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DTSTART;TZID=America/New_York:20161028T180000
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SUMMARY:LANY: THE KINDA TOUR
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is ALL AGES.\nTickets on sale Fri. 7/1 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*** \nLANY \n \n[Website] [Facebook] [Twitter] \nWhen the LA-based trio LANY first came together in 2014 their only aim was to work on a couple of tracks together\, demo them\, and have some fun in the process. Living on the West Coast\, singer Paul was putting together a scratch band and played a handful of shows. But by the end of 2013\, he says\, he knew that something had to give. Which is where Les and Jake enter the picture. Paul conceived the idea of enlisting his friends’ help on that brief trip to visit college friends. What none of them knew was that the step they were about to take would turn out to be so significant. In the space of four days\, the trio recorded two songs – songs that would lead\, in what they say seemed like the blink of an eye\, to the formation of LANY and\, not long afterwards\, to the band signing to Polydor Records. Six days after putting the tracks online the band found themselves fielding emails from major-label suitors. “The first question was always: ‘What else do you have? We want to hear more’\,” says Paul. “And we went off and wrote ILYSB\, and said: ‘This.’” \nILYSB marked the moment where LANY reached over the heads of the A&R community and started connecting directly with fans. Put simply\, the song exploded online. You can see why. Encapsulating the band’s “Let it breathe” philosophy\, ILYSB wafts over you like a summer breeze\, the yearning in its lyrics contrasting with the euphoria conjured up by the characteristically minimalist soundscape. A similar alchemy occurs repeatedly in the songs LANY put online – a succession of singles\, and the EPs I Loved You and Make Out – over the course of 2015. Again and again – on songs such as BRB\, Made in Hollywood\, Bad\, Bad\, Bad\, Kiss and those earliest tracks\, Walk Away and Hot Lights – you are taken back to the circumstances of the band’s formation. How they sensed\, without having to say it out loud\, that they were born to make music together. \nIt’s hard to believe\, but\, until very recently\, that magic was being made in a one-bedroom apartment in LA\, the three friends sharing the same room\, with barely enough space to swing a cat\, never mind set up any recording equipment. But that’s also in keeping with LANY’s approach. The music comes first; the band’s domestic circumstances\, well\, they can keep for another time. Moving to LA was\, they all agree\, a crucial step. They weren’t abandoning their roots\, they stress; but it was important for them to get out of their comfort zone. \nThey’re not chin-stroking purists or too-cool-for-school fantasists – on the contrary\, they’re proud of the fact that they studied music\, and nailed the multiple instruments they all play\, at college. In the same spirit\, they’re happy to share a room if it means they can pursue their musical dreams\, on their own terms. “How we started was\, we were friends\,” says Jake\, “but we were also just fans of each other. I always thought Les was the bomb\, and that Paul was the coolest guy ever. So it was like\, ‘Ok\, we seem to sort of love each other! Let’s do something.’” \nAnd they did. Something called LANY. Making music that aims an arrow at your heart. Writing beautiful songs with swashes of synth\, spare percussion\, echoes of prime 1980s FM pop\, of early-1990s R&B\, of new-wave electronica. Combining melody and lyrics to put down roots in your head\, and capture your heart. Recorded in a tiny room on an ancient laptop. Creating songs that are devastating and beautiful\, in a way that you can’t quite explain. There’s an idea. –Dan Cairns \n*** \nTransviolet \n \n[Website] [Facebook] [Twitter] \nIsn’t it funny when you have enough distance to look back and realize there was one accidental meeting\, one look exchanged\, one conversation shared which set in motion a chain of events that changed your life forever? It’s hardly a revelatory sentence—after all\, whole films\, artworks and albums have crystallized these kinds of coincidences and their knock-on effects. Transviolet’s forthcoming full length is not one of those records\, but the sequence of events that brought them to the point of a) creating a collection of songs together and b) for those songs to then be released\, can be attributed to talent and chemistry\, sure\, but some divine happenstance too. \nFor instance\, several years ago Transviolet singer Sarah McTaggart’s mom was seated next to a celebrity hairdresser on a flight. The pair got talking and being the proud parent\, Sarah’s mom ended up bending his ear about her daughter’s band. When she hopped off the flight she insisted Sarah reach out to him via Twitter. “I was like\, stop bothering this poor man\, he was nice enough to talk to you on the plane\, I don’t think he really wants to hear our music!” Sarah laughs. “But she kept asking until I finally sent him some of our stuff.” And you can bet he liked what he heard—so much so in fact\, that when dining with a record exec friend later that week\, said hairdresser mentioned Transviolet. After one listen the exec was hooked\, insisting that they speak with Sarah that very night. \n“They called me at 10.30 PM and I was in my PJs and I thought someone was pranking me because the guy on the other line was like\, ‘We want to sign you\, we want to do a showcase\,” she recalls\, still somewhat incredulous. “I got off the phone stunned. It was super freaking crazy: they called that night and we were signed and moving to LA a month later.” All because someone chose an aisle seat (probably). \nBut this wasn’t the only moment that a twist of chance altered the course their path: their origin story is equally serendipitous. Thanks to her father’s job as an entrepreneur\, Sarah’s family lead a nomadic existence. She spent her childhood bouncing from place to place before settling in Grand Cayman\, where her father’s family hailed from originally. A Caribbean island surrounded by crystal cerulean water sounds like paradise\, but removed from her friends and the “normal” high school existence\, Sarah felt isolated. Although she arrived late to artists like The Beatles\, Nirvana\, Bob Dylan and Radiohead—“those timeless songwriters whose music really seems to transcend time and space”—it was at this point in her life that these artists really resonated. \n“I clung to that kind of music because I moved around a lot as a kid and didn’t really fit in or I got sick of trying to fit in\,” she explains. “So I’d escape by listening to songs like ‘Across the Universe’ or ‘Lithium’ or ‘Creep’—these artists\, they get me. I became obsessed with lyrics and songwriting and that’s when I knew it was what I wanted to do.” \nIt was around this time that Sarah picked up the guitar. She cut her teeth playing open mic nights on the island\, eventually uploading her material to a site designed to bring musicians together. And here’s where the other random split second decision triggered a crucial set of events: instead of listing her whereabouts as the Caymans\, Sarah wrote San Diego on her profile. She’d set her sights on the SoCal city and it turned out to be something of self- fulfilling prophecy because when multi-instrumentalist Michael Panek logged on to search for a female vocalist\, he narrowed his search to his area in—you guessed it—San Diego. A sucker for “90s jams” there was something in Sarah’s songs that appealed to this leaning. “Her lyrical style reminded me of Death Cab For Cutie\,” explains the Rochester\, NY native. But more than that it was her innate sense of melody that reeled him in. \n“There’s a lot of good singers out there who can write crappy lyrics and get by\,” he explains. “But there was something about her that had substance\, it was a real visceral connection.” Despite the fact that Sarah immediately admitted she wasn’t based in San Diego\, the pair quickly forged a musical partnership: Michael would email his music and Sarah would apply her words and melodies. She introduced him to Alt-J; he played her Sigur Ros. This was at the top of 2011 and by the end of it she’d uprooted her life and moved to San Diego. Was it a shock to meet each other in person for the first time after the intimacy of long distance songwriting? \n“Luckily in those emails we were both pretty honest about who we were\,” says Michael. “She was exactly who I thought she was going to be—except she was a lot shorter. I think the first thing I said to her when I hugged her was like\, ‘Oh you’re so small!’”\nIt wasn’t long after the airplane-Twitter-phone call exchange that the duo upped sticks and moved to LA. Once there\, Transviolet truly solidified thanks to the addition of Michael’s high school buddies and former bandmates\, drummer Jonathan Garcia and guitarist Judah McCarthy. What followed was an incredibly fertile period: they signed to Epic and penned some 60-odd songs which were eventually whittled to a svelte debut album scheduled to drop next year. \nBut it was the quartet’s first song\, which they popped online in the summer of 2015\, that announced Transviolet’s arrival and really whet appetites for more. “Girls Your Age” is a bewitching slip of a song with Sarah’s voice at once recalling the Lana\, Lorde and Imogen Heap: sultry\, measured\, assured. The song gained instant online traction. People clicked play and clicked play again. Katy Perry praised the lyrics\, Harry Styles tweeted his support\, Ellie Goulding selected it for a spin on Beats1 and Twin Shadow delivered an exclusive remix. “Girls Your Age” soon became a bonafide viral sensation with over a million plays on Spotify alone. \nUnflinchingly personal\, it was also an apt introduction to the band. “It was my coming of age story\, I wanted to put something out there that was raw\, it wasn’t trying to be anything\, it was just a true account of how I felt growing up and the turmoil that surrounded that\,” states Sarah. “You’re trying to figure out who you are and at the same time the world is telling you feel this and be that and want this and you’re caught in the crossfire.” \nTheir four song eponymous EP (released this past September) further underscores what’s in store. “Bloodstream” is a straight up toxic love tune\, while “Night Vision” expresses the flip of this. Elsewhere “New Bohemia” is unabashedly anthemic\, but the lyrics are anything but throwaway. “I feel like every individual has the power to change the world\, we decide on a daily basis what our world looks like and every decision we make effects our reality\,” explains Sarah of the song’s message. “I wanted to write a song that inspired people to speak up and take action and to take responsibility for our generation and take a stand for something that you believe in.”\n“For all of us it’s more than just the music\,” Michael concurs. “We think it’s important to spread positive messages and have a nice effect on the world around us.” While Michael describes Sarah and him as yin and yang—her lyrics and melodies\, his beats and arrangements—the addition of John and Judah should also not be underestimated. Sarah credits them as being essential to the development of their sound\, which they’re now honing \nlive on their first ever tour (they made their stage debut back in September 2015). The foursome are a tight unit and it works. “There are no divas\, we all look at each other as equals and there’s no such thing as stupid ideas\,” affirms Sarah. “I think that safety is what allows us to feel so free in the writing process because no matter what\, the other three people are always going to back you up. Those stupid ideas are what sometimes lead to the brilliant ideas.” \nFate may have leant a helping hand\, but Transviolet don’t need luck to take this to the next level.
