BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Royale Boston - ECPv6.15.16//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Royale Boston X-ORIGINAL-URL:https://royaleboston.com X-WR-CALDESC:Events for Royale Boston REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20150308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20151101T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20160313T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20161106T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20170312T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20171105T060000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/New_York:20160826T220000 DTEND;TZID=America/New_York:20160826T220000 DTSTAMP:20260403T220949 CREATED:20160609T045536Z LAST-MODIFIED:20160609T045536Z UID:10002393-1472248800-1472248800@royaleboston.com SUMMARY:Brillz DESCRIPTION:21+ \n*Management reserves the right to refuse entry / Admission not guaranteed after 12AM / No refunds of any kind all sales are final. URL:https://royaleboston.com/event/brillz/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Nightclub ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/06/8.26a.jpg 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:20160827T220000 DTEND;TZID=America/New_York:20160827T220000 DTSTAMP:20260403T220949 CREATED:20160817T005450Z LAST-MODIFIED:20160817T005450Z UID:10002415-1472335200-1472335200@royaleboston.com SUMMARY:White Party DESCRIPTION:21+ URL:https://royaleboston.com/event/white-party-4/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Nightclub ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/08/ROYALE_WHITE_PARTY_1080.jpg 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:20160903T220000 DTEND;TZID=America/New_York:20160903T220000 DTSTAMP:20260403T220949 CREATED:20160726T220041Z LAST-MODIFIED:20160726T220041Z UID:10002412-1472940000-1472940000@royaleboston.com SUMMARY:Dada Life DESCRIPTION:21+ URL:https://royaleboston.com/event/dada-life/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Nightclub ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/07/DadaClubAdMatte_boston_WEB-copy.jpg 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:20160904T220000 DTEND;TZID=America/New_York:20160904T220000 DTSTAMP:20260403T220949 CREATED:20160726T025428Z LAST-MODIFIED:20160726T025428Z UID:10002411-1473026400-1473026400@royaleboston.com SUMMARY:White Party DESCRIPTION:21+ URL:https://royaleboston.com/event/white-party-3/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Nightclub ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/07/ROYALE_09042016-poster.jpg 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:20160906T200000 DTEND;TZID=America/New_York:20160906T200000 DTSTAMP:20260403T220949 CREATED:20160523T144442Z LAST-MODIFIED:20160523T144442Z UID:10001666-1473192000-1473192000@royaleboston.com SUMMARY:Band of Skulls DESCRIPTION:Doors: 8:00 pm / Show: 8:30 pm \nThis event is 18 and over.\nTickets on sale Thu. 5/26 at noon! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nBand of Skulls \n \n[Website] [Facebook] [Twitter] \nToo many careers in rock’n’roll are sprints rather than marathons. Few artists make it past their debut album without having already squandered their life’s quota of creative ideas. Fewer still make it to four albums in without hitting some kind of existential crisis\, without losing direction\, or going on autopilot and resorting to the same old tricks to keep a dwindling fan-base interested. \nMeet Band of Skulls\, then\, whose fourth album\, By Default’\, is the sound of a group on the sharpest form of their career\, more engaged and focused than they’ve ever been. An album that electrifies with rock’n’roll cut back to its most vivid elements\, focusing all their brawny power and maverick invention into choruses\, hooks and expertly-sculpted three-minute bursts so unashamedly anthemic and accessible they’ll soundtrack this summer\, and far beyond. \n“It’s definitely a new era\,” says guitarist/vocalist Russell Marsden. “The first three records were like a trilogy\, a piece of work in themselves. We wanted to do those things\, and we did them all. We took a breath\, took a look at what we’d done\, and started from scratch again.” \n“We hadn’t stopped since releasing our first album in 2009\,” remembers Matt. Their new contract with BMG Recordings bought them breathing space\, time to reflect on where they’d been creatively – and where they wanted to go next. They hired rehearsal space in Central Baptist Church in Southampton\, and loaded in the barest bones of equipment – some ratty old practice amps\, Matt’s dad’s drum-kit from the 1960s; “Even shit songs sound impressive on expensive gear\,” explains Russell\, of the spartan set-up – and started work on writing a new future for Band of Skulls. \n“We went back to Square One\,” smiles Matt. “It felt new and exciting again.” In the church – between visits from the vicar\, bringing tea and biscuits on his trolley – they found the new songs in hours of woodshedding\, each member bringing new ideas into the room\, which the band studied with unforgiving ears. “We’re pretty merciless\,” says Russell\, of this process. “We’re emotional about it – we get mad. We get mad at each other\, at ourselves. We care about it. We were looking to challenge ourselves\, to surprise each other.” Indeed\, as they rehearsed and rewrote the new material\, Band of Skulls stalked far outside their comfort zone\, hammering out their own version of techno music on their primitive instruments\, or writing songs around the spectral sound of hands clapping in the natural reverb of the church. \nAfter accumulating a sackful of new tunes that had withstood their punishing audition process\, the group went into the studio with legendary producer Gil Norton (Pixies\, Foo Fighters\, Patti Smith) to commit the new songs to tape. They brought with them sounds sampled in the church\, to preserve the magical ambience they’d discovered. They also brought with them some of their strongest songs yet – from the primal brilliance of opener Black Magic and the irresistible dynamics of Killer\, to the slow-burning drama of the powerful Embers\, to the razor-edged funk of So Good\, to the swaggering\, steroidal\, futurist blues-rock of Little Mama. Norton helped them polish the raw material; more often\, though\, he encouraged further excursions into the unknown\, like the wild freakout that scores the muscular rhumba of Tropical Disease. \nThe band’s drive\, their passion for reinvention – their reluctance for simply following the same beaten path – should come as no surprise to anyone who’s been following Band of Skulls’ movements thus far. They formed just over a decade ago after Marsden and drummer Matt Hayward (who\, from a young age\, spent every Saturday morning making a righteous racket together after their folks recognised their love for music was more than just a passing thing) joined forces with bassist/singer Emma Richardson. \nFrom the off\, Band of Skulls were different. They had two lead singers\, and all three were songwriters. “We had high ambition\,” remembers Russell. “We wanted to tour\, to make albums\, to be in it for the long run. We were never in a rush for an instant fix\, it was never a scene thing; we were always outsiders\, the three of us banded together\, but all of us battling for the spotlight.” \nThere’s a key moment in the Band of Skulls story that illustrates their drive\, the sense of purpose that’s set them apart from their contemporaries. In America to complete work on what would become their 2009 debut album Baby Darling Doll Face Honey’\, they lit out for their first American tour. But this was no whistle-stop visit to New York and Los Angeles and then back home: instead\, the group elected to play every city they came across until they’d completed a circuit of the Americas. \n“We’d paid our dues\, played all over Britain\, and were looking for a new challenge\,” says Russell. And a challenge it most certainly was. Their only calling card was debut single\, I Know What I Am\, which had been given away free as iTunes’ first-ever Single Of The Week; they used this notoriety to book a slew of tiny gigs across America\, and proceeded\, as Russell puts it\, to “knock those small gigs over one-by-one”. There was no Plan B’\, no safety net; either Band of Skulls succeeded over those months as a touring band in America\, or the game was over. \nNot only did Band Of Skulls make a triumph of that first circuit of America’s vast expanse\, they completed a second victory lap of larger venues before returning home to the UK\, establishing a momentum that carried them through three acclaimed albums – Baby Darling Doll Face Honey’\, 2012’s Sweet Sour’ and 2014’s Himalayan’ – and further long tours across the globe (Matt reckons they spent no more than a month off the road during this era). \nBy Default’ is an album of which Band of Skulls are understandably proud\, but the group know it is more than just their latest record; it’s also the gateway to their future. “This album could have been fifty songs\, each one a minute long\, because we had so many ideas” says Russell\, hinting that the group’s fearsome pace and creative stamina are far from exhausted. \nNow\, the band’s focus is taking these new songs on the road\, to play them before audiences. “For us\, it’s like a tightrope thing\,” says Matt. “Like\, can we pull off this trick” Smart money says they can\, with a killer flourish. “We’re proud of this new album we’ve made\,” adds Russell. “We hope it bursts out of the speakers to make that clear.” \n*** \nMothers \n \n[Website] [Facebook] [Twitter] \n“Mothers’ music reminds us that gentleness isn’t weakness\, and that despite the world’s best efforts\, honesty is not an entirely lost art.” – Flagpole \nMothers began in 2013 as the solo project of Athens\, Georgia-based visual artist Kristine Leschper while she studied printmaking at the Lamar Dodd School of Art. The discipline instilled in her a strong work ethic and an intense focus to detail\, while simultaneously inspiring her to pursue other creative aspects of her personality. A self-taught songwriter and multi-instrumentalist\, Leschper’s earliest musical influences span a great swath of early aughts rock and folk\, such as Sufjan Stevens\, Joanna Newsom\, The Microphones\, and Athens legends Neutral Milk Hotel; she later developed a love for experimental music\, math rock\, and noise artists\, including Lighting Bolt\, Hella\, Don Caballero\, and Tera Melos. As a result\, her earliest demos exhibit a sense of striking catharsis under non-traditional song structures\, which flirt between strength and vulnerability\, and are often quite linear in form. \nLeschper wrote the majority of the songs that would evolve into When You Walk A Long Distance You Are Tired while finishing art school in early 2014. Fittingly\, as while her attention to visual art and music come from very different creative spaces for her\, each cannot help but bleed into one another. The delicately resolute opener “Too Small For Eyes\,” which she says is about “being incredibly uncomfortable in your own body and learning how to relate to yourself\,” even shares its title with that of her senior thesis project. \nOver the course of the year\, she played solo shows that earned her local acclaim\, including from Flagpole\, which praised her “visceral\, deeply personal” songs. But she knew that in order to reach her true musical vision\, she would need to expand the line-up\, so she recruited multi-instrumentalist Matthew Anderegg to help flesh out the arrangements and guide the songs to their final state. They expanded the line-up with guitarist Drew Kirby and\, after playing together for only one month’s time\, quickly recorded their debut full-length album with producer Drew Vandenberg – who has worked on albums by Of Montreal\, Deerhunter and Porcelain Raft – at Chase Park Transduction in Athens in December 2014 (the album also features collaborations with Josh McKay of Deerhunter on vibraphone as well as McKendrick Bearden of Grand Vapids\, who played bass and provided string arrangements throughout). Bassist Patrick Morales would later join the band as a permanent fixture. \nWhen You Walk A Long Distance You Are Tired is an introduction to the foundations of the young band\, a snapshot of a particular period of their genesis that maps both where they began and where they are heading. It’s the sound of a band being born\, in the truest sense: songs that were conceived in Leschper’s solitude and nurtured with added direction from Anderegg. “The name Mothers relates to the idea of creation and being the mother of something. The act of being a Mother is tragic\, you have to eventually let go of the things you created\,” says Leschper of their name’s origin. \nThe album’s bookends perhaps most explicitly display this musical chronology. The gorgeous “Too Small For Eyes” was the only one of a few solo songs Leschper had written on the mandolin that made it onto the album\, its use of space\, piano\, strings\, and her voice entwining and undulating to elegantly set the stage for what unfolds afterward; closer “Hold Your Own Hand” blooms from its plaintive opening bars to an ascendant\, spirally waltz to an uproarious math-y breakdown\, hinting at the louder\, more post-rock and math rock-influenced sound for which their live show is fast becoming known (the blog Heartbreaking Bravery described one of the band’s CMJ sets as “…intricate\, knotty indie pop songs that are equally unpredictable and enticing”). “Copper Mines\,” the first song they wrote together as a band\, captures the new mix of everyone’s voices and energy on tape\, and also informs their other new material\, such as “No Crying in Baseball\,” a home recorded B-side they wrote together in the months following the completion of When You Walk a Long Distance You Are Tired. “It Hurts Until It Doesn’t\,” which looks at the dichotomy of an artist’s ego and sense of self-doubt\, falls somewhere in between – the first song she wrote that she saw in the context of something bigger than her performing solo\, it takes many twists and turns before arriving\, like so many of their songs\, at a different sonic place than where it began. \nAcross the album\, Leschper meditates on the human condition: what anyone’s place is in the universe; what is our value; mortality; and what it means to have relationships in consideration of all these things. And while the songs are filtered through her frequently difficult\, personal microcosmic experiences\, she relates them in a manner that is at once highly intimate and readily universal. At heart\, When You Walk A Long Distance You Are Tired is about being alive\, and just how surprisingly unmooring – and exhausting – this fundamental thing can be. The album is a window into the long path Leschper traveled while creating it: breathtakingly honest and rooted in the subconscious of one’s journey. \nUpon the album’s completion in January 2015\, the new quartet line-up steadily played local shows throughout the spring and summer\, including at festivals like ATHfest and Slingshot. Before heading out on their first tour supporting Of Montreal\, they debuted “No Crying in Baseball\,” earning national press attention from Stereogum\, NME\, Brooklyn Vegan\, Ghettoblaster\, and others. A headlining east coast tour followed in September\, and things began to fall into place. Stereogum named them a ‘Band To Watch’ alongside a premiere of “It Hurts Until It Doesn’t” ahead of their 10-shows-over-five-days jaunt at the 2015 CMJ Music Marathon\, which included sets at the Aquarium Drunkard\, Brooklyn Vegan and Culture Collide showcases. Both the song and the band earned even more praise throughout the week\, including from Vulture\, NME\, BBC Radio 1\, and The Wild Honey Pie\, among many others. The following week they were named one of Stereogum’s ’50 Best New Bands of 2015\,’ and signed to Grand Jury in the US and Wichita Recordings in the UK. URL:https://royaleboston.com/event/band-of-skulls/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/05/bandofskullspress.jpg 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:20160907T190000 DTEND;TZID=America/New_York:20160907T190000 DTSTAMP:20260403T220949 CREATED:20160608T143013Z LAST-MODIFIED:20160608T143013Z UID:10002389-1473274800-1473274800@royaleboston.com SUMMARY:Corinne Bailey Rae DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 6/17 at noon! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nCorinne Bailey Rae \n \n[Website] [Facebook] [Twitter] \nFrom Leeds\, England\, artist Corinne Bailey Rae released her self-titled debut album in 2006\, debuting at #1 in the UK and #4 in the USA\, featuring the global hits “Put Your Records On“ and “Like A Star“. It catapulted Bailey Rae into the spotlight with millions of albums sold and earned multiple award nominations\, including Grammy® and Brit Awards. \nThe second album\, ‘The Sea’ released to worldwide critical acclaim\, reaching Top 5 in the UK and Top 10 in the USA. It was no surprise that Corinne Bailey Rae found “The Sea“ nominated for the Mercury Music Prize. The subsequent EP ‘Is This Love’ was awarded a Grammy® for Best R&B Performance in 2011. \nCorinne received a Grammy® Award for her work on Herbie Hancock’s album ‘The River’. Recent recordings have seen her work with Al Green\, Claude Kelly\, Esperanza Spalding\, Herbie Hancock\, John Legend\, John Mayer\, KING\, Malay\, Norah Jones\, Paul McCartney\, RZA\, Salaam Remi\, Stevie Wonder\, The Roots\, Valerie Simpson and more. Bailey Rae also has written music for films and television shows\, including “Venus” (starring Peter O’Toole)\, “Man with the Iron Fist” and\, most recently\, the theme song to Stan Lee’s “Lucky Man”. \nOriginally the front-woman of an indie band\, Corinne Bailey Rae’s music spans indie\, electronic\, soul and experimental.Bailey Rae has just completed her highly anticipated third studio album and she recently performed in Los Angeles for The Grammys’ MusiCares Foundation with Pharrell\, The Roots and Leon Bridges just prior to the first track launch and album announcement. \n*** \n Mayaeni \n \n[Website] [Facebook] [Twitter] \nMayaeni\n(mah-yay-knee) \nEarly on\, the self-professed shy hippie kid saw her future self filling a void. “I don’t know why that lane hasn’t been filled\, at least mainstream wise. Why there hasn’t been a female black John Mayer or Gary Clark Jr. I became it\, because I wanted to see it so bad.” \nRaised in a suburb just outside Detroit that she describes as racially “pretty segregated\,” Mayaeni—pronounced mah-yay-knee—was actually born to rock. \n“Growing up in Detroit\, I spent a lot of time not necessarily knowing where to fit in.” Her mom is black\, her dad white. “So I ended up hanging out with all cultures.” \nHanging out with her musician dad in the studio was Mayaeni’s form of grooming\, with Chuck Berry\, Bob Dylan and Hendrix records serving both as musical surrogates and soundtracks to her life. \n“I’ve always had this rock-soul thing going. I can’t escape it.” Not seeing many black women rocking out with a guitar\, Mayaeni put herself on that stage. \nThe instrumentally rich and electric songs she creates now are extensions of her rocker past. Her earliest material was recorded on her dad’s 8-track tapes. “I would see him rocking out as a kid\, and I would get instrumentals from his tape singles and record over those.” \nSeeking independence at age 17\, Mayaeni headed to London\, where she made money under the tables selling clothes at Camden Markets. \nThe cost-of-living struggle persisted when Mayaeni moved to New York\, but those survival years turned out to be perfect preparation. \n“London was my first eye opener to being in the city. I didn’t have a plan beyond the two grand I saved. It was hard\, but I had so much ambition. I didn’t want to go back home.” \n“I wrote a lot about struggle\, not being able to pay rent and having a bunch of jobs\, a lot about coping with pain. Hard times\, heartbreak.” \nIn New York\, Mayaeni worked the open mic circuit\, up to five times a week\, hopping in and out of places like Village Underground\, The Grove and Café Wha. \nThe music is as edgy and raw as it is emotional\, like the sounds of a guitar crying out\, whether it’s the yearning in the mid-tempo anthem “Million N1” or the angst in the clamorous rock-out garage jam “Too Late.” It’s the sound of progress. “I like to think it’s classic.” URL:https://royaleboston.com/event/corrine-bailey-rae/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/06/Corinne-Bailey-Rae__Press-photo_7633_fin.jpg 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:20160909T220000 DTEND;TZID=America/New_York:20160909T220000 DTSTAMP:20260403T220949 CREATED:20160707T181640Z LAST-MODIFIED:20160707T181640Z UID:10001684-1473458400-1473458400@royaleboston.com SUMMARY:Markus Schulz DESCRIPTION:21+ \n*Management reserves the right to refuse entry / Admission not guaranteed after midnight / No refunds of any kind all sales are final. URL:https://royaleboston.com/event/markus-schulz/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Nightclub ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/07/markus_schulz_poster.jpg 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:20160910T220000 DTEND;TZID=America/New_York:20160910T220000 DTSTAMP:20260403T220949 CREATED:20160817T005829Z LAST-MODIFIED:20160817T005829Z UID:10002416-1473544800-1473544800@royaleboston.com SUMMARY:Hot For Teacher DESCRIPTION:21+ \nManagement reserves the right to refuse entry URL:https://royaleboston.com/event/hot-for-teacher/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Nightclub ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/09/14102982_1208262235903396_981729393466203747_o.jpg 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:20160913T190000 DTEND;TZID=America/New_York:20160913T190000 DTSTAMP:20260403T220949 CREATED:20160811T153545Z LAST-MODIFIED:20160811T153545Z UID:10001704-1473793200-1473793200@royaleboston.com SUMMARY:1974 AD #NewLineUp Live DESCRIPTION:Doors: 7pm \nMeet & Greet: 8-9pm (VIP only) \nConcert 9-11pm \nDJ 11-1am \n21+ URL:https://royaleboston.com/event/1974-ad-newlineup-live/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts,Special Events ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/08/IMG_2581.jpg 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:20160914T200000 DTEND;TZID=America/New_York:20160914T200000 DTSTAMP:20260403T220949 CREATED:20160607T154520Z LAST-MODIFIED:20160607T154520Z UID:10001671-1473883200-1473883200@royaleboston.com SUMMARY:Peaches DESCRIPTION:Doors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 6/10 at noon! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nPeaches \n \n[Website] [Facebook] [Twitter] \nIt’s been six years since Peaches released her last studio album. But far from being a break\, these past six years have been some of the busiest and most productive in the provocative musician-producer-filmmaker-performance artist’s career. From acclaimed theater productions to her cinematic debut at the Toronto International Film Festival to the release of her first book\, Peaches pushed herself further and with more artistic rewards than ever before during her time away from the studio. That work ethic should come as little surprise\, though. This is Peaches we’re talking about\, an artist who’s managed to wield immeasurable influence over mainstream pop culture while still operating from outside of its confines\, carving a bold\, sexually progressive path in her own image that’s opened the door for countless others to follow. Now\, creatively refreshed and recharged\, she’s emerged from the studio in rare form with ‘RUB\,’ her fifth and most unequivocal album to date. It’s an adventurous\, audacious musical statement\, the latest entry in a conversation Peaches opened up 15 years ago and the world may just now have finally caught up with. \n“Since 2000\, I’ve been making a record for a year\, and then touring it for two years over and over\,” Peaches explains of the impetus for her studio hiatus. “After 10 years of doing that\, I needed a change. I didn’t feel like writing another album and touring it for two years again\, so I was really excited to try new projects.” \nThat desire led to her one-woman production of ‘Jesus Christ Superstar\,’ redubbed ‘Peaches Christ Superstar’ and mounted initially in Berlin before touring the world. “It was an endurance performance\,” she explains\, “and a time for me to celebrate my actual singing voice\, which I never pursued as Peaches.” \nThe Guardian hailed it as “killer\,” raving that “Peaches gets into the guts of the songs\, extracting with utter sincerity every ounce of pathos and comedy\,” while SPIN praised the production’s “absurd beauty” and The Globe and Mail applauded her vocals\, which “explode[d] with soulful power.” \nCritics’ surprise may have stemmed from the fact that Peaches had spent the past decade pushing buttons and boundaries with a sexually-charged blend of electronic music\, hip hop\, and punk rock that she delivered via one of the most raw and creative stage shows in popular music. When she first emerged to international attention with ‘The Teaches of Peaches\,’ her 2000 debut album\, single “Fuck The Pain Away” catapulted her into the spotlight and appeared everywhere from Sofia Coppola’s ‘Lost In Translation’ and 30 Rock to South Park and HBO’s True Blood. Rolling Stone called the album “surreally funny [and] nasty\,” and the Village Voice named it one of the year’s best. She followed it up with ‘Fatherfucker\,’ which further challenged and reversed issues of gender politics and sexual identity and featured an appearance by Iggy Pop. She was joined by Joan Jett\, Josh Homme\, Beth Ditto\, and more on her 2006 call to revolution\, ‘Impeach My Bush\,’ and by the time she returned with ‘I Feel Cream’ three years later\, The New York Times had dubbed her a genuine “electro-clash heroine\,” though she’d already transcended the genre tag and demonstrated an incisive artistic prowess far beyond her musical output. Uncut raved that her work brought together “high art\, low humour and deluxe filth [in] a hugely seductive combination.” \nShe looked back on it all in 2010 with ‘Peaches Does Herself\,’ an electro-rock opera spanning material from all four albums arranged as a semi-autobiographical narrative. It morphed into a film of the same title\, which premiered at the TIFF in 2012 before traveling to more than 60 festivals around the world over the next two years. In another unexpected twist\, she sang the title role in a production of Monteverdi’s epic 17th-century opera ‘L’Orfeo’ in Berlin\, in addition joining Yoko Ono’s Plastic Ono Band for performances at the iconoclast’s request and collaborating with Major Lazer\, Le Tigre\, REM\, and more. \nThe whole period is documented beautifully in the new book ‘What Else Is In The Teaches Of Peaches\,’ a collection of Holger Talinski’s photos from at home and on the road\, on-stage and behind-the-scenes\, as Peaches conquered new artistic heights. Yoko Ono\, Ellen Page\, and Michael Stipe all contributed to the text\, which offers unique insight into a side of the artist the audience has rarely seen. \n‘RUB’ begins where the book leaves off\, in 2014\, as Peaches headed into her newly-built garage studio in Los Angeles to begin more than a full year of work on the album\, collaborating with longtime friend Vice Cooler. \n“After six years\, I was excited about my lyrics again\, about what Peaches was\,” she explains. “I felt more comfortable living out any idea I wanted to try. We spent ten hours a day making beats\, and whatever stuck\, I would write on and develop. The only agenda was to make the best album we could.” \nOozing with seductive rhythms and bedroom-rattling bass\, the record opens with the semi-spoken hook of “Close Up\,” delivered with an inimitable and impenetrable cool by Sonic Youth’s Kim Gordon in just one take. Peaches’ old collaborator Feist also returns on album closer “I Mean Something\,” singing a hypnotic hook and lending a chillingly beautifully wordless melody. But in between those two guest appearances\, this album is pure Peaches. \n“Come with me / You know me / Feel free / Peaches\,” she raps with a hard-won swagger and confidence on the title track\, which is as full of vivid\, lewd imagery as anything she’s ever written. “Dick In The Air” flips gender roles with an absurdist twist\, as Peaches preaches\, “I’m sick of hands in the air / And shake our asses like we don’t care / We’ve been shaking our tits for years / So let’s switch positions no inhibitions” before exhorting her audience to “put your dick in the air.” Similarly\, on “Vaginoplasty\,” she responds to a culture that measures manhood in inches but shames women for their sexuality with lines like “my pussy’s big and I’m proud of it…make you bow down to it til you drown in it.” \nIt doesn’t stop at the music for Peaches\, though. “I’m curating my whole visual lineup\,” she explains of her plans to once again direct and present videos for every track on the album with a slew of collaborators. Margaret Cho\, designer Sarah Sachs from Moonspoon Saloon\, A.L Steiner\, Ryan Heffington\, Kim Gordon\, Vice Cooler\, and more are all on tap for contributions to the series. \nThe gorgeous\, throbbing “Light In Places” was written for performance artist Empress Stah and her ‘Stargasm’ show\, the world’s only Laser Buttplug Aerial performance (“I’ve got light in places you didn’t know it could shine”)\, while “Sick In The Head” is a gritty electro-pop track influenced by Suicide\, and the album’s two breakup songs—the dark and menacing “Free Drink Ticket” and the insanely catchy pop song “Dumbfuck”—find Peaches addressing issues far more personal than political. \n“In any relationship\, there’s that moment everybody has when you find out something and want to kill the other person\,” she explains. “You get over it\, but I wrote ‘Free Drink Ticket’ in that moment. It’s the most vulnerable—and also the most angry—song I’ve written in my life.” \nThe reality\, though\, is that everything is personal for Peaches. “When I started\, half the people just weren’t having it\, so it’s incredible where we are right now\,” she says of her undeniable role in shaping of the current pop landscape. “But I didn’t do it for any reason other than that it was just what I really wanted to say.” \nAnd that’s what’s in the teaches of Peaches. \n*** \nDJ Colby Drasher (Don’t Ask Don’t Tell) \n \n[Website] [Twitter] \nRESIDENT DJ FOR THE “DONT ASK DONT TELL” DANCE PARTY AT GREAT SCOTT IN BOSTON MASSACHUSETTS. \n“ALL ARE WELCOME WHO WELCOME ALL” \nDJ\, PRODUCER\, PROMOTER\, VISUAL ARTIST URL:https://royaleboston.com/event/blind-pilot-2/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/06/DSC8175xxx.jpg 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:20160915T190000 DTEND;TZID=America/New_York:20160915T190000 DTSTAMP:20260403T220949 CREATED:20160117T160031Z LAST-MODIFIED:20160117T160031Z UID:10001629-1473966000-1473966000@royaleboston.com SUMMARY:Lush DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18+.\nTickets on sale Fri. 1/22 at 12pm! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nLush \n[WEBSITE]\n[FACEBOOK]\n[TWITER] \nIn a sense\, the beginning of Lush was as inevitable as its ending was not. Formed from a friendship started at age fourteen by Londoners Miki Berenyi and Emma Anderson\, the pair ran a fanzine\, and attended a catholic variety of gigs nightly at the likes of Fulham Greyhound and Hammersmith Clarendon. And they were learning the ropes in other people’s bands – Berenyi in The Bugs\, Anderson in The Rover Girls – working to make their own band a reality. Eventually\, along with the absurdly good-humoured Lancastrian punk drummer Chris Acland\, and bassist Steve Rippon\, they went out on their own. \nFor music\, the late Eighties were a vibrant and volatile time. There was acid house\, US art-core\, death metal\, fledgling industrial and European sampledelia\, a rising Madchester and the shimmering punk pop of The Primitives\, plus the delicate oceanics of The Sundays. Having much in common with these last two and\, attitude-wise\, at least three of the others\, Lush were quickly hot property. One review in Melody Maker brought 12 major labels to see them play at London’s ULU. None called again\, but 4AD’s Ivo Watts-Russell was interested\, soon putting the band in Blackwing Studios with John Fryer. \nBy the time debut LP Spooky was released in 1992\, Rippon had amicably departed\, to be replaced by Phil King (ex of Felt and Biff Bang Pow!). The LP went Top 10 in the UK and was an indie chart-topper. It sold upwards of 120\,000 in the US too\, in part due to one of the most glorious chapters in the Lush story: Lollapalooza II. Regularly swapping band members with Pearl Jam and Ministry\, while proving beyond all argument their hellraising credentials\, Lollapalooza was a hedonistic and enlightening experience for the band. Such was that case that on their return to the UK\, Lush immediately repaired to Rockfield Studios in Wales. \nThe recording of Split\, their second LP proper (a collection of their early EPs\, entitled Gala\, had been released in the US only) was exceptionally testing. Expectations of an American breakthrough were high and the pressure was on. However\, despite being the band’s best work to date\, the album wasn’t the commercial success it promised and\, as is often the case\, failure proved liberating. While the pressure came off\, new enthusiasm was injected by the arrival of new manager Peter Felstead. The band threw themselves into recording what would be their final LP\, Lovelife. The combination of personal freedom with a growing experience and expertise took Lush onto a new creative plane. As such\, the pressure was immediately back on to break America. Now the touring became back-breaking and repetitive. Frustration and bad feeling within the band grew inexorably. Acland\, ordered to rest by his doctor\, returned to his parents’ home in the Lake District. Anderson\, dissatisfied with her current position\, called a meeting and announced her departure. Then worse news was to follow. Up in the Lakes – horribly\, terribly – Acland had hanged himself. “For me\,” says Berenyi “That was the end. There was no way on earth I could have gone on with Lush without him\, because I always firmly believed that without his benign influence Emma and I would have torn each other apart years ago.” \nIt should have come as no surprise that Acland’s death finished Lush. Privately and professionally\, in their joyful celebrations and their painful (and far more frequent) self-examinations\, they were in the business of living life\, really living it. Their talent and their exuberance though had already made a difference. Particularly in the States\, where their music was deeply respected and their lyrics – often moving\, rigorous and earthy appraisals of themselves and their relationships\, their nature and nurturing – were a motivating force for female songwriters. As well as being accidental icons (the best kind)\, Lush also made exceptional music: classic pop\, fiery punk\, soaring ambient and a modern\, lilting folk. It can be harrowing – fun or fraught\, these are recognisably real life experiences. But it’s all worthwhile\, all of it. And few bands could truthfully say that. \n*** \nTamaryn \n[WEBSITE]\n[FACEBOOK]\n[TWITER] \nTime and changes distance Tamaryn’s Cranekiss from her earlier efforts\, and for that matter\, from everyone else’s. Time\, by way of the long period spent crafting this material\, both on her own and with Weekend’s Shaun Durkan\, who with producer Jorge Elbrecht (Violens\, Lansing-Dreiden)\, make up the creative team behind Cranekiss. Changes\, by relocating across the country from San Francisco to New York City\, by expanding the approach taken on her two previous albums (2010’s The Waves and 2012’s Tender New Signs)\, by making music that pulls you closer to it despite the enormity of the sounds within.\nTamaryn’s first two full-lengths stood out in a crowd of shoegaze/ethereal revivalists as much for what they were (careful\, gorgeous\, thrilling tapestries of guitar-based textures) as what they weren’t (simplistic\, trendy\, disposable signposts made to be broken). With Cranekiss\, Tamaryn emerges from her past in a way that’s inviting\, warm-blooded\, and shockingly direct. She’s made a big record\, loaded with samples\, synth triggers and processing that was missing from her previous efforts\, the result of long nights grinding it out at the Brooklyn studio Gary’s Electric\, where the record was born. The Waves and Tender New Signs focused on the sounds Tamaryn and her group could coax out of guitars\, but with Cranekiss her sonic palette has exploded with maniacal abandon\, pressed into service of a post-adolescent love letter to all the music that she and her collaborators hold dear\, drawing influences from the feelings that fell out of her. Anyone familiar enough with those times should be able to draw their own comparisons\, recognizing the modes of musical respect and adoration flashing past as the record spins. From there\, though\, Tamaryn has modeled these elements into simulacra\, where despite the nods and glances to the past\, play as a totally new sound. \nLyrically\, this is Tamaryn’s most personal collection of songs to date\, and Elbrecht has placed her voice front and center across the entire record\, elevating her presence like never before. Cranekiss explores dark rock\, dance pop\, and glistening melancholy with a uniformly commanding presence across it all\, in stormy\, unsettled brushstrokes that apply pressure behind Tamaryn’s words. \nCranekiss represents a long journey\, and a new phase in Tamaryn’s music unfolding before you\, a blood-red kaleidoscope of desire and late night abandon\, a bold step forward. URL:https://royaleboston.com/event/lush/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/01/11988449_749832295142724_1353113261622948434_n.jpg 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:20160916T180000 DTEND;TZID=America/New_York:20160916T180000 DTSTAMP:20260403T220949 CREATED:20160605T135944Z LAST-MODIFIED:20160605T135944Z UID:10001670-1474048800-1474048800@royaleboston.com SUMMARY:Blind Pilot DESCRIPTION:Doors: 6:00 pm / Show: 7:00 pm \nThis event is 18 and over.\nTickets on sale now! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nBlind Pilot \n \n[Website] [Facebook] [Twitter] \nThe past isn’t finished with us yet. Love can be like that\, too. A couple of years ago I found love in different forms leaving my life at once. In a single month I lost my closest group of friends\, my 13 year relationship ended\, and my dad was diagnosed with cancer. I had just stopped touring to write the next Blind Pilot album\, but instead I was watching each of my plans unthread as a new season pulled forward relentlessly. \nAvoiding suffering\, is avoiding real happiness too. My reason to tell this story isn’t because it broke me and pinned me breathless. There was suffering\, but those two years\, as I moved to my hometown to help my parents through my dad’s sickness and eventually his death\, also brought me true closeness\, a deeper will to care and hope\, and many moments of beauty I can barely describe.\n \nThis album came from love for my family\, my town\, my friends\, my community. We don’t have to be so afraid of loss. We can speak and share its name\, knowing we are together in it. If these songs are invitations to talk about loss and death\, the invitation is to talk closely of the courage we find when we face loss honestly\, cracked open and unsure of what we will become.\n-Blind Pilot’s Israel Nebeker\n \nBlind Pilot’s ‘And Then Like Lions’ on ATO Records is the third LP from the Portland\, Oregon-based sextet consisting of frontman Israel Nebeker\, fellow founding member Ryan Dobrowski\, Luke Ydstie\, Kati Claborn\, Ian Krist and Dave Jorgensen.  The album was produced by Israel Nebeker and Tucker Martine (The Decemberists\, Neko Case\, My Morning Jacket)\, and was written and composed by Nebeker.  It comes five years after the band’s well-received ‘We Are the Tide’ and three years after Nebeker thought he’d be starting the songs that would become the band’s third album.\n \n‘And Then Like Lions’ opens with “Umpqua Rushing\,” the first single from the album and the track that most directly deals with the end of his relationship. It’s inspired by memories of visiting the Umpqua River with his then girlfriend. The song connects images of a forest fire to the destruction and new beginning found in love’s wake.\n \n“Umpqua Rushing” has a strong\, mid-tempo flow built on major chords and rich instrumentation that matches the river the song’s named for. Nebeker’s voice soars on strings to an uplifting ending\, and it’s as vulnerable and open as he’s ever been.  \nPacked Powder is an upbeat\, solidly-driven song filled with elevated textures of guitar hooks and trumpets. It comes from an idea Nebeker had as a teenager\, when he and his friends found they could repack fireworks to different outcomes: “We’re all made of the same stuff\, but who knows how we’re packed and what we’ll show as we burn across the black sky of our own time?” The song speaks lightheartedly of ironic outcomes when trying to better a life through different career paths\, and then sings a chorus that surrenders and desires life to reveal what we are made of.\n \n‘And Then Like Lions’ ends triumphantly on “Like Lions\,” a song inspired by various stories of courage Nebeker has whitenessed in his recent years\, including watching his father fight for life and\, before the end\, find strength enough to give himself and be at peace with his own mortality.\n \nBlind Pilot has performed on Ellen and The Late Show with David Letterman\, at the Newport Folk Festival\, Bonnaroo\, and Lollapalooza. The group has shared stages with The Shins\, Local Natives\, Andrew Bird\, and more. The project began in 2007 when Israel and co-founding member Ryan Dobrowski went on a West Coast tour via bicycle. Blind Pilot’s six members recorded for this new album and will tour through 2016. \n*** \nRiver Whyless \n \n[Website] [Facebook] [Twitter] \nAsheville\, North Carolina’s River Whyless is a band much like that titular body of water – a mingling of currents\, a flow of time and physical space\, all brought together in a murmuring sense of purpose. It is the expression of a group of musicians\, three of which are songwriters\, who have played together in various forms since their college days in the North Carolina mountains. Their forthcoming EP\, their first release since their 2012 debut album\, is the next evolution of the band’s collective voice. \nComposed of Ryan O’Keefe (guitars\, vocals)\, Halli Anderson (violin\, vocals)\, Alex McWalters (drums\, percussion) and Daniel Shearin (bass\, vocals\, harmonium\, cello\, banjo)\, the band is preparing to release a self-titled EP\, their first effort since 2012\, on January 20th. URL:https://royaleboston.com/event/blind-pilot/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/06/Blind-Pilot_sp16-admat-1.jpg 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:20160916T220000 DTEND;TZID=America/New_York:20160916T220000 DTSTAMP:20260403T220949 CREATED:20160720T160649Z LAST-MODIFIED:20160720T160649Z UID:10002406-1474063200-1474063200@royaleboston.com SUMMARY:Krewella DESCRIPTION:21+ \nManagement reserves the right to refuse entry/ Admission not guaranteed after 12AM URL:https://royaleboston.com/event/krewella/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Nightclub ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/07/9.16.jpg 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:20160917T180000 DTEND;TZID=America/New_York:20160917T180000 DTSTAMP:20260403T220949 CREATED:20160710T100037Z LAST-MODIFIED:20160710T100037Z UID:10002394-1474135200-1474135200@royaleboston.com SUMMARY:KT Tunstall DESCRIPTION:Bowery Boston 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.\nTickets on sale Fri. 7/15 at noon! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nKT Tunstall \n \n[Website] [Facebook] [Twitter] \nTwo years ago\, KT Tunstall thought she was done with music. Not done as in she’d never again play guitar or sing\, but done playing professionally\, at least for the foreseeable future. “As an artist I feel like I died\,” she says. “I didn’t want to do it anymore.” It had been ten years since she’d released her multi-platinum debut\, ‘Eye To The Telescope’ (2004)\, and twenty-some years since she started playing gigs as a teenager back home in St. Andrews\, Scotland. She’d lived a decade in obscurity and a decade in the brightest of limelights\, releasing three more critically acclaimed albums — ‘Drastic Fantastic’ (2007\,) ‘Tiger Suit’ (2010\,) and ‘Invisible Empire // Crescent Moon’ (2013) — and playing everywhere from the rooftops of splashy Las Vegas hotels to Giant’s Stadium. She’d been nominated for a Grammy\, won a BRIT and the Ivor Novello\, and seen her songs used everywhere from opening credits of “The Devil Wears Prada” to Hillary Clinton’s 2008 campaign theme. She’d had a good run\, Tunstall thought\, but it was time to take a serious time out. “I was utterly burnt out\,” she says. \nSo the singer put her stuff in storage\, sold all of her property in the UK\, and started again\, at what felt like the ends of an entirely different earth\, in a little house in Venice Beach\, California. She lived a quiet life for the better part of a year\, until\, like a little imp waiting in the wings for Tunstall to get really comfortable in her state of blissed out California calm\, one day the urge to rock began to return. And once it took hold\, it just wouldn’t let go. “My physical body was telling me that what I should be doing is sweating onstage\,” she says. “It turns out\, if I can’t do that then I’m just a racehorse in a stable.” Almost against her own will\, Tunstall found herself picking up her guitar and writing riffs. And they came\, one after another after another after another. \nThe music that Tunstall has written since moving to California is\, she says\, the most impassioned and inspired of her life; these songs were fueled by the openness of desert spaces and wild ocean cliffs\, the intimacy of being snowbound in Taos\, New Mexico during winter writing retreats\, and the freedom and mystery of driving too fast on canyon roads late at night listening to Neil Young and Tame Impala at top volume. A new full-length album coming this September\, is\, in spirit\, the follow-up\, to her debut. A edge-of-your-seat\, psychedelic rock record rooted in classic songwriting\, but infused with the sense of wonder and beneficent chaos Tunstall has reconnected with since untethering herself from her past. But first up\, a little teaser of what’s to come: ‘Golden State\,’ a four-song EP out this June including a remix of “Evil Eye” by critically acclaimed UK band Django Django. \nThe opening track\, “Evil Eye\,” was the first song that came to her since going on hiatus. “It was just a little seed\,” the singer remembers. She’d been rehearsing for a string of low-key gigs where she’d be performing some of her back catalogue\, the first shows since the relatively formal\, seated gigs she’d given last time she was on tour. “It was a vibrant up-tempo high-octane gig\, after so long of not playing that kind of show\,” she recalls. Something got shaken loose. “I just got excited\, and it was then that I wrote the riff for ‘Evil Eye.'” With its beguiling psychedelic whooshing intro\, propulsive guitar line and primal backbeat\, the song comes on all roll-your-windows-down-and-turn-me-up\, before sneaking up behind you with a downright