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DTSTART;TZID=America/New_York:20171110T220000
DTEND;TZID=America/New_York:20171110T220000
DTSTAMP:20260404T110548
CREATED:20170720T175059Z
LAST-MODIFIED:20170720T175059Z
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SUMMARY:Sofa King Fridays w/ San Holo
DESCRIPTION:VIP Inquiries please call 617.733.0505 \nThis event is 21+ \nDress Code: No shorts\, hats\, boots\, athletic wear\, tanks\, flip flops\, or backpacks. Please see FAQ/Policy page for more details.
URL:https://royaleboston.com/event/sofa-king-fridays-w-san-holo-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:20171111T220000
DTEND;TZID=America/New_York:20171111T220000
DTSTAMP:20260404T110548
CREATED:20171019T174038Z
LAST-MODIFIED:20171019T174038Z
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SUMMARY:COSMIC at Royale Saturdays w/ Throttle
DESCRIPTION:VIP Inquiries please call 617.733.0505 \nThis event is 21+ \nDress Code: No shorts\, sneakers\, hats\, boots\, athletic wear\, tanks\, flip flops\, or backpacks. Please see FAQ/Policy page for more details.
URL:https://royaleboston.com/event/cosmic-royale-saturdays-w-throttle/
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:20171113T190000
DTEND;TZID=America/New_York:20171113T190000
DTSTAMP:20260404T110548
CREATED:20170627T164013Z
LAST-MODIFIED:20170627T164013Z
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SUMMARY:Angus & Julia Stone
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18+. Patrons under 18 admitted if accompanied by a parent or legal guardian. \nTickets on sale Fri. 6/30 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n \n*** \nAngus & Julia Stone \n \nWEBSITE\nFACEBOOK \nThe first notes of Snow are instantly transporting. The guitar is a scratchy\, wooden memory laid over a moment of silence. The gently driving organ beat emerges and takes you with it\, beginning the next enchanting journey with brother-sister duo\, Angus and Julia Stone. “Running from the start\, here we are again\,” Julia sings. “Running from the start\, here we go again\,” comes her brother’s reply. \n“Snow is both of us” Angus says of the first single from the fourth Angus & Julia Stone album. “We sat down and wrote it together.” \nIn that sense\, the album continues a process the siblings began at the suggestion of producer Rick Rubin on their self-tilted album of 2014. “That was the first time that we actually started writing together\, in the same room\, and I guess we took a leaf from that chapter into this record. This time round though\, every song on the record we wrote together” Angus says. \nSince the duo began performing together in 2006\, their story has unfolded with an almost magical magnetism that has galvanised the world. Their four albums have amassed multi-platinum sales and numerous ARIA and APRA awards at home\, and won a fanbase of millions over spiralling tours of the UK\, Europe and North America. The band have each month over 5 million listeners who tune in\, to stream their music from all over the world. \nTheir quietly hypnotic songs have infiltrated film and TV from the recent woody Harrelson film ‘The Edge of 17’ to TV shows like ‘Pretty Little Liars’\, ‘Suits’ & ‘Revenge’. They have cast their spell over the world’s key festivals: Coachella\, Lollapalooza\, Bonnaroo\, Outside Lands\, Rochweichter\, Hurricane\, Austin City Limits\, Electric Picnic\, Splendour In The Grass\, The Great Escape. \nIt’s no secret that these escalating demands nearly divided the duo into parallel solo careers in 2012\, before Rick Rubin insisted they reunite for that self-titled album in Los Angeles. It naturally led to more laps of the world\, and a new purpose and cohesion that flowed into early band sessions for the album. \nPlot-wise\, SNOW is the first moment of yet another confident advance on a story which now accounts for over half a million album sales in Angus & Julia’s homeland of Australia alone. The Sydney-born siblings produced and largely engineered it themselves\, in Angus’s cottage studio\, Belafonté\, in the Byron Bay hinterland. \n“It was quite magical because Angus and I have never spent that much time together\, just the two of us\,” says Julia. “There’s always at least an engineer or tour manager but the last phase of writing and recording was just eight weeks of him and me and the quiet of the land. It was a beautiful time.” \n*** \nLuke Sital-Singh \n \nWEBSITE\nFACEBOOK \n“I made an album that I was mostly proud of. But the process was hard and process matters to me. It colours the final work with a subtle significance. So now I look back with a bemused frown. Because all I remember is the process. And the process was too hard. \n“When it came time to move on\, things needed to change. I wanted control of the process back. I wanted to be small again. Big can be good\, but big can be brittle. And small packs a punch when you can be nimble.” \nSo wrote Luke Sital-Singh in July 2015. He typeset his words using metal type and an old printing press\, each sentence on a new line\, no full stops required. It was a pause\, a moment of reflection on the events of the preceding couple of years\, specifically the release of his “compromised” debut album\, ‘The Fire Inside’\, the slightly bitter fruits of an ill-starred major label relationship. It was also a personal manifesto\, a quiet\, internal rallying cry. And it was a nice bit of writing\, thought through and pored over and carefully presented. That’s how he rolls. He rolls his own. \nEighteen months on – he wasn’t going to rush – comes ‘Time Is A Riddle’\, that second album Sital-Singh was determined to make solely on his terms. No interference\, no scheduling issues\, nor elaborate musicianship\, nothing big or brittle. Just care\, and effort\, and time well spent – values he shares with the Slow Movement to which he subscribes\, and with the crafts people up and down the country with whom the musician has some special projects planned. It’s a lovely record of self-written songs\, a crafted distillation of the ideas and tastes that have been percolating through Sital-Singh since he was a teenager in suburban southwest London\, listening in awe to Damien Rice\, since he was a rapt fan in the audience at a Ryan Adams gig in Brighton. \nRecalling the music that made him\, Sital-Singh – a singer with both soul and grit in his voice – says: “There was something about acoustic\, singer-songwriter music that seemed more meaningful\, and beautiful. I only like music that I feel like I can call beautiful. And to me that’s slow music\, and more downbeat music. It’s a running joke amongst my friends that I’m a grumpy git\,” he admits (and admits cheerfully). “But I’m not actually depressive. I’m just fairly introverted\, quiet and pessimistic – but I’m happy being that. And songs are always the things I’ve been interested in\, not the bells and whistles around the song. It’s purely about the song in its simplest form\, and trying to craft that with just a guitar or just a piano. I’m obsessed with that.” \nSital-Singh is a student of words. “I was brought up in a fairly religious family\, and there were quite a lot of philosophical\, theological discussions around. So there was always this thing in me about exploring inner things. So before the songs there were woe-is-me\, slit-your-wrist poems\,” he smiles. \nAnd he’s a student of notes\, the youngest of three musical brothers. He was first a childhood violinist then an adolescent guitarist who attended BIMM Brighton music college before graduating from the London open-mic scene. Self-released EPs led to Proper Record Deal led to Difficult First Album. “Spent too much money\, lost too much money\,” the now Bristol-based musician recalls without rancour. “This time I was determined to do the complete opposite.” \nHaving written a brace of songs – simple songs that moved him – Sital-Singh followed his long-held artist’s dream: he escaped to a remote studio\, Attica Audio\, in Donegal\, with nothing on his mind other than making the record of his life. The studio’s owner\, producer Tommy McLaughlin (a member of Villagers’ touring band\, who Sital-Singh has opened for) pulled together a small group of musicians. Well-used to playing together\, the band slotted together effortlessly for a series of recordings over ten days. \n“There were big windows looking over the hills of Donegal\, and it was raining the whole time\, which was perfect for me. We were playing and singing at the same time in this lovely big live room\, with so much bleed\, just the way records used to be made. So much fun. These were simple songs that just need to be recorded nicely and played well with a good band with nice instruments in a nice room. We don’t need weird stuff going on. We needed me to feel inspired by the performance to sing a good vocal. And that’s what I was.” \n‘Time Is A Riddle’ opens with ‘Still’\, a song Neil Young might have left behind on Zuma Beach. \n“It’s a song about wanting to remind everyone that I’m still here – and also reminding myself that all this shit goes on\, but it can just blow past\, and you’re still here. It’s not quite ‘I’m Still Standing’\,” he smiles of the Elton John belter. “But I hate our obsession with newness and following trends. So the idea of someone still there\, still doing their thing\, I think is a nice sentiment to start the record with.” \nAnother cornerstone track is the album’s title track. “I was listening to a lot of Feist and thought she was great\,” he says by way of explaining a song with heavy chords and quiet drama. “And that’s what her music is: quiet drama. Some of the production is quite bombastic\, but there’s a gentleness around it as well. That’s what I was trying to get to.” \nThen there’s ‘Innocence’\, a song glowing with echoey wonder. “It’s fairly up for me\,” Sital-Singh grins with typical self-deprecation. “I’m really proud of that one. That was a song that took as long to write as it lasts for. I was watching telly with my guitar and it just came out\, pretty much fully formed. I’m not entirely sure what it means\, but I guess it’s about this idea of being born\, losing innocence\, people coming in and out of the world\, changing as they go.” \nThe first taste of ‘Time Is A Riddle’ is the heart-shivering\, spine-tingling ‘Killing Me’\, accompanied by an evocative\, home-made\, typically personal video. \n“It’s me singing as my grandma\, and addressed to my grandfather\, who died ten years ago. She talks about him every day. When I think about it too much it just breaks my heart. So one day I just sat down at the piano and it’s probably the most emotional song I’ve ever written. I almost didn’t include it – I thought it might be too much to release. It’s so sensitive and so close to my heart. Then I thought maybe people will connect with it… \n“But then when it came to the video\, I definitely didn’t want to be singing this song\, prancing around in slow motion. Then by coincidence I took delivery of these digitised cine films that my wife’s late grandfather shot in the Seventies. They were only sent to us because her parents were in the process of moving to Vancouver. And when I watched them\, the nostalgic nature and the parallels with both our grandparents\, it just felt tonally right\, and a little note of serendipity. So I just edited them together and that’s what we’ve got. It’s definitely the most personal song on the record.” \nThen again\, personal is stamped on and through everything Luke Sital-Singh does. Head to iTunes to listen to the very funny ‘Idiot Check’ podcast\, recorded by him and a couple of mates (don’t worry\, it’s free). Head to Spotify and you’ll find a lovely selection of covers of songs from films\, including Radiohead’s ‘Exit Music (For A Film)’ from Baz Luhrmann’s Romeo + Juliet\, Simon & Garfunkel’s ‘Sound Of Silence’ from The Graduate and The Shins’ ‘New Slang’ from Garden State. Storied songs by storied bands from storied movies\, but he makes them all his own. \nLikewise a new selection of covers recently uploaded to Soundcloud: songs as diverse as Toto’s ‘Hold The Line’\, The Faces’ ‘Ooh La La’ and Kate Bush’s ‘This Woman’s Work’ sound reborn and rebooted. \nWhat it all has in common is care\, effort and dedication. It’s Luke Sital-Singh’s way. It’s what makes his music breathe and his songs pulse. “I like things that are well made – things that love has been put into. And not throwaway shite. It’s why I like the Slow Movement. It’s why I like vinyl.” \nIt’s also why he likes Hannah Cousins\, his wife (although presumably that isn’t the only reason). She’s the artist responsible behind the vivid sleeve artwork for ‘Time Is A Riddle’. \n“Hannah’s an illustrator and printmaker\, and we’ve worked together on most of my artwork. She helped set the tone for the initial three EPs\, which then Parlophone bulldozed over for the album art for ‘The Fire Inside’.” \nThe image on the new cover began as a photograph of a wind-bent tree in Donegal\, “which wasn’t just the place I recorded the album – it became a symbol of escape and refreshment”. Cousins\, a skilled linocutter\, then set patiently to work. “The lino process is one of painstaking craftsmanship\, where an image is carved in reverse in a linoleum sheet\, which takes hours and hours. In this case it took Hannah two days. She then carefully inked the lino with an ink roller and pressed it onto paper\, using an Albion press from 1881.” \nIn the same spirit\, Sital-Singh is finessing a series of special filmed performances in the studios\, workshops\, foundries and ateliers of a host of crafts people he’s connected with up and down the country. Watch this (bespoke) space for collaborations with a ceramicist in Glasgow\, a knife-maker in Derby and a stained glass designer in Devon. \nBut for now\, here’s ‘Time Is A Riddle’. A record where you can smell the graft\, see the joins and hear the sweat on the frets – and the occasional live-recording misstep. It’s that real. Luke Sital-Singh wouldn’t have it any other way. As he said in that summer ’16 letter\, “the effort was justified. Like a long run up a steep hill. \n“I’ve reached the top now. I’m catching my breath. My heart is pounding. And as I look back down\, I am proud of each and every step that it’s taken.”
