Can\, Public Image LTD.\, SPK\, Ennio Morricone\, Leonard Cohen\, Nick Drake\, and always\, always Bob Dylan and The Beatles…ha ha! I’m sure there’s 100s more\, but who cares and I can’t remember anyway… – Michael Gira / Young God Records 2008 \n*** \nOkkyung Lee \n \n[Website] [Facebook] [Twitter] \nA native of Korea\, Okkyung Lee has been developing her own voice in a contemporary cello performance\, improvisation and composition for more than a decade by blending her wide interests and influences.\nSince moving to New York in 2000\, She has released more than 20 albums including her latest solo record Ghil on EditionsMego/Ideologic Organ.\nOkkyung’s versatility has led her to collaborate with numerous artists such as Laurie Anderson\, David Behrman\, Douglas Gordon\, Vijay Iyer\, Christian Marclay\, Thurston Moore\, Jim o’Rourke\, Evan Parker and John Zorn to name just a few. \nAs a composer\, she has received Foundation For Contemporary Arts Grant in 2010 in Music/Sound and Doris Duke Performing Artist Award in 2015.
URL:https://royaleboston.com/event/swans/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160708T220000
DTEND;TZID=America/New_York:20160708T220000
DTSTAMP:20260413T204545
CREATED:20160608T001925Z
LAST-MODIFIED:20160608T001925Z
UID:10002384-1468015200-1468015200@royaleboston.com
SUMMARY:Boston DJ Showcase
DESCRIPTION:21+ \n*Management reserves the right to refuse entry / Admission not guaranteed after 12AM / No refunds of any kind all sales are final.
URL:https://royaleboston.com/event/boston-dj-showcase/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160709T220000
DTEND;TZID=America/New_York:20160709T220000
DTSTAMP:20260413T204545
CREATED:20160628T194532Z
LAST-MODIFIED:20160628T194532Z
UID:10002401-1468101600-1468101600@royaleboston.com
SUMMARY:Tone Terra
DESCRIPTION:21+
URL:https://royaleboston.com/event/tone-terra/
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:20160715T220000
DTEND;TZID=America/New_York:20160715T220000
DTSTAMP:20260413T204545
CREATED:20160608T003526Z
LAST-MODIFIED:20160608T003526Z
UID:10002385-1468620000-1468620000@royaleboston.com
SUMMARY:4B
DESCRIPTION:21+ \n*Management reserves the right to refuse entry / Admission not guaranteed after 12AM / No Refunds of any kind all sales are final
URL:https://royaleboston.com/event/4b/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160716T220000
DTEND;TZID=America/New_York:20160716T220000
DTSTAMP:20260413T204545
CREATED:20160713T104621Z
LAST-MODIFIED:20160713T104621Z
UID:10001691-1468706400-1468706400@royaleboston.com
SUMMARY:Winter In July
DESCRIPTION:21+
URL:https://royaleboston.com/event/winter-in-july/
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:20160722T220000
DTEND;TZID=America/New_York:20160722T220000
DTSTAMP:20260413T204545
CREATED:20160608T005326Z
LAST-MODIFIED:20160608T005326Z
UID:10002386-1469224800-1469224800@royaleboston.com
SUMMARY:Prince Fox
DESCRIPTION:21+ \n*Management reserves the right to refuse entry / Admission not guaranteed after midnight / No refunds of any kind all sales are final.
URL:https://royaleboston.com/event/prince-fox/
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:20160723T220000
DTEND;TZID=America/New_York:20160723T220000
DTSTAMP:20260413T204545
CREATED:20160721T152142Z
LAST-MODIFIED:20160721T152142Z
UID:10002407-1469311200-1469311200@royaleboston.com
SUMMARY:Royale GO
DESCRIPTION:21+
URL:https://royaleboston.com/event/royale-go/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160729T220000
DTEND;TZID=America/New_York:20160729T220000
DTSTAMP:20260413T204545
CREATED:20160608T013432Z
LAST-MODIFIED:20160608T013432Z
UID:10002387-1469829600-1469829600@royaleboston.com
SUMMARY:Matoma
DESCRIPTION:21+ \n*Management reserves the right to refuse entry / Admission not guaranteed after 12AM / No refunds of any kind all sales are final.