chilling chorus: “There’s an evil eye\, watching you.” “Some of these songs are like cats\, they’re really furry and sweet and then they fuckin’ scratch you\, and they won’t let you put a leash on them\, ever\,” Tunstall says gleefully. \nAbove all\, what these songs have in common is they all feel like they had to be written. And now that they’re done\, Tunstall is standing at the starting line\, just itching for the gun to go off. “Getting to know myself these last few years and getting to know what my own mind is capable of and what my soul is capable of and what my spirit is capable of — reading and learning and reaching out to new people and gleaning new information about what’s possible as a human\, it has all made me want to ask the same questions of myself as a musician: how much can I expand?! Where can I go from here?!” Tunstall enthuses\, nearly out of breath. “This feels like the beginning of the second chapter of my career.” \n*** \nConner Youngblood \n \n[Website] [Facebook] [Twitter] \nFrom growing up in Dallas\, to “studying” at Yale\, and eventually moving to Nashville\, music has always been a big part of Conner’s life\, but it wasn’t until seeing success on the HypeMachine platform that he decided to do it full time. \nHis music combines lyrically and sonically to paint a vivid picture that is both ambient\, yet focused. The production results in a sound much bigger than your typical singer / songwriter. Combining a wide range of influences from bluegrass to hip-hop with very eclectic instrumentation\, Youngblood decidedly carves out his own niche. \nFollowing on from “Confidence”\, Conner released his sophomore EP The Generation of Lift in the Fall of 2015. Conner self-produced the five-track compilation\, showcasing his songwriting and knowledge of roughly 30 instruments over the course of its 18-minute run time. Since its official release on October 9\, 2015 The Generation of Lift has reached over one million streams on Spotify. On the heels of the release\, Conner shared a video for “The Badlands\,” which premiered on Nowness and was selected as a Vimeo Staff Pick. URL:https://royaleboston.com/event/kt-tunstall/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/07/KT-Tunstall-admat.jpg 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:20160917T220000 DTEND;TZID=America/New_York:20160917T220000 DTSTAMP:20260403T220949 CREATED:20160906T031407Z LAST-MODIFIED:20160906T031407Z UID:10001706-1474149600-1474149600@royaleboston.com SUMMARY:Breeazy DESCRIPTION:21+ URL:https://royaleboston.com/event/breeazy-3/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Nightclub ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/09/Breeazy-917.jpg 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:20160918T190000 DTEND;TZID=America/New_York:20160918T190000 DTSTAMP:20260403T220949 CREATED:20160731T021818Z LAST-MODIFIED:20160731T021818Z UID:10001696-1474225200-1474225200@royaleboston.com SUMMARY:Eric Hutchinson 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. 8/5 at 10AM! \n*** \nEric Hutchinson \n \n[Website] [Facebook] [Twitter] \nIf there is an overriding theme to Eric Hutchinson’s career\, it is his relentless pursuit of the kind of feel-good music that will make his fans dance and sing while still managing to ponder the beauty and humor that comes from fully experiencing life. This journey had come to a crossroads this past year\, as the 35 year-old singer/songwriter/performer changed management\, stripped down his sound and embraced the mantle of producer\, all the while spending months working on his fourth studio album\, Easy Street. \nA collection of penetratingly honest songs\, Easy Street is a musical snapshot of perseverance and musical maturity brimming with superb melodies and contagious rhythms. It is also a reckoning with the inevitability of Hutchinson’s own evolution as an artist and a man. \n“I see this new album as an embrace of change\,” says Hutchinson. “I guess you can say I grew up a traditionalist – worrying about things changing and wanting to keep things them the same. But once I realized that things change no matter what\, there’s comfort in that; embracing immediately that it takes me a little while to get used to things… and then I usually like them.” \nChange for Hutchinson also meant letting go of the reigns in the writing and recording process\, which is especially prevalent on the album’s first single\, “Anyone Who Knows Me”\, a wonderfully crafted and stirringly melodic ballad of trying to find love within and without. \n“I was stuck writing the song\, so I just put it away and when I came back to it\, it was like somebody else had sent it to me to work on\, and I thought\, ‘Okay\, cool; I’ll build on top of whatever this guy was doing.’ It felt like co-writing with myself\, which was fun.” \nAnother challenge for Hutchinson on Easy Street was his role as sole producer\, as he had to make all of the final decisions. “In the early days I always felt like I had to do everything myself\,” he says. “This time I said\, ‘I’m producing this\, so why not let Elliott (longtime touring bandleader\, Elliott Blaufuss) play the piano\, because he plays it a little better than I might. It was nice to have that confidence that it’s still my music\, whoever plays it. That was a big change for me.” \nEasy Street is arguably Hutchinson’s most insightful and in some ways autobiographical work\, which manages to balance the profound concepts of evolving and acceptance into a relatable sonic expression. “Things are gonna change\, but change is better than you thought” he sings in the strikingly confessional “Dear Me” that opens the album\, setting the stage for this creative catharsis. “See my reflection now in all of the trends/in isolation with the words of my friends” he sings with stark resonance in “Bored to Death”\, a song that dissects a world view set against personal and satirical introspection. \nIn fact\, each song on Easy Street is a study in personal\, professional and generational divides; including the seemingly airy if not catchy pop of “Lost in Paradise” that speaks to the wanderer in us all. Hutchinson also plays with music biz preconceptions\, specifically facing the gnawing guilt over success in “Good Rhythm” or his escaping the shadow of his musical heroes to forge his own unique voice in “Same Old Thing”. \n“When I was growing up I thought\, ‘I’ll never be my heroes’\,” he admits. “And with this album I say ‘I don’t want to be my heroes. I want to be me.’” \nThis has taken many forms for Hutchinson since he released his first album\, Sounds Like This in 2007. Raised in Washington D.C.\, Eric now works and lives in New York City\, where he has begun writing and producing records for other artists. He has also started DJ-ing regularly\, presenting The Basement\, his passion project of spinning Motown\, Soul\, Funk & Oldies. \nEric is an advocate for Operation Smile and Big Brothers Big Sisters of America. \n*** \nGreat Caesar \n \n[Website] [Facebook] [Twitter] \nIn the dead of winter\, the grand summer homes of the Hamptons sit vacant and silent\, their yards piling high with snow behind the perfectly manicured hedges that line the quiet streets… or so you might expect. But\, if you paid a visit to Southampton\, NY last winter\, you may have noticed that one house in particular was neither vacant nor silent\, but rather spilling over with raucous music and joyful listeners. A knock on the door would have welcomed you into the winter retreat of Great Caesar\, the six-piece\, Brooklyn-based band bringing together chamber rock and indie soul in a singularly anthemic and captivating blend. Don’t fret if you missed those wild winter nights\, though. They were just the warm-up. Now\, with a new EP (titled ‘Jackson’s Big Sky’ after that Southampton house) and extensive US tour dates on the way\, Great Caesar is ready to bring their one-of-a-kind sound directly to you. \n*** \nSkout \n \n[Website] [Facebook] [Twitter] \nBetween where you are and where you’d like to be\, there exists a state of hopeful unrest. It’s in that space\, that in-between\, where Brooklyn-based indie-folker Skout has taken residence. \nSkout’s candid lyrics explore the intricacies of navigating this in-between\, powerfully depicting the complex relationships between identity\, change\, and a search for solid ground. Perhaps most unique to Skout\, however\, is the intricate\, percussive acoustic guitar that has come to define her sound. \nSkout’s innate knack for catchy\, eclectic songwriting shines in her 2014 debut EP\, Again Anew. After touring to support the EP and securing talented guitarist Connor Gladney as a songwriting and performing counterpart later that year\, Skout caught the attention of soul-pop powerhouse Eric Hutchinson. He signed on to produce her second EP\, set for release summer of 2016. Skout’s sophomore effort maintains an unshakeable acoustic backbone while simultaneously demonstrating the versatility of her songwriting chops. It’s a testament to the undeniable promise of this young indie-folker. URL:https://royaleboston.com/event/eric-hutchinson/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/07/Approved-Photo-Fall-Tour-2016.jpg 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:20160919T190000 DTEND;TZID=America/New_York:20160919T190000 DTSTAMP:20260403T220949 CREATED:20160718T150736Z LAST-MODIFIED:20160718T150736Z UID:10002404-1474311600-1474311600@royaleboston.com SUMMARY:Against Me! DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is All Ages.\nTickets on sale Fri. 7/22 at 10AM! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nAgainst Me! \n \n[Website] [Facebook] [Twitter] \nTo pirate the title of one of their early songs (and still a set-list staple)\, Against Me! is a band that laughs at danger and breaks all the rules. \nFronted by Laura Jane Grace\, AM!’s much-anticipated latest offering\, Transgender Dysphoria Blues\, is scheduled for release in January 2014. The title of their sixth album offers a direct nod to news that shocked fans and shook up the rock world when it was dropped—Grace is a transitioning transgender person who revealed her story in the May 12\, 2012 issue of Rolling Stone (readers curious to learn more about the transition can check out Laura Jane’s “My First Year as a Woman” journal online in Cosmopolitan). \nBecause Transgender Dysphoria Blues marks the band’s first release with Grace as a woman\, there are a lot of misconceptions: The record is neither a radical stylistic departure nor a “concept album.” Rather\, it’s just another bold step forward for an artist doing what she has always done—forging her own path by processing the highs and lows of life through music. \nAgainst Me! began as an anarchist solo act in Gainesville\, Florida in 1997. After transforming into a traditional four-piece a few years later with the crucial addition of guitarist James Bowman\, they quickly became a driving force in the punk scene—despite facing an abundance of unsolicited danger. \nWhile emerging unscathed from two separate road tour spinouts and\, more recently\, enduring a flying mic stand which cost Grace her front teeth\, Against Me! have played in all 50 states and 29 countries\, cranking out an average of 200 sweat-drenched\, fist-pumping\, shout-a-long live gigs per year over the past decade. Their music runs the gamut from thrashing to anthemic to intimate\, with Grace’s pointed lyrics and powerhouse voice blending vitriol and vulnerability like few other performers. \nWith a healthy dose of folk and even some old-school country in their sound\, the band’s first three indie full-lengths (2002’s Against Me! is Reinventing Axl Rose\, 2003’s As The Eternal Cowboy and 2005’s Searching For A Former Clarity) earned them a rabid and steadily growing following. \nTheir 2007 major label debut\, New Wave\, was produced by Butch Vig (Nirvana\, Garbage\, Green Day) and named “Album of the Year” by SPIN Magazine. The early-Springsteen-esque raver “Thrash Unreal” reached #11 on the Modern Rock charts\, and in addition to a headlining tour\, the band also supported the Foo Fighters on the road in 2008. \nAfter 2010’s White Crosses (which peaked at #34 on the Billboard charts)\, the band parted ways with Sire. It was at this time that Grace went through an intense soul-searching phase and eventually decided to transition\, going public with the gender dysphoria she had been dealing with since childhood. \nAs might be expected with such an intensely personal project\, Grace took complete creative control of Transgender Dysphoria Blues. She not only assumed producing reins for the first time but even built the Florida studio\, Total Treble\, where the demos were recorded. Then—more danger struck. During a tornado\, a tree crashed through the roof of the studio. \nAfter that mishap\, the full record was recorded without further incident at three separate facilities: Dave Grohl’s 606 Studios in Northridge\, California; Motor Studios in San Francisco; and Earth Sounds in Valdosta\, GA. \nWhich is certainly not to say Transgender Dysphoria Blues is a “safe” record. Grace’s soul is brutally laid bare here in this riveting 10-song collection. While four of the tracks directly address the unique anxieties and fears inherent with being transgender\, they still crackle with universal resonance. \nThe song “Transgender Dysphoria Blues\,” written before Grace announced her transition\, artfully folds the specter of hateful public perception (“You want them to notice\, the ragged ends of your summer dress… They just see a faggot.”) into an irresistible chugga-chugga arrangement\, given ballast as always by Bowman’s bouncing guitar and full-bore backing vocals. \nThen there is the defiant battle cry of “True Trans Soul Rebel” (released in tandem with “FUCKMYLIFE666” on-line to fans through the Against Me! website in the Fall of 2013). Evoking fatalistic images of escape\, the song ultimately showcases the strength both of Grace’s spirit and voice\, soaring mightily as it does when she asks the question “Does god bless your transsexual heart?” \nThe balance of the record covers typical Against Me! touchstones—from matters deeply personal (the sizzling “Unconditional Love”); to political (“Osama Bin Laden as the Crucified Christ\,” which recalls Sandinista!-era Clash and the band’s own “From Her Lips To God’s Ears (The Energizer)”) and even the music biz—“Black Me Out” is a flat-out showstopper\, with Grace ramping a slow-burn into withering nuclear scorn\, screaming at an unnamed power-abusing exec that she wants to “chop those brass rings off your fat fucking fingers” and “piss on the walls of your house.” \nJoining Grace and Bowman in the band are a brand-new rhythm section. Longtime bass player Andrew Seward amicably departed Against Me! in 2013 after 11 years with the band. Fat Mike of NOFX (also the owner of Motor Studios) handled bass duty on the recordings of “FUCKMYLIFE666” and “Unconditional Love\,” while Laura Jane played on the album’s other eight tracks. \nSince that time\, Inge Johannson (formerly of Sweden’s International Noise Conspiracy\, and a surefire winner of the “Scandinavian Ramones Lookalike Contest\,” if one is ever held) has come aboard as the full-time bassist. \nThe new drummer is punk stalwart Atom Willard\, who launched his career as a teenager with Rocket From the Crypt and has had stints with the Offspring\, Angels & Airwaves\, and Social Distortion. Willard replaced Jay Weinberg\, who’d toured with the band since late 2010. \nWith the lineup changes\, Grace acknowledges that Against Me! may be in a state of flux\, but the mission is still real: “If I didn’t feel like I had something that I really needed to say with the album we’ve been working on for the past year then I’d humbly hang the hat and move on\,” she said in the wake of Seward’s departure. \n2013 saw another career milestone for Grace\, as she co-wrote a song (“Soulmates to Strangers”) with rock royalty Joan Jett for Jett’s Unvarnished album. Against Me! is set to tour behind the new record in 2014 with an attitude perhaps best summed up by these lines from“FUCKMYLIFE666”: “No more troubled sleep. There’s a brave new world raging inside of me.” \n*** \nPotty Mouth \n \n[Website] [Facebook] [Twitter] \nPotty Mouth are Western MA-based trio Abby Weems (guitar\, lead vocals)\, Ally Einbinder (bass) and Victoria Mandanas (drums). Originating in 2011 from the hometown of guitar rock predecessors Dinosaur Jr.