URL:https://royaleboston.com/event/angus-julia-stone/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20171115T190000
DTEND;TZID=America/New_York:20171115T190000
DTSTAMP:20260404T110548
CREATED:20170822T171902Z
LAST-MODIFIED:20170822T171902Z
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SUMMARY:John Carpenter: Anthology Tour
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 8/25 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n  \n  \n*** \nJohn Carpenter \n \nWebsite\nFacebook\nTwitter \nJohn Carpenter has announced Anthology: Movie Themes 1974-1998\, a collection of 13 of his classic movie themes newly recorded with the collaborators that worked on his Lost Themes studio albums and subsequent tours: his son\, Cody Carpenter\, and godson\, Daniel Davies. Set for release on October 20 via Sacred Bones\, Anthology… is a near-comprehensive survey of John Carpenter’s greatest themes\, from his very first movie (the no-budget sci-fi film Dark Star) to 1998’s supernatural Western\, Vampires. Those sit alongside the driving\, Led Zeppelin-influenced Assault on Precinct 13 theme\, Halloween’s iconic 5/4 piano riff\, and the eerie synth work of The Fog. Carpenter and his band also cover Ennio Morricone’s bleak\, minimalist theme for The Thing. “I asked Morricone to please compose something with a very few notes\,” Carpenter says. “And brilliantly\, he did.” \nTo accompany the announcement\, Carpenter has shared the theme from 1994’s “In The Mouth of Madness”. Reminiscing on the original composition he states\, “I worked on the soundtrack for In the Mouth of Madness with Jim Lang. We never came up with a great main title theme. In a rented house on Woodrow Wilson (my house was being remodeled)\, I came up with a heavy metal theme inspired by Metallica’s “Enter Sandman.” My friend Dave Davies played lead guitar\, and now\, over 20 years later\, his son Daniel is playing the lead. One of my favorite themes.” \nJohn Carpenter is a legend. As the director and composer behind dozens of classic movies\, Carpenter has established a reputation as one of the greatest filmmakers in the history of modern cinema\, as well as one of its most influential musicians. The minimal\, synthesizer-driven themes to films like Halloween\, Escape From New York\, and Assault on Precinct 13 are as indelible as their images\, and their timelessness was evident as Carpenter performed them live in a string of internationally sold-out concert dates in 2016. \nIn the weeks following Anthology’s October 20 release\, Carpenter will return to the road\, playing both classic movie themes and material from his two Lost Themes albums. Tickets for the tour go on sale this Friday at 10:00am local time\, including special VIP packages that include meet and greets with John  Carpenter and exclusive merchandise (for more details check www.theofficialjohncarpenter.com). The performances will once again affirm the power of the Horror Master’s brilliant work as a composer and musician\, and undoubtedly send audiences rushing home to their DVD libraries to dive yet again into the most rewarding filmography in genre cinema.
URL:https://royaleboston.com/event/john-carpenter-anthology-tour/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20171116T193000
DTEND;TZID=America/New_York:20171116T193000
DTSTAMP:20260404T110548
CREATED:20170814T155626Z
LAST-MODIFIED:20170814T155626Z
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SUMMARY:SOLD OUT - 6LACK
DESCRIPTION:Bowery Boston presents \nDoors: 7:30 pm / Show: 8:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \nThis show is SOLD OUT \n*** \n \n*** \n6LACK \n \nWebsite\nFacebook\nTwitter \n6LACK (pronounced Black)\, is a melodic rapper who hails from Atlanta\, Georgia. His debut project\, FREE 6LACK\, has sold over 200\,000 units with over 100 Million streams under LVRN/Interscope – all alongside a sold out headline tour in November 2016.  Apple Music selected 6LACK to launch their “Up Next” development platform in April 2017\, revealing a short documentary about his journey and Billboards in his home city of Atlanta. During the summer of 2017 he also joined The Weeknd on his Starboy Tour: Phase 1. \n*** \nSabrina Claudio \n \nWebsite\nFacebook\nTwitter \nMiami\, FL \n*** \nSy Ari Da Kid \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/6lack/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20171117T183000
DTEND;TZID=America/New_York:20171117T213000
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SUMMARY:[SOLD OUT] Saint Motel
DESCRIPTION:Bowery Boston presents \nDoors: 6:30 pm / Show: 7:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \nThis show is SOLD OUT \n*** \n \n*** \nSaint Motel \n \nThe year before making their breakthrough with a mainstage performance at Coachella and the chart topping single “My Type\,” Saint Motel had planned to host an event of their own called “saintmotelevision”—a multimedia spectacular of music\, dance\, comedy\, art\, and more that was shut down by authorities before it even took place. “That crazy mixture of worlds and ideas is something we’ve always gravitated toward\,” says front man A/J Jackson in reflecting on the original saintmotelevision. “We’ve always been fans of strange combinations\, and that glorious yet doomed event became a symbol of all that.” So when it came time to create their forthcoming full-length debut for Elektra\, the band reclaimed the name saintmotelevision and\, in the end\, dreamed up an album as magnificently kaleidoscopic as that mythic party itself. \nFeaturing production from the likes of Lars Stalfors (Cold War Kids) and Tim Pagnotta (Walk The Moon)—as well as from Jackson\, in and around the band’s own studio in downtown L.A.—saintmotelevision builds off 2014’s My Type EP with a sound even more expansive and artfully genre-blurring. And with its effervescent melodies and shapeshifting grooves\, the album emerges as a beautifully alchemized piece of alt-pop\, every bit the “channel-surfing odyssey” its namesake was meant to be. \nLead single “Move” serves as saintmotelevision’s opening track\, a psych-rock-tinged dancefloor anthem with a chorus so catchy that—during Saint Motel’s raucous sets at summer festivals like Lollapalooza and Bonnaroo—audience members instantly shouted along despite never having heard the song before. In the lyric video for “Move\,” Saint Motel have also unveiled their latest undertaking as a decidedly visually-oriented group: the so-called “virtualizer\,” which combines 360° animation and virtual reality technology that allows each viewer a chance to experience the music in a fully immersive manner. \nThroughout saintmotelevision\, the band transforms their infinite inspirations into songs that radiate an electric\, unabashed joy. On “Getaway\,” for instance\, Saint Motel shape their fascination with Donna Summers’ “I Feel Love” into a shimmering\, intensely charged pop number powered by massive piano riffs. With “Destroyer” (as in “I don’t break hearts\, I destroy them”)\, the band echoes the seductive danger in the song’s lyrics by bringing in some fantastically trashed-up horns a la Exile on Main St.–era Rolling Stones. Meanwhile\, on “Sweet Talk\,” Saint Motel channel Iggy Pop-inspired swagger into a stomp-and-clap-driven heavy-hitter destined for sing-along status. \nJust as inventive in its lyrical element\, saintmotelevision brilliantly twists together melancholy and levity in songs like “Local Long Distance Relationship (LA2NY)” (a brightly wistful meditation on love in a social-media-crazed era and on being with “someone who’s physically there with you but mentally far away\,” according to Jackson). One of saintmotelevision’s starkest moments\, “Born Again” calls on an L.A.-based gospel choir to help convey the track’s enigmatic message. ‘Born Again’ rides the line between two worlds\, so you can’t really tell which way to take it.” And on “For Elise\,” Saint Motel play on the mystery of Beethoven’s immortal beloved by paying rhapsodic tribute to the legendary muses behind songs like the Kinks’ “Lola” and Lou Reed’s “Walk on the Wild Side.” \nPassion for eclecticism has always been at the heart of Saint Motel\, a band founded by Jackson and guitarist Aaron Sharp: film-school classmates whose longtime friendship had its roots in a shared appreciation of obscurist cinema and mutually adventurous musical tastes that include everything from Imperial Teen to Beethoven’s 7th Symphony\, 2nd Movement. After bringing bass player Dak Lerdamornpong and drummer Greg Erwin into the fold\, the band released their debut EP ForPlay in 2009 and began hosting a series of “experiential concerts” with such themes as Zombie Prom and Judgment Day. “We played in half-pipes\, semi-trucks\, circuses—pretty much anywhere we could\,” says Jackson. “We just wanted to do what we could to push ourselves beyond our comfort zone\, and give people some kind of big\, crazy experience whenever they came to see us.” \nThanks in part to those one-of-a-kind live shows—and to their critically acclaimed\, independently released 2012 full-length debut Voyeur—Saint Motel steadily built up a devoted underground following throughout their early years. Releasing the My Type EP in summer 2014\, the band saw their fan base grow exponentially as the title track became a top 10 alternative radio smash\, with both the song and its companion video (directed by Jackson himself) each collecting streaming figures in the tens of millions\, and counting. \nNow set for a fall headlining tour—with their past tours including support slots for Arctic Monkeys\, Imagine Dragons\, Band of Skulls\, and Weezer —Saint Motel have discovered a new outlet for their boundary-breaking brand of artistry. With plans of creating virtual-reality-enhanced videos for more tracks from saintmotelevision\, the band hopes to offer an even more immersive way to experience what Nylon recently referred to as “a bright\, dreamy sound that transports listeners to another time and place.” “There’s essentially a new art form there\,” says Jackson of the virtualizer. “But it’s also like when you were younger and bought a new record and went home and put it on\, and you’d sit back and close your eyes and kind of enter the album. This is a whole new way to do that\, where we’re letting people walk into the album and then just live inside it for a while.” \n*** \nGibbz \n \nGIBBZ is a renaissance man. After a childhood spent acting in C list horror movies and ballroom dancing\, he received a “degree” from Berklee College of Music. There he focused on music production\, aiding in his future full time position as an audio engineer. After 5 years on the road and in studios with international touring acts\, he realized being an engineer is a thankless\, miserable existence. Luckily\, his path had led him to working for a crew that went onto form the Lowtemp record label\, including Gramatik and Exmag. They convinced him that it’s OK to drink copious amounts of alcohol and make everyone within a 30 ft radius uncomfortable. Out of this drunken\, obnoxious\, offensive mess of a man\, GIBBZ was born. GIBBZ can now be found singing and dancing to his own brand of electro pop\, recently touring with the likes of Cherub\, Ghost Beach and The Floozies.
