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SUMMARY:Sofa King Friday's w/ Dash Berlin
DESCRIPTION:21+ \nVIP 617-733-0505
URL:https://royaleboston.com/event/sofa-king-fridays-w-dash-berlin/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20170402T190000
DTEND;TZID=America/New_York:20170402T190000
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SUMMARY:SOLD OUT - King Gizzard and the Lizard Wizard
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.\nSOLD OUT \n*** \n*** \nKing Gizzard and the Lizard Wizard \n \n[Website] [Facebook] [Twitter] \n“Nonagon infinity opens the door\,” sings Stu Mackenzie\, frontman of Australian psych-rockers King Gizzard & The Lizard Wizard. It turns out\, though\, that once the door’s open\, it never closes. That’s because the Melbourne septet has ingeniously crafted what may be the world’s first infinitely looping LP. Each of the nine\, complex\, blistering tracks on ‘Nonagon Infinity’ seamlessly flows into the next\, with the final song linking straight back into the top of the opener like a sonic mobius strip. It’s exactly the kind of ambitious vision that prompted Rolling Stone to dub the band “one of the most compelling collectives of art-rock experimentalists in recent years.” But far from a simple conceptual experiment\, the album is both an exhilarating shot of adrenaline and a remarkable feat of craftsmanship\, the result of painstaking planning and an eye for detail years in the making. \nThe roots of ‘Nonagon Infinity’ stretch back to 2014\, when King Gizzard recorded their critically acclaimed album “I’m In Your Mind Fuzz\,” which was hailed by Pitchfork as “dense\, intricately crafted\, and most importantly\, powerful.” \n“We actually wanted to do this with ‘Mind Fuzz\,’ but it just didn’t work\,” explains Mackenzie. “We ended up writing songs that needed to be on that record but didn’t connect to the others\, so we had to abandon the idea\, but the seeds were sown.” \nTo an outsider\, it may have seemed like the band had completely given up on the concept\, as the ever-prolific group quickly followed ‘Mind Fuzz’ with two more records in 2015\, ‘Quarters’—described by The Guardian as “the neon intersection of DIY psych and 1960s beach pop”—and the stripped-down ‘Paper Mache Dream Balloon\,’ which earned praise from NPR to Stereogum. The truth\, though\, was that King Gizzard was honing in on the ‘Nonagon Infinity’ material the whole time\, test-driving various tracks in their explosive live shows to prep for the monumental task of stitching them all together into one searing\, multi-movement epic. \n“We really wanted to focus on things that felt good live\,” says Mackenzie. “We’d grab a little riff here or a little groove there\, and we’d jam on them and form songs out of them\, which was the opposite of ‘Paper Mache\,’ where we were making songs in an acoustic\, classic-songwriting kind of way. I wanted to have an album where all these riffs and grooves just kept coming in and out the whole time\, so a song wasn’t just a song\, it was part of a loop\, part of this whole experience where it feels like it doesn’t end and doesn’t need to end.” \nRecorded at Daptone Studios in Brooklyn\, the final result is an intricate and immersive listening experience. Lyrical refrains and musical motifs establish themselves and then submerge beneath the chaos\, only to resurface unexpectedly later like familiar companions on a labyrinthine journey. Motorhead-grade riffs give way to King Crimson and Yes-levels of prog complexity\, as songs churn through unusual time signatures and shifting rhythms with blunt force\, laying waste to everything in their path. \n“I wanted it to feel like a horror or sci-fi movie\,” explains Mackenzie of the album’s dark overtones. “The lyrics came as a stream of consciousness\, all of these elements just falling out of my head as it was happening.” \n“Big Fig Wasp” references a particularly macabre insect that must kill itself in order to perpetuate the species\, while “Gamma Knife\,” with its 11/8-time drum solo\, is named for a surgical tool that burns cuts into the skin\, and “People-Vultures” plays like a sinister film soundtrack. Album opener “Robot Stop” pulls more directly from the band’s recent experiences\, inspired in part by their relentless work ethic and tour schedule\, which has included festival performances at Bonnaroo\, Glastonbury\, Montreux Jazz & Roskilde as well as countless sold out dates in rooms across the USA\, UK\, Europe and Australia. \n“That song’s about feeling overworked\, like a bit of a robot that’s just going to crash and die or something\,” he says with a laugh. “But you get yourself up and do it again and you robot on and you’re alright. It was one of the early ones we wrote for the record\, and I think when that song came together\, everybody started to feel like were going to actually be able to pull off this never-ending album idea.” \nTo say they pulled it off would be an understatement. The record is a force to be reckoned with on par with the road trains Mackenzie references in the album’s final track. \n“In the Australian desert\, in the outback\, there are what’s called road trains\, which are these massive trucks pulling heaps of carriages that can end up being 50 meters long\,” he explains. “They drive on the road really\, really fast\, and they’re deadly\, with these bars in the front to kill kangaroos and anything else in their path.” \n‘Nonagon Infinity’ has opened the door for King Gizzard & The Lizard Wizard\, and they’re barreling ahead with more momentum than ever before now. Much like those road trains\, with a band this good\, the safest place to be is onboard. \nKing Gizzard & The Lizard Wizard are: \nStu Mackenzie – Guitar\, lead vocals \nJoe Walker – Guitar\, vocals \nEric Moore – Drums \nAmbrose Kenny-Smith – Harmonica\, vocals \nLucas Skinner – Bass \nCook Craig – Guitar \nMichael Cavanagh – Drums \n*** \nORB \n \n[Website] [Facebook] \nBirth by ORB \nPlaying dark\, sonically massive guitar-based rock that’s heavy without sounding excessively metallic\, ORB (not to be confused with the influential electronic group the Orb) hail from Geelong\, Victoria\, Australia. The group was founded by guitarist and lead singer Zak Olsen\, guitarist and bassist Daff Gravolin\, and drummer Jamie Harmer. The three musicians lived not far from one another\, and with some extra time on their hands\, they began jamming regularly. Inspired by their youthful enthusiasm for hard rock and early metal bands ORB started as an exercise in fuzz and alternate tunings with a drive to challenge the style they were used to playing in other projects. \nTheir first full-length album\, Birth\, was released in July 2016 by Flightless & Anti-Fade in Australia and by Castle Face in the United States and Canada. \n*** \nStonefield \n \n[Website] [Facebook] [Twitter] \nIt all started in a shed. \nMore specifically\, it started in a shed on a family hobby farm in a tiny rural township in Victoria\, Australia. \nThe four Findlay sisters\, who’d go on to become the earthen psych-rock opal that is Stonefield\, had been granted their wish of a drum kit by their parents\, whose Zappa\, Hendrix and Zeppelin records had long been the shared soundtrack of the household. Amy – the oldest Findlay\, though at that time just 15 – took a particular shine to the kit and soon began lessons\, her practice sessions echoing out across the family’s acreage. It wasn’t long\, however\, before her sisters were drawn back into the shelter as\, one by one\, they found their own instruments to wrangle with. Hannah\, then 13\, started on guitar. Sarah\, 12\, took on the keyboard. Holly\, just seven years old\, listened in on her sisters practising and\, perhaps hearing that something was missing\, asked her father for a bass. \nNow the question is: listen to Stonefield and try to figure out what else the Findlays could possibly be doing. \nStonefield’s first song ‘Foreign Lover’ was recorded for a project Amy was working on as part of her tertiary studies. When they arrived home from the studio that day\, the siblings’ mother suggested they enter the track in triple j’s Australia-wide unsigned band competition\, Unearthed High. The deadline for entries was that night. They weren’t convinced they had a chance\, but decided to give it a shot. \nSoon enough\, ‘Foreign Lover’ was all over triple j\, followed shortly by infectious rock stomper ‘Through The Clover\,’ the song they were given the opportunity to record as part of the competition’s first prize. Stonefield was invited to showcase at the inaugural One Movement music and arts conference in Perth\, which resulted in [renowned band booker] Martin Elbourne\, inviting the band to play the 2011 Glastonbury Festival on the spot. \nOver the next two years\, the girls wrote and released their second EP Bad Reality. They released their debut self-titled album in October 2013. It entered the AIR charts at #6 and the ARIA charts at #21. The three singles released from the album\, including Put Your Curse On Me\, received immense support from triple j\, and the Southern Cross Network\, including MMM. \nThe album was well received by both the industry and general public. Such was the demand that Stonefield embarked on a national tour\, spanning 22 dates and 5 states. The second single Love You Deserve\, took up a life entirely of its own\, and the band set out on yet another tour. \nBy this time\, the international market had caught wind of the incendiary band from rock journo heaven\, and the girls headed to the UK during May to play showcases\, as well as Dot to Dot festivals across the UK. In November 2013\, Stonefield won the inaugural Age Music Victoria Award for Best Regional Act. \nAfter a huge amount of touring the country last year\, 2015 kicked off with the band being awarded ‘APRA Rock Work Of the Year’ for their song ‘Love you Deserve’. Stonefield have secured the support slot for one of their idol bands Fleetwood Mac’ later this year. Finally at home the girls have spent this year working on their second album; produced by Australian music legend ‘Kram’ from Spiderbait. The first taste ‘Golden Dream’ is an exciting glimpse of the new music to come.