URL:https://royaleboston.com/event/lany-the-kinda-tour/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:Sofa King Friday's Halloween w/ GTA
DESCRIPTION:21+ \nVIP: 617-733-0505
URL:https://royaleboston.com/event/sofa-king-fridays-halloween-w-gta/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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SUMMARY:Jamestown Revival
DESCRIPTION:92.5 The River Presents\n \n  \n  \n  \n  \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. 7/29 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*** \nJamestown Revival\n \n[Website] [Facebook] [Twitter] \nThe story of Jamestown Revival feels suited for the dog-eared pages of a timeless American novel.  \nChapter one opens with Jonathan Clay and Zach Chance meeting in Magnolia\, TX at 15-years-old. Fast friends\, the duo attended college together\, started Jamestown Revival\, and traded their home state for Los Angeles\, CA in late 2011. By 2014 they released their debut album UTAH (which included the hit single ‘California’)\, built a committed fan base with countless road shows\, and received critical acclaim from the likes of Rolling Stone and The Wall Street Journal. They were named iTunes “Best of 2014: Singer-Songwriter Album of the Year\,” graced the sound stages of Conan and The Late Late Show with Craig Ferguson\, and performed at some of America’s legendary music festivals including Coachella\, Austin City Limits\, Bonnaroo\, Bottlerock Festival\, and Willie Nelson’s Fourth of July Picnic.  \n“UTAH opened a lot of doors for us and put us on the road for the first time\,” says Zach. “We learned how to play for a crowd and how to perform.” \nBut when it came time to record a second album\, the band found themselves in a different place.  \n“This album is like chapter two\,” agrees Jonathan. “The story begins at the point where we decided to head back to Texas. We wrote many of the songs when we were entering a different phase of our lives. We settled back into Austin\, and my wife and I had our first child. That was a big shift. It was all about leaving behind our last bastion of adolescence\, if you will.” \nThis process resulted in The Education Of A Wandering Man [Republic Records]\, an album that looks back at the journey of the band’s past. The record chronicles the lessons learned and the experiences that color the life-lived along the way.  \n“This album is a snapshot of our observations and learnings over the past four years. Our education has been gained not in a classroom\, but in our experience\,” Zach and Jonathan write in a letter to fans announcing the album.  \nMusically\, the record remains loyal to Jamestown Revival’s indie rock/alt country aesthetic while also reaching into new creative territory. \n“You can hear all of our influences on the new album. It feels like a late night drive after a show. There’s some Motown\, rock ‘n’ roll\, and even a little country. We paid homage to a lot of the people we listened to while stuck in a car between gigs\,” says Zach.  \nTapping into almost a lifetime of natural chemistry\, the band started sharing musical ideas while sitting on Jonathan’s porch before holing up in a Hill Country farmhouse a few hours from Austin for recording. Producing themselves alongside longtime collaborator Ryan Lipman\, the sessions lasted only two weeks\, and Jamestown Revival emerged with 12 new tracks. \n“It was a bunch of good friends in a relaxed setting making a record\,” says Zach. “It never felt like a nine-to-five. We could have a smoke outside\, play horse on the basketball hoop\, and hang out and wait for the muse to find us.” \nThough the record came together quickly\, nailing down the first song proved more difficult. After wrestling to overcoming the pressure\, the band emerged with their first single “Love Is A Burden\,” kick-starting the creative process.  \n“We wrote that song about our last single ‘California’\,” admits Jonathan. “When we started writing\, all we did was compare every song we wrote to ‘California.’ We never thought anything lived up to it\, and that started to squelch our creativity. This piece of music that did amazing things for us became like a lead weight. ‘Love Is A Burden’ is about the successes\, the failures\, the triumphs\, and the fears of the past really starting to weigh you down and having a hard time moving on. It’s a metaphor we related to a relationship you can’t move past in the lyrics. As far as inspiration goes\, the chorus just popped in my head\, and we ran with it. After all of that overthinking\, it was done in ten minutes.” \nAlbum opener “Company Man” captures the heartbreak of corporate greed. “My family’s got some land where we birthed the idea of Jamestown Revival\, and we’ve both been going there together since we were kids\,” says Jonathan. “”One day my family gets a call that there’s an oil company who wants to put a pipeline right through the property. They were doing it under the protection of ‘public domain’. That piece of land is sacred to us\, but ironically\, nobody else cared about it until there was something to gain.” Company Man speaks to that feeling of helplessness and frustration. \n“American Dream” comments on similar themes\, while “Head On” explores the claustrophobia of the concrete jungle. Elsewhere\, the acoustic-driven “Back To Austin” serves as an upbeat love letter to their hometown. Throughout\, the record speaks to themes inherent to the meaning within its title The Education Of A Wandering Man. \n“The Education Of A Wandering Man is actually an autobiography by classic western novelist Louis L’Amour\,” Zach says. “He traveled the world and lived a fascinating life. Jonathan and I read the book years ago and fell in love with it. It’s like looking back on a life unplanned. That really resonated with us when we were making the album. The more you travel\, the more perspective you get. Our travels have been an education.” \nFor Jamestown Revival\, the album is simply a continuation of their ongoing story. “We’ll be writing and telling stories until we’re six feet under\,” Jonathan leaves off. “This album is just the next step on the path.” \n*** \nJonny Fritz \n \n[Website] [Facebook] [Twitter] \nJonny Fritz\, the singingest\, songwritingest\, leather workingest man from Montana/Virginia/Philadelphia/Nashville and most recently\, L.A. has come out with yet another beast of a record. This time teaming up with Jim James as producer and Taylor and Griffin Goldsmith and Joshua “Ole Hed” Hedley as the band. All five of them\, busy as they are\, found 3 days to make this new “piece”. The entire thing recorded outside\, on top of a mountain in East L.A. It’s a real polaroid of a record and now that Jonny has recovered from a hip replacement\, ATO will be releasing it and Jonny will be touring it. Because that’s how this works.
URL:https://royaleboston.com/event/jamestown-revival/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:Freak Show w/ Breeazy
DESCRIPTION:w/ Camilla Fabb \n21+ \nA Tablelist Exclusive Event.
URL:https://royaleboston.com/event/freak-show-w-breeazy/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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SUMMARY:3LAU Haunted Haus
DESCRIPTION:21+ \nVIP: 617-970-8739
URL:https://royaleboston.com/event/3lau-haunted-haus/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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SUMMARY:Sharon Needles Live! With special guest Laila McQueen
DESCRIPTION:All Ages\nDoors @ 7:00pm\nVIP Meet & Greet available starts at 7:30pm
URL:https://royaleboston.com/event/sharon-needles-live-with-special-guests-laila-mcqueen/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20161102T190000
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SUMMARY:Daughter
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 NOW! \n*** \n \n*** \nDaughter \n \n[Website] [Facebook] [Twitter] \nQuestion: just how do you go about trying to match an album as peerless\, wholly immersive\, and as widely acclaimed and adored as Daughter’s 2013 debut ‘If You Leave?’ Simple: up the ante on every level. Building on that record’s gloriously dark intensity\, wracked emotion and come-hither diaphanous textures\, ‘Not To Disappear\,’ the new full-length release from the London-based trio — singer/guitarist Elena Tonra\, guitarist/producer Igor Haefeli and drummer Remi Aguilella — is a mighty declaration of intent. Profoundly ruminative and lugubrious\, bold and direct\, it’s arguably even more assertive and compelling than its much-lauded predecessor. \nProduced by Haefeli and Nicolas Vernhes (Animal Collective\, Deerhunter\, The War On Drugs)\, ‘Not To Disappear’ finds Daughter evolving in interesting ways. Recorded in New York\, at Vernhes’ studio in Greenpoint\, Brooklyn\, there are the usual intricate dynamics at play — Tonra’s gauzy\, fragile voice\, delivering powerful\, anguished words detailing her inner turmoil\, fusing seamlessly with Haefeli’s tight\, melodic guitar sounds and Aguilella’s rolling drums — but the sound\, oozing with depth and resonance\, feels infinitely richer. It’s properly intoxicating stuff: “Numbers” soars and swoops through exhilarating crescendos\, as Tonra recites the song’s mantra — “I feel numb/I feel numb in this kingdom” — over and over; and “Fossa\,” like some majestic convergence of Radiohead and Sigur Rós\, is possibly one of Daughter’s most euphoric moments yet. \n“A lot of it started with individual ideas\,” says Tonra. “Igor would write some instrumental stuff\, and I would go away and write more tracks\, learning how to use Logic\, and how to realise something in a fuller way than just guitar and voice. As it moved along it went through various stages\, sounding better and better.” \nThe signature motifs are still very much in evidence\, but there’s a real sense of the trio opening up to new ideas. Although making the record wasn’t the easiest of rides\, co-producer Vernhes was key in bringing the group out of themselves. “Nicolas was wonderful\,” says Tonra. “We’d been living in London\, and demoing and writing here — we’re perfectionists\, pulling in different directions — so it was really beneficial to go somewhere else to record it\, just for a change of scene. Working with Nicolas was a real injection of energy.” \n“I’m a control freak\, so it’s hard to let go\,” adds Haefeli\, “but I found a lot in common with him\, as much in our positive sides as in our faults. He brought a quality of recording that wouldn’t have been possible otherwise. And he’s just a fun person to be around.” \nHaefeli has spoken previously about wanting to expand the band’s sound into increasingly widescreen realms\, and ‘Not To Disappear’ duly bigs it up; this time\, there’s distinctly more dramatic ebb and flow\, as quiet intimacy lurches into thrilling kaleidoscopic expanses\, noticeably more epic and ambitious in scope than the Daughter of just a couple of years ago. “To me\, music is like a very fragile Jenga\,” he says. “You move one piece\, then you have to move another piece to balance it. Elena is much more of a ‘pure’ artist — for her\, it’s always about capturing the ‘moment’. In that way\, we’re polar opposites\, but I think that’s what brings some of the magic to it.” \nMagic is right: this time\, Daughter feel like an entirely new\, different and increasingly fearless proposition\, the alchemy of their music — more resonant and emphatic\, even louder in places — somehow doubly alluring. They go flat-out and turn up the volume throughout\, as Haefeli’s beefed-up\, majestic guitar lines surge and reverberate with renewed urgency and purpose\, cut through by Aguilella’s unflinchingly muscular\, red-blooded drumming — all of it gilded by a gorgeous electronic undertow. \nThe lyrics — always Tonra’s domain — are more forthright\, too\, an even more honest reflection of her ever-questioning state of mind. “Expressing your emotions isn’t a weakness but a real strength\,” she says\, somehow empowered\, her new-found confidence palpable. “I think with this album\, there’s less hiding. I used to hide a lot of my themes in poetry\, but now\, there’s no veil. \n“The first song we wrote for the record\, ‘New Ways\,’ was like opening another window. The album title comes from that song\, and for me\, as the lyricist\, it’s an important message. The older I get\, the more I’m saying ‘this is who I am’.” \n‘Not To Disappear’ has its unexpected bursts of uptempo energy\, as on the propulsive stomp of “No Care” — consciously striving to mix things up\, and about as lyrically direct and embittered (“There’s only been one time where we fucked\, and i felt like a bad memory”) as Tonra has ever been. “I go around collecting memories and feelings\, and when I press record\, stuff just… spills.” \n“Drifting apart like two sheets of ice” sings Tonra wistfully on “Winter” (from ‘If You Leave’)\, and lyrically\, it’s an over-arching motif that carries through here\, with loss\, alienation and loneliness as prevalent themes. On “Alone/With You” in particular\, she’s brutally forthright (“I hate sleeping with you/Just a shadowy figure with a blank face/Kicking me out of his place”)\, laying bare her innermost feelings and neuroses. “Writing has always been a bit cathartic for me\,” she admits. “It’s almost therapeutic — I don’t know how I would be if I didn’t write.” \nFamously guarded about revealing the meaning to her lyrics\, the singer remains keen to retain a little mystique (“I never want to explain things too much — what I’ve said in the song is the most I want to say\, and the rest is up for interpretation”)\, but\, emotionally unshackled\, she seems less worried these days about how her words might be interpreted. “It’s a little bit ‘fuck you’ now\,” she says\, bristling with defiance. “The new songs came out in a way where my writing was different from before. Initially\, it freaked me out because I thought I had writer’s block\, but I realised it was just how my brain was working. \n“On this record\, I’ve gone to places I maybe wouldn’t have been that comfortable with before. I guess there are a lot more sexual references\, that kind of lonely interpretation of sex — I don’t know if many other people have spoken about it that way. But I thought\, if my brain isn’t trying to hide this stuff\, then it obviously means I should talk about it. It feels like I’m being braver\, which is liberating.” \n*** \nVancouver Sleep Clinic \n \n[Website] [Facebook] [Twitter] \nVancouver Sleep Clinic as a name in itself conjures up imagery of long cold winters\, of isolation and remoteness and the sometimes self-imposed reclusiveness in all of us as the days get shorter and we move into the bitter months ahead. The adopted moniker of 17 year-old Tim Bettinson perfectly hones in on this visuality\, and with new track “Collapse\,” taken from his forthcoming debut EP\, the influences of those dark corners inside ourselves interweave throughout his sound.  \nAs we draw closer into the winter here in the Western hemisphere\, VSC feels like it was designed to be delivered just in time for the onslaught of the colder weather. Taking into consideration that Tim lives in Australia\, he set about writing songs for VSC during his winter but what was in fact our summer — timing can be everything.  \nAfter months of assembling lyrics and instrumentation from various maths books\, notes\, whiteboards and bedroom walls\, humbly working with scattered cheap microphones\, an old laptop and an outdated keyboard\, Vancouver Sleep Clinic’s debut EP was born\, a combination of soaring falsetto vocals built upon progressive synthetic instrumentation to create an ambient base for a vessel of emotional connections to be made.  \nBearing messages of sorrow\, humility and hope above all else — songs are written from the heart alone. Together\, let’s create something beautiful.