URL:https://royaleboston.com/event/saint-motel-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171117T220000
DTEND;TZID=America/New_York:20171117T220000
DTSTAMP:20260404T110548
CREATED:20170921T180313Z
LAST-MODIFIED:20170921T180313Z
UID:10001841-1510956000-1510956000@royaleboston.com
SUMMARY:Sofa King Fridays w/ 3LAU
DESCRIPTION:VIP Inquiries please call 617.733.0505 \nThis event is 21+ \nDress Code: No shorts\, hats\, boots\, athletic wear\, tanks\, flip flops\, or backpacks. Please see FAQ/Policy page for more details.
URL:https://royaleboston.com/event/sofa-king-fridays-w-3lau/
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:20171118T200000
DTEND;TZID=America/New_York:20171118T200000
DTSTAMP:20260404T110548
CREATED:20170825T161646Z
LAST-MODIFIED:20170825T161646Z
UID:10002551-1511035200-1511035200@royaleboston.com
SUMMARY:Boston's Biggest Disco
DESCRIPTION:Please join over 1\,000 guests for a spectacular evening of dancing\, delicious food and amusing company amidst the amazing and energizing theatre district of Boston. \nYou’ll have the opportunity to dress in your favorite disco garb\, get down to your favorite disco tunes\, as well as meeting some local celebrities – all to support Dana-Farber Cancer Institute and the Jimmy Fund. \n21+ \nDoor time: 8pm VIP\, 9PM general admission \nDJ Silent Partner
URL:https://royaleboston.com/event/bostons-biggest-disco/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub,Special Events
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171119T190000
DTEND;TZID=America/New_York:20171119T190000
DTSTAMP:20260404T110548
CREATED:20170626T161621Z
LAST-MODIFIED:20170626T161621Z
UID:10001806-1511118000-1511118000@royaleboston.com
SUMMARY:SOLD OUT - Turnover
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is open to All Ages. \nSOLD OUT \nPlease note\, due to unforeseen circumstances\, Emma Ruth Rundle will be dropping off of the tour. They will be replaced by pronoun as the opener for this show.  \n*** \n \n*** \nTurnover \n \n[Website] [Facebook] [Twitter] \nFront man Austin Getz doesn’t blink when asked to sum up Turnover’s third full-length\, Good Nature. “Learning\,” he replies. “This whole record is about learning. Opening your eyes to new things\, going outside of your comfort zone\, and learning to grow into something new.”\nTurnover’s previous full-length\, 2015’s Peripheral Vision\, won acclaim for showcasing a dreamier side of the band’s melodically-charged sound; Billboard noted that “the quartet has morphed into a moody\, atmospheric indie rock band\, without losing its knack for hooks.” As easy as it might have been to replicate that success for its third album\, the band resisted the urge to play it safe.\n“It can be hard to be honest with yourself sometimes when it comes to creativity\,” Austin admits. Excited by the opportunities for personal and creative growth the band experienced in the wake of Peripheral Vision\, they worked hard to strike a balance for its follow-up\, “writing good songs but pushing boundaries\, without getting strange just for the sake of being strange.”\nAs the range of textures\, tempos\, and dynamics on Good Nature hints\, the members of Turnover have been listening to a wider range of musical styles over the past couple years. Vintage Southern soul and blues\, Bossa nova and cool jazz\, electronic music\, and psychedelic grooves all filtered into the mix.\n“The new record definitely has a different rhythmic feel because of that\,” he observes. “The melodies we wrote for this record are very different\, much less linear. They’re much more soulful and move around a lot.”\nListening to how the leisurely “Nightlight Girl” melts into a more propulsive selection like “Breeze\,” and the way Good Nature flows together as a seamless whole\, it’s also evident that the foursome has been paying closer attention to how artists from earlier eras made full-length albums. “The Beach Boys’ Pet Sounds has become one of my top five favorites of all time\,” says Austin\, citing not only the quality of the individual selections\, but also the careful sequencing and use of space in the arrangements.\n“I read a huge article on Frank Ocean toward the end of writing Good Nature\, talking about taking his time on his records and being patient with the process\, and that really inspired me\, too.”\nAt the same time Austin and his cohorts were opening up their ears\, they were opening up their understanding of themselves too: “A big chunk of the record is learning to be happy.” Not full-throttle exuberance\, but something much more subtle and satisfying. The almost beatific radiance that imbues Good Nature comes from a place of calm and contentment\, nurtured by looking inward.\n“Peripheral Vision was mostly a record about feeling emptiness and not knowing what to do. This one is about the steps I took after feeling those things\, and where those steps took me\, and learning to try to love the emptiness.”\nThe album’s unique blend of musical and spiritual growth is immediately audible on the opening track\, “Super Natural\,” a late-summer idyll of intertwined guitar parts and laidback vocals. “More than anything else\, love has the ability to teach people selflessness\,” says Austin. “That song is specifically about just one type of love\, romantic love\, and how it became almost meditative for me. It made me feel so relaxed\, but at the same time I could feel it was something so big … it’s ‘super natural’ and it’s ‘supernatural.'”\nFrom the flora and fauna that adorn its cover\, to song titles like “Butterfly Dream” and “Sunshine Type\,” the natural world also plays a pivotal role in Turnover’s latest. “Nature is a huge theme\, because nature has been the teacher in my life when it comes to many things.”\nTo record Good Nature\, Turnover reunited with longtime producer Will Yip. Together\, they spent more time in the studio than on any previous Turnover record\, devoting hours of pre-production to methodically going through the new songs\, fine-tuning parts and writing additional melodies. The bulk of the lyrics\, however\, were finalized during the band’s 2016 European tour. “That was a beautiful atmosphere to be doing it in – and the most intense experience I’ve ever had as a writer.”\nTurnover formed in 2009 in Virginia Beach\, VA and has gone on to tour extensively throughout North America\, Europe\, Australia\, and Japan. Their discography includes three full-length albums and countless EPs and split-singles\, including last year’s Humblest Pleasures EP. “It’s really cool to see all the change\, from the first songs we ever wrote\, right up to Good Nature\,” concludes Austin. Eight years into their career\, Turnover sound better than ever. Slip on your headphones\, open up your ears\, and learn for yourself what the excitement is all about. \n*** \nElvis Depressedly \n \n[Website] [Facebook] [Twitter] \nIn many ways\, new alhambra is an auditory homage to what has shaped lead singer Mathew Lee Cothran’s life. Its title\, as any hardcore pro-wrestling fan will recognize\, credits the Philadelphia arena that birthed its most legendary and extreme version of it\, and the use of samples from wrestling shows and late night televangelists serve as a reference to his upbringing. The album was characteristically made with outdated equipment and limited by only one microphone\, with Mike “Dr. Vink” Roberts playing an essential role on bass that enriches the rockier resonation in comparison to elvis depressedly’s previous releases. Cothran and Delaney were constantly on the move during the recording process thanks to their new found career freedom\, but none of it takes away from new alhambra fully texturized shift toward brightly melancholic noise-pop inspired by Cothran’s favorite un- sung heroes such as Waterboys\, Prefab Sprout and Emperor X. \npronoun \n \n[Website] [Facebook]
URL:https://royaleboston.com/event/turnover/
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:20171120T193000
DTEND;TZID=America/New_York:20171120T193000
DTSTAMP:20260404T110548
CREATED:20170731T154744Z
LAST-MODIFIED:20170731T154744Z
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SUMMARY:Kamasi Washington
DESCRIPTION:Bowery Boston presents \nDoors: 7:30 pm / Show: 8:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale now! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nKamasi Washington \n \nWebsite\nFacebook\nTwitter \nWhen Kamasi Washington released his tour de force LP\, The Epic\, in 2015\, it instantly set him on a path as a torchbearer for progressive\, improvisational music that would open the door for new audiences to experience music unlike anything they had heard before. The 172-minute odyssey featuring his 10-piece band\, The Next Step\, was littered with elements of hip-hop\, classical and R&B music\, all major influences on the young saxophonist and bandleader\, who exceeds any notions of what “jazz” music is. \nReleased to critical acclaim\, The Epic won numerous “best of” awards\, including the American Music Prize and the Gilles Peterson Worldwide album of the year. Washington followed that work with collaborations with other influential artists such as Kendrick Lamar\, Run the Jewels\, Ibeyi\, and John Legend\, and the creation of “Harmony of Difference\,” a standalone multimedia installation during the 2017 Biennial at the Whitney Museum of American Art in New York City. \nThe fulfillment of Washington’s destiny begin when at age 13\, Washington picked up his musician father’s horn and proceeded to play the Wayne Shorter composition “Sleeping Dancer Sleep On” despite never touching a saxophone or knowing how to play. After deciding to commit to his instrument\, he became\, lead tenor saxophone chair at the Academy of Music and Performing Arts at Alexander Hamilton High School\,\, where he started his first band—Young Jazz Giants—with pianist Cameron Graves\, Thundercat\, and Ronald Bruner\, Jr. \nWashington received a full scholarship to the University of California at Los Angeles\, where he studied ethnomusicology. He recorded his first album with Young Jazz Giants during the summer following his freshman year. The quartet’s self-titled debut was dripping with maturity well beyond the players’ collective age\, and with Washington penning four of the album’s seven original songs\, became a platform to spread the “now” sound of jazz all around the country. \nFollowing his sophomore year at UCLA\, Washington went on his first national tour with West Coast hip-hop legend Snoop Dogg\, performing alongside some of the most talented young musicians in the country. Later that year\, the young saxophonist joined the orchestra of Gerald Wilson\, one of his biggest heroes. After graduation\, Washington toured with Grammy Award-winning producer\, singer and songwriter Raphael Saadiq\, and later that year\, returned to Wilson’s band on the album In My Time. \nHis mass appeal continues to grow drawing vibrant\, diverse\, multi-generational crowds to his shows at the world’s most prominent festivals such as Coachella\, Glastonbury\, Fuji Rock\, Bonnaroo and Primavera. A prominent journalist recently summed it up best when he wrote “in a millennium largely absent of anything new or captivating in the jazz idiom\, Washington has just unleashed a musical hydra grounded in respect and intimate knowledge of the past and striking far out into a hopeful future.” Next up for Washington is the highly anticipated Harmony of Difference EP\, due for release this Fall and his sophomore album slated for 2018. \n*** \nCC & The Catastrophe \n \nWebsite\nFacebook \nCC & The Catastrophe is a ten-piece pop big-band that was formed in 2016 by singer/songwriter Caroline Carlson. The group is based out of Boston\, Massachusetts and is home to both current and past students of the Berklee College of Music. The group has been around the Boston gigging scene for awhile now\, headlining with acts such as Pineapple Jam\, Elijah Ford\, Fight the Moon\, TEGA\, and many others. They released their debut single “Blow” last spring which quickly reached 10k views in just 1.5 weeks.