URL:https://royaleboston.com/event/king-gizzard-and-the-lizard-wizard/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:#WCKDsaturdays w/ Mark Anthony
DESCRIPTION:21+ \nVIP ? 617-733-0505
URL:https://royaleboston.com/event/wckdsaturdays/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20170401T180000
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CREATED:20161115T173730Z
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SUMMARY:SOLD OUT - The Menzingers
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nThis show is SOLD OUT. \n*** \n \n*** \nThe Menzingers \n \n[Website] [Facebook] [Twitter] \nThe Menzingers will release their eagerly awaited fifth full-length After the Party on February 3\, 2017. The album arrives as the follow-up to the Philadelphia-based band’s widely acclaimed Rented World. Pre-orders for After The Party are available here. \nProduced by Will Yip (Title Fight\, Balance & Composure\, Pianos Become the Teeth)\, After the Party taps into the Menzingers’ everyman romanticism to reflect on getting older but not quite growing up. Throughout the album\, singer/guitarists Greg Barnett and Tom May\, bassist Eric Keen\, and drummer Joe Godino offset that deeply nuanced songwriting with anthemic harmonies\, furious power chords\, and larger-than-life melodies. \n“We spent our 20s living in a rowdy kind of way\, and now we’re at a point where it seems like everyone in our lives is moving in different directions\,” says May of the inspiration behind After the Party. Adds Barnett: “We’re turning 30 now\, and there’s this idea that that’s when real life comes on. In a way this album is us saying\, ‘We don’t have to grow up or get boring—we can keep on having a good time doing what we love.’” “Bad Catholics” follows the release of After the Party’s lead single “Lookers\,” which premiered on Noisey in August. \nThe Menzingers formed as teenagers in their hometown of Scranton in 2006\, then later relocated to Philadelphia. The band made their Epitaph debut with 2012’s On The Impossible Past\, which was voted Album of the Year by Absolute Punk and Punk News. Released in 2014\, Rented World was praised as “packed with clever songwriting” by The New York Times and “a colossal fist-pumper” by Stereogum. \n*** \nJeff Rosenstock \n \n[Website] [Facebook] [Twitter] \nIt’s almost midnight on a Saturday in the summer\, and I live in New York City. I’m still in my 30s and I don’t have to get up early tomorrow. By anyone’s standards\, I should be heading out for the night; dancing\, drinking\, meeting up with old friends\, making new friends\, making mistakes\, and feeling young in a city that allows you to remain young despite your age growing higher. I should be out there living. \nInstead\, I just put a load of laundry in the machine in my building’s basement. I’m wearing a pair of green shorts and I feel like an asshole in them. I have knobby knees and shorts don’t look good on me. I am wearing a light green t­shirt and the whole outfit makes me vaguely feel like a middle­aged man dressed up for his first day of kindergarten. I am going nowhere tonight\, and I suspect this may apply in the long term as well. \nThis seems like the perfect time to write about Jeff Rosenstock. \nBecause no one I’ve ever met creates art that encapsulates this state of mind more than Jeff. It’s music that’s catchier than any other music\, music you can scream along to in a joyous frenzy. But simultaneously\, if you really listen to the lyrics you’re shouting\, they can speak to a loneliness and desperation so profound it’s soul crushing. I’ve lost myself in joy to Jeff’s songs and I’ve sat alone depressed to Jeff’s songs\, and I’ve felt both those things to the same song\, sometimes on back to back listens. \nNobody can take the exhilaration and possibilities of life and balance them with the depression of a laundry room on a Saturday night like Jeff Rosenstock. His music can be like a funeral taking place inside a bouncy house\, or like a kids’ birthday party taking place inside a morgue. I say that with the utmost sincerity and the intent to offer only the highest of praise. \nIf you’re reading this\, you probably know the legend of Jeff Rosenstock by now. The Arrogant Sons of Bitches had Long Island’s attention\, and then mutated into Bomb the Music Industry\, a collection of musicians that were among the first to just give their music away\, that spray painted t­shirts for fans\, that did everything in a way that was financially ill­advised and built a cult unlike any other in the process. Sometimes their shows had a dozen musicians on stage\, sometimes it was Jeff and an ipod. No matter what\, there was always one thing that remained the same – this band had as much integrity as Fugazi with none of the pretension but with all the emotion but with a lot more fun and also I have to reiterate none of the pretension. To me it seems like Bomb was like Fugazi if the members of Fugazi had been willing to let down their guards and laugh at fart jokes. Again\, this is meant as high praise. I really like Fugazi and am not trying to talk shit\, it’s just an apt metaphor. \nWhen Bomb ended\, Jeff was left standing in a lonely spotlight and we all wondered if he’d be ok. Instead of even giving us time to find out\, he put out We Cool? and showed us all what growing up looks like. Growing up fucking sucks\, but it’s not for melodramatic reasons. It sucks because your joints start hurting and you know you probably aren’t gonna get some of the things done that you’ve always promised yourself you’re gonna get done and you still have a lot of guilt about dumb shit you pulled when you were like 19. We Cool? showed us that Jeff Rosenstock’s version of growing up wasn’t going to betray Bomb or its fans or the things people loved about them\, it was going to put a magnifying glass on his own impulses and insecurities as an individual in a way that was both shockingly frank and impossibly catchy. \nJeff’s music\, if you ask me\, is for people who really and truly feel like they could change the world\, if only they could muster up the strength to leave the fucking house. It’s for people who get into group situations and have every instinct inside their heads scream that the world is a fucked up and terrifying place and they should crumble up into a corner and wait to die\, but who instead dance like idiots because what the fuck else is there to do? It’s music that makes me feel like maybe\, just maybe\, if I do things the right way I can help make the world a better place\, while co­existing with the knowledge that I don’t fucking matter and there’s no reason not to give up\, except maybe I shouldn’t because what if deep down people are actually beautiful\, giving\, and kind? \nIt’s music that makes me lose myself like I used to when I was 13 and first discovered the joy of punk rock\, but it’s also music that makes me think way too fucking hard about why the world is how it is and if I might be someone with enough heart to throw a few punches in the effort to make shit just a tiny bit better for others for one fucking second of one fucking day. \nIt’s simple punk rock. It’s also complicated and beautiful and working class and perfect. \nIs the above a little cheesy? Sure. But I think it’s true and I think it’s all worth saying. Because having become friends with Jeff over the past few years\, I can say the following with great certainty – he actually is what he says he is. And because of that\, all the above applies. His integrity is untouchable. We all need to take a second and appreciate how much time this guy has wasted finding all ages venues. How much money he has passed on to retain his credibility as an artist. If other artists – myself chief among them – conducted themselves with an ounce of the integrity Jeff approaches all areas of art and life with\, the world would be a better place. \nI know this might sound silly to people who don’t get it – they might say “It’s just punk rock\, calm down.” – but fuck those people\, we all know Jeff is a musical genius. If he wanted to go ghost write songs for Taylor Mars and Bruno Swift\, I bet he could make millions of dollars doing so. Music is easy for him. He could write empty songs and hand them off to hollow artists and we all know he’d kill it and he wouldn’t have to deal with shaking down shady promoters for a few hundred bucks or driving overnight to get to the next venue or stressing about paying bills or any of it. He continues to not do any of that easy shit and that’s because he’s not bullshitting about doing things not just the right way\, but in a way that’s more idealistic than reality actually allows for. He does that for us. \nThe guy is a genius poet while simultaneously being the definition of a fucking goon from Long Island. There is nothing not to love. The album you are about to listen to\, WORRY.