URL:https://royaleboston.com/event/daughter/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20161103T190000
DTEND;TZID=America/New_York:20161103T190000
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SUMMARY:Daughter [Second Show Added]
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. X/X at XXPM! \nSecond show added due to overwhelming demand! \n*** \nDaughter \n \n[Website] [Facebook] [Twitter] \nQuestion: just how do you go about trying to match an album as peerless\, wholly immersive\, and as widely acclaimed and adored as Daughter’s 2013 debut ‘If You Leave?’ Simple: up the ante on every level. Building on that record’s gloriously dark intensity\, wracked emotion and come-hither diaphanous textures\, ‘Not To Disappear\,’ the new full-length release from the London-based trio — singer/guitarist Elena Tonra\, guitarist/producer Igor Haefeli and drummer Remi Aguilella — is a mighty declaration of intent. Profoundly ruminative and lugubrious\, bold and direct\, it’s arguably even more assertive and compelling than its much-lauded predecessor.  \nProduced by Haefeli and Nicolas Vernhes (Animal Collective\, Deerhunter\, The War On Drugs)\, ‘Not To Disappear’ finds Daughter evolving in interesting ways. Recorded in New York\, at Vernhes’ studio in Greenpoint\, Brooklyn\, there are the usual intricate dynamics at play — Tonra’s gauzy\, fragile voice\, delivering powerful\, anguished words detailing her inner turmoil\, fusing seamlessly with Haefeli’s tight\, melodic guitar sounds and Aguilella’s rolling drums — but the sound\, oozing with depth and resonance\, feels infinitely richer. It’s properly intoxicating stuff: “Numbers” soars and swoops through exhilarating crescendos\, as Tonra recites the song’s mantra — “I feel numb/I feel numb in this kingdom” — over and over; and “Fossa\,” like some majestic convergence of Radiohead and Sigur Rós\, is possibly one of Daughter’s most euphoric moments yet.  \n“A lot of it started with individual ideas\,” says Tonra. “Igor would write some instrumental stuff\, and I would go away and write more tracks\, learning how to use Logic\, and how to realise something in a fuller way than just guitar and voice. As it moved along it went through various stages\, sounding better and better.”  \nThe signature motifs are still very much in evidence\, but there’s a real sense of the trio opening up to new ideas. Although making the record wasn’t the easiest of rides\, co-producer Vernhes was key in bringing the group out of themselves. “Nicolas was wonderful\,” says Tonra. “We’d been living in London\, and demoing and writing here — we’re perfectionists\, pulling in different directions — so it was really beneficial to go somewhere else to record it\, just for a change of scene. Working with Nicolas was a real injection of energy.”  \n“I’m a control freak\, so it’s hard to let go\,” adds Haefeli\, “but I found a lot in common with him\, as much in our positive sides as in our faults. He brought a quality of recording that wouldn’t have been possible otherwise. And he’s just a fun person to be around.”  \nHaefeli has spoken previously about wanting to expand the band’s sound into increasingly widescreen realms\, and ‘Not To Disappear’ duly bigs it up; this time\, there’s distinctly more dramatic ebb and flow\, as quiet intimacy lurches into thrilling kaleidoscopic expanses\, noticeably more epic and ambitious in scope than the Daughter of just a couple of years ago. “To me\, music is like a very fragile Jenga\,” he says. “You move one piece\, then you have to move another piece to balance it. Elena is much more of a ‘pure’ artist — for her\, it’s always about capturing the ‘moment’. In that way\, we’re polar opposites\, but I think that’s what brings some of the magic to it.”  \nMagic is right: this time\, Daughter feel like an entirely new\, different and increasingly fearless proposition\, the alchemy of their music — more resonant and emphatic\, even louder in places — somehow doubly alluring. They go flat-out and turn up the volume throughout\, as Haefeli’s beefed-up\, majestic guitar lines surge and reverberate with renewed urgency and purpose\, cut through by Aguilella’s unflinchingly muscular\, red-blooded drumming — all of it gilded by a gorgeous electronic undertow.  \nThe lyrics — always Tonra’s domain — are more forthright\, too\, an even more honest reflection of her ever-questioning state of mind. “Expressing your emotions isn’t a weakness but a real strength\,” she says\, somehow empowered\, her new-found confidence palpable. “I think with this album\, there’s less hiding. I used to hide a lot of my themes in poetry\, but now\, there’s no veil.  \n“The first song we wrote for the record\, ‘New Ways\,’ was like opening another window. The album title comes from that song\, and for me\, as the lyricist\, it’s an important message. The older I get\, the more I’m saying ‘this is who I am’.”  \n‘Not To Disappear’ has its unexpected bursts of uptempo energy\, as on the propulsive stomp of “No Care” — consciously striving to mix things up\, and about as lyrically direct and embittered (“There’s only been one time where we fucked\, and i felt like a bad memory”) as Tonra has ever been. “I go around collecting memories and feelings\, and when I press record\, stuff just… spills.”  \n“Drifting apart like two sheets of ice” sings Tonra wistfully on “Winter” (from ‘If You Leave’)\, and lyrically\, it’s an over-arching motif that carries through here\, with loss\, alienation and loneliness as prevalent themes. On “Alone/With You” in particular\, she’s brutally forthright (“I hate sleeping with you/Just a shadowy figure with a blank face/Kicking me out of his place”)\, laying bare her innermost feelings and neuroses. “Writing has always been a bit cathartic for me\,” she admits. “It’s almost therapeutic — I don’t know how I would be if I didn’t write.”  \nFamously guarded about revealing the meaning to her lyrics\, the singer remains keen to retain a little mystique (“I never want to explain things too much — what I’ve said in the song is the most I want to say\, and the rest is up for interpretation”)\, but\, emotionally unshackled\, she seems less worried these days about how her words might be interpreted. “It’s a little bit ‘fuck you’ now\,” she says\, bristling with defiance. “The new songs came out in a way where my writing was different from before. Initially\, it freaked me out because I thought I had writer’s block\, but I realised it was just how my brain was working.  \n“On this record\, I’ve gone to places I maybe wouldn’t have been that comfortable with before. I guess there are a lot more sexual references\, that kind of lonely interpretation of sex — I don’t know if many other people have spoken about it that way. But I thought\, if my brain isn’t trying to hide this stuff\, then it obviously means I should talk about it. It feels like I’m being braver\, which is liberating.”