URL:https://royaleboston.com/event/kamasi-washington/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171121T190000
DTEND;TZID=America/New_York:20171121T190000
DTSTAMP:20260404T110548
CREATED:20170709T161649Z
LAST-MODIFIED:20170709T161649Z
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SUMMARY:American Football
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 7/14 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nAmerican Football \n \nWebsite\nFacebook\nTwitter \nA record comes to represent and trigger a specific era in the listener\, an unchanging document against which people can measure their own evolution and feel returned to not only their own season with this record\, but also the imagined landscape and lives of the artists. \nThat American Football’s first record continued to resonate with an ever­expanding coalition of new listeners long after their brief existence is proof of the skillfulness and subtlety with which they could express themselves as undergrads. And that mysterious aura is a lot to live up to. People have had almost twenty years to live alongside that album. And now\, in a flash\, their body of work doubles. \nThat first record was made in complete innocence and obscurity\, and even naivety. But now\, could anyone even count how many different instruments in how many different bands Mike and Nate Kinsella have played? The simple addition of bass goes a long way in rounding out and deepening the overall sound. Tightened and confident\, they hit every pickup and hiccup\, ably executing what they always intended to\, but on a bigger scale. \nWith an easy­breezy shuffle\, they balance Jackson Brown and Steely Dan with rushing\, clicky rhythms under sweeping chord progressions woven out of arpeggios and harmonics. Every drum­fill is like a polite interjection\, perfectly considered\, but disruptive and propulsive nonetheless. \nAnd though they summon a sustained mood beginning to end\, moments of detailed attention abound: the cool strut of “Born to Lose”; the big­clap breakdown and Phil Collins fills of “I’ve Been Lost For So Long”; the 80s­radio pop of “Desire Gets in the Way”; and on “Instincts are The Enemy” even the bridge gets a turn being foregrounded. \nThe record opens as if daring the listener to enter\, locating the space that the record exists in—a return to that same iconic house\, made strange by returning to it. Mike notes the lock on the door\, and establishes the central tension that will propel the record’s narrative: “what if I wasn’t afraid to say what I mean?” The confused singer battles his own appetites\, though as listeners we all know that it is engaging them in battle that gives the appetites their power. War declared on one’s own instincts is the battle to conform to the expectations of adulthood\, to sand down as many edges as possible to fulfill one’s responsibilities to others\, while cleaving to the little bit of grit one needs to retain one’s sense of identity. \n*** \nPure Bathing Culture \n \nWebsite\nFacebook\nTwitter \nTo hear Sarah Versprille and Daniel Hindman tell it\, their Portland\, OR-based band Pure Bathing Culture has always evolved naturally and at a steady pace. “That’s really the path we’ve been on as a band\, always putting one foot in front of the other as opportunities presented themselves\,” Versprille said. “The music just revealed itself to us as we kept going.”\nBut for Pure Bathing Culture’s second album\, Pray for Rain\, the band has taken a big leap forward. You can hear it from the opening notes of their anthemic title track: in Hindman’s clean yet serpentine guitar lines interacting with the live rhythm section and Versprille’s lucid vocals cutting through it all as she asks: “Is it pleasure? Is it pain? Did you pray for rain?” Pray for Rain is the sound of the group confidently taking a step up to the next level and finding their footing as a true band.\n“We needed to make a big step and our version of that was to cut the cord from our previous albums\,” Hindman said of the process\, then confesses: “I was nervous all the way through. It was nerve-wracking and almost antagonizing at times.”\nThe roots of Pure Bathing Culture stretch back to 1999\, when Versprille and Hindman befriended one another on the first day of freshman orientation at William Patterson University in Wayne\, New Jersey. A decade later\, they became bandmates when they both joined Vetiver for their Sub-Pop albums Tight Knit and The Errant Charm. It was while playing in Vetiver that Pure Bathing Culture emerged as its own entity.\n“Dan was working on some instrumentals that he would make on a looping pedal\,” Sarah said. “One night he was out and I just listened to this loop and wrote some lyrics to it. He came home and I showed it to him. We laughed at first\, as we didn’t have some grand plan to start a band. It just happened naturally.” That song “Lucky One\,” wound up in the hands of Richard Swift\, who encouraged the duo to keep writing. “Richard pushed us along and became an inspiration\,” Dan said. Swift wound up producing the band’s first EP and dreamy full-length\, 2013’s Moon Tides at his National Freedom studio.\nFrom there\, PBC evolved from simply being the product of Versprille and Hindman writing songs in their own home to hitting the road as a full touring band. “Sarah and I conceptualize music and then write so it’s a pretty fragile state\,” Hindman said. “Playing live was a huge change for us.”\nWhen it came time to write and record their follow-up to Moon Tides\, the duo knew what they didn’t want. “We didn’t gravitate towards someone making indie dream-pop records\,” Dan said. That was when producer John Congleton (St. Vincent\, Swans\, Angel Olsen\, The Walkmen) reached out to the band and invited them to come record with him in his Dallas\, TX studio.\n“John pushed us to not make clichés\, to not play into the style of other bands\,” Dan said. The challenges came right away as Congleton pressed the group into unfamiliar and at times uncomfortable territory in the studio. “He tricked me with the guitars on the album\,” Dan said. “We got the basic tracks down and he asked me to do scratch guitar and then John wouldn’t let me go back and do the guitars again. He refused to do any layering.”\nAs a result\, everything on Pray for Rain is pretty much as Pure Bathing Culture actually sounds\, all analog gear\, with virtually no plug-ins or effects added afterwards\, no hiding behind multiple layers. “There aren’t a lot of tricks; What you hear is naturally what’s there\,” Dan said.\nIt was a taxing yet ultimately rewarding experience when the album was completed. “It was shocking to hear what the finished product was\,” Sarah said. “It was like being in a vortex and then we came out with this record.” She adds with a laugh something John Congleton told her when all was said and done: “You were very brave.”\nSarah summarizes the Pray for Rain experience as one of “stepping into the realm of discovering who we are as a band and as songwriters\,” echoing a theme of the album itself\, the process of change and transition. “You can find the best version of yourself in those hardest moments\,” she said. To which Dan adds: “You have to be backed up against the wall in order to really feel those feelings and respond to them.” Pray for Rain is the sound of Pure Bathing Culture transforming from who they were to who they will be\, of finding their way\, ready to take steps both small and momentous on their musical path.
URL:https://royaleboston.com/event/american-football/
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:20171122T210000
DTEND;TZID=America/New_York:20171122T210000
DTSTAMP:20260404T110548
CREATED:20171005T203920Z
LAST-MODIFIED:20171005T203920Z
UID:10002564-1511384400-1511384400@royaleboston.com
SUMMARY:George Brazill Presents VIP Funk w/ DJ Marlboro
DESCRIPTION:George Brazill Presents VIP FUNK \n21+ \nVIP inquiries please call/text 617.733.0505
URL:https://royaleboston.com/event/george-brazill-presents-vip-funk-w-dj-marlboro/
LOCATION:279 Tremont Street\, Boston\, 02116\, United States
CATEGORIES:Nightclub,Special Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171123T193000
DTEND;TZID=America/New_York:20171123T193000
DTSTAMP:20260404T110548
CREATED:20171106T211505Z
LAST-MODIFIED:20171106T211505Z
UID:10001861-1511465400-1511465400@royaleboston.com
SUMMARY:Giorgos Tsalikis
DESCRIPTION:VIP Tables available\, please call/text 617.733.0505
URL:https://royaleboston.com/event/giorgos-tsalikis/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171124T220000
DTEND;TZID=America/New_York:20171124T220000
DTSTAMP:20260404T110548
CREATED:20170726T161508Z
LAST-MODIFIED:20170726T161508Z
UID:10002537-1511560800-1511560800@royaleboston.com
SUMMARY:Sofa King Fridays w/ Borgore
DESCRIPTION:VIP Inquiries please call 617.733.0505 \nThis event is 21+ \nDress Code: No shorts\, hats\, boots\, athletic wear\, tanks\, flip flops\, or backpacks. Please see FAQ/Policy page for more details.