\, only furthers and exceeds the myth of Jeff Rosenstock\, he who is mythical for being the most normal dude from a boring place any of us have ever met; mythical for sticking to his guns when all logic points in the other direction; mythical for writing melodies that stick in our brains and lyrics that rip our guts out; mythical most of all for being not mythical at all. He’s just Jeff. It’s not that complicated. But in a world where everything is driven by branding and image and hidden agendas\, being not that complicated makes him perhaps the most complicated artist I know. \nEnjoy this album. Enjoy it as a whole. The second half is going to blow your mind with its ambitiousness – in my opinion the second half of this album will be viewed over time as a triumph and high water mark of a cool ass career. And the singles – “Wave Goodnight to Me” is untouchable. “Blast Damage Days” will make you feel ok about the fact that the world seems to be built on a foundation of quicksand. \nAnd when you’re done listening\, don’t forget – you probably can’t change the world\, but you’re kind of a dick if you don’t at least try. Jeff’s been falling on the sword for the rest of us for years and it’s on all of us to at least go down swinging. \nSincerely\, \nChris Gethard \nPS – John DeDomenici ain’t bad either. \n*** \nRozwell Kid \n \n[Website] [Facebook] [Twitter] \nRozwell Kid is the rock and roll brainchild of frontman Jordan Hudkins. Born and raised in West Virginia\, Hudkins’ landlocked upbringing imbues the band and their tunes with a restless energy. He manages to avoid the sun-tanned decadence of some of his noise pop counterparts while keeping the tunes charged with the insouciant attitude of his LA post-grunge inspirations. The band draws from a variety of musical influences ranging from 90s punk to Weezer to the Broadway musicals that Hudkins listened to as a kid. Good Graphics\, the Kid’s fourth release\, continues their stumble into adulthood. The album explores everything from the struggles of growing up (”Baby‘s First Sideburns”) to the simplicity of everyday pleasures (”Hummus Vacuum”)\, celebrating the absurdity of life rather than being weighed down by it. Welcome to the darker side of fun.
URL:https://royaleboston.com/event/the-menzingers/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:Sofa King Friday's w/ atb
DESCRIPTION:21+ \nVIP 617-733-0505
URL:https://royaleboston.com/event/sofa-king-fridays-w-atb/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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SUMMARY:Bebe Rexha
DESCRIPTION:SHOW MOVED FROM THE SINCLAIR TO ROYALE DUE TO OVERWHELMING DEMAND! \nBowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is All Ages.\nTickets on sale NOW! \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*** \nBebe Rexha \n \n[Website] [Facebook] [Twitter] \nEvery dream requires a hustle. Long before she became an inescapable pop presence and one of the industry’s most in-demand songwriters\, Bebe Rexha began quietly hustling hard towards a career in music during her childhood in Brooklyn\, NY.\n“I never wanted to take the easy way\, and I was always willing to hustle\,” she declares. “I started grinding and writing songs back in high school. I was the girl that didn’t go to prom or my graduation\, because I was too busy working with producers and making music. I’d feel at home singing over hip-hop beats and rolling with the boys. It’s where I still have the most fun\, and it’s where my personality comes through.”\nFollowing years of dedication and diligence\, that grind paid off big time in 2013 after she penned “The Monster” in a Harlem studio. The single eventually became a worldwide hit for Eminem and Rihanna—going RIAA quadruple-platinum stateside. Bebe would write and feature on Cash Cash’s “Take Me Home\,” an idea she envisioned back in her bedroom in New York. Relocating to Los Angeles\, she’d go on to co-write and sing on Pitbull’s “This Is Not A Drill” in addition to writing Tinashe’s “All Hands On Deck.” Her 2015 debut EP\, I Don’t Wanna Grow Up [Warner Bros. Records] \, boasted the singles “I Can’t Stop Drinking About You” and “I’m Gonna Show You Crazy\,” which racked up over 52 million Spotify streams in only six months. That same year\, she co-wrote and carried instantly recognizable hooks for the double-platinum “Hey Mama” by David Guetta\, Nicki Minaj\, and Afrojack as well as G-Eazy’s 2016 Billboard Hot 100 platinum smash “Me\, Myself\, & I.”\nTo date\, she’s accumulated over 10 million overall single sales\, 800 million Spotify streams\, 1 billion combined YouTube/VEVO views\, and reached a radio audience of 7 billion in addition to earning praise from the likes of USA Today\, Billboard\, MTV and more. On the road\, she has toured supporting Nick Jonas and scorched the stage of the 2015 Vans Warped Tour\, emerging as one of its biggest breakout acts.\nHowever\, everything set the stage for her 2016 single “No Broken Hearts” [featuring Nicki Minaj]. The unshakable and undeniable anthem introduces her forthcoming full-length album with a bang. Produced by Grammy Award®-nominated production team The Invisible Men\, the track sees her robust\, raw\, and real voice take the spotlight. Over a slick\, smooth\, and sultry bounce\, Bebe delivers a massive refrain freestyled in the vocal booth and punctuated by a fiery verse from Minaj.\n“I had been heartbroken three times that week\,” she admits. “I went to the studio\, and I was crying my eyes out. As soon as I walked to the mic\, it came to me. We captured the first take right when I heard the song. There’s nothing mathematical to my writing. It’s feeling. I turned sadness into an anthem for not letting anything or anyone slow you down. Everybody goes through some sort of pain. It’s good for people to hear that. Nicki was perfect\, because she’s a New York chick who identifies with this. Life’s too short\, so let’s enjoy it.”\nThat spirit courses through her inimitable and irresistible sound. Merging booming production\, cinematic storytelling\, and a powerhouse voice\, she nods to influences as diverse as Michael Jackson\, Lauryn Hill\, Tracy Chapman\, The Cranberries\, and Kanye West. Drawing on her Albanian heritage and youth in New York City\, she stirs up a musical melting pot of her own.\n“I feel like I’m just starting to show who I am\,” she continues. “I’m going even further though. I’m embracing my roots and the artists I love. At the same time\, I want to tell stories. The new music is more about empowerment. You work on yourself\, and you focus on your happiness. That’s the message. I’m saying what I want to say. Life isn’t easy. We’re all going through something. I hope people know they’re not alone when they hear my songs.” \n*** \nDaniel Skye \n \n[Website] [Facebook] [Twitter] \nI am a 16 year old singer/songwriter. \n*** \nSpencer Ludwig \n \n[Website] [Facebook] [Twitter] \n> \nA trumpeter\, singer\, producer\, and dancer who rocks alligator shoes with smoking style and panache\, Spencer Ludwig brings any party to life. Chances are\, you’ve heard his lyrical lead trumpet soaring through the music of multiplatinum-selling indie pop act Capital Cities. Not only did the Los Angeles-born\, half-Filipino vocalist-instrumentalist perform on their full-length debut In a Tidal Wave of Mystery\, but he also crisscrossed the globe with the band\, opening Katy Perry’s Prismatic World Tour and tearing up the stage at Coachella\, Bonnaroo\, and more. Following a whirlwind two years in the group\, he returned to Los Angeles in December 2014 and commenced writing solo material that showcased both his trumpet talents and dynamic\, diverse vocals. On his 2016 solo debut for Warner Bros. Records\, he merges jazz virtuosity and pop style for a sound that simmers and swaggers with soul.