URL:https://royaleboston.com/event/daughter-second-show-added/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161104T180000
DTEND;TZID=America/New_York:20161104T180000
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SUMMARY:Marillion
DESCRIPTION:Bowery Boston presents \nDoors: 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*** \nMarillion \n \n[Website] [Facebook] [Twitter] \nTriumphant cries\, collective sighs and sounds that can’t be made fill the air as legandary English quintet\, Marillion announce their long awaited return to North America in 2016. The thirteen date trek\, beginning on Friday\, October 21 in San Francisco – full routing below – marks the band’s first North American dates since 2012. Special Guest\, John Wesley (of Porcupine Tree)\, a frequent particpant in Marillion’s bi-annual conventions\, will support for the run of dates. Tickets will go on sale this Saturday\, December 11 – for details on each date\, visit www.marillion.com \nMarillion will embark on a massive world tour in 2016 in support of their forthcoming 18th studio album. The as-yet-untitled release is scheduled for spring 2016 via partnership with PledgeMusic announced earlier this year. Pioneers of a game-changing business model\, Marillion have cultivated a unique direct relationship with their devoted following\, with crowdfunding efforts and global mobilization. Since 1997\, long before Kickstarter or GoFundMe\, Marillion began a cooperative arrangement with fans\, to pre-order releases and pre-fund tours and conventions\, making them true pioneers of modern music. For more information on the forthcoming album please visit https://www.pledgemusic.com/projects/marillion \nFormed in Aylesbury\, UK\, in 1979\, Marillion have sold more than 16 million albums and are celebrated across the globe for their dramatic style and uniquely powerful sound. The band’s ever-growing following have funded the last five releases with highly successful pre-sale campaigns through their in-house label and Racket Records recording studio. Marillion host a bi-annual “Marillion Weekend\,” recently awarded ‘Best Live Event’ by the Progressive Music Awards\, wherein the global fan community gather with the band for multiple nights of historic performances\, unique events and total immersion in the Marillion culture and community. Marillion continue to perform an average of 100 sold out shows and festival stops globally each year and continue to welcome new members to their uniquely devoted family. It’s time you found out why… Join us 2016. \nMarillion are Steve ‘h’ Hogarth (vocals)\, Steven Rothery (guitar)\, Pete Trewavas (bass)\, Mark Kelly (keyboard) and Ian Mosley (drums) \n*** \nJohn Wesley \n \n[Website] [Facebook] [Twitter] \nJohn Wesley has built a long and varied career as a songwriter\, “sideman” guitarist\, and recording artist. \nHis music has been called lyrically sensitive and musically dynamic. His songwriting style incorporates emotionally-charged vocals that evoke the honesty and intimacy of Roger Waters and Patty Griffin coupled with a melodic yet intricate guitar style reminiscent of David Gilmour\, Alex Lifeson\, Jeff Beck\, and Warren Haynes. \nWesley’s guitar-driven acoustic and electric songs represent the cultivation of many inspirations — alternative\, progressive\, art\, and classic rock genres intertwined with poignant lyrics drawn from the poetry of the common man. What really appeals to Wesley’s fans worldwide is a spark of sincerity and sensitivity so oft absent in today’s mainstream music. \nMost recently\, John Wesley has performed as sideman\, guitarist/vocalist for critically acclaimed UK based recording act Porcupine Tree\, during the In Absentia\, Deadwing\, Fear of a Blank Planet\, and The Incident world tours. He has performed in the band for nine years\, culminating in 2010 with sold out performances at Radio City Music Hall and the Royal Albert Hall. \nJohn Wesley’s professional music career began in the early 1980’s in the Tampa\, Florida area where he founded 1991 Southwestern Music Conference’s showcase act Autodrive. The following year Wesley embarked on a solo career and became the premier opening act for British progressive rockers Marillion on seven consecutive tour legs around the world — especially North and South America\, the UK and Europe — where he played for hundreds of thousands of fans. In 1998\, Wesley embarked with White Lion frontman Mike Tramp on an extensive tour as premier opening act for the prestigious Peter Frampton/Lynryd Skynyrd tour. Following this was several world tours as lead guitarist for Scottish neo-prog legend Fish.  In 2001\, John Wesley was the primary co-writer of Fish’s Fellini Days album.  He began touring as guitarist and backing vocalist for Porcupine tree in 2002\, and has continued his role with the band through four album cycles and over 450 shows. In 2011 he performed guitar during Steven Wilson’s North American Grace for Drowning tour. In 2013\, Wesley toured as lead guitarist with Simon Collin’s Sound of Contact to support the Dimensionaut album. In 2014\, Wesley toured as guest lead guitarist with Big Elf. Wesley has also toured the U.S. and Europe extensively to support his independent releases – performing as opening act for Marillion\, Fish\, Porcupine Tree\, Sister Hazel\, Steven Wilson\, Flying Colors\, The Winery Dogs\, and Blackfield. \nIn 2005\, Wes produced and recorded his fifth studio release\, Shiver\, co-produced by Mark Prator\, and mixed by Steven Wilson of Porcupine tree.  In 2011\, Wesley partnered with UK native Dean Tidey (Feeder\, Muddy Apes)\, to produce his EP\, the lilypad suite.  Wesley’s long awaited sixth full-length studio album\, Disconnect\, was released by Inside Out Music on April 1\, 2014 and the follow-up album is scheduled for release in late 2016.
URL:https://royaleboston.com/event/marillion/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20161104T220000
DTEND;TZID=America/New_York:20161104T220000
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SUMMARY:ANNA LUNOE
DESCRIPTION:21+
URL:https://royaleboston.com/event/anna-lunoe/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20161105T063000
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SUMMARY:[SOLD OUT] St. Paul and The Broken Bones
DESCRIPTION:Doors: 6:30 pm / Show: 7:00 pm \n92.5 The River and Newport Folk® present…\n \n  \n  \n  \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \nThis show is SOLD OUT! \n*** \n  \n*** \nSt. Paul and The Broken Bones \n \n[Website] [Facebook] [Twitter] \nSea of Noise\, the second full-length album by St. Paul and the Broken Bones\, marks a quantum leap in sound and style for the high-voltage Birmingham\, Alabama-based band. \nProduced by Paul Butler and recorded at Nashville’s Sound Emporium\, the group’s sophomore effort features an expanded eight-piece lineup of the widely praised soul-based rock unit. Longtime members Paul Janeway (lead vocals)\, Jesse Phillips (bass\, guitar)\, Browan Lollar (guitars)\, Andrew Lee (drums)\, Al Gamble (keyboards)\, and Allen Branstetter (trumpet) are joined by Jason Mingledorff (saxophone\, clarinet\, flute)\, and Chad Fisher (trombone). \nThe collection of new original songs is the group’s first release on RECORDS\, a joint venture of SONGS Publishing\, winner of ASCAP’s 2016 independent publisher of the year award\, and veteran label executive Barry Weiss. \nSea of Noise is a successor to the Broken Bones’ 2013 debut album Half the City\, which introduced the group’s blazing mating of ‘60s soul fire – daubed with latter-day influences like Sly Stone\, David Bowie\, and Prince — to Janeway’s impassioned singing and writing. The new album witnesses a deepening and broadening of the unit’s musical reach and lyrical concerns. \n“It felt like it happened organically\,” Janeway says of the band’s development. “With the last record\, it was like doing things with your hair on fire – going in\, recording it live. There’s a sense of urgency to having a record like that. We were only a band for about five months at that point. I didn’t know my voice – I’d never done this professionally. I was just learning more nuance\, and about carrying a melody. You don’t have to go for it 100% all the time. You can draw people in by giving and taking.” \nJaneway says that he and his close musical associate Phillips began to ponder the direction of the band’s second album a year and a half ago. “If we had been forced to go into a studio a year and a half ago\, we probably would have done a better version of Half the City\,” he says. “There would have been nothing wrong with that. But we started evolving\, or changing.” \nWork began in earnest during last year’s Coachella festival in California: “We rented a house in San Bernardino Valley National Park. The week in between the two weekends\, we really started to hash things out. Then we rented out a very hot warehouse in Birmingham where we could write. And me and Jesse and a few of us would send stuff back and forth via Dropbox. That gave me the ability to work on harmonies on the vocals. I wanted to take it up a notch\, in all realms.” \nLooking to such inspirations as Tom Waits and Nick Cave\, Janeway was intent on lifting his game as a songwriter on material for the second album. “I’m married to a woman with a masters in literature\, and I can’t show her lyrics unless I’m pretty proud of ‘em\,” he says. “I had to sit and think about what I’m saying – what do I want to say\, is there anything to say? What’s my perspective as this Southern kid who’s watching the modern world and feeling very much like an alien in a lot of ways. This is more personal. If you’re going to say something\, say something\, and don’t waste your breath unless you feel like you’re saying something.” \nJaneway adds that his reading of the book Just Mercy by Bryan Stevenson\, founder of the Equal Justice Initiative\, played a role in the direction of the work: “I didn’t want it to be an overly political record\, but I feel it shows up a little bit on the album.” \nWith a full complement of new songs in hand\, St. Paul and the Broken Bones entered the studio with Butler\, leader of the British band the Bees and producer of Devendra Banhart and Michael Kiwanuka. \n“Jesse was listening to one of his records and he said\, ‘Everything sounds great\,’” Janeway recalls. “It sounded like a real record – everything had depth\, and was expansive-sounding. Butler ended up being the guy that we wanted to use. Producer-wise\, I think we knocked a home run. He is very meticulous.” \nOn Sea of Noise\, the band’s brawny horn-driven sound is augmented – and displaced — by the use of a string quartet and a vocal choir. The strings – recorded at Memphis’ historic Sam Phillips Recording by engineer Jeff Powell – were arranged by Lester Snell\, a veteran of Stax Records sessions by Isaac Hayes\, Shirley Brown\, Albert King\, and the Staple Singers\, among many others. Janeway says of Snell\, “He did all these classic\, great records in Memphis – he did the string arrangements on them. The strings\, for us\, supply a darker tone. Horns sometimes can’t portray a certain darkness. We thought that would be the best option\, instead of horn lines. We have songs on this record that don’t have any horns at all.” \nEmployed on “Crumbling Light Posts\,” the recurring motif that appears three times on the album\, Jason Clark and the Tennessee Mass Choir were recorded in another legendary Memphis facility. “The Stax Museum let us go in there after hours and record the choir\,” Janeway says\, adding with a laugh. “We said\, ‘Well\, hell\, we’re in Memphis\, let’s just see if they’ll do it.’ It was pretty neat\, I’m not gonna lie.” \nHe says of the finished work\, “Sea of Noise is not quite a full-blown concept record. It is focused in terms of subject matter – finding redemption and salvation and hope. ‘Crumbling Light Posts’ comes from an old Winston Churchill quote\, in which he said England was a crumbling lighthouse in a sea of darkness. I always thought that was a really interesting concept – that we’re falling anyway. In this day and age\, it is the noise that has defined so many things. We’re going to fall to it eventually\, but for now we feel like our heads are above water. It felt anthemic.” \nThe album’s lyrical and emotional richness is heard loudly in stunning new compositions like “Burning Rome” (which Janeway describes as “a letter to God\, if I could write it”) and the startling “I’ll Be Your Woman\,” which knocks traditional soul music gender roles on their heads. Janeway says of the latter song\, “I wrote that with Jesse\, and he said\, ‘If I can write that song\, I can die a happy man\, because I’ve finally made something that I feel can stand up to my standards.’” \nSt. Paul and the Broken Bones\, which toured extensively in the U.S. and Europe behind their debut album\, will put their take-no-prisoners live show on the road this fall. Their most recent concert work included arena dates opening for the Rolling Stones in Atlanta and Buffalo. Some acts may have been daunted by such a task\, but not this one. \n“It was pretty neat\, it was pretty crazy\,” Janeway says. “I love the Rolling Stones\, but my train of thought is\, you gotta try and blow ‘em off the stage. And that’s still my goal.” \n*** \nDiane Coffee \n \n[Website] [Facebook] [Twitter] \nEverybody’s A Good Dog is the first true realization of Shaun Fleming’s Little Shop of Horrors -meets-Aladdin Sane vision\, recorded in a proper studio with an assortment of guest artists\, horn section\, and string ensemble (all firsts for Fleming). The resulting 11 tracks are a sky-scraping sound kaleidoscope\, touched with euphoric instrumentation and dark lyricism. \nJust as Diane Coffee’s debut LP\, 2013’s ‘My Friend Fish\,’ was inspired by Fleming’s move from sunny California to New York City\, Everybody’s A Good Dog took shape after this former Disney child actor and current drummer for Foxygen uprooted again from NYC to the much smaller town of Bloomington\, IN – “spontaneous moves have always helped to inspire my writing” he explains. This downsizing provided Fleming with a blank slate to create – “I missed the quiet. I missed having a fire. I missed the color green.” \nThe songs on Everybody’s A Good Dog capture this sense of clarity\, channeling the New York Dolls or T-Rex at their strutting-est and Meatloaf at his most theatrical\, with shades of Motown-worthy soul. The gentle psychedellia on opener “Spring Breathes” gives way to a pounding prog breakdown\, “Mayflower” leads with a monster funk-fueled horn riff\, while on “Tams Up” Fleming fronts his own one-man doo-wop group.