URL:https://royaleboston.com/event/sofa-king-fridays-w-borgore/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171125T220000
DTEND;TZID=America/New_York:20171125T220000
DTSTAMP:20260404T110548
CREATED:20171114T164401Z
LAST-MODIFIED:20171114T164401Z
UID:10002574-1511647200-1511647200@royaleboston.com
SUMMARY:Cosmic Thanksgiving Dance Jam w/ Tone Terra
DESCRIPTION:21+ \nVIP 617.733.0505
URL:https://royaleboston.com/event/cosmic-thanksgiving-dance-jam-w-tone-terra/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171126T193000
DTEND;TZID=America/New_York:20171126T193000
DTSTAMP:20260404T110548
CREATED:20170809T170020Z
LAST-MODIFIED:20170809T170020Z
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SUMMARY:Cut Copy
DESCRIPTION:Bowery Boston presents \nDoors: 7:30 pm / Show: 8:30 pm \nThis event is 18+. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 8/11 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nCut Copy \n \nWebsite\nFacebook\nTwitter \nIt’s hard to believe that Cut/Copy once only existed as an idea in the Melbourne bedroom of frontman Dan Whitford\, who was at the time running a very successful local design studio and immersing himself in club culture by night\, both in front of and behind the decks. Whitford’s early blend of samples and newly learned instruments has since evolved into a full-fledged band with guitarist Tim Hoey\, drummer Mitchell Scott\, and bass player Ben Browning\, with each member handling a multitude of instruments. \nIn the past decade\, Cut/Copy has truly become an international act. Touring across the world\, headlining massive sold-out shows\, and slated on prime slots of prestigious festivals worldwide such as Coachella\, Ultra Music Festival\, and Lollapalooza in the US; Primavera in Spain\, Pitchfork in Paris; Summer Sonic in Japan; and Big Day Out in Australia. They’ve released four critically praised albums and accumulated more than a thousand tour dates in the process\, the great majority of which have been to sold out audiences. \nCut/Copy’s high-energy live show is matched only by the beautiful complexity of their songs. They layer large swaths of melody\, sections with dissonance\, nods to many genres\, and package them into coherent pop songs. The result can make large groups of people gather together and explode with joy. There is a Cut/Copy song for everyone\, and their songs tend to be ageless — suitable for both teenage angst and cocktail parties. \nEach of their four records have garnered great critical acclaim\, and Cut/Copy’s catalog has won or been nominated for such prestigious awards as the GRAMMYs and the ARIAs\, in addition to underground Awards such as the Webbies or the J Awards. Cut/Copy’s diversity has also landed their songs into movies like 30 Minutes or Less and Savages\, television shows such as Nip/Tuck and So You Think You Can Dance\, video games including FIFA 12 and Madden\, and ads for PlayStation\, Blackberry\, Levi’s and Orange. \nDJing and mixes have also been a big part of Cut/Copy’s identity. From their famed Fabric mix\, Fabriclive.29\, to the release of 2014 Melbourne dance compilation Oceans Apart\, Cut/Copy mixes are highly anticipated\, often duplicated\, and profoundly inimitable. Whitford and Hoey also perform as Cut/Copy DJs\, and embarked on their first DJ tour in the summer of 2015. You’ll still hear the Cut/Copy sound within the songs they include in their DJ sets\, but they’re known to include the best of underground dance music and perhaps-forgotten classics. \nCut/Copy is constantly full of surprises. With each album they’ve grown stronger as songwriters\, performers\, experimenters\, and curators. As those who have been lucky enough to witness the ride can attest\, it has been an amazing evolution for this Melbourne band and the journey is far from over. \n*** \nPalmbomen II \n \nWebsite\nFacebook
URL:https://royaleboston.com/event/cut-copy/
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:20171128T190000
DTEND;TZID=America/New_York:20171128T190000
DTSTAMP:20260404T110548
CREATED:20170724T161803Z
LAST-MODIFIED:20170724T161803Z
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SUMMARY:Cannibal Corpse
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 7/28 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nCannibal Corpse \n \nWebsite\nFacebook\nTwitter \nTo say “Cannibal Corpse are the biggest death metal band in the world” admittedly\, is a lofty declaration; one made by Metal Hammer UK in an article back in 2009. Since then\, the band has released “Evisceration Plague” and “Torture” – both included future classic Corpse cuts\, reaped praise from press and fans across the globe\, and both accumulated sales on a level rarely seen in death metal. In direct contrast with the “decline” of the music industry\, Cannibal Corpse appears to be growing in popularity. 2006′s “Kill” debuted on the Billboard Top 200 at #170\, followed by “Evisceration Plague” at #66 in 2009\, and #38 in 2012 with “Torture.” Whether or not that trend will continue is impossible to predict\, but George “Corpsegrinder” Fisher (vocals)\, Alex Webster (bass)\, Pat O’Brien (guitar)\, Rob Barrett (guitar)\, and Paul Mazurkiewicz (drums) plan to continue to expose legions of metal fans to their hyper-brutal brand of death metal in 2014 and beyond. The campaign beings in the summer of 2014 as Coldcock Herbal Whiskey Stage headliners on the Rockstar Energy Drink Mayhem Festival\, immediately followed by the release their thirteenth studio album: “A Skeletal Domain.” \nCannibalCorpse-ASkeletalDomainLucky number thirteen? Lucky or not\, it’s a quantity of releases (not even counting VHS/DVD releases and EPs) and a wealth of material beyond which most bands could even imagine. Cannibal Corpse approaches each recording session with a honed and precise vision of a band in their third decade of existence. With this new entry to their extensive catalog\, they have switched gears\, opting to work with producer Mark Lewis at Audio Hammer Studios\, after having tracked their previous three (Kill\, Evisceration Plague\, Torture) with Erik Rutan. Mark Lewis is a name metal fans have surely heard at this point; he has produced recent albums from The Black Dahlia Murder\, DevilDriver\, and many more. Sonically speaking\, the result this time around is a massive\, belligerent\, and deliberate aural attack. \nPreparation for “A Skeletal Domain” did not vary significantly from previous efforts. “At the end of the day\, we’re still making a death metal record\, no matter where it’s being recorded\,” says bassist Alex Webster. Mark Lewis offered a slightly different\, modern recording approach\, but the band stressed that they could not be more pleased with their previous albums with Rutan\, and the door is most definitely open to work with him again in the future. Changing producers is something the band has historically done after every few albums\, if only to not get too comfortable. Cannibal Corpse also tried to step outside of their comfort zone when it came to songwriting and their musical performances. “Consistency is often confused with repetition. We are established with what we do as a band\, and we could relax and not push ourselves\, but we try to push the envelope. That’s what makes this exciting\,” adds Webster. He continues\, “Anyone who really listens to this album with an open mind will hear that it’s not same-old same-old.” Mark Lewis would concur with Webster’s analysis and even goes a step further by claiming that “there are moments on this record that have never happened in musical history.“ \nAlex Webster\, along with O’Brien\, Barrett\, and Mazurkiewicz\, are all accomplished song writers\, that much is no secret. For “A Skeletal Domain\,” each member made a significant contribution to the song writing. O’Brien wrote five tracks\, Webster wrote four\, and Barrett handled two and half (“Asphyxiate to Resuscitate” was co-written with Mazurkiewicz). Alex Webster describes the band’s song writing proficiency as a “football team with a lot of roster depth. Any of us could write an entire album\, but when we’re working together and putting forth our best material\, we get an even better whole record.” That strength is on display in spades\, and led to a particularly impressive performance from O’Brien. Mark Lewis raved about the guitarist’s playing: “I don’t think he’s written crazier music than what’s on this album. He’s never written something like on the solo for “The Murderer’s Pact.” Simply put\, this is legit guitar playing.” Webster reiterated that this is “one of the most important albums for Pat [O’Brien].” His solos draw on his oft-overlooked neo-classical background while remaining dark enough to fit comfortably within the band’s death metal strike zone. In addition to Pat’s contributions\, Paul Mazurkiewicz entered the studio arguably more prepared than ever. Mark Lewis elaborated: “Paul came in so prepared and he hammered the hell out of every song. The drums on this record are not over doctored – the toms aren’t sampled\, Paul just HIT HARD.” In addition to his drum performance\, Mazurkiewicz’s lyrics continued to weave detail-filled tales of death and disgust. The drummer penned half of the album’s lyrics\, with Webster penning four\, and Barrett another two to round out the album. \nThe musical and lyrical team effort here laid the foundation for the vocal performance of iconic front man\, George “Corpsegrinder” Fisher. For “A Skeletal Domain\,” producer Mark Lewis worked to cull the most potent performance from the vocalist as possible. Lewis explains: “The mindset with George was to capture more high screams. We wanted to revisit the “Bloodthirst” days a bit. There’s a violence that lives in his throat that we really wanted to capture.” Evidence of these efforts exists in the violent howls in “Headlong into Carnage\,” the title track\, album opener “High Velocity Impact Splatter\,” and more. Corpsegrinder’s trademark vocals are the final piece of the death metal puzzle that is “A Skeletal Domain.” Cannibal Corpse have proven time and again that they have more fuel in their tank\, more riffs in their minds\, and more ways to describe gore than any single group of human beings could ever have hoped. The thirteenth album will prove to be as important a landmark in their career as just about any other. Cannibal Corpse are consistency defined. \n*** \nPower Trip \n \nWebsite\nFacebook\nTwitter \nPower Trip slay us with the first new single “Firing Squad” from their anxiously awaited sophomore release Nightmare Logic\, which finally sees light February 24 on Southern Lord. “Firing Squad” debuted via NPR who’ve described it as possessing “a certain monolithic quality Lemmy would admire: a massive rawness and a sludgy\, heavy hopelessness that thrashes with punk immediacy and metal intricacy…it’s a track preparing for war.” \nPower Trip are a real band – like no other. Their raw energy\, musical proficiency\, perfect song structure\, rich tones\, fierce riffs\, persecution and collective attitude has seeded them as one of the most prolific underground staples in the U.S. metal\, punk and hardcore scenes. \nPower Trip have relentlessly toured the world for years now with the likes of Anthrax\, Lamb Of God\, Cro-Mags\, Negative Approach\, Turnstile\, Backtrack\, Eyehategod\, Bane\, Off! and having performed with literally countless others\, in addition to pummeling audiences at major festivals all over the US\, EU and beyond. \n*** \nPower Trip \n \nWebsite\nFacebook\nTwitter \nSonoran Depravation by Gatecreeper \nGatecreeper was formed in September of 2013 with members originating from both Tucson and Phoenix\, Arizona. After a debut 4-song EP a series of splits\, the band signed to Relapse Records which resulted in the release of their debut full-length Sonoran Depravation on October 7th 2016. The band has since toured with Nails\, Pallbearer\, Code Orange\, Skeletonwitch and more. Gatecreeper play crusty\, doom-soaked death metal at its most infectious and uncompromising\, with a massive sound that calls to mind the classic Swedish buzz-saw attack of Dismember and Grave mixed with the impeccable groove of Obituary and Bolt Thrower.