\, Potty Mouth emerged from a casual\, “why not?” attitude when Einbinder\, who met Mandanas at Smith college\, set out to form a band with like-minded women who shared her interest in learning and growing together as musicians. Though no singer was chosen at the time of formation\, Weems emerged as having a knack for melodies and lyric writing\, and what started out as a casual pastime turned into a way of life; recording\, making t-shirts\, and planning tours soon came in natural succession. \nOne year after their formation\, the band recorded a 12″ vinyl EP\, entitled ‘Sun Damage\,’ released through three small\, independently-run labels. ‘Sun Damage’ garnered the attention of Pitchfork\, who called the six-song EP an “an impressive\, no-filler debut\,” as well as local big-hitters The Boston Globe\, who named Potty Mouth one of the top five indie-rock bands to watch in 2013. \nIn 2013\, Potty Mouth signed with Brooklyn-based indie label Old Flame Records to release their debut full-length album\, ‘Hell Bent.’ NPR music premiered the album\, calling it “one of the best rock albums of the year.” As Potty Mouth garnered national attention\, the band began to tour more extensively\, co-headlining their first full US tour with Perfect Pussy and Swearin’ in summer 2014\, as well as supporting artists like Waxahatchee and Juliana Hatfield. \nOn August 21\, 2015\, the band debuted a five-song self-titled EP under their own imprint\, Planet Whatever Records. Produced by John Goodmanson (Sleater-Kinney\, Blonde Redhead\, Bikini Kill) at London Bridge Studios in Seattle\, the new EP shows off a new level of both songwriting and production for the trio. Refreshingly candid\, singer-guitarist Abby Weems weaves sarcasm and melancholia into a passionate performance held together by drummer Victoria Mandanas and bassist Ally Einbinder’s solid foundation. The crisper direction emphasizes the work the triad has put in since 2013’s ‘Hell Bent\,’ with more vocal harmonies and bigger production\, recalling the sounds of influences like Veruca Salt and Nirvana. \n*** \nFrameworks \n \n[Website] [Facebook] [Twitter] \nLuke\, Cory\, Matt\, Wyatt\, and Bobby URL:https://royaleboston.com/event/against-me/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/07/against-me-admat-fall-2016-2.jpg 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:20160921T200000 DTEND;TZID=America/New_York:20160921T200000 DTSTAMP:20260403T220949 CREATED:20160704T100042Z LAST-MODIFIED:20160704T100042Z UID:10002402-1474488000-1474488000@royaleboston.com SUMMARY:TroyBoi: The Mantra Tour DESCRIPTION:Bowery Boston presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 7/8 at noon! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nTroyBoi \n \n[Website] [Facebook] [Twitter] \nOne of South East London’s most closely guarded secrets has recently emerged from the shadows and is set to take the music industry by storm. Known only as TroyBoi\, this multi-talented musician recently signed to Timbaland’s right-hand man and US Super Producer\, Jim Beanz\, things are heating up faster than ever! Producing a wide variety of genres\, but specializing in extraordinarily unique\, versatile\, and highly musical trap beats\, TroyBoi is without a doubt one of the top up-and-coming producers in the game right now and it’s quite clear from his composition that his influences are vast indeed. He is also one half of the Producer/DJ duo SoundSnobz with one of his best friends\, icekream and together they craft the most creative and daring audio paintings you’ll ever listen to. Buckle up and get ready to be taken into the world of TroyBoi because once you are in\, you will never want to get out. \n*** \nFatherdude \n \n[Website] [Facebook] [Twitter] \nObsessively recording moments and having you hear them at a later point in time. \n*** \nGypZ \n \n[Website] [Facebook] [Twitter] \n2 girls just trappin URL:https://royaleboston.com/event/troyboi-the-mantra-tour/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/07/troyboi-admat-3.jpg 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:20160923T220000 DTEND;TZID=America/New_York:20160923T220000 DTSTAMP:20260403T220949 CREATED:20160707T211755Z LAST-MODIFIED:20160707T211755Z UID:10001685-1474668000-1474668000@royaleboston.com SUMMARY:Bakermat DESCRIPTION:21+ \n*Management reserves the right to refuse entry / Admission not guaranteed after midnight / No refunds of any kind all sales are final. URL:https://royaleboston.com/event/bakermat/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Nightclub ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/07/bakermat.jpg 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:20160924T173000 DTEND;TZID=America/New_York:20160924T173000 DTSTAMP:20260403T220949 CREATED:20160726T153958Z LAST-MODIFIED:20160726T153958Z UID:10001694-1474738200-1474738200@royaleboston.com SUMMARY:Brian Fallon & The Crowes / Ryan Bingham DESCRIPTION:Bowery Boston presents \nDoors: 5:30 pm / Show: 6:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 7/29 at noon! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nBrian Fallon & the Crowes \n \n[Website] [Facebook] [Twitter] \n“This one is different\,” says Brian Fallon. “This one is mine.” \nBursting at its seams with huge hooks\, big choruses\, and enormous heart\, PAINKILLERS marks the first solo album from Brian Fallon\, known far and wide as singer/guitarist of the Gaslight Anthem\, as well as such acclaimed outfits as The Horrible Crowes and Molly & The Zombies. Produced by studio superstar Butch Walker (Taylor Swift\, Frank Turner\, Keith Urban)\, richly textured songs like “Long Drives” and the addictive title track encompass the great rush and flow of American music\, fusing sonic hits of heartland country and folk with hardcore punk energy and classic rock ‘n’ roll swagger. PAINKILLERS once again affirms the NJ-based rocker’s elemental gifts as a songwriter and storyteller\, booming with insistent imagery\, narrative craft\, and the extraordinary emotional acuity that has informed his music since the very start. \n“I’ve had this sound kicking around in my head for so long\,” says Fallon\, “but it took maturity to get it out.” \nFallon decided to begin work on PAINKILLERS immediately following the announcement of The Gaslight Anthem’s indefinite hiatus. Though his prior extracurricular projects were made under alternate band monikers\, a dear friend suggested that this time perhaps he might think otherwise. \n“She said I was limiting myself\,” Fallon says. “’If you make a Horrible Crowes record\, then you’ve got to make Horrible Crowes music. You have to float within those guidelines. But if you use your own name you can make any record\, you can change throughout your career\, work with different musicians\, be whatever you want to be and then wrap it all together.’ That’s one of the best pieces of advice I’ve ever gotten.” \nSolo or otherwise\, Fallon knew he couldn’t make his record all alone. He considered a number of potential collaborators but again and again\, Butch Walker’s name kept coming up as an ideal match. A meeting was arranged and the two musicians hit it off from the jump\, tracking four demos in three days\, including fleshed out versions of “Painkillers” and “Nobody Wins.” \n“It was just like fast friends\,” Fallon says. “All the sounds fell into place. There wasn’t any searching – it was all right there. We had a blueprint from the records we grew up on.” \nFallon set to work in September\, spending three weeks at Nashville’s Taxidermy Studios backed by a crack outfit featuring Walker\, Molly & The Zombies bassist Catherine Popper (Jack White\, Ryan Adams & The Cardinals\, Willie Nelson)\, and drummer Mark Stepro (Hayes Carll\, Ben Kweller\, Jackson Browne). Freed from any brand\, Fallon felt\nmore comfortable and confident than ever before\, unrestrained and able to fully articulate himself in the studio. \n“I felt like I was doing exactly what I should be doing\, at exactly the moment I should be doing it\,” he says. “There was a very nice feeling\, like\, you’ve been working towards this record your whole career and here you are getting to do it.” \nFallon had spent much of the past decade pushing himself in different directions\, challenging himself as a songwriter by trying on various guises and techniques. This being his solo debut\, he decided to return to his initial path\, cutting through the craft to simply write “couch songs” on his trusty acoustic guitar. \n“I’d been trying different things for the past few years now\,” Fallon says\, “but there’s a path that I started on. I thought\, let me go back to the very basics of where I started writing songs and maybe see if I’ve gotten any better. I know I haven’t mastered the craft but now that I’ve learned a bit\, let me see what I can pull out now.” \nInspiration came\, as it often does\, from Fallon’s lifelong canon\, specifically BORN IN THE USA and FULL MOON FEVER\, milestone rock records unafraid to work as mass appeal pop statements. Classic sounds abound throughout PAINKILLERS\, from the ringing Rickenbackers that drive “Among Other Foolish Things” to the shingled backing vocals that give lift and spirit to each of the album’s dozen songs. “A Wonderful Life” is perhaps Fallon’s greatest anthem thus far\, a righteous slice of 60s-fueled dance party rock ‘n’ roll brought full stop into the new century. \n“It’s got all the bits\,” Fallon says\, “the riff\, the whoa-whoa-whoas\, the chorus\, the whole thing. It’s simple but we just knew right away that that one was something else.” \nOther high spots include “Red Lights” and the intensely orchestrated “Long Drives\,” both originally written and demoed by the country rock-inspired Molly & The Zombies but never properly recorded. Walker helped Fallon retrofit the Molly tunes by “straightening out the beat\,” bringing them in from the front porch and placing them square on the boardwalk where they belong. \n“I didn’t want to make a country record\,” Fallon says. “I’m from New Jersey\, not Nashville. But I thought those songs were too good to throw away.” \nFallon’s garrulous lyricism – as ever\, ribboned with spot on setting\, telling character study\, and cultural references spanning “Famous Blue Raincoat” to DC post-hardcore heroes Rites of Spring – is more than matched here by his musical ambition\, for the first time truly weaving his wide-ranging tastes into a distinctive and dramatic unified whole. Remarkably\, PAINKILLERS was recorded with but one amp\, the very same Tone King Imperial 20th Anniversary Edition Fallon used to record his initial demos. \n“This thing does everything\,” Fallon says. “Sounds like the Byrds when you plug in the 12-string\, it rocks when you plug the Les Paul in\, it does country\, everything. I showed it to Butch and he was like\, alright\, cool\, we’ll use your amp. He plugs into it\, we recorded all the guitars for one song on it\, he goes\, wow\, that amp’s pretty good. Let’s use it tomorrow. And that’s what we did. At the end of the session\, Butch said to me\, I don’t think I turned on another amp this whole time. It was awesome!” \nFallon – with Tone King Imperial in tow – plans to spend much of 2016 on the road\, accompanied by a stellar combo comprised of The Gaslight Anthem guitarist Alex Rosamilia\, The Horrible Crowes’ Ian Perkins\, and the aforementioned Catherine Popper. With PAINKILLERS largely crafted in the studio\, transitioning its songs to the stage offers yet another happy challenge. \n“You just do it when you’re making a record\,” Fallon says. “Then to play it live you kind of have to pull it all apart and put it back together again. So the songs take on a whole new life\, which is the benefit of going to see a band live.” \nThe Gaslight Anthem will return\, avows Fallon\, but for the time being his focus is firmly locked on the present moment. For him\, PAINKILLERS marks neither an end nor even a beginning – where he’s at now is all that matters. \n“Pseudo-philosophically\,” Brian Fallon says\, “you really only have what’s in front of you today. That’s kind of where my head’s at with this. I’m doing this now\, I’ve always wanted to do it\, let’s see where it goes. And that’s kind of it.” \n*** \nRyan Bingham \nBW224967-1-0001-002.psd \nRyan Bingham needed some peace and quiet. Free of the burdens that had saddled him during the writing and recording of his recent albums\, he relocated to an old airstream trailer tucked away in the mountains of California\, camping out for several weeks and embracing the solitude to dig down deep and craft his most powerful album yet\, ‘Fear and Saturday Night.’\n“It gave me the space and time to tap into myself\,” Bingham says of the experience. “Up there\, it was totally isolated. No phones\, no noise\, no lights. At night the only thing you’d hear is the bugs and the coyotes. It’s lonely when you get back up in there and there’s nobody around\, but for me\, I kind of grew up that way in the middle of nowhere. Since I’ve started touring\, I’m surrounded by people all the time\, so getting back to the roots of everything\, that’s really where I seem to find stuff that’s meaningful when I’m writing songs.”\nBingham was actually in the back of a van in North Dakota when he wrote ‘The Weary Kind\,’ a song that became the centerpiece of the 2010 film ‘Crazy Heart’ starring Jeff Bridges. It earned him an Academy Award\, a Golden Globe\, and a Grammy\, and skyrocketed him into the spotlight. Amidst the incredible success\, though\, was tragic loss behind the scenes that few knew about.\n“A lot of peopled didn’t realize when that Oscar stuff was going on and ‘Junky Star’ was released\, I was dealing with the loss of my parents\,” says Bingham\, who released the follow-up album ‘Tomorrowland’ as a direct reaction to the emotional turmoil that surrounded him. “My mother drank herself to death\, and my father shot himself. I was also going through a huge transition with the band—we were breaking up—and I felt so lost playing with different musicians for the first time in years.”\nThere were positive changes in his life during that time\, too\, including his marriage\, which serves as a frequent well of inspiration on ‘Fear and Saturday Night\,’ particularly on tracks like “Snow Falls In June” and “Top Shelf Drug\,” a Stones-esque rocker that’s bound to become a live favorite.\nBingham never really set out to be a musician\, though. His mother bought him a guitar when he was 16 years old\, and a neighbor taught him a mariachi tune. When he grew tired of playing the only song he knew\, Bingham began penning his own music\, discovering the writing process to be a therapeutic coping mechanism for dealing with the tumultuousness of his upbringing. His first performances were informal affairs in the backseats of cars with friends on the way to rodeos\, where he was competing professionally on the weekends. Every now and then\, Bingham’s friends would convince him to break out the guitar in a bar\, and before he knew it\, he had more gigs playing guitar than riding bulls.\nRecorded mostly live with a brand new backing band and under the guidance of producer/engineer Jim Scott\, ‘Fear and Saturday Night’ opens with “Nobody Knows My Trouble\,” a loping\, autobiographical ballad about trying to outrun a painful past and finding redemption both in the strings of a guitar and in hitting the road with the love of your life. “Adventures Of You And Me” is a slide-guitar and mariachi-tinged barn-\n\nburner about a pair of misfits who travel the country together\, while “Island In The Sky” again picks up the theme of travel as a means of salvation and escape.