URL:https://royaleboston.com/event/st-paul-and-the-broken-bones/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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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:20161105T220000
DTEND;TZID=America/New_York:20161105T220000
DTSTAMP:20260406T115128
CREATED:20161101T155335Z
LAST-MODIFIED:20161101T155335Z
UID:10001729-1478383200-1478383200@royaleboston.com
SUMMARY:Royale Saturday w/ Breeazy
DESCRIPTION:21 + \nVIP: 617-733-0505
URL:https://royaleboston.com/event/royale-saturday-w-breeazy/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161106T190000
DTEND;TZID=America/New_York:20161106T190000
DTSTAMP:20260406T115128
CREATED:20160614T120011Z
LAST-MODIFIED:20160614T120011Z
UID:10001679-1478458800-1478458800@royaleboston.com
SUMMARY:[SOLD OUT] St. Paul and the Broken Bones
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \n92.5 The River and Newport Folk® present…\n \n  \n  \n  \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nThis show is SOLD OUT! \n*** \n  \n*** \nSt. Paul and the Broken Bones \n \n[Website] [Facebook] [Twitter] \nSea of Noise\, the second full-length album by St. Paul and the Broken Bones\, marks a quantum leap in sound and style for the high-voltage Birmingham\, Alabama-based band. \nProduced by Paul Butler and recorded at Nashville’s Sound Emporium\, the group’s sophomore effort features an expanded eight-piece lineup of the widely praised soul-based rock unit. Longtime members Paul Janeway (lead vocals)\, Jesse Phillips (bass\, guitar)\, Browan Lollar (guitars)\, Andrew Lee (drums)\, Al Gamble (keyboards)\, and Allen Branstetter (trumpet) are joined by Jason Mingledorff (saxophone\, clarinet\, flute)\, and Chad Fisher (trombone). \nThe collection of new original songs is the group’s first release on RECORDS\, a joint venture of SONGS Publishing\, winner of ASCAP’s 2016 independent publisher of the year award\, and veteran label executive Barry Weiss. \nSea of Noise is a successor to the Broken Bones’ 2013 debut album Half the City\, which introduced the group’s blazing mating of ‘60s soul fire – daubed with latter-day influences like Sly Stone\, David Bowie\, and Prince — to Janeway’s impassioned singing and writing. The new album witnesses a deepening and broadening of the unit’s musical reach and lyrical concerns. \n“It felt like it happened organically\,” Janeway says of the band’s development. “With the last record\, it was like doing things with your hair on fire – going in\, recording it live. There’s a sense of urgency to having a record like that. We were only a band for about five months at that point. I didn’t know my voice – I’d never done this professionally. I was just learning more nuance\, and about carrying a melody. You don’t have to go for it 100% all the time. You can draw people in by giving and taking.” \nJaneway says that he and his close musical associate Phillips began to ponder the direction of the band’s second album a year and a half ago. “If we had been forced to go into a studio a year and a half ago\, we probably would have done a better version of Half the City\,” he says. “There would have been nothing wrong with that. But we started evolving\, or changing.” \nWork began in earnest during last year’s Coachella festival in California: “We rented a house in San Bernardino Valley National Park. The week in between the two weekends\, we really started to hash things out. Then we rented out a very hot warehouse in Birmingham where we could write. And me and Jesse and a few of us would send stuff back and forth via Dropbox. That gave me the ability to work on harmonies on the vocals. I wanted to take it up a notch\, in all realms.” \nLooking to such inspirations as Tom Waits and Nick Cave\, Janeway was intent on lifting his game as a songwriter on material for the second album. “I’m married to a woman with a masters in literature\, and I can’t show her lyrics unless I’m pretty proud of ‘em\,” he says. “I had to sit and think about what I’m saying – what do I want to say\, is there anything to say? What’s my perspective as this Southern kid who’s watching the modern world and feeling very much like an alien in a lot of ways. This is more personal. If you’re going to say something\, say something\, and don’t waste your breath unless you feel like you’re saying something.” \nJaneway adds that his reading of the book Just Mercy by Bryan Stevenson\, founder of the Equal Justice Initiative\, played a role in the direction of the work: “I didn’t want it to be an overly political record\, but I feel it shows up a little bit on the album.” \nWith a full complement of new songs in hand\, St. Paul and the Broken Bones entered the studio with Butler\, leader of the British band the Bees and producer of Devendra Banhart and Michael Kiwanuka. \n“Jesse was listening to one of his records and he said\, ‘Everything sounds great\,’” Janeway recalls. “It sounded like a real record – everything had depth\, and was expansive-sounding. Butler ended up being the guy that we wanted to use. Producer-wise\, I think we knocked a home run. He is very meticulous.” \nOn Sea of Noise\, the band’s brawny horn-driven sound is augmented – and displaced — by the use of a string quartet and a vocal choir. The strings – recorded at Memphis’ historic Sam Phillips Recording by engineer Jeff Powell – were arranged by Lester Snell\, a veteran of Stax Records sessions by Isaac Hayes\, Shirley Brown\, Albert King\, and the Staple Singers\, among many others. Janeway says of Snell\, “He did all these classic\, great records in Memphis – he did the string arrangements on them. The strings\, for us\, supply a darker tone. Horns sometimes can’t portray a certain darkness. We thought that would be the best option\, instead of horn lines. We have songs on this record that don’t have any horns at all.” \nEmployed on “Crumbling Light Posts\,” the recurring motif that appears three times on the album\, Jason Clark and the Tennessee Mass Choir were recorded in another legendary Memphis facility. “The Stax Museum let us go in there after hours and record the choir\,” Janeway says\, adding with a laugh. “We said\, ‘Well\, hell\, we’re in Memphis\, let’s just see if they’ll do it.’ It was pretty neat\, I’m not gonna lie.” \nHe says of the finished work\, “Sea of Noise is not quite a full-blown concept record. It is focused in terms of subject matter – finding redemption and salvation and hope. ‘Crumbling Light Posts’ comes from an old Winston Churchill quote\, in which he said England was a crumbling lighthouse in a sea of darkness. I always thought that was a really interesting concept – that we’re falling anyway. In this day and age\, it is the noise that has defined so many things. We’re going to fall to it eventually\, but for now we feel like our heads are above water. It felt anthemic.” \nThe album’s lyrical and emotional richness is heard loudly in stunning new compositions like “Burning Rome” (which Janeway describes as “a letter to God\, if I could write it”) and the startling “I’ll Be Your Woman\,” which knocks traditional soul music gender roles on their heads. Janeway says of the latter song\, “I wrote that with Jesse\, and he said\, ‘If I can write that song\, I can die a happy man\, because I’ve finally made something that I feel can stand up to my standards.’” \nSt. Paul and the Broken Bones\, which toured extensively in the U.S. and Europe behind their debut album\, will put their take-no-prisoners live show on the road this fall. Their most recent concert work included arena dates opening for the Rolling Stones in Atlanta and Buffalo. Some acts may have been daunted by such a task\, but not this one. \n“It was pretty neat\, it was pretty crazy\,” Janeway says. “I love the Rolling Stones\, but my train of thought is\, you gotta try and blow ‘em off the stage. And that’s still my goal.” \n*** \nDiane Coffee \n \n[Website] [Facebook] [Twitter] \nEverybody’s A Good Dog is the first true realization of Shaun Fleming’s Little Shop of Horrors -meets-Aladdin Sane vision\, recorded in a proper studio with an assortment of guest artists\, horn section\, and string ensemble (all firsts for Fleming). The resulting 11 tracks are a sky-scraping sound kaleidoscope\, touched with euphoric instrumentation and dark lyricism. \nJust as Diane Coffee’s debut LP\, 2013’s ‘My Friend Fish\,’ was inspired by Fleming’s move from sunny California to New York City\, Everybody’s A Good Dog took shape after this former Disney child actor and current drummer for Foxygen uprooted again from NYC to the much smaller town of Bloomington\, IN – “spontaneous moves have always helped to inspire my writing” he explains. This downsizing provided Fleming with a blank slate to create – “I missed the quiet. I missed having a fire. I missed the color green.” \nThe songs on Everybody’s A Good Dog capture this sense of clarity\, channeling the New York Dolls or T-Rex at their strutting-est and Meatloaf at his most theatrical\, with shades of Motown-worthy soul. The gentle psychedellia on opener “Spring Breathes” gives way to a pounding prog breakdown\, “Mayflower” leads with a monster funk-fueled horn riff\, while on “Tams Up” Fleming fronts his own one-man doo-wop group.