URL:https://royaleboston.com/event/cannibal-corpse/
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:20171130T200000
DTEND;TZID=America/New_York:20171130T200000
DTSTAMP:20260404T110548
CREATED:20170925T161718Z
LAST-MODIFIED:20170925T161718Z
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SUMMARY:Country 102.5 presents David Nail
DESCRIPTION:Country 102.5 presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 9/29 at 11AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nDavid Nail \n \nWebsite\nFacebook\nTwitter \nDuring the making of his fourth MCA Nashville album\, David Nail underwent a transformation – and so did his music. Fighter is the most vulnerable\, personal record the Missouri native has ever made\, and it signals the beginning of a new phase in his career.” \n“Six months ago\, people would ask me about the record and I would jokingly say ‘It’s my love-making record\,’” Nail explains. “But what it meant to me then and what it means to me now are completely different. … Having been a father for about five months\, it definitely changes the dynamic of things.” \nFollowing the birth of he and wife Catherine’s long-hoped-for children (twins born in December 2015)\, the singer-songwriter found his world turned upside down. The mark he wanted to leave and things he wanted to say had changed\, and despite an early version of Fighter being already finished\, he decided to record four new songs\, completely changing the project’s tone. \nIn short\, Nail decided to get real in a way he never would have allowed himself before. Already known for powerful\, emotionally-charged vocals\, he took the same approach to choosing Fighter’s 11 tracks (seven of which were written or co-written by Nail himself)\, celebrating life’s victories but also exposing the knock-downs he’s endured – and it wasn’t always flattering. \n“[I was] like\, ‘Am I ready to sing this? Am I ready to tell this story?” Nail says. “[But] they come from a genuine place that you can kind of say\, ‘Okay\, I’ve said that. I’m at peace with that.’ I think that’s what this record is.” \nWriting and singing in courageous personal detail\, Nail confronted some of his deepest troubles\, revealing the clarity he’s achieved about his hometown\, the true struggle depression caused in his marriage\, the answered-prayer of his children’s birth and the things he never told his own father. \nMeanwhile\, producer Frank Liddell (who also guided Nail’s first three albums\, I’m About to Come Alive\, The Sound of a Million Dreams and I’m a Fire) made sure Fighter’s musical tone was just as authentic\, backing Nail’s volcanic vocals with a melting pot of Mississippi-delta sounds — a mix of classic-country balladry and sweaty Memphis soul\, with touches of in-the-moment modernity sprinkled throughout. \n“I grew up listening to all this music that my father listened to\,” says Nail. “A lot of it was classic\, huge songs and artists from the ‘60s and ‘70s – and even the ‘80s – so I think there’s always part of me that just falls toward that type of sound\, rather than fighting it and trying to say ‘Whoa! No-no-no\, we need to stay 2016.” \nBig-name collaborations abound\, with Nail inviting Vince Gill\, Brothers Osborne\, Lori McKenna and Logan Brill to help tell his story\, as well as Bear and Bo Rinehart of NEEDTOBREATE. \n“When I’m making a record I selfishly want to push my buttons so I try to approach it as my swan song\, it could be the last piece of music I make. I want to fulfill some life goals in the process and one of my biggest influences in the word is Vince Gill so I’m thankful he said yes” \nBrothers Osborne kick the project off in star-crossed revelry on “Good at Tonight\,” McKenna joins “Home” to quietly uncover Nail’s love/hate relationship with his hometown\, Gill adds stunning harmony vocals to the country-soul “I Won’t Let You Go” – a promise to David’s wife Catherine – and the Rineharts help close the album in tender admiration with “Old Man’s Symphony\,” an overdue thank-you note to Nail’s dad. \nAlong the way\, he toasts to the passion of youth in the upbeat hit “Night’s On Fire\,” pledges romantic relief in the raw Chris Stapleton co-write “Ease Your Pain\,” delivers a desperate double entendre in the indie-rocking “Lie With Me” and crafts a loving\, rock-a-bye origin story for his new family in “Babies” – an instant classic. \nThen there’s the project’s title track\, “Fighter\,” a heartfelt ‘80s-country throwback ripped from Nail’s real life that holds his wife up as an unshakable supporter – even when he was at his worst. \n“’Fighter’ is about as honest as I’ve ever been in a song\,” Nail admits. “I mean\, when you’re quoting your wife saying things that are not pleasant [about you]\, you know it was our story. … But it also\, I think\, tells the story of me.” \nNail and Catherine have had to fight their whole lives\, he explains – for his career\, for their marriage\, to battle back inner demons and to conceive their beautiful kids – but their ultimate success in those battles has led them to a better place. And it also gave the album a mission. \nFighter is more than a bookmark in Nail’s life and career – it’s a period on the final sentence of a difficult chapter. Penned during dark times that have given way to a new sunrise\, these are some of the most meaningful and personal songs he’s ever recorded. And now that they exist for all to hear\, he can finally move on. \n“I feel like I’ve told the main aspects of my career\, and my life\, up to this point\,” he explains. “So I really think whatever we do in the future\, we’ll be able to start just completely fresh. It’ll be a new story\, a new part of my life.” \n-Chris Parton \n*** \nTown Meeting \n \nWebsite\nFacebook\nTwitter \nTown Meeting is a Central Massachusetts-based group featuring original songs and unusual instruments. Their work is eclectic. At one hand\, their power and energy compels a crowd to its dancing feet; on the other\, their lyrical imagery quietly absorbs the audience.   \nTown Meeting is composed of “three brothers and two others”.  Luke\, Russ and Babe Condon are joined by Dean Adrien and Tim Cackett. They have developed an avid local following\, but have also performed from Maine to Nashville\, and opened for the likes of Willie Nelson\, Sturgill Simpson\, Third Eye Blind and Bob Dylan. \nEldest brother Luke Condon strums a left-handed rhythm guitar with infectious vigor.  His lyrics are poetic (“The hour glass is getting bottom heavy\, and I can feel the glass about to break”)\,  or whimsical (“I’m in love with Hermione Granger”).  His song “Time” combines an intimation of one’s mortality with a raucous rockabilly beat that celebrates life in the face of death – Hamlet goes to a Hoe-down. \nRuss Condon sits astride a cajon\, a Peruvian drum. He coaxes\, with hand slaps\, a spectrum of percussive nuances and volumes. His clear baritone fits seamlessly with Luke’s\, the natural blend and timbre of brothers.  A prolific songwriter\, his powerful “You Don’t Hear My Music Any More” is a primal wail of anguish over lost love\, running the gamut of shock\, denial\, rage and finally acceptance.  His songs are introspective\, such as  “If This Were A Movie”\, with the opening lines\, “If this were a movie\, would we be the stars\, or would we be the people walking our dogs?” \nBrendan (“Babe”) is the youngest Condon brother. A percussionist and vocalist\, Babe adds a howling\, growling harmonica to the mix.  His first writing effort is “Phoenix”\, a touching quest of youthful angst\, in search of a safer future\, risen from its past ashes.  “California isn’t what I thought it’d be when I put myself inside a plane and left my family.  Now I’m hoping I can find relief in Phoenix.” \nLongtime music fans will recognize the name of Dean Adrien\, lead guitarist and tenor for Town Meeting.  Co-founder of the 1970s Boston-based group Orphan\, he later combined with Orphan’s Eric Lilljequist as a duet\, and for decades backed Tom Rush on his New England gigs. Dean’s guitar work is melodic and understated\, befitting each song. Note his tasteful licks in “Leave the Light On” and funky picking in “Digging”. \nTim Cackett\, instrumental virtuoso\, plays dazzling electric bass lines. He kills it! Collaborative songwriter. His mandolin work is unique. It tinkles like a piano\, bounces like a plucked violin\, or drives a dancing crowd with a powerful rhythm. He has lately added banjo\, acoustic/electric guitar and upright bass to his repertoire. \nIn 2016\, Town Meeting released its first studio CD\, “If I Die”.  They are currently working on a follow up to be recorded this fall for release in 2017.
URL:https://royaleboston.com/event/country-102-5-presents-david-nail/
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:20171201T220000
DTEND;TZID=America/New_York:20171201T220000
DTSTAMP:20260404T110548
CREATED:20170921T180412Z
LAST-MODIFIED:20170921T180412Z
UID:10001842-1512165600-1512165600@royaleboston.com
SUMMARY:Sofa King Fridays w/ Chuckie
DESCRIPTION:VIP Inquiries please call 617.733.0505 \nThis event is 21+ \nDress Code: No shorts\, hats\, boots\, athletic wear\, tanks\, flip flops\, or backpacks. Please see FAQ/Policy page for more details.
URL:https://royaleboston.com/event/sofa-king-fridays-w-chuckie/
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:20171202T220000
DTEND;TZID=America/New_York:20171202T220000
DTSTAMP:20260404T110548
CREATED:20171019T180015Z
LAST-MODIFIED:20171019T180015Z
UID:10002569-1512252000-1512252000@royaleboston.com
SUMMARY:COSMIC at Royale Saturdays w/ Brody Jenner
DESCRIPTION:VIP Inquiries please call 617.733.0505 \nThis event is 21+ \nDress Code: No shorts\, sneakers\, hats\, boots\, athletic wear\, tanks\, flip flops\, or backpacks. Please see FAQ/Policy page for more details.
URL:https://royaleboston.com/event/cosmic-royale-saturdays-w-brody-jenner/
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:20171206T200000
DTEND;TZID=America/New_York:20171206T200000
DTSTAMP:20260404T110548
CREATED:20170911T174950Z
LAST-MODIFIED:20170911T174950Z
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SUMMARY:[SOLD OUT] Illenium
DESCRIPTION:Bowery Boston & NV Concepts presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited. \nSOLD OUT! \n*** \n \n*** \nIllenium \n \nWebsite\nFacebook\nTwitter \nThere are melodic bass producers\, and then there is Nick Miller. In the few short years that Denver-based Miller has been producing under the name Illenium\, his prolific outpouring of captivating remixes and haunting originals has garnered him a devoted following and seen him rise quickly in the ranks of the dance music community to become one of its most beloved new stars. Illenium has distinguished himself from the myriad of others through an unrivaled ability to create an immersive emotional experience of highs and lows that pulls on the heart-strings and leaves the listener awestruck\, displaying an adeptness for creating aural arrangements that vary in style\, yet always maintain beauty\, complexity and emotional depth. Illenium’s stunning productions come to life through a live performance that incorporates a keyboard and drum pad framed by cutting-edge lighting and visuals\, creating an immersive experience that has captivated audiences across the country. In early 2016\, Illenium released his debut artist album ‘Ashes\,’ which earned him the No. 1 spot on the iTunes Electronic Album Chart\, as well as a remix of The Chainsmokers’ “Don’t Let Me Down\,” which racked up over 10 million plays in its first month alone. In addition to selling out most of his debut headlining tour\, Illenium has appeared at Lollapalooza\, Mysteryland\, Summer Set Music Festival\, Paradiso\, and more. \n*** \nSaid The Sky \n \nWebsite\nFacebook\nTwitter \nPlaying piano and various instruments since the age of eight\, Colorado native Trevor Christensen is coming forward with a fresh perspective on music. Bringing his melodic background and technical training into his music\, he works to capture everything beautiful in what people know as EDM. His last 3 years have been devoted to his production\, and bring the ideas build up in his head from his entire childhood to life. His music is\, what he hopes it to be\, an experience: A captivating blend of moving bass lines\, and soaring melodies. This is nothing you want to miss.  \n*** \n Dabin  \n \nWebsite\nFacebook\nTwitter \nDabin is a 22-year old music producer from Toronto\, Ontario. Having spent his teens learning to play the guitar\, piano\, and drums\, Dabin started producing electronic music in 2011. He quickly attracted the attention of Montreal-based Kannibalen Records and released his first tracks on the fledgling independent label in 2012. His music\, ranging from mellow electronica to hard-pounding dubstep & electro\, features lush sonic textures\, rich melodies and intricate instrumental work. His songs have charted regularly on Beatport and Itunes and he’s been featured several times on well-known online music channel UKF\, racking up millions of plays along the way. He performs a unique genre-defying live show in which he incorporates live electronic guitar and synthesizers.