URL:https://royaleboston.com/event/matoma-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160730T220000
DTEND;TZID=America/New_York:20160730T220000
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SUMMARY:Sam Pace
DESCRIPTION:21+
URL:https://royaleboston.com/event/sam-pace-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:20160731T190000
DTEND;TZID=America/New_York:20160731T190000
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SUMMARY:Zakk Wylde
DESCRIPTION:Book of Shadows II \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 5/13 at 10am! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n  \n  \n*** \nZakk Wylde \n \n[Website] [Facebook] [Twitter] \nDon’t ask what Zakk Wylde has been up to in the two decades that passed between the release of the singer and guitar legend’s debut solo album\, Book of Shadows\, and its newly-minted\, equally moving and introspective sequel\, Book of Shadows II. In all truthfulness\, a better question would be\, “What hasn’t Zakk Wylde gotten into?” \nHe kicked booze before it killed him and now squeezes endless joy from life with both fists. He’s possessed of boundless energy\, relentless enthusiasm\, and insurmountable charm. His limitless strength of will allows him to lord over a mini-empire that includes Wylde Audio\, The Black Vatican recording studio\, hot sauces\, and Wylde’s very appropriately named Valhalla Java Odinforce Blend coffee. Sure\, artists like St. Vincent and Arcade Fire have gotten into the caffeinated beverage game\, but none draw the same inhuman power from the magic beans as Wylde. \nThe fearlessly introspective melancholy and melody of Book of Shadows helped to make its follow-up one of Rolling Stone’s Most Anticipated Albums of 2016. As fierce and diverse as his work in BLS and as large as his accomplishments as lead guitarist for Ozzy Osbourne have been\, Book of Shadows II offers an even richer look into the spirit and psyche of one of the most beloved pillars of the hard rock community. Brand new tracks like “Sleeping Dogs\,” “Tears of December\,” “Darkest Hour\,” “Harbors of Pity\,” and “The King” are bold proclamations of intense feeling and powerful catharsis. \nAs frontman for Black Label Society\, the New Jersey born West Coast transplant has led the band across nine studio albums\, two live records\, an EP\, and countless international tours. Black Label Society songs like “Stillborn\,” “My Dying Time\,” “Bleed for Me\,” and “In This River” (his tribute to his fallen friend\, the late Dimebag Darrell of Pantera) are all certifiable hard rock anthems\, inexorably linked to Wylde’s larger-than-life persona. He’s the ultimate embodiment of rowdy rock n’ roll warrior. He’s also father to four children\, fiercely devoted to his wife\, Barbaranne\, and a deeply trusted loyal brother in the heavy metal community. \nZakk Wylde has been immortalized by the Hollywood Rock Walk of Fame\, countless rock music publications\, and Guitar World’s 2012 Rock N’ Roll Roast\, where William Shatner\, Stone Cold Steve Austin\, Slipknot’s Corey Taylor\, Scott Ian from Anthrax\, and Guns N’ Roses legend Duff McKagan were among the friends and peers who assembled to good naturedly mock Father Zakk’s beard\, muscles\, and rowdy demeanor. Sharon Osbourne served as roast master\, which made perfect sense – after all\, it was her husband who plucked Wylde from obscurity on the strength of a demo tape\, helping ensure the “bullseye” guitar design would reach iconic status. \nOne of the modern generation’s few true guitar giants\, Wylde served as spiritual successor to the late Randy Rhoads as axeman for Ozzy Osbourne\, collaborating and co-writing on Ozzy classics like “Mama I’m Coming Home” and “No More Tears.” His tenure with The Ozzman includes co-writing and recording several studio albums\, three live albums\, a Grammy for “I Don’t Want to Change the World” and countless world tours and television appearances. Wylde co-wrote Ozzy’s biggest selling album\, No More Tears\, as well as the bulk of the double platinum Ozzmosis. \nZakk Wylde’s powerful pipes\, mayhem-inducing charisma\, mischievous humor\, and instantly recognizable pinch-harmonic driven blues based histrionic guitar shredding have made him the world’s most beloved American Guitar Hero. \n*** \nTyler Bryant & The Shakedown \n \n[Website] [Facebook] [Twitter] \nTyler Bryant & the Shakedown is a rock and roll band born of Nashville\, TN. Their sound is a soulful patchwork of roots-infused melodies and muscular riffs\, all woven tightly with the thread of their alternative psychedelic mystique. It’s as rambunctious\, raw and real as rock & roll gets these days. \nA native of Honey Grove\, TX\, Tyler cut his teeth on greats such as