URL:https://royaleboston.com/event/bebe-rexha/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20170326T190000
DTEND;TZID=America/New_York:20170326T190000
DTSTAMP:20260406T214805
CREATED:20170110T183438Z
LAST-MODIFIED:20170110T183438Z
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SUMMARY:Minus the Bear
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. 1/13 at 10AM! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nMinus the Bear \n \n[Website] [Facebook] [Twitter] \nOver the course of their 15-year career\, Minus the Bear have carved out their own unique musical world. This isn’t to say they’re impervious to outside influence. They’ve borrowed components from a wide swath of genres—the brainy clangor of New York’s proto-punk scene\, the cerebral buzz of IDM\, the poptimist evaluation of hip-hop and R&B\, and the grandiose visions of prog rock—but always managed to defy classification. Throughout the first decade of their existence\, every new album offered a new musical approach\, as seen in the idiosyncratic fretboard gymnastics of Highly Refined Pirates\, the glitchy loops of Menos el Oso\, or the modernized Fripp-inspired wizardry of Planet of Ice. By the time the band entered our current decade\, their knack for reinvention yielded to an emphasis on refinement. Albums like OMNI and Infinity Overhead searched for a middle ground where their myriad of stylistic approaches could all work within the context of a single record. \nOn their sixth album VOIDS\, Minus the Bear started with a blank slate\, and inadvertently found themselves applying the same starting-from-scratch strategies that fueled their initial creative process. “There was a lot of change and uncertainty\,” says guitarist David Knudson. “I think the general vibe of emptiness\, replacement\, lacking\, and longing to fill in the gaps was very present in everyones’ minds.” Change was everywhere. Keyboardist/vocalist Alex Rose took on a more prominent role in composition and handled lead vocal duties on songs like “Call the Cops\,” “Tame Beasts\,” and “Robotic Heart\,” drummer Kiefer Matthias joined the fold\, producer Sam Bell lent a fresh set of ears in the studio\, and the band returned to their original label home at Suicide Squeeze Records. Minus the Bear were no longer swept along by the momentum that had driven them for the last fifteen years. Instead\, they reached a point where they could recalibrate and redefine who they were as a musical entity. The resulting album VOIDS retains many of the band’s signature qualities—the hedonistic tales of nighttime escapism and candid vignettes of adulthood\, the savvy up-tempo beats\, the layered and nuanced instrumentation—while simultaneously reminding us of the musical wanderlust that initially put them on the map. \nAlbum opener “Last Kiss” immediately establishes the band’s renewed fervor. An appropriately dizzying guitar line plunges into a propulsive groove before the chorus unfolds into a multi-tiered pop chorus. From there the album flows into “Give & Take”\, a tightly wound exercise in syncopation that recalls the celebratory pulse of early Bear classics like “Fine + 2 Pts” while exploring new textures and timbres. “Invisible” is arguably the catchiest song of the band’s career\, with Jake Snider’s vocal melodies and Knudson’s imaginative guitar work battling for the strongest hooks. “What About the Boat?” reminds us of the “math-rock” tag that followed the band in their early years\, with understated instrumentation disguising an odd-time beat. “Erase\,” recalls the merging of forlorn indie pop and electronica that the band dabbled with on their early EPs\, but demonstrates the Bear’s ongoing melodic sophistication and tonal exploration. By the time the band reaches album closer “Lighthouse\,” they’ve traversed so much sonic territory that the only appropriate tactic left at their disposal is a climactic crescendo\, driven at its peak by Cory Murchy’s thunderous bass. Not since Planet of Ice’s “Lotus” has the Bear achieved such an epic finale. All in all\, it’s an album that reminds us of everything that made us fall in love with Minus the Bear in the first place\, and a big part of that appeal is the sense that the band is heading into uncharted territories. \nSuicide Squeeze Records is proud to release VOIDS to the world on March 3\, 2017 on CD\, LP\, and cassette. Nick Steinhardt designed the artwork and layout for all formats. The first pressing of the album is available on 5\,000 copies of splatter colored vinyl and 5\,000 copies of 180 gram black vinyl. The LP jacket features PMS inks\, a die-cut cover with a printed inner sleeve and contains a download code. The cassette version is limited to 500 copies and includes a download code as well. \n*** \nBeach Slang \n \n[Website] [Facebook] [Twitter] \nBeach Slang are a band who have garnered a lot of attention considering that they’ve only released two 7-inches\, 2014’s Cheap Thrills On A Dead End Street and its companion Who Would Ever Want Something So Broken? Refreshingly this Philadelphia-based act have built their hype the old-fashioned way\, without any gimmicks or marketing teams\, which makes sense when you consider that frontman and writer James Alex cut his teeth in the Pennsylvania pop-punk act Weston while drummer JP Flexner and bassist Ed McNulty also play in buzzed about projects such as Ex-Friends and Crybaby. However there’s something indefinable about Beach Slang’s music that evokes the spirit of punk and juxtaposes it into something that’s as brutally honest as it is infectiously catchy. \n“When this whole thing started it was like\, ‘Alright\, i’m going to get to hear my sappy little songs played loud and interact with other human beings again\,’ the admittedly shy Alex says looking back on Beach Slang’s existence. “Then one day this really sweet explosion happened and Beach Slang became a thing that mattered to people.” As anyone who has seen Beach Slang live can attest\, it matters to people a lot including the group’s peers like Cursive who hand-selected Beach Slang to open for them on their upcoming headlining tour. “I used to skate with this really sweet girl who would refer to the way I spoke as ‘beach slang’ and I’ve never shaken that off\,” Alex continues. “The really soft parts of your childhood\, I suppose\, have a way of sticking around. I like that.” \nThat feeling of youth and vulnerability also lie at the core of Beach Slang’s music\, which is part punk\, part pop and all catharsis. It references the ghosts of The Replacements but keeps one foot firmly rooted in the present. It’s fun and it’s serious. It’s sad but it isn’t. It’s Beach Slang. Enjoy it and look out for the band’s debut full-length later this year because they’re still just getting started. \n*** \nBayonne \n \n[Website] [Facebook] [Twitter] \nRoger Sellers is a lot of things. He’s a minimalist composer with a knack for making hypnotic\, enveloping songs from a few repeated musical phrases. He’s a gifted musician who is mostly self-taught\, having abandoned formal study because it was draining the life from his work. He’s a self-described disciple of Phil Collins. What he is not\, however — despite multiple press reports to the contrary — is a DJ. \n“I started developing a decent following in Austin\,” he says\, “but most of the time when I would play\, the press would say something like ‘Local DJ Roger Sellers\,’ or ‘Roger Sellers is playing a late-night DJ set.’ I think it was maybe because my live set involves a table full of gear\, a drum set and headphones\, but the average person probably knows more about DJing than I do.’” To combat the misunderstanding\, Sellers printed up stickers reading\, “Roger Sellers is Not a DJ\,” and eventually adopted the alias Bayonne\, changing his name without altering his approach. \nAnd it’s a good thing: Primitives\, Sellers’ debut as Bayonne\, is a rich\, complex work\, the kind with no clear rock parallel. In its winding\, maze-like structures are hints of both Steve Reich and Owen Pallett\, each instrument working a single melodic pattern over and over and over\, as Sellers threads his soft\, reedy voice between them. On songs like “Appeals\,” the effect is hypnotic: notes from a piano crash down like spilled marbles from a bucket\, as Sellers’ ringing-bell vocals swing back and forth between them. The end result is spellbinding music\, meticulously-crafted songs where each tiny piece locks into another\, and hundreds of them joined together create a breathtaking whole — like dots in a Seurat\, or tiny bones in a dinosaur skeleton. \nSellers’ journey to Bayonne began when he was two years old\, situated in front of Eric Clapton Unplugged at his home in TK. “I’d just watch it over and over again\,” he laughs. “I would get paint cans and bang on them\, trying to imitate what I saw in the video. My parents got me a drum set when I was 6 years old and I became obsessed. I wanted to be Phil Collins for so many years as a child. He was my hero. I feel like you can hear that a lot in Primitives\, that big drum sound\, because so much of the way I play was learned from Phil Collins.” Though Sellers studied classical piano as a child and music theory in college\, rather than developing his skill\, he found both to be deadening. “It became homework\,” he