URL:https://royaleboston.com/event/illenium/
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:20171207T190000
DTEND;TZID=America/New_York:20171207T190000
DTSTAMP:20260404T110548
CREATED:20170320T154540Z
LAST-MODIFIED:20170320T154540Z
UID:10001769-1512673200-1512673200@royaleboston.com
SUMMARY:Mogwai
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 3/24 at 10AM! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n***\n \n*** \nMogwai \n \n[Website] [Facebook] [Twitter] \nEight studio albums\, a live album and four compilations\, four soundtracks\, a record label\, and a few blown PAs and dislodged pieces of ceiling over uncountable gigs\, not to mention a series of amusing Twitter accounts reviewing hotels and on-tour dinners. Over the 21 years since they formed with rehearsal after rehearsal rattling Stuart Braithwaite’s living room\, Mogwai might have become one of the most important groups of a fragmented but increasingly potent British musical underground\, but they’ve steadfastly refused to sit back and rest on their laurels. \nIndeed\, you might refer to them as the cockroaches of post rock\, for Mogwai have never split up for a while in favour of a lucrative reunion playing classic albums live\, instead continuing to push themselves and their sound. Then again\, as any cursory listen to their 2015 compilation Central Belters will tell you\, is post rock really a generous enough term to describe what Mogwai do? Over 20 years their one constant has been of a mastery of dynamics\, an embracing both of power and minimalism\, and a willingness to experiment with new instrumentations and technology. Within that though\, one of the most recognisable sonic identities in contemporary music unites the songs as disparate of graceful sung moments like Travel Is Dangerous or epic Black Sabbath temper tantrum My Father My King\, the shimmering\, stately atmosphere of I’m Jim Morrison\, I’m Dead or the burbling kosmische electronics that drive Mexican Grand Prix. \nThe Mogwai of 2017 is a very different group to the four kids who\, in February 1996\, released their debut single Tuner/Lower to a musical climate suffering the appalling hangover of late Britpop. Theirs was a sound of happy accident\, Stuart Braithwaite\, Dominic Aitchison\, Martin Bulloch\, John Cummings and later Barry Burns uniting over shared love of skateboarding\, Star Wars\, The Cure\, and American indie rock to somehow end up with music that was\, and remains\, as affecting as it is powerfully loud\, as sensitive as much as it has the propensity to rip your ears off. Since debut album Young Team the group have always kept their eyes on the future\, playing different sets mostly of new material on each night of their never-ending tours. “It’s better to keep doing what you’re doing right now\,” says Braithwaite. “looking at what’s happened with some other bands it’s hard to get people interested in what you’re doing now once you’ve made a big deal about going back to something from ten or 20 years ago.” \nPart of Mogwai’s progressive zeal is in their continuing independence and support for artists around them. In 2005 they opened their own Castle Of Doom studio\, using it to record four albums as well as opening it up to fellow- travellers Errors\, Malcolm Middleton and The Twilight Sad. Their Rock Action label has not only released Mogwai’s own music since that debut single\, but albums from Blanck Mass\, Sacred Paws\, Afrirampo and Remember Remember\, among others. In a commercial climate that hardly favours independent artists operating outside the mainstream\, Mogwai have always led by example\, doing it it themselves\, where they can. “Someone sent us a flyer of a gig we did with Trout at Nice ’n’ Sleazy in 1996\, and I remembered going round the photocopy shops\, making them\,” Stuart Braithwaite has said.“Even though everything’s on a different scale\, you’re still doing the same thing. It’s still letting people know that you’re playing\, and making sure that all the band members remember there’s a gig that day… there’s nothing different about playing to 2000 people as to playing to 50 people. Just you’re a bit higher up. And you get a dressing room! But really\, it’s the same thing.” \nThis singularity of purpose can also be heard in Mogwai’s soundtrack albums. While Braithwaite has said that when the band first started they’d rather jump off a bridge than take on such a difficult task\, their music for football biopic Zidane and French TV series Les Revenants has been among their finest work. The latest and best is Before The Flood. Mogwai collaborated with Trent Reznor\, Atticus Ross and Argentine film composer Gustavo Santaolalla to create the soundtrack to Leonardo DiCaprio’s 2016 documentary on climate change\, directed by Fisher Stevens and co-created by DiCaprio. \nAtomic was Mogwai’s accompaniment to Mark Cousins’ BBC documentary on the horrors of Hiroshima and the Cold War Arms race. As opponents of the presence of the Royal Navy’s Trident deterrent in Scottish waters\, this was a subject close to Mogwai’s hearts\, and the album gives a lie to the view that instrumental music can’t be political. With the tracklisting slightly rejigged\, the Atomic soundtrack was released as a standalone album in April 2016\, reaching number 20 in the UK charts\, their second-highest ever chart placing. \nMogwai toured Atomic alongside the film\, in the US\, Europe and Japan\, including a show in Hiroshima. In between touring the band wrote and recorded their ninth studio album\, due later this year. The as-yet-untitled record sees them reuniting with producer Dave Fridmann for the first time since 2001’s acclaimed Rock Action LP\, and was recorded at Tarbox Road Studios\, Cassadaga\, New York. Mogwai have announced a massive hometown show at the SSE Hydro\, Glasgow on Saturday 16 December 2017\, in support of the forthcoming album. \nA couple of years ago\, Stuart Braithwaite said of the period recording Young Team that “We were very driven\, and it was definitely an exciting time. Everyone was hyped up and focused\, and a little bit unhinged. It was a wild time in the band.” With the tantalising prospect that Mogwai’s ninth studio album will pick up where Atomic left off\, perhaps some things haven’t really changed at all. \n*** \nXander Harris \n \n[Website] [Facebook] \nHarris is an electronic artist providing a balance between tense atmospherics\, disco and psychedelic flair. His exploration of Giallo landed his well-received debut “Urban Gothic” on Fact Magazine’s Best 50 LPs of 2011. The last year has found the native Texan equipped with a diverse catalog that has taken him across the world.
URL:https://royaleboston.com/event/mogwai/
LOCATION:279 Tremont Street\, Boston\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171208T180000
DTEND;TZID=America/New_York:20171208T213000
DTSTAMP:20260404T110548
CREATED:20170731T163952Z
LAST-MODIFIED:20170731T163952Z
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SUMMARY:[CANCELLED] Pinegrove
DESCRIPTION:Bowery Boston presents \nPinegrove has cancelled all N. American 2017 tour dates. Refunds available at point of purchase. \n***
URL:https://royaleboston.com/event/pinegrove/
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:20171208T220000
DTEND;TZID=America/New_York:20171208T220000
DTSTAMP:20260404T110548
CREATED:20170921T180525Z
LAST-MODIFIED:20170921T180525Z
UID:10001843-1512770400-1512770400@royaleboston.com
SUMMARY:Sofa King Fridays w/ Paul Oakenfold
DESCRIPTION:VIP Inquiries please call 617.733.0505 \nThis event is 21+ \nDress Code: No shorts\, hats\, boots\, athletic wear\, tanks\, flip flops\, or backpacks. Please see FAQ/Policy page for more details.
URL:https://royaleboston.com/event/sofa-king-fridays-w-paul-oakenfold-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171209T220000
DTEND;TZID=America/New_York:20171209T220000
DTSTAMP:20260404T110548
CREATED:20171128T213139Z
LAST-MODIFIED:20171128T213139Z
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SUMMARY:Cosmic at Royale Saturdays w/ DJ TAO
DESCRIPTION:*Niykee Heaton had to cancel due to an illness. All tickets will be honored or refunded at point of purchase.* \n21+ \nVIP Inquiries text or call 617.733.0505
URL:https://royaleboston.com/event/cosmic-royale-saturdays-w-niykee-heaton/
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:20171211T200000
DTEND;TZID=America/New_York:20171211T200000
DTSTAMP:20260404T110548
CREATED:20170907T152634Z
LAST-MODIFIED:20170907T152634Z
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SUMMARY:Petit Biscuit
DESCRIPTION:Bowery Boston presents \nPetit Biscuit\nw/ Electric Mantis \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale NOW! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nPetit Biscuit \n \nWebsite\nFacebook\nTwitter \nPetit Biscuit is a 17-year-old electronic music producer from France\, keen to take on the world. After picking up the cello at age 5 and entering French classical music school the Conservatoire soon after\, things heated up when Petit Biscuit got his first PC at 11. Editing and mixing all the sounds of his tracks himself\, he excels in creating unmistakable chopped and twisted vocal leads. His first tracks got him an impressive following on SoundCloud and YouTube early on. Now with the release of his debut EP in May 2016\, the delicate music of the young prodigy has started to spread like wildfire. The song “Sunset Lover\,” heady and recognizable among thousands\, acts as its spearhead. \n*** \nElectric Mantis \n \nWebsite\nFacebook\nTwitter \nAlaskan born 23-year-old born electronic and hip hop composer Electric Mantis broke through with the viral success of his track “Flips and Flops\, Drips and Drops” thanks to Reddit and a plug from Djemba Djemba. Today\, the San Francisco-based artist is taking the next step in his increasingly heat-seeking career with official remixes for Porter Robinson\, Giraffage\, and more.