Lightnin’ Hopkins & Freddie King. Bryant studied the blues under Roosevelt Twitty Sr. and believes that the soul in roots music is what puts the “roll” in rock & roll. \nAt seventeen\, Tyler moved to Nashville to write songs and start a band. There he met drummer Caleb Crosby and they became fast friends. “The instant we started playing\,” Caleb says\, “I knew we were going to start a band. We played our first show a week later and haven’t stopped since.” Together they formed what would become the Shakedown. \nGraham Whitford\, a rocker kid from Boston\, was introduced to Tyler as the guy who could put him out of a job. As soon as Tyler heard Graham play\, he asked him to join the band and move to Nashville right away. \nNoah Denney was the final addition to the Shakedown. “His bass sound scared me and he added an edge and attitude to the band that we didn’t even know we needed\,” says Bryant. \nTyler toured as a solo artist for a spell\, playing Eric Clapton’s Crossroads Festival in Chicago\, receiving the Robert Johnson Foundation’s New Generation Award\, and sharing the stage with acts such as B.B. King & Johnny Winter. \n“Playing on my own was cool\, but I really wanted a group of friends I could hang and make music with\,” says Bryant. “The more time I spent with the guys in the Shakedown\, the more they started to feel like my brothers. Now I can’t imagine making music with anyone else.” \nIn 2013 the band released “Wild Child\,” their first full-length album\, which was featured in Rolling Stone\, NYLON Magazine\, Paste Magazine\, Interview\, and many more. The band made its television debut on Jimmy Kimmel LIVE in support of the record that helped gain them a cult like following. \nTyler Bryant & the Shakedown recently inked a deal with John Varvatos/Republic Records and got right into the studio with celebrated producer/engineer\, Vance Powell (Jack White\, Seasick Steve). \nThe bands new EP\, The Wayside\, will be released on November 13th. The first single\, “Loaded Dice & Buried Money” is a raw\, unhinged reminder that some things aren’t always what we perceive them to be. \n“When you give everything you’ve got to something\, you hope it won’t let you fall by the wayside\,” explains Bryant. “This album was inspired by times where the feeling of having nothing felt overwhelming. In those moments\, music offered us an escape. It gave us something that had nothing to do with money or dissolving relationships\, and everything to do with freedom and expression.” \nThe Shakedown has earned their stripes by touring the country and winning fans one at a time. Whether playing a dingy rock & roll club\, touring the country with Jeff Beck & ZZ Top\, or opening for Aerosmith\, this is a band that is proud to be loud and dedicated to leaving it all on whatever stage they set foot on. \n*** \nJared James Nichols \n \n[Facebook] [Twitter]\nJared James Nichols’ is a great mix of 1970’s rock and blues getting attention and press with a debut album just released.
URL:https://royaleboston.com/event/zakk-wylde/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160802T193000
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SUMMARY:The Struts
DESCRIPTION:Doors: 7:30 pm / Show: 8:30 pm \nThis event is all ages.\nTickets on sale Fri. 4/15 at noon! \n*** \n \n*** \nThe Struts \n \n[Website] [Facebook] [Twitter] \nBefore even releasing their first album\, U.K.-bred four-piece The Struts opened for The Rolling Stones in front of a crowd of 80\,000 in Paris\, got hand-picked by Mötley Crüe to serve as the supporting act for their four last-ever performances\, and toured the U.S. on a string of sold-out shows that demanded the band move up to bigger venues to accommodate their fast-growing fanbase. Now with their full-length debut Everybody Wants\, lead vocalist Luke Spiller\, guitarist Adam Slack\, bassist Jed Elliott\, and drummer Gethin Davies reveal the supreme mix of massive riffs and powerfully catchy melodies that’s already slain so many adoring audiences around the globe. \n“Every time we go into the studio we just want to channel exactly what we’re all about onstage—something big\, fun\, unapologetic\, rock & roll\,” says Spiller. “We love a song that makes everybody sing along\, and touring quite extensively over the past few years has given us a lot of inspiration to bring that kind of energy to our album.” \nThe follow-up to Have You Heard—a 2015 EP whose lead single “Could Have Been Me” hit #1 on Spotify’s viral chart\, earned more than 2.5 million Vevo/YouTube views\, and shot to the top 5 on Modern Rock radio charts—Everybody Wants unleashes anthem after arena-ready anthem. Pairing up with producers like Gregg Alexander (former frontman for New