says. “It made me come home and not want to write. That’s not at all how I’d thought about music — it had always been something fun — almost like a kind of therapy. It was an escape\, not a chore.” \nInstead\, Sellers struck out on his own\, buying a looper and slowly amassing a stockpile of tiny melodies. “I found out that I could make these songs really spontaneously and have this really good idea without having to get into the studio to capture it right away. Most of these songs came out of me just fucking around\, hooking up keyboards and experimenting.” The experiments cohered into music that is beautiful and densely layered. The composition of the individual musical phrases may have been spontaneous\, but assembling them to create Primitives was anything but. Instead\, Sellers constructed the songs from a collection of loops he’d built up over the course of six years. Some of those patterns were created on stage at his shows\, where Sellers threads melodies together in real time\, augmenting them with live drums and vocals. Others were written during downtime\, improvising at home. Once he had the basic melodies\, he had to figure out how they went together\, and how to layer them meticulously to make songs that were rich in deep detail but still immediately engaging. \nYou can hear all of that in “Spectrolite”; taut apostrophes of guitar enter first\, pinpricks of barely-there sound that blink like Christmas lights. Bone-dry snare enters next\, but the guitars keep echoing their same hypnotic phrase; it’s followed by grumbling bass and\, finally\, Sellers’ airy\, high-arcing voice; each piece follows their charted course again and again\, but as the song goes on\, it gets more engrossing — it gives the effect of slipping slowly into warm water. “That one came from an older loop that I had\,” Sellers explains. “It was about a stone that my girlfriend at the time had brought me back from Australia\, a spectrolite stone. We had some things happen between us during that time\, so that stone meant a lot to me. I had it with me the entire time I made the record. It’s a song about forgiveness\, and keeping those people who matter most to you close around you\, and caring for those that you love.” In “Waves\,” surging piano replicates the sound of the ocean\, lapping slowly forward and back. Giant tribal drums enter\, filling the blank space\, giving the song a soft\, calming\, see-sawing rhythm. “That’s a song I basically wrote by performing it live\,” Sellers says. “That’s one of my favorite songs that I’ve written because of the simplicity of it\,” he explains. “You feel like you’re in the ocean or something.” But as the song goes on\, it skews darker. “I know that there’s something else\, something else\, something else\,” Sellers sings\, “And I know that you’d be there for me.” As the song goes on\, the object of his affection drifts away\, like a boat toward the skyline. Like all of Sellers’s songs\, it centers carefully constructed music around the soft\, glowing core of the human heart. \n“That’s all of it — emotion\,” Sellers says. “I want the music to carry people in some way\, and I want them to feel what I’m feeling. I want my music to be an emotive expression.” On Primitives\, Sellers creates music that’s nuanced\, layered\, complicated and soothing — easy to get lost in\, impossible to ignore.
URL:https://royaleboston.com/event/minus-the-bear/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20170325T220000
DTEND;TZID=America/New_York:20170325T220000
DTSTAMP:20260406T214805
CREATED:20170307T200018Z
LAST-MODIFIED:20170307T200018Z
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SUMMARY:WCKD Saturday's w/ Deville
DESCRIPTION:21+ \nLadies free w/ RSVP – Click Buy tickets to RSVP. \nVIP 617-733-0505
URL:https://royaleboston.com/event/wckd-saturdays-w-deville/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20170325T190000
DTEND;TZID=America/New_York:20170325T190000
DTSTAMP:20260406T214805
CREATED:20170210T153933Z
LAST-MODIFIED:20170210T153933Z
UID:10002466-1490468400-1490468400@royaleboston.com
SUMMARY:Zveri Concert
DESCRIPTION:Party Time Boston Presents.. \n21+ \n7:00pm Doors\n8:00pm Show
URL:https://royaleboston.com/event/zveri-concert/
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:20170324T220000
DTEND;TZID=America/New_York:20170324T220000
DTSTAMP:20260406T214805
CREATED:20170322T133820Z
LAST-MODIFIED:20170322T133820Z
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SUMMARY:Sofa King Friday's w/ Laidback Luke
DESCRIPTION:21+ \nVIP 617-733-0505
URL:https://royaleboston.com/event/sofa-king-fridays-w-laidback-luke/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170324T180000
DTEND;TZID=America/New_York:20170324T213000
DTSTAMP:20260406T214805
CREATED:20170309T191804Z
LAST-MODIFIED:20170309T191804Z
UID:10001765-1490378400-1490391000@royaleboston.com
SUMMARY:Jessi Live Concert!
DESCRIPTION:Korean R&B/Rapper \n18+ \nVIP: 617-733-0505
URL:https://royaleboston.com/event/jessi-live-concert/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170323T190000
DTEND;TZID=America/New_York:20170323T190000
DTSTAMP:20260406T214805
CREATED:20161116T175405Z
LAST-MODIFIED:20161116T175405Z
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SUMMARY:The Knocks: Feel Good Feel Great
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Thu. 11/17 at 1PM! \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*** \nThe Knocks \n \n[Website] [Facebook] [Twitter] \nThe Knocks are a New York story through and through. They met as 19-year-old college students\, late one night in a studio at the New School. Ben Ruttner\, known as “B-Roc\,” DJed clubs as a PM day job\, and James Patterson\, known as “JPatt\,” played the organ at a church outside the city. \nWorking out of their bedrooms\, The Knocks remixed Jay-Z’s entire American Gangster album in two days\, calling it American G-Funk. With remixes for Katy Perry and Passion Pit soon following\, the Knocks were declared one of the “20 hottest producers in music” by NME and quickly became synonymous with a certain warm\, retro-future\, disco-kissed touch. Future stars like Ellie Goulding and Icona Pop took note of the Knocks\, asking them to produce for their own projects. \nThey put our their first big hit in 2010 with the filter-house party anthem “Dancing With the DJ”\, and toured the UK with Sleigh Bells and DJ Shadow. Opening for Ellie Goulding on her US debut tour in 2011 and playing the main stage at Ultra in 2012\, B-Roc and JPatt were a bridge between the indie dance world and the mainstream market. \nThey recently hit a touchstone with “Classic\,” a seductive track that whips up the sun-drenched sense of endless celebration. Fetty Wap jumped on for a guest verse\, as befits the way the Knocks style synthesizes anything with energy: hip-hop\, soul\, house\, disco and pop. Their new album 55 is a resolutely DIY dance album that pulses with the heart of the city. It opens with none other than Cam’ron\, Wyclef Jean comes out of nowhere\, Carly Rae Jepsen takes a house diva turn\, and Alex Newell aims his high range like a trigger in SPIN’s Best-101-of-2015 pick “Collect My Love”. It’s an album laced with disco magic and hiphop flow; it’s built for a crowd\, but first it has to pass a bar that’s internal. “Would I spin this?” the Knocks still ask each other\, every time they cut a track. They’ll be spinning this one for years. \n*** \nBipolar Sunshine \n \n[Website] [Facebook] [Twitter] \nBipolar Sunshine is based on a surreal world where anything is possible\, the stranger the better as long as its done with an artistic approach. A Home for the defeated romantic\, the passionately curious but in the mist of all still can see the bright side to every- thing. \n*** \nGilligan Moss \n \n[Website] [Facebook] [Twitter] \nYou could say that Gilligan Moss originally formed in the early 90s in an unassuming pre-school in downtown Chicago. Comprised of Evan and Ben\, the two have used this deep-rooted friendship to form a psychic bond to explore a new vision for what it means for pop music to live in the club. The duo from Chicago\, has a distinct style that fills the cracks between several genres — they are drawn to strange melodies\, polyrhythmic percussion\, and driving\nbasslines. Their goal is to make music that could soundtrack an Ewok dance party as easily as it could a solitary walk home.\nThe project began with Evan\, who anonymously started posting his music to Soundcloud in 2013. His first single “Choreograph” caught a wave of blog buzz\, eventually hitting #1 on the Hype Machine charts. On the success of this single and a remix for Glass Animals’ “Gooey\,” he took to writing a batch of tunes and the resulting Ceremonial EP was released in August 2015 via AMF Records\, an imprint of Virgin EMI.\nWhen asked to go on the road in support of Glass Animals in late 2015\, he asked Ben to join him for the live rig. Once tour came to a close\, they began writing together\, rekindling the spark that formed all those years ago in pre- school. They have done remixes for the likes of Sia\, Banks\, Tegan & Sara and their second EP is expected in mid-2017. For the past few months\, the duo has been camped out in the woods in upstate New York\, perfecting the perfect dance party for the squirrels and birds that surround their studio.