URL:https://royaleboston.com/event/st-paul-and-the-broken-bones-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161107T190000
DTEND;TZID=America/New_York:20161107T190000
DTSTAMP:20260406T115128
CREATED:20160818T125536Z
LAST-MODIFIED:20160818T125536Z
UID:10002418-1478545200-1478545200@royaleboston.com
SUMMARY:AJJ [MOVED to The Sinclair]
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is all ages.\nNOTE: This show has been moved from Royale to The Sinclair. All previously purchased tickets will be honored. \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nAJJ (formerly Andrew Jackson Jihad)\n \n[Website] [Facebook] [Twitter] \nFor their sixth album\, garbage-pop veterans AJJ chose to reinforce their strengths and leave any limp frivolities behind. They reconvened with producer John Congleton\, who oversaw 2014’s sonically expansive Christmas Island\, but recorded and mixed the album in a mere nine days\,having arranged most of the songs during tour sound checks and down-time in the van. This made for a confident stride into more elaborate arrangements and wider dynamics while staying just as dour. They also opted\, amid some sensation\, for the simplified band acronym (previously Andrew Jackson Jihad). Singer Sean Bonnette told The AV Club that\, among many reasons\, thechange cleared a space for new imagery and allowed their music to define them\, not their band name. As a result\, their new album\, The Bible 2\, is their most ambitious and assured collection of scuzzy punk screeds\, employing even more production heft while sparing none of the vulnerability. The album’s mantra is placed right at the center: “No More Shame\, No More Fear\, No More Dread”. The Bible 2 finds the band choosing intimacy over isolation\, gravity over the vacuum\, the stage instead of the scene. The album is also an examination of boyhood from an adult distance\, putting some of its tumult and pain to rest. It’s also the most impressive work of Bonnette’s\, who has honed his confessional lyrical prowess into a punk inflected mire of Trent Reznor’s unrestrained turmoil\, Jamie Stewart’s profane gallows humor and a touch of David Berman’s surreal quotidian imagery. Opener “Cody’s Theme” rings like Jay Reatard distorted with Neutral Milk Hotel neuroses (“I set the mommy on fire / I set the baby on fire / not even Jesus could stop me”). The character of Cody\, a recurring Bonnette motif\, returns as a kool-aid stained kid navigating transience\, intrusive thoughts and involuntary delusion\, brimming wild with destructive energy and having nowhere to put it. Elsewhere\, cross-eyed metaphors float above the shredded acoustic Pixies tension of “Terrifier” (“Some days you’re a member of Queen / other days you’re a Kottonmouth King”)\, and some of Bonnette’s most intense grotesqueries (“My blood is worse than your blood / this heart pumps baby piss”) get bit-crushed into the lo-fi Guided By Voices pop of “My Brain is a Human Body”. \nBut Bonnette’s narrative skills\, and the band’s growing nuances\, have never been more heartbreaking than on “Junkie Church”\, a tender acoustic tale about affection and companionship on the lowest rung of society (“I used your ribs as ladders / and I climbed up on your chest / and I jumped up and down just like a trampoline” Bonnette sings). Preston Bryant’s synth\, Mark Glick’s cello and Ben Gallaty’s bass are employed to haunting Leonard Cohen-like production ends\, staccato plucks and serrated chords hiving like gnats then quickly dissolving into darkness. \nThis cinematic arrangement also bolsters the power-folk epic “Small Red Boy”\, organ heaves and cymbal swells coloring Bonnette’s vivid story of rebirth. Near the album’s midpoint\, right after spelling out their thesis\, AJJ pounds through the jangly\nthrob of “Goodbye O Goodbye”. The song is a cathartic fever dream\, the band walloping furious chords\, a kiss-off to so many things worth shedding: the emotional heap of a past life\, some long-aching baggage\, any and all expectations. \n*** \nDINERS \n \n[Website] [Facebook] [Twitter] \nOkay\, so Tyler Broderick writes songs and plays them with the friendly rock and roll band: Tristan Jemsek\, Jill Frensky\, Tony Di Domizio\, Erin Ponzo\, Mitchell Keaney and Cesar Ruiz.  \nfluid members/past players:\nRobert Raya\, Nick Shively\, Amanda Pitsch\, Zach Burba\, Bob Vielma\, Kyle Daniels\, Andrew Kendall\, Kyle Burnett\, Christian Reeb\, jalipaz\, Brianna Johnson\, Matt Kimball\, Kristina Moore\, Talisha Royer\, Alex Cardwell\, Logan Greene\, Mari Morton\, Erin Caldwell\, Mike Sherk\, Samuel Regan\, Jason Anderson\, Stephen Steinbrink\, and Patrick Sexton \n*** \nChris Farren \n \n[Website] [Facebook] [Twitter] \nChris Farren will be the first to tell you he’s a “musician’s musician”although he’s not really sure what that means. Maybe it means that the Florida-based musician has been grinding it out for over a decade\, making endless friends along the way. The charismatic frontman of the Naples band Fake Problems has toured with everyone from Against Me! to The Gaslight Anthem to Say Anything.  \nBut as Fake Problems has been eerily quiet since the release of their full-length\, 2010’s Real Ghosts Caught on Tape\, Farren has been branching out and dipping his toes into other waters. He recently unveiled his two-man project with Bomb the Music Industry!’s Jeff Rosenstock called Antarctigo Vespucci\, a refreshingly unpretentious pop machine. He’s also been stripping things down and experimenting with solo material. Farren recently released a split EP with Grey Gordon\, Ducks Fly Together. Without the comfort of a backing band\, the self-made Verified Twitter user is seeing how far he can get on his own\, with nothing but a ton of inspiration and a good reputation. After all\, Chris Farren is a musician’s musician. Ask anyone\, just not him.
URL:https://royaleboston.com/event/ajj/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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GEO:42.3499959;-71.0656288
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Royale Nightclub Boston MA 279 Tremont Street Boston MA 02116 United States;X-APPLE-RADIUS=500;X-TITLE=279 Tremont Street:geo:-71.0656288,42.3499959
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161110T190000
DTEND;TZID=America/New_York:20161110T190000
DTSTAMP:20260406T115128
CREATED:20160708T133249Z
LAST-MODIFIED:20160708T133249Z
UID:10001686-1478804400-1478804400@royaleboston.com
SUMMARY:[SOLD OUT] The Naked and Famous
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. \nThis event is SOLD OUT. \n*** \n \n*** \nThe Naked and Famous \n \n[Website] [Facebook] [Twitter] \nIn 2010\, Auckland\, New Zealand’s Thom Powers\, Alisa Xayalith\, Aaron Short\, David Beadle\, and Jesse Wood arrived at the forefront of the international indie pop scene with the sweltering The Naked and Famous debut\, Passive Me\, Aggressive You. Riding on the feverish heights reached by singles like Young Blood\, Punching In A Dream and Girls Like You the album thrust the band into the limelight and onto the airwaves.\nTouring incessantly\, the band settled permanently in Los Angeles to create the follow-up\, 2013’s In Rolling Waves. The sophomore effort cast a darker shadow over their sound\, straying from the synch-heavy formula that had ripped up radio charts yet patiently showcasing their unique skill\, talent\, and scope as artists. \nTNAF set off to tour In Rolling Waves but after just a few months on the road\, there were storm clouds on the horizon. Alisa and Thom’s relationship was the foundation of the band. As they said\, “We started writing songs for The Naked and Famous the moment we got together at age 18.” Eight years later\, their relationship was in turmoil and soon so was the band. \n“It was awful\,” says David. “People were unraveling pretty fast. The shows were tight but no-one was in a good space. People were trying to get off the bus\, dragging their suitcase down the road in the middle of the night in the middle of nowhere! When the tour bus finally stopped\, everyone made for the exit and didn’t look back.” \nThe tour ended\, Thom and Alisa separated\, and TNAF became a group in ambiguous and painful hiatus. For the next year they barely saw one other. Los Angeles is a big enough place to get lost in.\n“We weren’t talking about whether we’d broken up the band because we were so broken as individuals\,” says Aaron. \nEvery band has its leader and source creator. It’s no secret that Thom Powers drives this band. \n“I have a constant fear of failure\,” he says. “My childhood dream was to be a musician and I’m not about to take this for granted. I feel lucky to have fans. I wake up and feel like any moment that I’m not working is time wasted.” \nSo in early 2015\, it was no real surprise to find a batch of new demos from Thom’s Echo Park home studio in the band dropbox and a first TNAF meet-up in many months was convened. \n“The best thing you can learn as a producer and a writer is to stop being precious. To get a grip\, to let go and to learn how to embrace other people’s opinions\,” says Thom. “We all came to this place with a little more maturity and it felt – tentatively – like we had a new path to follow.” \nIt was eventually agreed that working on a new album would become a regular Monday through Friday gig\, the proper turning point coming in August of 2015 when they secured a small studio in Downtown LA to work in. \nAssistance on the album came from only a handful of individuals. Sombear (Brad Hale) has worked on other projects with Thom and contributes production to Higher and My Energy. Carlos de la Garza engineered and Ken Andrews (Paramore) mixed the record. Thom still produces with input only from the other band members. \n“We’ve ended up with a bright and very vocal album\,” explains Thom. “TNAF has always naturally straddled the line between pop and alternative. Like most acts today though\, when we talk about pop we’re only referring to production\, arrangement or mixing. The lyrical content comes from a personal place.” \n“There’s pain and passion behind this art\,” says Alisa\, picking up this theme. “Pop techniques are all about maximum impact. And it’s not like this is an album of bangers but it’s the most immediate thing we’ve ever done.” \nThom reveals the album title came from a lyric in the first song that was finished. Within the song Falling\, it’s a contradictory statement he says – “We’re made in simple forms.” \n“Being a functioning human means living in a constant state of delusion about the simplicity and order of the world. I like summing up the album in this way. There is no singular message. No unity of emotion. The irony also being that an album is a brutally curated collection of ideas.”\nAnd true to the complex and contradictory nature of being in a band\, it is not a name they could all agree on. “Simple forms reminds me of the DMV\,” says Jesse. “But I get what Thom’s saying.” \nBeing a band that can fight with and for each other is not so unusual but that doesn’t mean it is not a triumph to produce a record like Simple Forms at this point in TNAF’s career. \n“We’re still incredibly self-sufficient\,” says Alisa. “We’re lucky to have this. We’re lucky to still have one another.” \n*** \nXYLØ \n \n[Website] [Facebook] [Twitter] \n*** \nThe Chain Gang of 1974 \n \n[Website] [Facebook] [Twitter] \n“My brothers and I were surrounded by music growing up\,” explains Kamtin Mohager\, the shape-shifting singer/multi-instrumentalist behind the Chain Gang of 1974. “Not Beatles albums or anything like that; more like the Persian records our parents played all the time. And when we got older\, it was up to us to discover everything.” Born in San Jose and raised in Hawaii\, Mohager spent his first 13 years obsessing over inline hockey and the idea of being drafted by the NHL one day. A series of life-changing events were set in motion once Mohager’s family moved to Colorado\, however. The first of which involved the final scene from Real Genius—quite possibly Val Kilmer’s finest hour—and its penultimate ‘popcorn song’\, a.k.a. “Everybody Rules the World.” “I love ‘80s music\, but not typical new-wave stuff\,” says Mohager. “Like I’m way into Tears For Fears and Talk Talk\, the other side of the spectrum\, really.” That’s abundantly clear on White Guts\, a record that’s nearly as restless as Chain Gang’s previous collection of early recordings\, Fantastic Nostalgic. The way Mohager sees it\, his first proper release was “all over the place\, from a piano ballad to songs that sound like Black Rebel Motorcycle Club\, Primal Scream or Justice.” White Guts\, on the other hand\, funnels three years of instrument-swapping\, sample-splicing experience into a lean\, focused listen. So while “Stop!” and the rather epic “Hold On” hint at everything from LCD Soundsystem to Talking Heads\, they make perfect sense in the context of deep cuts like the synth-flecked “Don’t Walk Away” and bass-guided “Matter of Time\,” shimmering power ballads that could have been on the soundtrack of Sixteen Candles or Pretty in Pink. What sets the Chain Gang of 1974 apart from other Reagan-era revivalists is Mohager’s innate sense of rhythm\, a skill he acquired at an early age. And we’re not just talking about his parents’ punchy\, groove-riding record collection. We’re talking about family gatherings and traditions that taught Mohager how to make a crowd of cool kids uncross their arms and dance like there’s pistols pointed at their feet. “Everyone lets loose at our shows\,” says Mohager. “It’s a party\, man. If only I had a dollar for every time someone bum-rushed the stage or grabbed one of our instruments.” Things are bound to get worse\, too\, as his live band—a quartet that’s a far cry from Mohager’s original iPod/bass setup—spends the next six months spreading the Chain Gang gospel far beyond its Rocky Mountain beginnings. Or as the man behind every last beat puts it\, “I’m letting the music just be\, and if something’s meant to happen\, it’s meant to happen.”