\n“I feel like I’ve been traveling my whole life\, even from when I was a little kid\,” says Bingham. “Both of my parents were really bad alcoholics\, and my dad could never keep down a job\, so we never lived in the same town for more than a couple years. And even if we did\, we’d move to different houses every other month. It felt like I lived out of a cardboard box growing up until I was old enough to buy my own suitcase\, and then I was just running from everything.”\nBingham faces down his past with a poetic grace throughout the album. Lead single “Radio” is about coping with a darkness that doesn’t want to let go\, searching for a safe place to make sense of your life and the strength to stay on the right track through it all\, while “Hands of Time” deals with accepting what’s behind you and moving forward with grit and determination. On “Broken Heart Tattoos\,” a wistful waltz written to an unborn child\, he imagines what kind of parent he’ll become\, singing\, “Take your sweet time and walk a straight line in two / But don’t you be shy of your wilder side / Or be afraid to let loose / With broken heart tattoos.” Perhaps the most affecting moment on the album arrives in the title track\, when Bingham sings\, “I don’t fear nothin’ except for myself / So I’m gonna go out there and raise me some hell.”\n“Certain things aren’t going to change\,” he explains of the song. “You can’t run away or hide from the past. You have to live in it and deal with stuff and find your own way to overcome. The way I grew up\,” he continues\, “you had to develop a certain kind of toughness. Hanging with those guys on the rodeo circuits\, you learn at an early age how to defend yourself. There’s lots of fights and rowdy bars and mean people out there. But if you’re smart enough to stay out of situations where other people can hurt you\, you’re the only one who can really hurt yourself. That’s something I had to learn on my own.”\nThose hard-learned lessons\, through both good times and bad\, helped make Bingham the man he is today. ‘Fear and Saturday Night’ is the most authentic\, personal\, and deeply moving portrait of that man we’ve heard yet. \n*** \nPaul Cauthen \n \n[Website] [Facebook] [Twitter] \nPaul Cauthen remembers sitting alone in an Austin house after a weekend-long bender. A life making music seemed to be slipping away. Wide awake with nothing to lose\, he fell on his hands and knees right there\, bowed his head\, and threw down a divine gauntlet. \n“I dared Him\,” Cauthen says\, recalling his desperate challenge to God. “I said\, ‘Use me. I’ll be a rag doll. Just put me out there\, let’s go. I dare you.’” \nMost people don’t plead in the form of a dare. That blend of vulnerability and brash confidence is part of what makes Cauthen and his music––which often hinges on the same paradox––so compelling. Whether it was by heavenly intervention or sheer force of will\, Cauthen emerged with My Gospel (Lightning Rod Records)\, his mesmerizing full-length solo debut. Produced by Beau Bedford\, the record is both an artistic and personal triumph. My Gospel captures a young artist in full possession of a raw virtuosity that must sometimes feel like a burden: If your singing takes listeners on white-knuckle rides and you write like a hard-luck Transcendentalist poet who abandoned the East Coast for the desert\, you’d better do both. Anything else just wouldn’t feel like living. “I don’t know what else I’m supposed to do in life\,” Cauthen says. “So I just kept on working. Even when I didn’t hardly have money to eat\, my songs allowed me to get into the studios. I wrote my way into this thing.” \nThe album is called My Gospel\, but make no mistake: These are songs about Earthly struggles to love\, connect\, and just get by. “I’m not super religious\,” Cauthen says. “I don’t believe God is this guy wearing a white cloak who comes down with wings and beautiful sandals. I do believe that people are put into other people’s lives for reasons\, and those reasons are unexplained. I believe that is God.” URL:https://royaleboston.com/event/brian-fallon-the-crowes-ryan-bingham/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/07/BrianFallonBostonAdmatColor.jpg 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:20160924T220000 DTEND;TZID=America/New_York:20160924T220000 DTSTAMP:20260403T220949 CREATED:20160906T030741Z LAST-MODIFIED:20160906T030741Z UID:10001705-1474754400-1474754400@royaleboston.com SUMMARY:Chachi DESCRIPTION:21+ URL:https://royaleboston.com/event/chachi-2/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Nightclub ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/09/ROYALE_CHACHI_1024.jpg 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:20160925T190000 DTEND;TZID=America/New_York:20160925T190000 DTSTAMP:20260403T220949 CREATED:20160613T150846Z LAST-MODIFIED:20160613T150846Z UID:10001675-1474830000-1474830000@royaleboston.com SUMMARY:Peter Bjorn and John DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 6/17 at 10AM! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nPeter Bjorn and John \n \n[Website] [Facebook] [Twitter] \nIt’s been five years since Peter Bjorn And John have wowed the world with their musical talents. During a fruitful period of disappearance\, the trio have built their own studio\, started a record label\, and toiled to perfect a formula for effortless sounding pop music that (spoiler alert!) has taken them a huge amount of effort. Something else happened\, too. The rise of Swedes in music scenes around the globe gained huge traction. From Avicii and Swedish House Mafia to Lykke Li and Robyn\, the flag for Scandinavian genius flew. But one (or –more accurately – three) names were missing: those of Peter Moren\, Bjorn Yttling and John Eriksson. \nThe gang of childhood friends who once bonded over a love of ‘60s baroque pop and Stone Roses famously broke the mould an entire decade ago with one of the catchiest songs to feature whistling ever – ‘Young Folks’. But as bassist and production whizz Bjorn says\, ‘Young Folks’ was not a curse upon a career that is on the verge of entering its seventh era with forthcoming album ‘Breakin’ Point’. “Seven albums seems like an awful lot\,” reflects Bjorn. “But we put them out during a long period so it’s OK!” \n‘Breakin’ Point’ is about the band’s newfound search for another career high. “We started with some other album title ideas – like ‘Thriller 2’. Then we realised we were pushing the envelope so got into the idea of a breaking point. If we broke it once\, we can break it twice\,”says Bjorn. That’s why the album artwork features a hammer with three heads on it\, not just to strike your nightmares\, but to send a message out to everyone. “It says – ‘We’re back! We’re smashing it!’ Haha.” In the literal sense\, they may be wielding hammers\, but how about musically? “Musically\, a breaking point is just about working so hard until you know you can’t do any more\,” says Bjorn. “It’s about being in that fog when you’re creating where you can’t see. That’s when you find something – the door home\, or the door out. You get a chance to turn it around. You have to really put yourself in a big mess to be able to go somewhere new.” \nThe trio’s previous record ‘Gimme Some’ wasn’t exactly a big mess\, it was Peter Bjorn And John’s “power pop\, guitar statement”\, focused on recreating in the studio what they were confidently doing live. Having established that ground for themselves\, they wanted to do the total opposite of that this time around. “This was about doing big pop songs\,” says Bjorn\, who recalls sitting around listening to ABBA with his bandmates\, marvelling at how they made it sound and look so easy. \n‘Gimme Some’ was also the first of Peter Bjorn And John’s first records to feature an outside producer. ‘Breakin’ Point’ sees the threesome high on that socialising bug\, inviting a whole host of others to join them aboard the good pop/rock ship. Together these outside influences have helped the band realise their dreams of creating era-defining\, dance floor appropriate indie pop that intends to affect people on a deeper level. It’s about the tropes of life\, the difficulties that come with maturing. “There are very few songs in our collection that are positive. I can’t think of one\,” laughs Bjorn. “It’s always been about the blues. Life is shit\, but tonight is nice – that’s what pop is\, especially the songs that we love. You wanna have some darkness to be able to see the light. That’s how we do it up here in Sweden! It’s like a black and white movie if you look out: snow and a black mass of darkness.” \nIndeed\, opening track and album highlight ‘Dominos’ is a piano disco anthem about working for the Man. The track ‘Hard Sleep’ and title track ‘Breakin’ Point’ are about abandoning life’s small trivialities and embracing newfound fatherhood. //You’ve been hiding in the bosom of my dream\, now the clock sets the scene// go the lyrics.On ‘A Long Goodbye’ the guitar riff is reminiscent of Blondie classic ‘Heart Of Glass’. “Yes I can hear that\,” agrees Bjorn. “But we haven’t sampled it so you can forgive us for that.” \nBjorn comments on how they didn’t need to go too far to find their collaborators – the alternative music community had naturally begun to hang out more in Stockholm. “So we started to see more people more regularly\,” he says. They met Patrik Berger first. At the time he was working with Icona Pop and Robyn. “We knew he was in a punk band before. We were looking for people who wanted to make hits that also had that rock influence.” \nThankfully they also had the likes of Paul Epworth (Florence And The Machine\, U2\, Paul McCartney)\, Greg Kurstin (Sia\, Adele)\, Emile Haynie (Lana Del Rey\, FKA Twigs\, Kanye West) and Pontus Winnberg (Miike Snow) to help guide them. “You behave better when you have people over for dinner that aren’t just your family\,” he says\, proverbially. “It wasn’t that we just brought in anyone. We really respect what these guys do. We wanted to make pop music that was relevant now and not in a fantasy world of what we thought would be relevant. We learned how to not dwell on stuff because you can’t sit forever. You have to reach a goal. That was a little bit scary at first.” One fulfilled goal was to have their own built studios in Sweden\, studios that were formerly used by ABBA. It’s also the site of the trio’s new label INGRID. \nDespite their fears\, the collaborating also reasserted their own winning sense of self-confidence. “Well\, you realise you know some stuff yourself too!” laughs Bjorn. “That made us cocky.” Peter Bjorn And John intend for these songs to be consumed on the radio\, in live shows and – most importantly – on the dance floor. “Like ABBA would though\, it’s not like we’re going for the Avicii thing. In a nice pub\, you know?” says Bjorn. “We definitely want it to be like Prince’s version of a dance floor song. Everything should be groovy and funky.” \nHaving been together almost 20 years\, Bjorn is still unsure as to what their secret is. “Exercise!” he jokes. “We all have different ideas and those have to live close to each other. That’s what makes it an interesting mould. If you mix two similar ingredients you’re not gonna get a good result. You have to have a little pepper and salt to get a good dish.” Indeed\, just like their culinary acronym counterpart – P B & J (peanut butter and jelly) – Peter Bjorn And John are a meld of three disparate and unique elements. Together\, they’re both classic and delicious. \n*** \nCity of the Sun \n \n[Website] [Facebook] [Twitter] \nNew York’s City of the Sun is a worldly\, genre-bending instrumental trio whose sound combines their love of indie rock\, flamenco\, and post-rock. Formed in 2011 by guitarist John Pita\, COS also features guitarist Avi Snow and percussionist Zach Para. Having honed their sound performing on the streets of New York City\, the group first gained wider attention after playing a 2013 TED conference. \nSince then\, City of the Sun has headlined and sold out NYC venues like the Gramercy Theater and Brooklyn Bowl; they played SXSW\, Firefly\, CMJ and CBGB music festivals\, among others. The band supported Charles Bradley and Gregg Allman\, and have long-standing collaborations with Sofar Sounds and Godin Guitars. “The C Word” documentary\, directed by Meghan O’Hara and narrated by Morgan Freeman\, featured a score worked on by John\, Avi\, and Zach. \nCity of the Sun signed with Chesky Records in 2016 and released their LP ‘To the Sun and All the Cities in Between\,’ which debuted at #12 on the Billboard Jazz Albums chart. Lead Track “Everything” hit #2 on Spotify’s US Viral 50 chart and #5 on Global Viral with over one million plays in two months. \n*** \nCleopold \n \n[Website] [Facebook] [Twitter] \nCleopold is an Australian singer-songwriter whose debut EP was just snapped up by Detail Co.\, a boutique record label owned and curated by Chet Faker. Its lead single\, “Down In Flames\,” will serve as Cleopold’s emergence as an independent artist. \nBased in Los Angeles\, Cleopold has penned multiple singles for Miami Horror and Cassian\, while collaborating with other Australian luminaries like Bag Raiders and Chet Faker. Cleopold provided the lead vocals for Miami Horror’s latest single\, “Love Like Mine\,” and Cassian’s recent club hit\, “Running\,” while honing his compositional chops on film scores for directors like Roman Coppola. \nCleopold crafts blunt\, honest songs with a confidence and sonic precision rarely heard in an emerging artist. His shapeshifting voice is deliberately hard to pin down\, and places Cleopold in a musical territory all his own. \nCleopold will return to Australia in August for a national tour supporting Miami Horror. With the keys to Chet Faker’s Melbourne recording studio\, he also plans to pen his debut LP in his label-owner’s throne—a seat still warm from composing the award-winning album\, Built On Glass. URL:https://royaleboston.com/event/peter-bjorn-and-john/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/06/peter-bjorn-and-john-admat2.jpg 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:20160927T190000 DTEND;TZID=America/New_York:20160927T190000 DTSTAMP:20260403T220949 CREATED:20160614T120015Z LAST-MODIFIED:20160614T120015Z UID:10001677-1475002800-1475002800@royaleboston.com SUMMARY:Buzzcocks DESCRIPTION:Doors: 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 NOW! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nBuzzcocks \n \n[Website] [Facebook] [Twitter] \nThere are hardly any bands performing today that genuinely deserve the adjective ‘legendary’. Buzzcocks are one of those very few. Their achievements are staggering: one of the original holy trinity of British punk (with the Sex Pistols and the Clash)\, innovators of the independent record scene and genuine punk rock superstars who have been cited as inspirational by bands as diverse as REM\, Nirvana and Green Day. Eight studio albums\, over twenty singles and EPs\, a constellation of compilations\, covers by other bands and songs on film soundtracks and advertisements have put Buzzcocks among the top echelons of British recording artists. A Mojo Inspiration award in 2006 is just one of the many accolades they have received for their work. \nBuzzcocks have been thrilling audiences for over thirty years. Once called ‘the Beatles of punk’\, their music blends high-octane guitar\, bass and drum power with heartrending personal statements of love won and lost or dismay at the modern world to create a unique catalogue of unforgettable and immortal music – music they continue to deliver to fans old and new around the world with undiminished passion and energy. \nBuzzcocks have forged a unique relationship with their public and are deeply loved and revered by a global audience. They are simultaneously true to their original ideals and open to new ideas – a happy result of their own uncompromising and individual standing. \nOver the years\, generations of musicians have tried the Buzzcocks methodology and have made their own variations of it. Most are generous in their thanks to the band that started it all. Those impressed by the recent waves of ‘punk’ bands would do well to spend an afternoon with Buzzcocks’ seminal pop treasure Singles Going Steady\, consistently the band’s biggest seller and a masterclass in genre-busting songcraft. This compilation of their first UK Top 40 hits is a classic album in every sense\, an astounding collection of stunning moments such as ‘Orgasm Addict’\, ‘What Do I Get?’ the anthemic ‘Harmony In My Head’ and\, of course\, the song that has become their calling card: ‘Ever Fallen In Love With Someone (You Shouldn’t’ve Fallen In Love With?)’