URL:https://royaleboston.com/event/the-knocks-feel-good-feel-great/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20170322T124658
DTEND;TZID=America/New_York:20170322T124658
DTSTAMP:20260406T214805
CREATED:20170104T215216Z
LAST-MODIFIED:20170104T215216Z
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SUMMARY:Royale Saturday w/ Liz Ladoux
DESCRIPTION:21+ \n617-733-0505
URL:https://royaleboston.com/event/royale-saturday-w-liz-ladoux-3/
LOCATION:MA
CATEGORIES:Nightclub
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170318T220000
DTEND;TZID=America/New_York:20170318T220000
DTSTAMP:20260406T214805
CREATED:20170306T193649Z
LAST-MODIFIED:20170306T193649Z
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SUMMARY:WCKD Saturday Royale's 7 Year Anniversary w/ Lil Jon
DESCRIPTION:21 + \nTickets Only. \nVIP: 617-733-0505
URL:https://royaleboston.com/event/wckd-saturday-royales-7-year-anniversary-w-lil-jon/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20170317T220000
DTEND;TZID=America/New_York:20170317T220000
DTSTAMP:20260406T214805
CREATED:20170222T221849Z
LAST-MODIFIED:20170222T221849Z
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SUMMARY:Sofa King Friday's w/ Steve Aoki
DESCRIPTION:21+ \nVip: 617-733-0505
URL:https://royaleboston.com/event/sofa-king-fridays-w-jonny-dougs-dude-n-guy-jakkd/
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:20170317T180000
DTEND;TZID=America/New_York:20170317T180000
DTSTAMP:20260406T214805
CREATED:20170116T195250Z
LAST-MODIFIED:20170116T195250Z
UID:10002459-1489773600-1489773600@royaleboston.com
SUMMARY:House of Pain
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is 21 and over. \nTickets on sale Fri. 1/20 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***\nSt. Patrick’s Day 2017\nHouse of Pain \n \n[Facebook] [Twitter] \nOn the heels of their widely heralded reunion show at KROQ’s ‘Epicenter 2010’\, EVERLAST and DANNY BOY have decided to get the band back together in celebration of their 20th anniversary. That’s right\, HOUSE OF PAIN is back\, more focused than ever and extremely excited to kick-off a worldwide reunion tour in 2011. \nIt’s hard to believe that the rowdy Irish Americans got started way back in 1991\, but for the past 20 years the group has maintained a high profile – topping the Billboard charts as a group and with solo efforts. It was a turn of a new decade when HOUSE OF PAIN changed the face of hip-hop with their self-titled debut album\, going multi-platinum and launching one of the most memorable songs in hip-hop history with “Jump Around”. Now it’s the start of another new decade and HOUSE OF PAIN is ready to do it all over again; the group aims to bring their fiery live show to fans all over the world\, reclaim the throne as hip-hop’s best and celebrate what has allowed their successes over the past 20 years – the fans. \n“It’s been 20 years and we are very excited to go out there and do this again\,” comments Everlast. “The catalyst was definitely the KROQ Epicenter show this past summer. We had already been working together on the La Coka Nostra record and did an event with [UFC President] Dana White but it really came down to seeing the crazy response from the crowd in LA when we went into ‘Jump Around’. After that\, we went home thinking about it and now is the time to act on it. Every show is going to be like an anniversary party. It’s going to be crazy.” \nSince HOUSE OF PAIN disbanded back in 1996\, the members have kept their star power and went on to huge successes. EVERLAST has maintained an incredibly successful solo career that includes a triple platinum album\, multiple Top 10 hits (including the #1 smash hit “What It’s Like”) and a Grammy for the song “Put Your Lights On” which was recorded with Carlos Santana. Danny Boy changed focus from music to art and launched an extremely successful art company\, multiple clothing lines and ultimately brought the reunion about by forming the group LA COKA NOSTRA that featured the original lineup from HOUSE OF PAIN alongside rappers Slaine and Ill Bill. \nAfter experiencing all of the solo success\, it becomes obvious that HOUSE OF PAIN isn’t a group reforming to cash in on current musical trends. HOUSE OF PAIN is reforming because of the passion that they have for their music. They are back to celebrate with their fans across the 20 years that have spawned tremendous success and undying anthems of rebellious teenagers everywhere. They are back to show young fans everywhere just how raucous and dirty hip-hop can be – to prove that it doesn’t matter your age\, race\, religion or whether you’re into hip-hop\, rock or metal. HOUSE OF PAIN has crafted a 20-year legacy that speaks to fans from all walks of life. \nSo get out of your seat and “Jump Around.” \n*** \nSlaine \n \n[Website]\n[Facebook] [Twitter] \nIf you believe Life is hard yet one of the best gifts anyone can be granted\, you’ll understand the journey of Slaine. The hard knocks and struggle of this Boston native may sound like good tidbits for a novel\, television or mini-series. Hailing from the Dorchester area with deep connections in South Boston\, Slaine’s life was patterned somewhat of a gypsy moving around often. Despite not having a normal home foundation\, Slaine aspired like other starry eyed kids to become a force in the entertainment industry. Mapping out his plan to obtain his goals\, Slaine packed his bags and moved to New York City and enrolled in the School of Visual Arts. After only seven months\, an unfortunate altercation between Slaine and a school employee resulted in his expulsion at the school. \nThe incident was a major setback for Slaine that suspended his dream of becoming a filmmaker. Although dismayed and discouraged\, Slaine prevailed over his setback and proceeded towards his pursuit into the entertainment industry via another way…music. His love for hip-hop was discovered at the early age of nine. “I started writing rhymes when I was nine years old\, I use to record on my boom box with a pair of headphones plugged into the microphone jack. I felt they were just words on a page because I didn’t have an outlet to perform them.” Determined and focused\, Slaine spent his nights as a club promoter to survive in the hard lonely streets of New York City. At the same time\, he began recording and being managed by hip-hop legend MC Shan. While recording a demo in a studio operated by the Lordz of Brooklyn\, SLAINE was introduced to Danny Boy O’Connor of House of Pain. \nThe introduction lead into him being signed to a production deal with DJ Lethal of House of Pain which led to the mix tape release ‘The White Man is the Devil: Volume 1’ and the formation of Special Teamz with Boston rap legends Edo G and Jaysaun. Special Teamz dropped a self-titled street CD after that\, which garnered critical acclaim and allowed the group to tour in Europe. In a very short time\, SLAINE had gone from living in poverty with a drug habit to traveling the world and working with hip-hop icons such as DJ Premier\, Ill Bill\, House of Pain\, Cypress Hill\, The Alchemist\, and a host of other talented artists. He also became part of the collective LA COKA NOSTRA\, alongside Ill Bill and all three members of House of Pain – Everlast\, DJ Lethal\, and Danny Boy. La Coka Nostra’s debut album\, “A Brand You Can Trust” debuted at #84 on the Billboard Top 200 and #6 on the Rap charts\, sending a message to the masses that the group’s brand of gritty hip-hop was exactly what fans of the genre had been waiting for. \nSlaine’s name continued to grow far past his hometown of Boston due to the exposure he has received in publications such as The Source\, XXL\, The New York Times\, The Boston