Radicals) and Marti Frederiksen (Aerosmith\, Mick Jagger) and recording in such far-flung locales as a refurbished London church and a studio in the Spanish region of Andalucía\, The Struts prove the iconic power that’s prompted Yahoo Music to name them “one of the most exciting and electric performers in rock today” and MTV to proclaim the band “well on their way to bringing rock & roll back to the forefront.” \nThroughout Everybody Wants\, The Struts offer their own undeniable twist on sweetly sleazy glam-rock\, delivering huge hooks and making brilliant use of Spiller’s otherworldly vocal range. Even the album’s breakup songs come on full throttle\, with “Mary Go Round” backing its dreamy acoustic balladry with heavy drums\, blistering guitar work\, and fantastically glam-minded lyrics (“I can’t even pour myself a glass of wine/Because every glass is stained with your lipstick shine”). Also evidence of The Struts’ romantic sensibilities\, the sweeping\, heart-on-sleeve intensity of “A Call Away” offers a stirring testament to love against the odds. “It’s about when I’d just moved to America and had a girlfriend back home\, and everyone was asking how I was going to make it work\,” explains Slack. “The song’s saying that we’ll make it work no matter what\, no matter how many miles apart we are.” \nAt the core of Everybody Wants are power-chord-driven tracks like the hard-charging album-opener “Roll Up” (a “larger-than-life caricature of the person I am onstage\, very glamorous and very cheeky\,” according to Spiller) and the gritty-yet-exhilarating “Kiss This” (a breakup song whose “message is really about standing up for yourself—sort of our version of a ‘Young Hearts Run Free’-type song\, but in a rock mentality\,” Spiller notes). With its hip-shaking rhythms and euphoric harmonies\, “Times Are Changin’” recaps the band’s recent glories (“I’ve been to New York City\, I met the Rolling Stones”)\, while “The Ol’ Switcharoo” blends bubblegum melodies and horn-backed grooves into the world’s most irresistibly fun tribute to girlfriend-swapping. \nThe Struts also show their skill in merging high-drama storytelling and pop-perfect melody on Everybody Wants\, with “Black Swan” spinning a darkly charged tale of warring families and star-crossed lovers. “I’d thought that ‘Black Swan’ would make a good title\, so Luke and I started writing it together one night in his room\,” recalls Slack. “We finished the melodies\, and the next morning he’d come up with this whole tragic love story to put into the lyrics.” And on “Where Did She Go\,” The Struts close out Everybody Wants with an infectiously stomping epic that first came to life when Spiller was just 15. “My parents had just moved to this horrible seaside town\, which wasn’t a great place to be if you’ve got long hair or you’re just an individual in any way\,” he says. “One night I was walking home quite drunk and started singing to myself\, as you do\, and this melody eventually came to me. I remember thinking\, ‘What kind of melody could you get a whole football stadium full of people to sing along to?’\, and then kept going from that.” \nForming The Struts in Derby\, England\, in 2012\, all four members began making music as teenagers\, initially finding inspiration in groups like Oasis and the Libertines and then tracking their idols’ influences to discover the glam bands that would one day shape their own sound. “When we first started\, we both just wanted to make fun\, happy rock songs with big choruses—the kind of thing that bands like Slade and T. Rex used to do\,” says Slack of his collaboration with Spiller. The trademark tongue-in-cheek swagger of classic glam also played a key part in the naming of the band\, Spiller points out. “We were in rehearsals and someone saw me strutting around as we were playing\, and made the suggestion that we call ourselves The Struts\,” he says. “We loved that from day one—it absolutely represents what we’re about.” \nLargely on the strength of their dynamic live performance\, the Struts fast built up a major following and started selling out shows all across Europe. Along with landing the Stade de France gig with the Rolling Stones\, the band took the stage at the 2014 Isle of Wight Festival\, with Spiller decked out in a shimmering-blue cape custom-made for him by Zandra Rhodes (the legendary designer who formerly created costumes for Queen’s Freddie Mercury and Brian May). Over the past few years Spiller’s role as a style idol has prevailed\, with the New York Times recently spotlighting the singer in a fashion-centric feature and Ray Brown (an Australian designer who’s also dreamed up outfits for AC/DC\, Ozzy Osbourne\, and Lady Gaga) coming up with costumes for The Struts’ run of dates with Mötley Crüe. \nIn their lavish stage presence and magnetic appeal\, The Struts have more than demonstrated a preternatural command of monumental crowds. But while all that glitz and flash never fail to thrill\, the band’s impassioned music and high-powered spirit also fulfill a far greater purpose. “The main mission of the band is to bring back that feeling of fun and rock & roll\, especially to all those people who are bored by what’s going on these days\,” says Spiller. “We really believe that music\, when it’s done right\, can help you escape the present moment\, and then just send you somewhere else entirely.” \n*** \nDorothoy \n \n[Website] [Facebook] [Twitter] \n“This guy was telling me all this stuff that no one else could possibly know\,” says Dorothy Martin\, the singer and namesake of Los Angeles rock quartet Dorothy. “The theme from The Twilight Zone was playing in my head. It was a ritual cleaning\, where this medicine man from Guadalajara spit all over me and blew smoke in my face. It was crazy. Then\, we went and climbed a pyramid. When we got to the top there were all these butterflies everywhere. It felt like a dream. But\, the weirdest part is that I had written the song before this happened.” \nAs Dorothy Martin talks about her favorite song (“Medicine Man”) from her band’s forthcoming debut on Jay-Z’s Roc Nation label\, you begin to realize the precise reason why her music is so bewitching. \nNo\, it’s not because she might be more of a shaman than that mystic she met in Mexico City. It’s because despite drawing from a familiar musical tradition—they are a rock band after all—Dorothy’s music is rendered anew by this front-woman’s singular vision. All of it is channeled through her. There is no one quite like her. So it follows\, there has been nothing quite like this band before now.
URL:https://royaleboston.com/event/the-struts/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160803T190000
DTEND;TZID=America/New_York:20160803T190000
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SUMMARY:Broods
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is All Ages.\nTickets on sale Fri. 4/22 at noon! \nPlease note: ticket price includes $1 for charity and $1.50 for album. \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nBroods \n \n[Website] [Facebook] [Twitter] \nMutli-award winning brother-sister duo Broods (Caleb and Georgia Nott) are one of the most celebrated young bands to emerge out of New Zealand in recent times. Announcing their arrival with glossy synth-pop ballads ‘Bridges’\, ‘Never Gonna Change’ and their self-titled debut EP\, through a tireless work ethic\, commitment to excellence and unshakable senses of self\, they’ve established themselves as an in-demand proposition globally. “Touring has made us realise how important it is to not just be yourself\, but back yourself\,” Georgia says. “If you’re not being true\, you’ll never stand out.” \nOver an ever-growing itinerary of performances across the US\, UK\, Canada\, Australia\, Asia and New Zealand\, their sound and live show has become increasingly crucial. To evoke an underrated cliché\, Broods have learned how to dance like no one is watching\, and sing like no one is listening. “We’ve loosened up a lot\,” Caleb says. “We’re in the moment\, and we’re focused on making it special every time.” Along the way they’ve sold-out headline tours\, and played major festivals such as Lollapalooza\, Outside Lands\, Groovin the Moo and Clockenflap to name a few. They’ve shared stages with Ellie Goulding\, Haim\, CHVRCHES\, Tove Lo\, and supported breakout English pop star Sam Smith on his sold-out US tour. In August 2014\, things went white hot for them with the release of their Joel Little produced debut album Evergreen\, debuting at #1 on the New Zealand Albums Chart\, #5 on the Australian Albums Chart and top 50 in the US. Pristinely polished and perfectly poised\, across Evergreen Broods deploy vividly atmospheric textures and heady rhythms in counterpoint to measured pop hooks\, all delivered with a stadium-sized sense of melody and harmony. A record of euphoric peaks and intimate valleys\, it’s the sound of youth maturing into adulthood. Young people growing up lost in the world\, and figuring out what that means while finding themselves along the way. With equally impressive Soundcloud\, Hype Machine\, iTunes and YouTube figures behind them\, as well as key tastemaker support from Zane Lowe (of BBC Radio 1)\, and preeminent new music blog Pigeons and Planes\, Broods are turning their wide-eyed teenage dreams into sustainable realities. \nTopping off their busy two years so far has been the nomination of ‘Bridges’ for the APRA AMCOS 2014 Silver