URL:https://royaleboston.com/event/the-naked-and-famous/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161111T220000
DTEND;TZID=America/New_York:20161111T220000
DTSTAMP:20260406T115128
CREATED:20161017T221756Z
LAST-MODIFIED:20161017T221756Z
UID:10002433-1478901600-1478901600@royaleboston.com
SUMMARY:Sofa King Friday's w/ DANNIC
DESCRIPTION:21+ \nVIP: 617-733-0505
URL:https://royaleboston.com/event/sofa-king-fridays-w-dannic/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161112T220000
DTEND;TZID=America/New_York:20161112T220000
DTSTAMP:20260406T115128
CREATED:20161101T155855Z
LAST-MODIFIED:20161101T155855Z
UID:10001731-1478988000-1478988000@royaleboston.com
SUMMARY:Royale Saturday w/ Dude N Guy
DESCRIPTION:21+ \nVIP: 617-733-0505
URL:https://royaleboston.com/event/royale-saturday-w-dude-n-guy/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161114T190000
DTEND;TZID=America/New_York:20161114T190000
DTSTAMP:20260406T115128
CREATED:20160725T151639Z
LAST-MODIFIED:20160725T151639Z
UID:10002410-1479150000-1479150000@royaleboston.com
SUMMARY:Balance & Composure
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is All Ages.\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*** \nBalance & Composure \n \n[Website] [Facebook] [Twitter] \n*** \nFoxing \n*** \nMercury Girls
URL:https://royaleboston.com/event/balance-composure/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161115T200000
DTEND;TZID=America/New_York:20161115T200000
DTSTAMP:20260406T115128
CREATED:20160919T133722Z
LAST-MODIFIED:20160919T133722Z
UID:10001712-1479240000-1479240000@royaleboston.com
SUMMARY:Jim James
DESCRIPTION:Bowery Boston presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 9/23 at 10AM! \nNote: ticket price includes a $1 per ticket charity fee that will be donated to My Morning Jacket’s The Waterfall Project fund powered by RPM. Tickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nJim James \n \n[Website] [Facebook] [Twitter] \nDefying categorization\, James’ second solo project\, Eternally Even\, co-produced by Blake Mills (Alabama Shakes) and Jim James\, is a heart-thumping call to action. The timing of its release\, smack in the middle of election season\, is no accident. \n“I wanted to make an album that hopefully speaks to the issues of the day\, many of which\, sadly\, are issues we have been dealing with since the beginning of time.” says James. “Most of what I think about right now is how so many things in the world are SO fucked up- our political system is broken and corrupt…our earth is being destroyed by climate change…people are not treating each other with equality and respect… and I think- are we going to make it?  Are we going to figure it out and fix it before it’s too late? Can we ever truly open our hearts and embrace love in all its beautiful forms? I think it’s still possible. I still have hope in humanity. I’m just trying to be a part of the discussion and encourage people to speak out for equality\, to not be afraid to speak out for peace and love. All of us feel afraid at times in these absolutely insane times\, but its important we speak our minds\, cast our votes\, and do not give in to fear and hatred.” \nIn early 2013\, his first solo full length Regions of Light and Sound of God was released and met with widespread critical acclaim. Praised as “truly breathtaking” by Time Out and “magnificent” by Rolling Stone\, the album was followed with a sold-out national headlining tour and appearances on Late Night with Jimmy Fallon\, Jimmy Kimmel Live\, Late Show with David Letterman and Austin City Limits. \n*** \nTwin Limb \n \n[Website] [Facebook] [Twitter] \nTwin Limb is a band from Louisville\, KY formed by Maryliz Bender (drums\, vocals)\, Lacey Guthrie (accordion\, vocals)\, and Kevin Ratterman (sampled sounds\, guitar\, percussion).  \nGuthrie’s accordion does some very sinister things\, underpinning the music with a luxurious darkness that connects folk and psychedelia. It’s the same with the vocals\, as Guthrie and Bender wrap their voices one around the other like they’re telling secrets\, creating another bridge between the familiar and the disarming. \nBender keeps the drums simple and purposeful\, often parsing out her beats in short\, sharp bursts with a precision that never feels forced. Ratterman is the final wild card\, using guitars and samples in unexpected ways that feel both post-punk and experimental. Twin Limb’s debut album\, Haplo\, will be released this Fall\, 2016
URL:https://royaleboston.com/event/jim-james/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161116T200000
DTEND;TZID=America/New_York:20161116T200000
DTSTAMP:20260406T115128
CREATED:20160919T133853Z
LAST-MODIFIED:20160919T133853Z
UID:10001713-1479326400-1479326400@royaleboston.com
SUMMARY:Jim James
DESCRIPTION:Bowery Boston presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 9/23 at 10AM! \nNote: ticket price includes a $1 per ticket charity fee that will be donated to My Morning Jacket’s The Waterfall Project fund powered by RPM. Tickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nJim James \n \n[Website] [Facebook] [Twitter] \nDefying categorization\, James’ second solo project\, Eternally Even\, co-produced by Blake Mills (Alabama Shakes) and Jim James\, is a heart-thumping call to action. The timing of its release\, smack in the middle of election season\, is no accident. \n“I wanted to make an album that hopefully speaks to the issues of the day\, many of which\, sadly\, are issues we have been dealing with since the beginning of time.” says James. “Most of what I think about right now is how so many things in the world are SO fucked up- our political system is broken and corrupt…our earth is being destroyed by climate change…people are not treating each other with equality and respect… and I think- are we going to make it?  Are we going to figure it out and fix it before it’s too late? Can we ever truly open our hearts and embrace love in all its beautiful forms? I think it’s still possible. I still have hope in humanity. I’m just trying to be a part of the discussion and encourage people to speak out for equality\, to not be afraid to speak out for peace and love. All of us feel afraid at times in these absolutely insane times\, but its important we speak our minds\, cast our votes\, and do not give in to fear and hatred.” \nIn early 2013\, his first solo full length Regions of Light and Sound of God was released and met with widespread critical acclaim. Praised as “truly breathtaking” by Time Out and “magnificent” by Rolling Stone\, the album was followed with a sold-out national headlining tour and appearances on Late Night with Jimmy Fallon\, Jimmy Kimmel Live\, Late Show with David Letterman and Austin City Limits. \n*** \nTwin Limb \n \n[Website] [Facebook] [Twitter] \nTwin Limb is a band from Louisville\, KY formed by Maryliz Bender (drums\, vocals)\, Lacey Guthrie (accordion\, vocals)\, and Kevin Ratterman (sampled sounds\, guitar\, percussion).  \nGuthrie’s accordion does some very sinister things\, underpinning the music with a luxurious darkness that connects folk and psychedelia. It’s the same with the vocals\, as Guthrie and Bender wrap their voices one around the other like they’re telling secrets\, creating another bridge between the familiar and the disarming. \nBender keeps the drums simple and purposeful\, often parsing out her beats in short\, sharp bursts with a precision that never feels forced. Ratterman is the final wild card\, using guitars and samples in unexpected ways that feel both post-punk and experimental. Twin Limb’s debut album\, Haplo\, will be released this Fall\, 2016
URL:https://royaleboston.com/event/jim-james-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20161117T200000
DTEND;TZID=America/New_York:20161117T200000
DTSTAMP:20260406T115128
CREATED:20160608T142229Z
LAST-MODIFIED:20160608T142229Z
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SUMMARY:Turn Up the Heat
DESCRIPTION:2017 Boston Firefighter Calendar Launch \nAll ticket sales and proceeds of calendar purchases directly benefit the Boston Firefighters Burn Foundation. The Boston Firefighter Burn Foundation eases the pain and suffering of burn victims and their families. Supporting the foundation will help fund volunteer events with patients at the Shriner’s Children’s hospital and assistance to local families that fall victim to burn injuries. \nGet the first look at the 2017 Boston Firefighter Calendar and interact with the Boston Calendar guys at the “Turn Up the Heat” Calendar Launch Event! \n– Hosted by WAAF’s Mistress Carrie\n– Live performance by Fast Times\, Boston’s premiere 80’s cover band\n– Soundtrack by DJ Joshua Carl\n– Enjoy a Photo Booth\, raffle and more!
URL:https://royaleboston.com/event/turn-up-the-heat/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Special Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161118T180000
DTEND;TZID=America/New_York:20161118T180000
DTSTAMP:20260406T115128
CREATED:20160712T142921Z
LAST-MODIFIED:20160712T142921Z
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SUMMARY:Caspian
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*** \nCaspian \n \n[Website] [Facebook] [Twitter] \nOn their new full-length record\, Dust & Disquiet\, Caspian is saying something. “We’re wide awake now\,” we hear in the album’s dead center\, track five’s “Run Dry.” This isn’t the first time Caspian has sung a line of discernible lyrics\, but the clarity—in the tone and thematic sentiment of both the track and the whole record—has never demanded so much attention. \nIn part\, the line is a response to their last record\, 2012’s presciently titled Waking Season—an acknowledgement that even they didn’t know what changes that waking process would mean. In the three years since\, the band suffered the tragic death of founding bassist Chris Friedrich\, and thus felt torn between grief’s desire to hide away from everything and yet knowing immediately that the band needed to continue. But going on meant maintaining a grueling tour schedule\, with the members vacillating between elation and utter exhaustion. “Traveling can create a feeling of separation at times\,” says guitarist and founding member Phil Jamieson. “After a while\, you can forget why you’re out there in the first place. Deciding to do another record after all that was a move to reclaim for ourselves why it is that we do all this: Music is our strongest antidote to feelings of emptiness and disquiet.” \nTo record the album\, Caspian returned to Q Division Studios in Somerville\, Massachusetts\, the stamping grounds where they recorded the highly acclaimed Waking Season (“the Best Post-Rock Album of Year\,” said SPIN Magazine in 2012). They also looked again to the legendary chops of Matt Bayles (Mastodon\, Isis\, MONO\, Minus the Bear) to produce\, mix\, and engineer the record. \n2015 also marks a decade since the band’s inception. Ten years ago\, Caspian played a show as a four-piece band at a small pub in their still-home base of Beverly\, Massachusetts. After months of practicing before their first gig\, never worrying about what it was they were trying to create beyond music that could tell a story\, they arrived at a bombastic sound—guitars from Phil Jamieson and Cal Joss that sounded like a 40-piece orchestra\, stripped-down drums that showed Joe Vickers could literally control chaos\, and a bass sound so big from Chris Friedrich it blew amplifiers almost as often as he changed notes. \nTheir sound only deepened and thickened over the years with the addition of guitarists Erin Burke-Moran and Jonny Ashburn\, and touring-cum-permanent bassist Jani Zubkovs. \nWith a sound this expansive\, lyrics were simply unnecessary. And yet\, 673 shows after their first appearance and on the advent of their fifth studio recording\, Jamieson still says\, “I view us as storytellers and musicians equally.” \nThat focus on narrative has continued across all of their albums\, as otherwise the band would risk becoming a parody of themselves and the post-rock genre they’ve always acquiesced to with crossed fingers behind their backs. “We can do soundscapes\, reverb-drenched drones\, and songs based around a repeating melody that build and build for 12 minutes until we are blue in the face\,” Jamieson says. “It is trying to convey a story through song structure\, use of melody\, and dynamics that has been the driving motivation from