Herald\, and has performed sold out shows across the globe. SLAINE has been nominated for a Boston Music Award and received 4 trophies at The Mass Industry Committee’s hip-hop awards including one for Best Lyricist. \nAs his music career expanded\, a personal battle with drugs became a focal point that reared its ugly head. After overdoses\, hospital visits and a whirlwind of drugs and violence\, SLAINE finally checked into rehab. Instantly\, he found himself with homeless drug addicts and realized he was no different than any of them. “Everybody had a story to tell. That was where the idea and the hunger for “The White Man is the Devil” was born. “The White Man” is a cocaine reference\, not a declaration of self hate.” \nSince conquering his addiction\, Slaine’s was presented with new and exciting possibilities…Acting. A chance of a lifetime presented itself through an unexpected ally\, hometown hero and Academy Award winner Ben Affleck. SLAINE made his acting debut with his portrayal of Bubba Rogowski in Affleck’s return to screenwriting and directorial debut “Gone Baby Gone”. The film was critically acclaimed and led to Slaine being offered a larger role as a bank robber in the blockbuster “The Town” featuring Ben Affleck\, Jeremy Renner (The Hurt Locker)\, and Jon Hamm (Mad Men). He is also been in films\, “The Crack Down” and “Bad Blood” and in the upcoming movie “Cogan’s Trade” with Brad Pitt\, Ray Liotta and James Gandolfini. \nWhile Slaine’s acting career has allowed him to blaze new paths\, his venomous lyrical attack burns hotter than ever on his debut solo album\, “A World With No Skies 2.0”\, which drops on August 16th \, 2011 through Suburban Noize Records. With hard hitting lyrical content\, and vicious delivery\, “A World with No Skies 2.0” instantly takes hip-hop back to its grimy roots on the streets. To execute his dark musical vision\, Slaine enlisted the help of his La Coka Nostra brothers Everlast and ILL BILL\, as well as Cypress Hill’s B-Real and Vinnie Paz of Jedi Mind Tricks to create a dark hip-hop album that hits squarely in the jaw. “Even though I started my career as a solo artist by hustling my ‘The White Man is the Devil’ mixtapes\, I think people are more familiar with me from Special Teamz and La Coka Nostra\,” commented Slaine. “With this album I set out to create a soundscape that brings you into my world as an individual which is a bad place to be. It is hard\, dark and aggressive from the beats to the lyrics\, and a deeply personal trip through my life and the things that made me who I am today. A ‘World with No Skies’ is a look into my psyche and a vision of my dreams\, nightmares\, and realities.” \nDespite his ups and downs throughout his career\, Slaine’s living his life to the fullest. “I love making music that means something to me\, I am grateful for all the experiences that I have had—good and bad. I am lucky to be alive\, but my past also made me who I am today.”
URL:https://royaleboston.com/event/house-of-pain-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:20170313T190000
DTEND;TZID=America/New_York:20170313T190000
DTSTAMP:20260406T214805
CREATED:20170124T160927Z
LAST-MODIFIED:20170124T160927Z
UID:10002464-1489431600-1489431600@royaleboston.com
SUMMARY:The Protomen\, MC Frontalot & Bit Brigade
DESCRIPTION:18+ \nLeague Podcast & Rock On! Concerts Presents….
URL:https://royaleboston.com/event/the-protomen-mc-frontalot-bit-brigade/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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DTSTART;TZID=America/New_York:20170312T190000
DTEND;TZID=America/New_York:20170312T190000
DTSTAMP:20260406T214805
CREATED:20170119T190636Z
LAST-MODIFIED:20170119T190636Z
UID:10002461-1489345200-1489345200@royaleboston.com
SUMMARY:Devendra Banhart
DESCRIPTION:Show moved from The Sinclair to Royale due to overwhelming demand! \nBowery 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! \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*** \nDevendra Banhart \n \n[Website] [Facebook] [Twitter] \nDevendra Obi Banhart (born May 30\, 1981) is a Venezuelan American singer-songwriter and visual artist. Banhart was born in Houston\, Texas and was raised by his mother in Venezuela\, until he moved to California as a teenager. He began to study at the San Francisco Art Institute in 1998\, but dropped out to perform music in Europe\, San Francisco and Los Angeles. Banhart released his debut album in 2002\, continuing to record his material on the Young God and XL labels\, as well as other work on compilations and collaborations.
URL:https://royaleboston.com/event/devendra-banhart/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20170311T220000
DTEND;TZID=America/New_York:20170311T220000
DTSTAMP:20260406T214805
CREATED:20170306T152333Z
LAST-MODIFIED:20170306T152333Z
UID:10001760-1489269600-1489269600@royaleboston.com
SUMMARY:Royale Saturday's w/ Breeazy
DESCRIPTION:21+ \nVIP 617-733-0505
URL:https://royaleboston.com/event/royale-saturdays-w-breeazy/
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:20170311T180000
DTEND;TZID=America/New_York:20170311T213000
DTSTAMP:20260406T214805
CREATED:20170109T100029Z
LAST-MODIFIED:20170109T100029Z
UID:10001744-1489255200-1489267800@royaleboston.com
SUMMARY:Haywyre & The Opiuo Band
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 1/13 at 10AM! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nHaywyre \n \n[Website] [Facebook] [Twitter] \nHaywyre consists of Martin Vogt\, who has been studying piano since the age of six. His interest in the production of various genres of electronic music and piano instrumentals began growing when he lived in Austria; there\, he was exposed to jazz and hip-hop for the first time. Shortly after moving back to the U.S. in 2008\, Haywyre was created. Now\, his mission can be defined by providing his listeners with music that presents variety\, originality\, and ideas stemming from his jazz and classical knowledge base. The most general description to Martin’s sound can be described as memorable melodies and (jazz / classically influenced) chord progressions in the context of progressive electronic music. Synthetic and organic elements combine in works inspired by artists such as Noisia\, Flying Lotus\, KOAN Sound\, Hans Zimmer\, Clint Mansell\, Austin Peralta\, and Abdullah Ibrahim. His main compositional tool is the piano; countless nights are spent drafting harmonic and melodic outlines by improvising. For live performances\, Haywyre also includes his akai mpk 88 to perform the melodies while triggering the stems to the rest of the pieces. His guitar work can also be heard in many tracks (and sometimes other instruments\, such as the Duduk\, as well). So far\, he has mastered every release himself (except the Draw The Line EP). \n*** \nThe Opiuo Band \n \n[Website] [Facebook] [Twitter] \nFor New Zealand native Opiuo\, making music has been an undeniable passion that encapsulates his every moment. His incredibly original\, against the grain style is often referred to simply as “funkadelic bass music”\, a term he supports wholeheartedly. The producer who now calls Australia home first gained international recognition in 2010 with his single “Robo Booty” from his debut album “Slurp and Giggle”\, which was a finalist for Best Dance/Electro Release at the Australian Independent Music Awards that year. His music has since reached the #1 position on the iTunes\, Hype Machine\, Beatport & Addictech charts. Racking up 5 million plays on his Soundcloud page\, Opiuo swept the 2013 UK Glitch-Hop Awards with 5 wins. His latest full-length album “Meraki” was a finalist for the Best Electronica Album at the New Zealand Music Awards 2014. \nOpiuo’s