Scroll Award\, and winning Breakthrough Artist of the Year at the 2014 Vodafone New Zealand Music Awards. That particular win was to foretell their success at the 2015 awards\, where they took out four accolades; including Best Group\, Best Pop Album\, Highest Radio Airplay for ‘Mother & Father’ and the coveted Album of the Year award. “We’re not taking any of this for granted\,” Georgia says. “We keep active and work 24/7\,” Caleb adds. “This is what we do now. It’s our life.” \n*** \nJarryd James \n \n[Soundcloud] [Facebook] [Twitter] \nOver three days in the fall of 2014\, Australian singer-songwriter Jarryd James and songwriter-producer Joel Little (Lorde\, Broods) holed up in a Airbnb in Los Angeles with some portable recording equipment\, a computer\, and a $30 ukulele they found in the house and created the song “Do You Remember.” “I was trying to capture the feeling of nostalgia in a song\, both lyrically and melodically\, and just how powerful that emotion is\,” James says. “I was in an unfamiliar place all by myself and I guess I was feeling a bit fragile. But when you sit down and think back to a certain time\, there’s a lot of beauty in that reminiscing.” Wanting to share the song with people\, James put “Do You Remember” up on Soundcloud in January 2015\, not expecting anything of it.  \nBut with its “silky falsetto vocals\, pounding drums\, and plucked guitars” (as NME described it)\, “Do You Remember” quickly struck a chord with listeners and catapulted the then-unsigned artist into viral fame. By February\, James was touring with Aussie superstars Angus & Julia Stone and the following month had landed a deal with Interscope Records in the U.S. Upon its official release\, “Do You Remember” debuted at No. 2 on Singles chart in Australia\, as well as No. 1 on Hype Machine and the Australian iTunes charts\, and was the No. 1 most Shazamed song in Australia. James\, a humble\, soft-spoken native of Brisbane\, who had spent several years in a band\, followed by six years working with troubled kids before returning to making music\, found himself being supported by critics\, industry tastemakers like Beats 1 Radio’s Zane Lowe\, and artist peers like Ed Sheeran\, who told Rolling Stone that he had heard “Do You Remember” on Australian radio and “had to find out who the singer was. I just love his sound.“ When James released his follow-up single\, “Give Me Something” (also co-written with Little)\, Nylon magazine called him “a member of R&B’s new wave\, an artist who is helping to redefine the genre.” \nNow James is gearing up to release his debut album Thirty-One — 12 minimalist-sounding gems that showcase his ability to live in the sweet spot where unforgettable melodies\, soulful vocals\, and bittersweet lyrics intersect. Working with his collaborators Joel Little\, Pip Norman (Troye Sivan)\, and Malay Ho (Frank Ocean’s Channel Orange\, Tori Kelly)\, James delivers an immersively emotional experience fueled by the album’s sparse sonics and his aching falsetto\, not to mention his knack for writing lyrics that shoot straight for the gut.  \nHowever ask James what his songs are about and he’ll tell you that rather than focus on what inspires them\, his priority is the emotions they conjure up. “I never go into a session thinking\, ‘I’m going to write about this or that\,’” he says. “I need the music to tell me what to do. I let it soak into me\, then the words come. I just switch my brain off\, otherwise I end up overthinking things. I’ve never liked literal thoughts in songs. I always go for the metaphor or something ambiguous that will convey a feeling. The music I love the most\, I don’t even know what it’s about\, but I know how it makes me feel inside and that’s literally all I’m ever trying to do.” \nOne of James’ earliest and most powerful musical memories is hearing and connecting with Bob Dylan’s protest song “Hurricane.” “The story he tells is incredible and the fact that it was real … that stayed with me\,” he says. James grew up in a small town called Dalby\, three hours west of Brisbane where he lived with his mother\, sister\, and ailing grandmother. James’ parents split while his mother was pregnant with him and James’ father died when James was an infant. “My mom was very protective of me and my sister\,” he recalls. “My whole childhood was very sheltered.” Music drew James out. He played trumpet throughout his school years before teaching himself to play piano and guitar. Eventually\, he discovered artists like Harry Nilsson\, Paul McCartney\, and Stevie Wonder and spent hours in his room absorbing their stories\, melodies\, and vocal techniques. “I listened to Stevie Wonder and would try to nail his runs and trills because what he