. These songs have been covered by dozens of groups in many styles\, a testament to the originals’ strengths not as slices of punk rock history but as examples of songwriting craft. \nBuzzcocks are the true godfathers of punk-pop\, having laid down that infinitely superior archetype. They are also a band with a past\, present\, and future. It is a history the group’s members could never have imagined back in the hot punk rock summer of ’76. Says Pete Shelley: “Looking back on it now\, what’s going on is like echoes of the Big Bang. You look around you in society and the culture; so many things would not have been the same if there never was punk rock. It’s strange; it’s like a science fiction novel. But to us at the time\, it just sprung naturally.” \nThey’re still doing it\, better than anyone. Sometimes the archetype is clearly the best. Buzzcocks – no. 1 in people’s hearts. Icons\, superstars\, legends. \n*** \nResiduels \n \n[Website] [Facebook] \nPhilly’s Residuels aren’t ashamed to play big\, dumb rock n’ roll. They’ve got a stripped-down\, 70’s punk vibe but whip out extended improvisations without coming off like assholes… think MC5 without the speeches or the afros. In virtually no time this power-trio has played all over the continent with bands like THEE OH SEES\, BLACK LIPS\, THE SONICS\, DESTRUCTION UNIT + THE SPITS and made IGGY POP a fan with their cover of STOOGES’ “I Got A Right” \n“”I first met Justin Pittney (Residuels singer / guitarist) working on the Stooges music for a Sailor Jerry spot. I noticed he had a great feel for our music\, and I enjoyed his company and his wit\, and I still do. I think Justin is a good example of someone who is solving the puzzle of how to have fun and more as a young musician today” – IGGY POP \n*** \nThe Welch Boys \n \n[Website] [Facebook]\n[Twitter] \nTHE WELCH BOYS are a five-piece punk band from Boston featuring members of SLAPSHOT and THE BLUE BLOODS. \nRaised and bred on the many great Boston punk and hardcore bands\, THE WELCH BOYS emerge with a sound that is a perfect mix of punk rock\, Oi!\, and east coast hardcore. They were formed in 2004 by guitarist\, and founding member of The Blue Bloods\, T.J. Welch. The lineup for their self-titled debut also includes Slapshot alumni Ed Lalli on vocals\, Mark Powers on bass\, P.j. Dionne on lead guitar and Ron Holbrook on drums. \nTHE WELCH BOYS write short\, catchy\, and powerful songs that emphasize sing along choruses and aggressive playing. There is an economy to their music that strips everything down to the unpretentious\, honest core. While firmly rooted in the punk rock legacy of their hometown\, THE WELCH BOYS’ sound is unique enough to set themselves apart. Lyrically\, they tackle a wide variety of subjects that convey the struggles of working class life laced with an underlying core of hope and optimism. \nMet with critical praise and acceptance from the punk community\, their debut self titled disc was recorded with Dropkick Murphys’ producer Jim Seigal . Earning a reputation as a rowdy\, high energy live act \, the band has toured with The Dropkick Murphys\, The Dead Kennedys \, Sham 69\, and The Business. . \nIn August of 2007\, drummer Ron Holbrook unexpectedly passed away. After this deeply sad period\, the band offered the resilient follow-up disc\, Drinking Angry in 2008. The band continued with several superb drummers\, including Sam Jodrey formerly of Toxic Narcotic. In 2014\, THE WELCH BOYS released their third disc\, Bring Back the Fight.. A call to arms from a now veteran punk band\, the disc was received with raves. \nThe current lineup includes original members\, and new addition Jose Morales on drums from Boston band Dead Friends. The band continues to play out and write new material. Garnishing a deeply loyal\, strong following\, they continue to grow in popularity. THE WELCH BOYS are even more passionate about delivering their honest brand of punk music as they enter their second decade together. URL:https://royaleboston.com/event/buzzcocks/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/06/buzzcocks-admat3.jpg 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:20160928T190000 DTEND;TZID=America/New_York:20160928T190000 DTSTAMP:20260403T220949 CREATED:20160501T130046Z LAST-MODIFIED:20160501T130046Z UID:10002340-1475089200-1475089200@royaleboston.com SUMMARY:Jake Bugg DESCRIPTION:92.5 The River Presents \nDoors: 7:00 pm / Show: 8:30 pm \nThis event is All Ages.\nTickets on sale Fri. 5/6 at 10AM! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nJake Bugg \n \n[Website] [Facebook] [Twitter] \nThe new album “On My One” out June 17th.\niTunes: https://po.st/JBOMOft\nStore: https://po.st/JBOMOe \nSign up to Jake’s newsletter https://po.st/u8B1kY\nSpotify https://po.st/JakeBuggSpotify \n*** \nSyd Arthur \n \n[Website] [Facebook] [Twitter] \nFree and edgy\, operatic and immediate\, Sound Mirror sees Syd Arthur lighting out for the territory\, reconfiguring contemporary psychedelia with a harmonic interplay of deeply felt songcraft\, collectivist performance\, and limitless invention. Their second full-length outing\, the album sees traditional borderlines obliterated as elements of free jazz improvisation\, floor-filling funk\, and bucolic folk fuse with the band’s most concentrated and emotionally direct songwriting thus far. From the tantalizing “Garden of Time” to the prophetic “Sinkhole\,” Sound Mirror expands and refines Syd Arthur’s already uncommon sonic multiverse into a brave new space where focus and concision is as essential as freewheeling abstraction and genre-shattering creativity. \n“The weirder stuff comes as naturally as the more traditional\,” says singer/guitarist Liam Magill. “It’s all the same to us\, really. Somehow everything filters through and comes out as us four guys and the sound that we make.” \nSyd Arthur – Magill\, his brother Joel (bass\, vocals)\, Raven Bush (violin\, keyboards\, mandolin)\, and Fred Rother (drums) – emerged out of Kent early in the new century\, their post-millennial revision of classic British psychedelic music leading MOJO to proclaim them “Canterbury’s dazzling new sons.” On An On\, the band’s 2012 debut album (released in 2013 by Harvest)\, affirmed their insatiable appetite for invention\, bridging ambitious time-shifting workouts with indelible folk-pop dazzlers like the breakthrough single\, “Ode To The Summer.” \nSyd Arthur also earned hosannas as an exhilarating live act\, honing their distinctive jams through near-constant performance\, from their start playing self-promoted festies to myriad headline shows in both the UK and the US with support slots in the past alongside such like-minded artists as White Denim\, Vampire Weekend and the one and only Paul Weller\, as well as upcoming performances tours with Jonathan Wilson and Sean Lennon’s The Ghost of a Saber Tooth Tiger. Performing on increasingly bigger stages proved a valuable lesson and a significant influence on the band’s musical perspective. \n“It taught us that you’ve got to be a bit fatter in your delivery\,” Bush says. “The intricacies don’t always come across the same way when you’re playing a bigger gig. It’s the main points that you’re trying to say that become important.” \nSound Mirror’s genesis began in late 2012 with the band traveling to Rother’s parents’ house in Ireland\, their equipment literally in tow. The four musicians spent the holiday season woodshedding as a unit\, laying the groundwork for their second album in advance of what they knew would be a busy 2013. Indeed\, extensive touring followed – including the band’s debut trip to North America – before they finally set to work in September at their own recently refurbished Wicker Studios in Southeast London. \n“Everything felt right making the album\,” Joel Magill says. “There was no tension\, we were all just pumped to have what was the longest period we’ve ever had just solely concentrating on music and being in the studio.” \nAs with all their prior recordings\, the band produced and engineered Sound Mirror on their own\, its crystalline intensity and aural innovation reflective of the proudly self-reliant band’s ever-expanding mastery of the studio process. \n“It felt like we had a lot more in ourselves that we could get out before we reached that point where having a producer would help\,” Joel says. “We’re well up for exploring that option in the future. We don’t have our heads buried in the sand.” \nIndeed\, Syd Arthur elected to have the Sound Mirror recordings mixed by one of the industry’s top hands\, multiple GRAMMY® winner Tom Elmhirst (Adele\, U2\, Arcade Fire). \n“At first we were apprehensive\,” Bush says\, “because even though he’s obviously the best at what he does\, we didn’t think\, ‘Oh yeah\, he’s the obvious guy.’ But ultimately\, his perspective on our music was very interesting because he approached it with more of a broader brush stroke.” \nHaving spent much of the past two years on the road\, Sound Mirror echoes Syd Arthur’s deep connection to their home turf\, its title referencing the massive concrete structures placed around coastal England to detect incoming enemy aircraft in the pre-World War II era. \n“They were the precursor to radar\,” says Bush. “They’re very striking objects\, basically facing out from England to France. We liked the idea of this mega mirror\, reflecting out to the rest of the world from Kent.” \nProgressive in the truest sense\, tracks like “Forevermore” and “Backwardstepping” evolve the archetypal Canterbury sound into a surprisingly heartfelt mutation of Arcadian acoustica and Syd Arthur’s own uniquely modern voice. “Hometown Blues” – perhaps the most plainspoken song in the band’s increasingly rich oeuvre – was born of a 2012 collaborative session with avowed fan Paul Weller at his Solid Bond Productions Ltd. Studio. \n“We were jamming and it just fell out\,” Liam says. “Weller actually got my book out and read through it – that was pretty nuts. I nailed it\, the essence of what I was trying to say.” \nSyd Arthur’s determined search for quintessence extends into the album’s more experimental excursions. Songs such as “Autograph” and “Singularity” gambol around rock’s outer limits\, their gear-shifting extremes counterbalanced by windswept melody and brilliantly crafted production. \n“I like to think we can get weirder and more poppy at the same time\,” Bush says. “We want to reach a place where the songs can get tighter and more succinct and then when we go crazy\, we really go crazy.” \n“Our take on it\, at the moment anyway\, is to present our music in a slightly more concise way on the album\,” says Joel\, “and then live\, we explore the compositions and jam out.” \nThat unbridled spirit of transgression and forward motion defines both Sound Mirror and Syd Arthur\, a band preternaturally unwilling to settle down\, forever looking towards the far horizon. \n“We’re not ever going to stay still\,” Bush says. “We’re going to keep pushing on. We feel like there are a lot of records to be made\, if we can work out how to make them. It’s funny\, as soon as we finish one thing\, we start getting excited about the next one.” \n“For a long time\, I’ve felt we’ve needed to get a lot further out of field\,” Liam Magill says. “I’m looking forward to getting out amongst it\, getting to explore further\, it’s going to be really interesting. It’s going to be fun.” URL:https://royaleboston.com/event/jake-bugg/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/05/jake-bugg-admat2.jpg 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:20160930T183000 DTEND;TZID=America/New_York:20160930T183000 DTSTAMP:20260403T220949 CREATED:20160531T152617Z LAST-MODIFIED:20160531T152617Z UID:10001669-1475260200-1475260200@royaleboston.com SUMMARY:Luna DESCRIPTION:Doors: 6:30 pm / Show: 7:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 6/3 at noon! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nLuna \nOLYMPUS DIGITAL CAMERA \n[Website] [Facebook] [Twitter] \nLuna\, the New York-based quartet\, were last seen on stage in February 2005. In 2015 they will play their first shows in ten years. \nLuna recorded 8 studio albums between 1992 and 2005. The current touring lineup is the exact ’99-’05 group that recorded Luna Live!\, Romantica\, Close Cover Before Striking\, and Rendezvous: Dean Wareham and Sean Eden on guitar\, Lee Wall on drums\, and Britta Phillips on bass. \nAt their best\, it’s hard to believe there is any other kind of music besides this simple\, graceful\, chiming chug — the Guardian \nOne of indie rocks’ most beloved live acts — Rob Sheffield\, Rolling Stone \nDean Wareham has an unlikely quiver of a voice that\, for whatever ungodly reason\, sounds as if he’s survived something his music alludes to but never gives away — Jerry Stahl \nA handful of records and songs that will accompany me forever – Ignacio Julia \nLuna timeline \n1992. Dean Wareham\, after leaving Galaxie 500\, recruits Justin Harwood (ex-Chills) on bass and Stanley Demeski (ex-Feelies) on drums to record Lunapark for Elektra Records. After completing the album\, the band adds Sean Eden on guitar. Eden first appears on the Indian Summer EP (aka the Slide EP). \n1993. The band records their second album\, Bewitched\, featuring Sterling Morrison of the Velvet Underground on guitar on two tracks. \n1995 Luna’s classic third album\, Penthouse (1995) is recorded in New York City\, featuring guests Tom Verlaine (Television) and Laetitia Sadier (Stereolab). The band signs to Beggar’s Banquet in Europe. \n1997 Lee Wall replaces the travel-weary Stanley Demeski on drums\, and the band records Pup Tent\, their fourth album for Elektra. \n1998 Luna recorded their fifth album The Days of Our Nights\, produced by Paul Kimble (Grant Lee Buffalo). \n1999 Justin Harwood moves back to his home country (New Zealand)\, and is replaced on bass by Britta Phillips. \n2000 finding themselves between contracts\, the band quickly records a live album — Luna Live! for the Arena Rock label. \n2002 the band sign to Jetset Records\, record Romantica\, co-produced by Gene Holder (DB’s) and Dave Fridmann (Mercury Rev). Romantica was followed by the mini-LP Close Cover Before Striking. \n2004 Luna record their final album\, Rendezvous\, in Brooklyn\, NY. Produced by Bryce Goggin with minimal overdubs\, it captures the band more-or-less live. \n2005 February 28 the band play their last shows at New York’s Bowery Ballroom. \n*** \nSam Evian \n \n[Website] [Facebook] [Twitter] \nSam Evian is a new music project from New York City\, and the latest signing to Saddle Creek. \n“Sleep Easy” is the first track to be shared from Premium\, the debut Sam Evian LP\, scheduled for release in 2016. The limpid ease of Premium was captured in just a handful of days at Figure 8 studio in Brooklyn\, where Sam is a resident engineer and producer. \nWatch the music video for “Sleep Easy“. (Video cleared to post and share). \nGlowing lead guitar\, aching pedal steel\, Wurlitzer keys and iconic 20th-century synths coalesce over a sublime\, supportive rhythm section\, guiding Sam’s melodies