URL:https://royaleboston.com/event/petit-biscuit/
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:20171212T190000
DTEND;TZID=America/New_York:20171212T190000
DTSTAMP:20260404T110548
CREATED:20170912T154052Z
LAST-MODIFIED:20170912T154052Z
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SUMMARY:The Dear Hunter
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 9/15 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nThe Dear Hunter \n \nWebsite\nFacebook\nTwitter \nIt’s been almost a decade since Casey Crescenzo brought The Dear Hunter — both the band and the character of the same name — to life with his 2006 debut full-length\, Act I: The Lake South\, The River North. Although it was evident from his stint as singer of The Receiving End Of Sirens\, the record revealed Crescenzo’s incredibly inventive and ambitious musical flair\, something which has been evolving ever since. The two albums which followed — 2007’s Act II: The Meaning Of\, And All Things Regarding Ms. Leading and 2009’s Act III: Life And Death — cemented the now 32 year-old as a maverick\, idiosyncratic talent whose music\, while fitting a modern aesthetic\, was also from a bygone era. \nAnachronistic and timeless in equal measure\, the narrative of The Dear Hunter existed in both the past and the present\, its detailed plot standing simultaneously as an age-old and new age fable. As that tale progressed\, so did Crescenzo’s art\, his experimental compositions blurring the line between different genres to create a sound that was — and still is — unique to the band. But then\, halfway through the six envisioned Acts of the Dear Hunter narrative\, Crescenzo’s attentions shifted. Between 2010 and 2011\, the band recorded a series of nine four-track EPs known as The Color Spectrum. Later released as a single volume edition\, each EP was a musical interpretation of a color from the visible spectrum\, showcasing the increasingly far-reaching ambitions for Crescenzo’s musical vision and his inventive interpretation of the world around him. Two years later\, the more mellow and straightforward fifth full-length Migrant showcased a different side to the songwriter’s talents\, and last year he composed and recorded his first symphony Amour & Attrition. With such a storied musical repertoire\, its clear Crescenzo is no ordinary musician. \nNow\, six years and two albums after The Dear Hunter released Act III: Life And Death\, Crescenzo has returned to the narrative of the anti-hero who shares the band’s name\, applying all of the knowledge and experience of the last ten years to this new chapter. Picking up where the story left off — with the eponymous protagonist assuming the identity of his late brother and returning home — Act IV: Rebirth In Reprise is an album that explores the complex notions of who and what we are\, and which attempts to answer its own questions through the wanderings and wonderings of the album’s protagonist. Yet as the plot and the music weave their way through these fifteen songs\, it’s clear that they transcend the boundaries of the Dear Hunter story. This is as much about a return in real life as it is the fictional story. \n“Revisiting something that was six years removed from my life\,” explains Crescenzo\, “and going back to doing these records was actually a suggestion of my manager and friend Mike Marquis. We got talking about the title of the record and it really just made sense\, both within this story — which is about this character returning to a familiar place as a different person — but also in terms of the music\, which was returning to a familiar place as a different person for myself. So it was the perfect middle ground of describing conceptually\, and as far as the plot goes\, a story\, but also a very perfect paralleling between my personal life and the story of the record — that revitalization and rejuvenating that comes from revisiting something with a newfound perspective.” \nThe result is the band’s most orchestral and multi-layered set of songs to date. Both nuanced and euphoric — sometimes at the same time — their very essence breathes life back into a story that has been on pause for over half a decade\, reigniting the lives of the characters with heart and aplomb. That’s something Crescenzo insists could only have happened by taking a break from the world with The Color Spectrum and Migrant. The distance that making those records afforded Crescenzo means that of all the albums The Dear Hunter has made\, Act IV’s soundtrack to its main character’s physical and philosophical journey is also the closest Crescenzo has come to realizing the true musical vision inside his head. \n“I was trying to do it on Act I\, Act II and Act III\,” he says with a slight sigh of fake exasperation\, “but I could never get to the point where I was just in a room with an orchestra playing these parts\, because I didn’t know how to do it. It was this thing that I always wanted to incorporate into what I did before\, I always wanted this and I was always upset that I didn’t get it. This time\, I could apply this knowledge that I actually possess into this music. It was one of the most exciting experiences of my life because the orchestra is such an integral part of that album from start to finish\, as far as weaving in and out of the music and gluing it all together.” \nThat’s certainly an understatement. Aside from a couple of brief pauses\, Act IV is almost one continuous piece of music. Whether it’s the gracefully powerful lilt of “At The End Of The Earth”\, the frantic\, almost King Crimson-esque 9 minute epic surge of “A Night On The Town” or the angular guitars of “King Of Swords (Reversed)” — which Crescenzo says drew inspiration from unlikely sources such as ELO\, Talking Heads and Michael Jackson — it all creates a sense of dramatic momentum to parallel all the physical and metaphysical action that takes place across this record’s ambitious 64 minutes. Initially written and recorded at Crescenzo’s self-built studio in Port Angeles\, Washington (where he now lives) with the rest of the band\, once their parts were done\, Crescenzo then set about finishing the rest of it himself. \n“I tracked most of my guitar and then I finished writing the scores for the orchestra\, so before I even got in to doing vocals\, my girlfriend\, my dog and I drove down to California and tracked the orchestra.” \nPlayed by the community-based Awesöme Orchestra collective at Berkeley’s Fantasy Studios\, it means the album truly is the culmination of everything that preceded it. As such\, even though it’s part of a fictional narrative\, it doubles up as the band’s most autobiographical album to date. That might seem like a paradoxical concept\, but to listen to Crescenzo explain it\, and it makes perfect sense. As Crescenzo points out\, “There were always these big pillars of the story that I wanted to tell as far as broad strokes. It’s always had Point A and Point B on a grand scale\, but I like to grow as a human being\, a songwriter\, a lyricist\, and I didn’t want to bind myself to the outlook and my feelings and my personal headspace at 22\, when I started writing this\, knowing that it would be years and years and years before I’d ever get to the sixth part. I didn’t want to control the creativity of the 32 year-old me at 22. I left a lot of wiggle room so I could pull on the new experiences I’d have as an adult and through the years it would take to finish it. So a lot of the detail is told from the last six years of my life going into Act IV.” \nAs such\, the personal growth that Crescenzo experienced in his own life shaped those moments. For a start\, he wanted the band — completed by Nick Crescenzo (drums\, percussion)\, Robert Parr (guitar\, keyboards)\, Nick Sollecito (bass)\, Maxwell Tousseau (guitar\, keyboards) and Andrew Brown (keyboards) — to have more input into the development of the songs. Secondly\, he found his attitude towards the people who initially inspired the characters had changed over time — and so had the characters as a result. \n“Looking back on the way that it started\,” Crescenzo remembers\, “the story was rooted in such an intensely bitter place I was able to demonize whoever I wanted through the fiction of it. What’s really interesting is that\, just by coincidence\, in this story and in these characters who have been somewhat demonized in my mind relating to real life people\, there are these moments somewhat of redemption for these characters. It was like I knew I wasn’t going to want to make that record until I was in a personal place where I had sort of gotten past the initial bitterness and the grudge I’m incapable of not holding. If I had written it all as younger man\, I think it would have been bitterness from the beginning to the end\, and there would have been no room for my growth or the growth of whatever character I’m putting in there.” \nThere are still two more Acts planned\, as well as a graphic novel in the works\, but for now\, the life of the Dear Hunter — both the character and the band — is fully consumed by this newest part of the story. It’s been a long time in the waiting\, but that’s precisely why the pieces have all fallen so perfectly into place. “Honestly\,” Crescenzo chuckles\, “just the act of making this record after so long\, and making the record I said I was going to make and not damning the younger version of me to having lied\, is very cathartic. And when it was done\, I had no idea what to do with myself. All of a sudden\, I was finished with this thing I didn’t even know if I would get to. I was blindsided by the finality of it.” \nOne listen\, and you probably will be\, too. \n*** \nThe Family Crest \n \nWebsite\nFacebook\nTwitter \n“Everything we’ve done over the past five years has been leading up to this\,” reflects Liam McCormick. “We’ve been working on this project for almost the entire time we’ve been a band.”  \nMcCormick\, the frontman and songwriter of The Family Crest\, is referring to the band’s upcoming release\, an EP titled Prelude to War. Remaining tight-lipped about the EPs relationship to a mysterious “broader project” that’s been mentioned of late\, he grins and says\, “Our listeners have been waiting so patiently for new music. Let’s just say that what we’re planning should make up for the wait and keep them satiated for quite a while.” \nThe brainchild of McCormick\, The Family Crest was started as a recording project in 2009 with co-founder John Seeterlin (bass). The pair set out to reinvent how music could be created. “We always liked making music with people — getting a bunch of people together and singing. So we put ads everywhere\,” says McCormick. “We posted on Craigslist and emailed old friends from school.” The outcome was greater than the original duo imagined\, with 80 people credited on the first recording the band produced. From that a band emerged\, at the urging of the guest musicians\, who wanted to hear the songs performed live. “We’ve worked with a lot of conservatory students as well as people who just sing in the shower\,” McCormick adds. “It became a lot about giving these people a chance to express themselves without being locked into a commitment.” \nThe band evolved into a seven-piece core with over 400 “Extended Family” members who have contributed to the music. With the 2014 release of Beneath the Brine\, The Family Crest skyrocketed into mainstream awareness\, with critics at Paste Magazine\, Spin and NPR raving\, “there’s a decent chance you’re about to discover your favorite new band.” For nearly two years\, The Family Crest toured in support of Beneath The Brine\, and seeing their songs featured in campaigns for GoPro\, Carnival Cruises\, Coachella\, and more. \nBeneath the Brine showed that McCormick’s writing for classical instruments had grown. In Prelude to War\, his style and prowess has been even more augmented. Paste Magazine exclaims\, “[Prelude to War] delivers a dose of both the familiar and the experimental: Huge\, rollicking numbers with a few sparse moments of tenderness interspersed throughout. There’s material here that wouldn’t have sounded out of place on Beneath the Brine\, but also several songs that hint at an evolution and embrace of even more seemingly disparate genres. One thing is certain: These guys are just as explosive as ever\, and these songs are going to bring the house down in a live setting.” \nFans of Beneath the Brine’s title track will find drama and dark romanticism in “Sparks” and “Battle Cry\,” and subtle yet powerful musical gestures in “Don’t Wake Me\,” the sole ballad of the EP. Those looking for a lighter\, more pop-infused sound will gravitate toward “Can You Stay” and the undeniably groovy “Mirror Love\,” of which Bob Boilen (NPR’s All Songs Considered) says\, “[Mirror Love] extends into new sonic territory for the group\, capturing the late ’70s sounds of the Bee Gees in both beat and chorus … [a] stunning kaleidoscopic imagery and bold sound.” \n*** \nVAVÁ \n \nWebsite\nFacebook\nTwitter \nLos Angeles\, CA
URL:https://royaleboston.com/event/the-dear-hunter-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171215T220000
DTEND;TZID=America/New_York:20171215T220000
DTSTAMP:20260404T110548
CREATED:20170921T180635Z
LAST-MODIFIED:20170921T180635Z
UID:10001844-1513375200-1513375200@royaleboston.com
SUMMARY:Sofa King Fridays w/ GTA
DESCRIPTION:VIP Inquiries please call 617.733.0505 \nThis event is 21+ \nDress Code: No shorts\, hats\, boots\, athletic wear\, tanks\, flip flops\, or backpacks. Please see FAQ/Policy page for more details.
URL:https://royaleboston.com/event/sofa-king-fridays-w-gta/
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:20171216T180000
DTEND;TZID=America/New_York:20171216T213000
DTSTAMP:20260404T110548
CREATED:20170822T153753Z
LAST-MODIFIED:20170822T153753Z
UID:10001837-1513447200-1513459800@royaleboston.com
SUMMARY:ALONE & TOGETHER ft. Elvis Perkins\, Joe Russo\, Eric D. Johnson (Fruit Bats)\, Sam Cohen and Josh Kaufman
DESCRIPTION:Newport Folk® presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. This is a partially seated general admission show. Seating is available on a first-come\, first-served basis. Please note: bags or backpacks larger than a purse are prohibited. \nTickets on sale Fri. 8/25 at noon! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \nALONE & TOGETHER \n \n“Alone and Together\,” now in its fourth incarnation\, is a series wherein some of your favorite singer/songwriters/musicians get together and cover one another\, in addition to playing their own songs\, choice covers\, and surprise jams. It’s a freewheeling and frequently magical environment. Featuring: Elvis Perkins\, Sam Cohen\, and Eric D. Johnson (Fruit Bats) – joined by instrumentalists Joe Russo and Josh Kaufman.
URL:https://royaleboston.com/event/alone-together-ft-elvis-perkins-joe-russo-eric-d-johnson-fruit-bats-sam-cohen-josh-kaufman/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171216T220000
DTEND;TZID=America/New_York:20171216T220000
DTSTAMP:20260404T110548
CREATED:20171128T213533Z
LAST-MODIFIED:20171128T213533Z
UID:10002578-1513461600-1513461600@royaleboston.com
SUMMARY:Cosmic at Royale Saturdays w/ Captn20
DESCRIPTION:21+ \nVIP Inquiries text or call 617.733.0505
URL:https://royaleboston.com/event/cosmic-royale-saturdays-w-captn20/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
ATTACH;FMTTYPE=image/png:https://royaleboston.com/wp-content/uploads/2017/11/1216-Captn20.png
GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
END:VCALENDAR