did was incredible.” \nAt 20\, James got up the nerve to sing for his friends and began writing his own songs a few years later. “At that point\, it was mostly about creating beautiful melodies\,” he says. “I didn’t think I had anything to write about.” He eventually formed a band with a few talented friends. Calling themselves Holland\, the band were signed to a major label and toured Australia before calling it quits after six years. Feeling a bit lost after the break-up\, James took a full-time government job looking after young people with extreme needs. “They were kids who didn’t fit into the foster care system so they were either homeless or in lockup in juvenile detention\,” James explains. He loved the work\, but also realized that something was missing from his life. “I got pretty depressed\,” he admits. “I was just sad all the time. I knew I had to start making music again.” \nHe called a friend with a recording studio in the Gold Coast and asked if he could pay him a visit. The first song to come pouring out was “High\,” an epic\, orchestral-sounding song that now closes out Thirty-One. In short order\, James found a publisher (Sony/ATV) and attended a songwriting workshop in Sydney where he connected with Pip Norman\, with whom he wrote Thirty-One’s “Sell It To Me\,” “Undone\,” and his third Australian single “Sure Love.” With Norman accompanying him\, James performed at the APRA Awards in Australia where he caught the attention of Joel Little and music manager\, Ashley Page\, who offered to represent him and immediately put James on tour with his clients Broods. He also wrote “Do You Remember” with Little and the rest was history. “Do You Remember” has racked up more than 27 million plays on Spotify and is the perfect introduction to Thirty-One\, a title inspired not only by James’ age\, but by his realization that his father died at 31. “It hit me last year when I became aware that I was making an album\,” he says. “I was like\, ‘Holy shit\, if I make it through this year\, I’ve outlived my father and on the same year that I put out this album\, which is so special to me.’ I feel like I’m kind of continuing on with what he couldn’t finish doing.”
URL:https://royaleboston.com/event/broods/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20160805T220000
DTEND;TZID=America/New_York:20160805T220000
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SUMMARY:Morgan Page
DESCRIPTION:21+ \n*Management reserves the right to refuse entry / Admission not guaranteed after 12AM / No refunds of any kind all sales are final.
URL:https://royaleboston.com/event/morgan-page/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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UID:10001653-1470506400-1470506400@royaleboston.com
SUMMARY:The Fall of Troy
DESCRIPTION:Doors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and over.\nTickets on sale NOW! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nThe Fall of Troy \n \n[Website] [Facebook] [Twitter] \nWe’re The Fall of Troy from Mukilteo\, Wa. \n*** \n’68 \n \n[Website] [Facebook] [Twitter] \nIn Humor and Sadness\, the debut album from ’68\, demonstrates the loud beauty of alarming simplicity. A guy bashing his drums\, another dude wielding a guitar like a percussive\, blunt weapon while howling into a mic somehow manages to sound bigger and brasher than the computerized bombast of every six-piece metal band. A splash of roots\, a soulful yearning for mid century Americana and the fiery passion of post punk ferocity rampages over a record of earnestly forceful tracks like a runaway locomotive.  \nJosh Scogin wasn’t out of elementary school when the Flat Duo Jets laid their first album down on two tracks in a garage. But the scrappy band’s spirit of raw power\, punchy delivery\, tried-and-true rhythms and urgent sense of immediacy is alive and well in ’68.  \nHeralded by Alternative Press as one of 2014’s Most Anticipated Albums\, In Humor and Sadness is a snapshot of a fiery new beginning for one of modern Metalcore’s most celebrated frontmen. Produced by longtime Scogin collaborator Matt Goldman (Underoath\, Anberlin\, The Devil Wears Prada)\, the first full offering from ’68 is a broad reaching slab of ambitious showmanship delivered with few tools and fewer pretensions. The scratchy disharmonic pop of Nirvana’s Bleach is in there\, for sure. And while many associate the setup with The Black Keys\, ’68 is more like Black Keys on crack.  \n“I wanted it to be as loud and obnoxious as it can be\,” Scogin explains. “I want it to be in-your-face. I want people who hear us live to just be like\, ‘There’s no way this is just two dudes!’ That became sort of the subplot to our entire existence. ‘How much noise can two guys make?’ It’s obviously very minimalistic\, but in other ways\, it’s very big. I have as many amps onstage as a five piece band. Michael only has one cymbal and one tom on his kit\, but he plays it like it’s some kind of big ‘80s metal drum setup. It’s minimalistic\, but it’s also overkill. We get as much as we can from as little as we can.” \nLike many pioneers\, North Carolina’s the Flat Duo Jet’s blazed a trail for more commercially successful people. They played rootsy rockabilly but with a punk edge. Band leader Dexter Romweber’s solo work was a fist-pounding celebration of audacity and disruption\, which influenced the likes of The White Stripes\, among other bands.  \n“I got excited when I thought about the distress\, the chaos that this two-piece arrangement would create – one guy having to provide all of these sounds\, with a bunch of pedals\, with certain chords wigging out and missing notes here and there\,” he says with excitement. “That alone makes up for the chaos of having five people up there.”  \nThat idea of less is more\, of building something big from something small\, persists today at the top of the charts with The Black Keys\, just as it’s lived and breathed in the bass-player-less eclectic trio Jon Spencer Blues Explosion\, the rule-breaking early ‘90s destruction of Washington D.C.’s Nation of Ulysses\, and in the two man attack of ’68.  \n“Jon Spencer’s records always sound like he’s kind of winging it and I love that\,” declares Scogin\, letting out an affectionate laugh. “In my last band\, that’s how we tried to make our last record feel. The excitement and imperfection is something I love to draw from.” \nBefore paring (and pairing) things down with friend and drummer Michael McClellan\, Josh Scogin was the voice\, founder and agitprop-style provocateur in The Chariot\, who laid waste to convention across a brilliantly unhinged and defiantly unpolished catalog of Noisecore triumphs and dissonant art rock rage. Recorded live in the studio\, overdub free\, The Chariot’s first album set the tone for a decade to come\, owing more to a band like Unsane than whatever passes for “scene.” \nScogin was the original singer for Norma Jean and left an influential imprint on the burgeoning Metalcore of the late 90s that persists today\, despite having fronted the band for just one of six albums. Whether it’s the genre-defining heft of Norma Jean’s first album or the five records and stage destroying shows of The Chariot\, there’s a single constant at the heart of Josh Scogin’s career: a familiarity with the unfamiliar.  \nA new Metalcore band would be a safe third act for the subculture lifer\, but Scogin isn’t comfortable unless he’s making himself (and his audience) uncomfortable. “I definitely wanted to flip the script a bit\,” he freely confesses. “I’ve always wanted to play guitar and sing in a band\, ever since I left Norma Jean. I needed the freedom of not having a guitar onstage\, but now having done that for several years\, I wanted the challenge.”  \nCreative problem solving has long been the name of the game for Scogin\, whether he was hand stamping ALL 30\,000 CDs for The Chariot’s Wars and Rumors of Wars album or figuring out how to pull off his ’68 song title concept in the digital age of iTunes. Each song on In Humor and Sadness was to be titled with simply a single letter\, which when put together vertically on the back of a vinyl LP or compact disc\, would spell out a word. However\, it’s problematic to name more than one song with the same letter\, which would have been necessary to spell out what he intended.  \n’68 is the forward thinking progress of an artist who finds satisfaction in the expression of dissatisfaction. There’s progression in this regression. Tear apart all of the elements that have enveloped a singer’s performance\, strap a guitar on the guy and set him loose with nothing but a beat behind him? It’s a recipe for inventive\, fanciful mayhem.  \nAfter a raucous debut at South By Southwest\, a full US tour supporting Chiodos and many more road gigs on the horizon\, Scogin and McClellan are propelled by the excitement that comes along with the knowledge that ‘68 is truly just getting started.  \n“We’ve just broken the tip of the iceberg. We’re really just exploring all the different things we can do\,” Scogin promises. “I’ll get more pedals\, we’re try different auxiliary instruments\, whatever – the goal is to challenge ourselves and challenge an audience.” \n*** \n Illustrations  \n \n[Website] [Facebook] [Twitter] \nSan Antonio\, TX
URL:https://royaleboston.com/event/the-fall-of-troy-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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