through a semi-familiar mist: the post-’60s zeitgeist\, a sun-baked cassette of Pet Sounds\, the modern struggle for emotional involvement in the internet age. \nGet “Sleep Easy”: iTunes\, Apple Music\, Spotify\, Soundcloud \n“Sleep Easy” is available on limited edition 7 inch vinyl backed with “You Have To Hydrate” – ready to ship in September and available for pre-order now at the Saddle Creek Online Store. \n“Someone once told me that having one penny is 100% better than having no pennies. Making Premium was like picking a lucky penny up off the street. I wrote the songs ten days prior to my first show\, though the ideas had been living under the surface for some years. Sometimes a deadline is all you need. The band came together effortlessly and we found ourselves in the studio on borrowed time\, smiling a lot. The use of ‘Premium’ is funny to me. Bottled water is funny to me. We’re all hustling the same thing and packaging it in different ways. Stay hydrated\,” says Sam. \n‘Oh\, it was wonder of wonders. And then\, a bird of like rarest spun heavenmetal\, or like silvery wine flowing in a spaceship\, gravity all nonsense now\, came the violin solo above all the other strings\, and those strings were like a cage of silk round my bed. Then flute and oboe bored\, like worms of platinum\, into the thick thick toffee gold and silver. I was in such bliss\, my brothers.” -Anthony Burgess URL:https://royaleboston.com/event/luna/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/05/Luna_StefanoGiovannini_2.jpg 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:20160930T220000 DTEND;TZID=America/New_York:20160930T220000 DTSTAMP:20260403T220949 CREATED:20160810T151134Z LAST-MODIFIED:20160810T151134Z UID:10001703-1475272800-1475272800@royaleboston.com SUMMARY:Gareth Emery DESCRIPTION:21+ \nManagement reserves the right to refuse entry/ Admission not guaranteed after 12AM URL:https://royaleboston.com/event/gareth-emery/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Nightclub ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/08/9.30.jpg 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:20161001T180000 DTEND;TZID=America/New_York:20161001T180000 DTSTAMP:20260403T220949 CREATED:20160712T143656Z LAST-MODIFIED:20160712T143656Z UID:10001690-1475344800-1475344800@royaleboston.com SUMMARY:Majid Jordan DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is All Ages.\nEvery purchase includes a digital download of the new album.\nTickets on sale Fri. 7/15 at 10AM! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nMajid Jordan \n \n[Website] [Facebook] [Twitter] \nFor Majid Jordan\, music and motion become one in the same.\n“A lot of the process of making music is driving to it\,” affirms Jordan. “There’s something to be said about that movement. You don’t have an end point. When we’re driving around and listening to songs\, we’re not going somewhere per se; we’re just driving.” \nMajid continues\, “Our music is definitely about being on and navigating a journey. This path leads towards love.” \nThe Toronto pair—Majid Al Maskati\, 25\, and Jordan Ullman\, 21—have definitely made the most of their ride thus far. In 2011\, the Bahrain-born Majid linked up with the Canadian Jordan\, while attending the University of Toronto. Bonding over a mutual passion for music\, they started recording under the name GOOD People\, releasing the afterhours mixtape. Their chemistry yielded a powerful dynamic with Jordan handling instrumentation and production and Majid assuming mic duties. \n“We both have two younger sisters\,” says Majid. “In a sense\, we each assume the role of the brother we never had. That’s what makes this so special: the brotherhood we share.” \nProducer Noah “40” Shebib heard their music on Soundcloud in 2013 and invited them to meet him and Drake. Soon after\, the duo inked a deal with OVO Sound/Warner Bros. Records. Majid Jordan featured on and co-produced Drake’s triple-platinum #1 hit “Hold On\, We’re Going Home” from Nothing Was The Same. Their next collaboration with the hip-hop superstar was “Mine” for Beyoncé’s self-titled fifth offering. Solidifying their sound and identity\, 2014’s EP A Place Like This would see them construct the framework for their self-titled full-length debut\, Majid Jordan\, in 2016. \n“Once we began working on the album\, we had more room for experimentation and exploration\,” adds Majid. “We’ve learned so much over the past few years\, and that experience enabled us to make this music. Everything was a stepping stone to where we are now.” \nIn early 2015\, the guys moved to a rented house in Van Nuys\, CA to begin work on what would become Majid Jordan. In between soaking in the Southern California sun and cruising the Pacific Coast Highway\, they hit the studio with the likes of Illangelo [The Weeknd] and Nineteen85 [Drake\, Nicki Minaj]. \n“The surroundings really played a role in the recording\,” says Jordan. “It helped inform the sound and direction. You can really feel that up-tempo energy in some of the songs.” \nMajid Jordan gave listeners a taste of the album with the airy\, tribal bounce of “My Love” [feat. Drake] in August 2015. Its icy\, sexy video would open the gateway into their latest body of work. The first 2016 single “Something About You” sees Jordan and Illangelo conjure an echoing groove and ethereal percussion punctuated by Majid’s show-stopping falsetto and expansive range. \n“Chronologically\, it came out after ‘My Love\,’ and they both follow a theme\,” explains Majid. “In ‘My Love\,’ you’re unsure\, and you’re questioning the intentions of somebody’s love for you. That unsettled feeling comes through. Then\, you get to ‘Something About You\,’ and you don’t let the past experience jade the way you look at the world. You’re no longer scared of love. You’re moving forward.” \nElsewhere\, “Learn From Each Other” sees Majid’s voice glide over a lush instrumental backdrop\, while “Shake Shake Shake” stands out as a seductively upbeat and undeniable dancefloor anthem.\n“Our chemistry really carries through this music\,” exclaims Jordan. “There’s a real synergy that we’ve had since day one\, and it’s only growing.” \nNow\, everybody can move with them. \n“Ultimately\, I want this to pique people’s interest\,” Jordan concludes. “This is a project we’ve really been working towards for most of our lives. I hope they can’t wait to see where we go next.”\n“This is the first step of the journey\,” Majid agrees. “This is Majid Jordan.” URL:https://royaleboston.com/event/majid-jordan/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/07/majid-jordan-admat.jpg 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:20161001T220000 DTEND;TZID=America/New_York:20161001T220000 DTSTAMP:20260403T220949 CREATED:20160927T163841Z LAST-MODIFIED:20160927T163841Z UID:10002425-1475359200-1475359200@royaleboston.com SUMMARY:Little Black Dress Party w/ Liz Ladoux DESCRIPTION:21+ \nVIP: 617-733-0505 URL:https://royaleboston.com/event/little-black-dress-party-w-liz-ladoux/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Nightclub ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/09/101-Liz-Ladoux.jpg 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:20161003T190000 DTEND;TZID=America/New_York:20161003T190000 DTSTAMP:20260403T220949 CREATED:20160713T140444Z LAST-MODIFIED:20160713T140444Z UID:10001692-1475521200-1475521200@royaleboston.com SUMMARY:Kishi Bashi DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is All Ages.\nTickets on sale Fri. 7/15 at noon! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nKishi Bashi \n \n[Website] [Facebook] [Twitter] \n“Sonderlust” is an album forged through heartbreak. After his two previous studio albums (“151a” & “Lighght”)\, Kishi Bashi was at a musical impasse. “As I sat down to write songs last summer\, I went to all my usual conduits of creation: violin loops\, guitar\, piano\, and I came up with the musical equivalent of fumes”\, says K Ishibashi. “I tried to create orchestral pop recordings that I assumed were my forte\, and in turn I found myself standing in front of a creative wall of frightening heights.” \nAt this very same moment of musical uncertainty\, K’s personal life was falling apart… He and his wife of 13 years had briefly separated and were struggling to keep their marriage together. In his own words\, “Touring and its accompanying lifestyle took a heavy toll on my soul and my family”. As an outlet\, K submerged himself in a new musical direction. “Sonderlust” emerged as a direct result of this personal struggle taking place at an artistic crossroads. \nWith the help of producer Chris Taylor (Grizzly Bear)\, engineer Pat Dillet (Angelique Kidjo\, David Byrne) and drummer Matt Chamberlain (Morrissey\, Fiona Apple\, of Montreal)\, Kishi Bashi has created his most personal and artistically adventurous work to date. “This album is straight from my soul. I questioned everything about what it means to love and desire. The difference between loving someone and being in love.” \n*** \nTwain \n \n[Website] [Facebook] [Twitter] \nSir Kitchen Boy E.P. by twain URL:https://royaleboston.com/event/kishi-bashi/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/07/KishiBashi_Layered2.jpg 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:20161004T190000 DTEND;TZID=America/New_York:20161004T190000 DTSTAMP:20260403T220949 CREATED:20160516T120046Z LAST-MODIFIED:20160516T120046Z UID:10002378-1475607600-1475607600@royaleboston.com SUMMARY:The Temper Trap DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is All Ages.\nTickets on sale Fri. 5/20 at 10AM! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nThe Temper Trap \n \n[Website] [Facebook] [Twitter] \nWith their choir boy vocals and panoramic pop/rock sound\, The Temper Trap began building an audience in Melbourne\, Australia\, where the band first rose to local acclaim after playing St. Jerome’s Laneway Festival in March 2006. The Temper Trap released their debut EP that same year\, and word of the group’s potential soon spread to other continents. Veteran British producer Jim Abbiss (who previously worked on the Arctic Monkeys’ debut) saw enough promise in The Temper Trap’s material to fly to Australia\, where he gathered the musicians into Melbourne’s Sing Sing Studios and helped ready their debut album\, Conditions\, for a 2009 release. Conditions Remixed “Sweet Disposition\,” a U2-styled anthem\, was released that September as the band’s first single. It cracked the Top 40 in multiple countries and appeared in the Zooey Deschanel film (500) Days of Summer\, which helped the band increase its following in America. The Temper Trap responded by touring heavily\, making stops at festivals like Glastonbury and Bonnaroo along the way. They also reached out to a number of DJs\, producers\, and bands\, asking them to remix material from the group’s debut. The result\, Conditions Remixed\, was released during the band’s fall tour in 2010. In 2012\, the band returned with its sophomore effort\, the eponymously titled The Temper Trap. Produced by Tony Hoffer (Beck\, Air\, Goldfrapp)\, the album featured the single\, “Need Your Love.” \n*** \nCoast Modern \nCoast Modern photographed on July 6\, 2015 in Los Angeles\, California. \n[Website] [Facebook] [Twitter] \nSometimes the only way to get ahead is to stop following the leader\, and start running your own race. Coast Modern flies out of the pack with a refreshingly uninhibited sound for disenchanted dreamers everywhere. Building on an admiration for the spirit of misfit alternative bands and the fearless ethos of modern hip hop\, the duo creates alternative pop with a wink that aims to push the genre into the future. \nSeattle-native Luke Atlas and LA-local Coleman Trapp met while working as Los Angeles-based songwriters\, fellow rats in the race to land songs with mainstream pop artists. After more than two years of peddling some great\, some terrible\, and some very weird creations at the gates of the mainstream\, they received little more than fleeting glances. Watching so many of their creations die on the operating table left the two burnt out and questioning their path. \nWith just a backpack and a tape recorder\, Coleman escaped his over-saturated hometown for the mountainous serenity of Denver\, CO. What was meant to be a quick\, head-clearing vacation soon turned into months as Coleman blended into the community\, taking a job at a family restaurant\, and enjoying the simple pleasures of a “normal” life. \n“I realized I didn’t desire the trappings of music industry success that drove me for years\,” recalls Coleman. “I actually started thinking I might never go back.” Without the pressure of writing-on-demand\, he began messing around on a borrowed acoustic guitar and recording tossed-off ditties on an old cassette recorder. The pure\, child-like enjoyment of writing only for himself led Coleman to a realization: maybe he’d overlooked a path that was right in front of him the whole time. \nSoon\, warbly tape recordings began appearing in Luke’s inbox. “At first I didn’t think much of them because they were so different\, but they kept randomly getting stuck in my head” says Luke\, who further encouraged Coleman’s experiments. On a whim\, Luke created a production around one of the acoustic demos and sent it back. Coleman was thrilled. “It felt like this could be something\,” says Luke. “I told him to get his ass back to LA.” \nReturning with renewed vigor and a rusted-out car hood after a Mile-High winter\, Coleman quickly called a meeting with Luke. With their new musical experiments buzzing in their heads\, the pair discussed creating a personal project based purely on the whims of their creative spark\, wherever that led them. “After we stopped shooting at an invisible moving target and had no agenda\, that’s when the sound came\,” explains Luke. And Coleman\, who had not so much as even sung “Happy Birthday” until a few years prior\, began finding the confidence to take frontman status\, lending his vocals to the tracks that began to take form through a playful\, stream-of-consciousness process. \nOne of the first songs they plucked from the ether together was “Hollow Life.” An anthem for restless souls everywhere\, the lyrics drip with the same frustration the duo once felt for their city\, while Coleman yearns for a simpler life away from it all. “Racing towards a dream on the horizon / Gimme something better than this Hollow Life\,” he sings over plinking marimba mashed up with angular fuzzy bass and booming 808 kick drums. \n“The song is about finding distance from what is hindering you\, whether it be physical or mental distance\,” explains Coleman. “But we’re no gurus. We’re just trying to let people know that we’re here figuring this shit out too.” \nOn the other end of the duo’s musical spectrum is the bouncy tribute to nascent romance\, “Dive” and the psychedelic\, “Comb My Hair.” Digging deeper\, there is the group’s wistful meditation on the passage of time\, “Wild Things\,” and\, “Frost\,” crackling with imperfection from Coleman’s original Denver basement tapes. Clearly Coast Modern are capable of covering a large swath of musical territory\, yet a strong\, self-aware voice and a sense of groove tie them all together. \nWith their destiny now grasped firmly in their own hands\, the duo are reveling in the freedom of their newfound artist status. At the will of their muses instead of the tidal flow of the pop world\, the group can create the genuine\, self-assured music that had been locked inside. Coast Modern is what happens when you let go of what you always thought you wanted and embrace the unexpected; when you stop chasing and start taking the lead. URL:https://royaleboston.com/event/the-temper-trap/ LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States CATEGORIES:Concerts ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/05/the-temper-trap-admat-1.jpg 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 END:VCALENDAR