day one for this band.” \nThere has always been a fluidity to the arcs in Caspian records\, where words like story and narrative held a loftier\, mythic place in the movement to each album. We’re invited to enter and exit on our own terms\, using the music as a railing to help us wander the dark hallways of our mind. The declarative title of You Are the Conductor (2005) announced that the music would take the listener on a journey\, but where things went would be determined by the mood and circumstance of the listener. Each subsequent record refined and pushed the sounds into more surprising territory\, showing the band’s ability to craft structures that the listener could inhabit—The Four Trees (2007) with its skyward glance\, Tertia (2010) with its fists in the dirt\, and Waking Season (2012) looking for the human in the machine. Raw emotion was always present\, but it remained aloof\, undefined. You felt it\, but the feeling would dissipate just when you thought you could name what it was you were feeling. \nBut with Dust & Disquiet\, the story has changed. \nAs much as grief wishes to be private\, the passing of bassist Chris Friedrich left an indelible mark on the band\, and it’s impossible not to see stark traces of this tragedy across the album. The whole of the record transcends their personal grief\, but as Jamieson says\, “It is and always will be\, now\, an underlying core to everything the band creates.” \nThey are forever marked by loss\, but not defined by it. \nAs such\, Dust & Disquiet showcases a maturation of the quiet/loud dynamic that Caspian has been exploring since their debut EP\, You Are the Conductor. Now\, that dynamic extends beyond a matter of volume\, suggesting a more figurative exploration of polarities such as dark/light\, dry/wet\, and tired/awake. And these elements are not limited to one elongated track\, but rather stretch out over an ambitious and yet patient album that opens with horns and a string quartet (“Separation No. 2”)\, riffs on the wilder\, steel-eyed side of country (“Rioseco”) and classical (“Aeternum Vale”)\, all the while staying true to its epic brand of build-and-release rock (“Arcs of Command\,” “Dust & Disquiet”). \nOn a first listen\, then\, a track like “Run Dry” might seem surprising for a band that\, for the past ten years\, has relied on their textured and explosive style of instrumental music to tell their story. And while this acoustic ballad is noticeable simply due to its unique sonic profile among the band’s catalog\, there is a sobering quality that holds the listener in place. We are brought into their present moment\, and we remain there indefinitely\, even if the song only lasts less than five minutes. It may sound calm\, but there is tension in the song’s desert air stillness. In the end\, the track becomes a piece of an album that is the widest expression of the kind of connective work Caspian has been up to since the beginning. \nIt’s for this reason that the diversity of Dust & Disquiet—from the horns and string quartet that open and close the record to the primal honesty evident in tracks such as “Echo and Abyss” and “Darkfield”—bluntly assures they need no parlor tricks in order to keep their particular brand of instrumental music fresh. “The record has a genuine sincerity to it\,” Jamieson says\, “because we are still using the creative act as a weapon to combat feelings of emptiness and isolation. It is still a mechanism used toward connection to one’s self and to other people in an age of increasing separation.” \nAnd that work is palpable throughout Dust & Disquiet. Images come into focus—the physical world and the world of imagination are one. Most of life is set up to break that connection\, but Caspian is wide awake now\, and they are expressly in the business of reconnecting. \nDust & Disquiet was released on September 25\, 2015 on Triple Crown Records\, Big Scary Monsters (Europe)\, Hobbledehoy Records (Australia). \n*** \nThe Appleseed Cast \n \n[Facebook] \nThe Appleseed Cast has been a band since 1997.\nLawrence\, KS
URL:https://royaleboston.com/event/caspian/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161118T220000
DTEND;TZID=America/New_York:20161118T220000
DTSTAMP:20260406T115128
CREATED:20161017T222101Z
LAST-MODIFIED:20161017T222101Z
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SUMMARY:Sofa King Friday's w/ MAKJ
DESCRIPTION:21+ \nVIP: 617-733-0505
URL:https://royaleboston.com/event/sofa-king-fridays-w-makj/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161119T220000
DTEND;TZID=America/New_York:20161119T220000
DTSTAMP:20260406T115128
CREATED:20161101T160116Z
LAST-MODIFIED:20161101T160116Z
UID:10001733-1479592800-1479592800@royaleboston.com
SUMMARY:Royale Saturday w/ Liz Ladoux
DESCRIPTION:21+ \nVIP: 617-733-0505
URL:https://royaleboston.com/event/royale-saturday-w-liz-ladoux/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20161123T220000
DTEND;TZID=America/New_York:20161123T220000
DTSTAMP:20260406T115128
CREATED:20161102T165436Z
LAST-MODIFIED:20161102T165436Z
UID:10002437-1479938400-1479938400@royaleboston.com
SUMMARY:Chus & Ceballos
DESCRIPTION:21+
URL:https://royaleboston.com/event/chus-ceballos/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Nightclub
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DTSTART;TZID=America/New_York:20161124T200000
DTEND;TZID=America/New_York:20161124T230000
DTSTAMP:20260406T115128
CREATED:20161110T192055Z
LAST-MODIFIED:20161110T192055Z
UID:10002441-1480017600-1480028400@royaleboston.com
SUMMARY:Glykeria w/ Kostas Karafotis
DESCRIPTION:21+
URL:https://royaleboston.com/event/glykeria-w-kostas-karafotis/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Nightclub
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161125T220000
DTEND;TZID=America/New_York:20161125T220000
DTSTAMP:20260406T115128
CREATED:20161017T222309Z
LAST-MODIFIED:20161017T222309Z
UID:10001715-1480111200-1480111200@royaleboston.com
SUMMARY:Sofa King Friday's w/ CEDRIC GERVAIS
DESCRIPTION:21+ \nVIP: 617-733-0505
URL:https://royaleboston.com/event/sofa-king-fridays-w-cedric-gervais/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20161126T200000
DTEND;TZID=America/New_York:20161126T200000
DTSTAMP:20260406T115128
CREATED:20160706T175802Z
LAST-MODIFIED:20160706T175802Z
UID:10002403-1480190400-1480190400@royaleboston.com
SUMMARY:Boston's Biggest Disco
DESCRIPTION:
URL:https://royaleboston.com/event/bostons-biggest-disco-2016/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20161127T200000
DTEND;TZID=America/New_York:20161127T200000
DTSTAMP:20260406T115128
CREATED:20160818T134019Z
LAST-MODIFIED:20160818T134019Z
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SUMMARY:strfkr
DESCRIPTION:Bowery Boston presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 8/19 at noon! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \nstrfkr \n \n[Website] [Facebook] [Twitter] \nSince the release of their 2008 debut album\, STRFKR have relentlessly toured across the globe\, delivering to their fans a guaranteed non-stop dance party. \nWith three proper albums and another to come in 2016\, the band has a wealth of dance party hits at their disposal and their career-spanning live set is a sweat drenched laser soaked affair highlighted by their home made light show. \nSTRFKR began as a vehicle for Josh Hodges songwriting but quickly transformed into a full-fledged band with members Shawn Glassford and Keil Corcoran. \n*** \nGigamesh \n \n[Website] [Facebook] [Twitter] \nGigamesh is the stage name of Matt Masurka\, an American multi-platinum selling music producer and DJ. His numerous remixes and two EPs have earned him a swiftly building reputation as one of the most versatile and consistent names in indie-dance music. \nHailing from Minneapolis\, Minnesota\, it’s no surprise Gigamesh has developed a keen taste for funk\, disco and pop. The sound is immediately recognizable in much of his music\, however he maintains a flexible aesthetic. Gigamesh is an ardent fan of minimalist concert music\, film scores\, classic rock\, italo disco\, French house\, Miami bass\, and genre-bending electronic music. These elements have all combined to forge his all-inclusive approach to music appreciation and creation. \nGigamesh first gained exposure on music blogs for bootleg reworks of pop hits from Michael Jackson\, New Order\, The Clash\, Stardust and dozens more. He went on to produce a #6 Billboard Single (also iTunes 2010 Pop Single Of The Year) and very well-received remixes for Foster The People\, Two Door Cinema Club\, Katy B\, Theophilus London\, Citizens\, Grouplove and more. Now a multi-platinum selling producer and frequent member of The Hype Machine’s popular chart #1 spot\, Gigamesh has firmly established himself as a respected trendsetter in modern dance music. \nIn October 2011\, Gigamesh released his debut self-titled EP on Our Label International\, which received wide acclaim in the disco and indie-dance community. Following his debut\, Gigamesh began to develop a close relationship with French record label Kitsuné resulting in an invitation to perform on their highly-anticipated U.S. Club Night tour and the release of the “All My Life” EP by Kitsuné in May of 2012. In support of this EP Gigamesh has been touring the globe\, including Asia\, Australia\, North America\, and UK/Europe. \nGigamesh continues to gain recognition as one of the top producers of modern dance music going in to 2013. With no time to waste\, Gigamesh is starting off the year by releasing a new single\, ‘Enjoy.’ ‘Enjoy’ features a remix by Oliver and will be out on NYC’s fresh house label – Nurvous Records (Feb. 12th). \n*** \nPsychic Twin \n \n[Website] [Facebook] [Twitter] \nTwo and a half years ago\, Erin Fein began to pen a series of songs that would become the music of Psychic Twin. These songs emerged as intensely personal\, nervously rhythmic\, and indebted to the ’80s new-wave of her youth. While recording by herself\, doubling her vocals and singing ghostly counter-melodies\, she was overcome with the surreal but persistent feeling that she was writing and recording with her twin. “In an ideal situation\,” she says\, “there would have been two of me singing and playing the music.” \nFein’s new material joins propulsive electronica and shimmering synth-rock atmosphere. Lush synthesizer washes and incisive keyboard lines fade in and out over subtly persistent beats that begin simply\, but reveal their complexity as songs take shape. The music is anchored by the bright melodicism inherent in Fein’s songwriting\, as verses and choruses shift and expand over the course of a song. Psychic Twin makes pop music that is romantic and mysterious; infused with an ineffable longing for escape\, for the unattainable\, like the impossible desire to make music with one’s own double.
URL:https://royaleboston.com/event/strfkr/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20161128T190000
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SUMMARY:Andra Day
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 6/24 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*** \nAndra Day \n \n[Website] [Facebook] [Twitter] \nAndra Day has been gifted with a brassy yet alluring voice that is as powerful as it is expressive — described as “possessed by the ghost of Billie Holiday\,” boasting flawless jazz chops that she can apply to her varied musical influences with equal ease. Day’s new album\, Cheers To The Fall\, is all about resilience through struggle\, exemplified by “Rise Up\,” which Andra describes as a relationship songs of sorts. “I look at all of us as brothers and sisters and a body working together.” She says. “‘Rise Up’ is saying one piece isn’t better than the other\, and when one part is struggling\, I’m going to help and lift you up. I will rise up with you.” \n*** \n ChloexHalle  \n \n[Website] [Facebook] [Twitter] \nChloe and Halle have been singing and\nacting since they were 2 and 3 years old.\nYou may have seen them in “The Fighting\nTemptations”\, “Meet the Browns”\, and “House\nof Payne”. They’ve had the pleasure to\nwork with people such as\, Beyonce’\, Tyler\nPerry\, Angela Bassett\, Keri Hilson\, and many\nmore! Chloe and Halle’s goal is to impact\npeople\, young and old\, with their music.
URL:https://royaleboston.com/event/andra-day/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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