unique take on electronic music has captured the attention of music lovers around the entire globe\, with sets at Coachella (USA)\, Glastonbury (UK)\, Shambhala (Canada)\, Lightning In A Bottle (USA)\, Boomtown Fair (UK) as well as headlining tours across Australia\, New Zealand\, N. America\, Europe\, Asia\, Israel and India. He’s shared the stage with some of music’s elite including Bassnectar\, Moby\, Pete Tong\, Bonobo\, & The Glitch Mob to name a few. Whether he’s equipped with his solo setup of various drum machines and synths\, or performing 100% live as The Opiuo Band\, his explosive live shows never disappoint. \nAs a remixer Opiuo’s credits span far & wide\, from Gwen Stefani to Kimbra\, Pretty Lights to Infected Mushroom\, KOAN Sound to Shapeshifter and many more. With such a grand scope its no wonder Opiuo’s musical meanderings are heard the world over. \n*** \nFreddy Todd \n \n[Website] [Facebook] [Twitter] \nWords will inevitably fail to properly describe Freddy Todd. Genre-busting could be an understatement. You can’t pin him down with lexicon like lazer-bass and glitch-funk; these phrases fall way short of capturing the expressiveness\, fearlessness\, and space-traveling qualities of his music. Hearing his music is akin to being abducted by an extra-terrestrial cruise liner where everyone is tripping on space acid. And if you are lucky enough to witness him produce\, you’ll see that he fittingly looks just like the captain of said space cruiser\, both hands intently gripping his electronics like the instrument panel on the flight deck. \nLet’s bring this back to earth real quick. His motown\, soul\, blues\, jazz\, funk\, hiphop (and techno for that matter) roots are a given\, being born just outside of Detroit in Southfield\, MI in 1990. Freddy moved out of his parents house immediately upon turning 18 lusting for the world and the creative juices it has to offer\, living briefly in Ferndale\, MI at first\, then to the outskirts of a rougher part of the city of Detroit near 7 mile and Lahser for two years to live with his then-band “Tone Poets”\, producing for Scrummage hip-hop queen “Breezee One”\, and wrapping up his second full length studio LP on Simplify Recordings\, followed by a year in Chicago. After living in the midwest until the age of 22\, his sights were set on the golden west. Moving cross-country and living two years in the Bay Area\, living in both the hood of West Oakland followed by the Oakland Hills while writing and releasing the “Golden Tremendous” album and starting his next EP. After soaking up the Cali vibes\, he returned across country for some more wholesome less-congested living in the blue ridge smokey mountains of Asheville\, NC to be closer to family\, where he currently resides. \nFreddy Todd is truly a master of his craft not only in the studio but on stages across the globe. Without any pre-recorded sets\, Freddy has the skills and the audacity to perform on the fly mixes of 100% original material tailored to his specific audience\, mood\, and venue each night\, be it a theater in northern California\, a club in the back alleys of Detroit\, or an outdoor festival in the bush off the eastern coast of Australia (occasionally on special nights with his live drummer forming the FT Live Band/Duo). His earth shattering\, meticulously programmed beats & rhythms\, his lazer crunk\, funky psychedelic bass & sound design\, and his brain tingling\, intelligently soul-soaked synths\, melodies\, & field-recorded samples are sure to shake your consciousness as they blast through airwaves out of top notch sound systems across the universe while Freddy serenades you with 100% live & improvised get-your-booty-on-the-floor analog Moog synthesizers & keytar\, loop triggering\, and occasional drums & percussive elements. Be careful where you don’t look.
URL:https://royaleboston.com/event/haywyre-the-opiuo-band/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20170310T210000
DTEND;TZID=America/New_York:20170310T210000
DTSTAMP:20260406T214805
CREATED:20170306T194438Z
LAST-MODIFIED:20170306T194438Z
UID:10001763-1489179600-1489179600@royaleboston.com
SUMMARY:Acer Predator Gaming Lounge @ PAX East
DESCRIPTION:21+ \nVIP 617-733-0505
URL:https://royaleboston.com/event/acer-predator-gaming-lounge-pax-east/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub,Special Events
GEO:42.3499959;-71.0656288
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170309T210000
DTEND;TZID=America/New_York:20170309T210000
DTSTAMP:20260406T214805
CREATED:20170301T163125Z
LAST-MODIFIED:20170301T163125Z
UID:10002478-1489093200-1489093200@royaleboston.com
SUMMARY:Monstercat AFK PAX East Pre-party presented by MCProHosting
DESCRIPTION:Monstercat is coming to Boston during the highly anticipated PAX East Convention with a MASSIVE Pre-Party on Thursday\, March 9th at Royale presented by our friends MCProHosting! \nAs a part of Monstercat’s AFK (Away From Keyboard) event series\, internationally touring artists Drezo\, Unlike Pluto\, Robotaki as well as a very special guest are coming to throw down a high octane show giving fans a chance to get their adrenaline pumping along side some of electronic music’s most sought after names! \n? Monstercat AFK is ready to take PAX East by storm\, so unplug with Monstercat and turn up! #AreYouAFK\n? 15% off General Admission tickets for PAX East Badge holders* with discount code AreYouAFK15 \n? ? MONSTERCAT ARTISTS ? ?\nFor any electronic music fan\, it’s no secret just how jampacked this lineup is. With Robotaki fresh off a North American tour with Madeon & Porter Robinson; Unlike Pluto heralded by critics like Billboard and Dancing Astronaut as a breakout artist to watch for 2017; and Drezo being one of the most recognized and respected names in bass music – this party is top-tier hype from beginning to end. And the big names don’t stop there – a secret guest announcement is coming soon! ? \n—– \n? March 9th 2017\n⏰ 9pm-2am\n? Location: Royale Boston\n? 21+ Event\n? Complimentary Coat Check\n? Limited edition T-shirts for the first 100 Guests\n? Giveaways\n? No Badge required for ticket purchase\n❗️Dress Code: Open\, no weapons (real or fake) \nEarly Bird Tickets: $20\nGeneral Admission: $25
URL:https://royaleboston.com/event/monstercat-afk-pax-east-pre-party-presented-mcprohosting/
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:20170305T150000
DTEND;TZID=America/New_York:20170305T190000
DTSTAMP:20260406T214805
CREATED:20161228T164104Z
LAST-MODIFIED:20161228T164104Z
UID:10001741-1488726000-1488740400@royaleboston.com
SUMMARY:Speed Rack Challenge - Season 5
DESCRIPTION:Serious stirring and shaking is about to happen\, thanks to the return of Speed Rack\, the all-female speed-bartending competition that raises money for breast cancer. Come celebrate the ladies of New England in the epic battle for the title of Miss Speed Rack New England on Sunday\, March 5th as these tough bartenders competing in this roller derby of cocktail competitions. 100% Proceeds go to Breast Cancer Research and Education.
URL:https://royaleboston.com/event/speed-rack-challenge-season-5/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Special Events
GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170304T220000
DTEND;TZID=America/New_York:20170304T220000
DTSTAMP:20260406T214805
CREATED:20170224T165618Z
LAST-MODIFIED:20170224T165618Z
UID:10002474-1488664800-1488664800@royaleboston.com
SUMMARY:Royale Saturday's w/ Buck Rogers
DESCRIPTION:21+ \nVIP 617-733-0505
URL:https://royaleboston.com/event/royale-saturdays-w-buck-rogers/
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:20170303T220000
DTEND;TZID=America/New_York:20170303T220000
DTSTAMP:20260406T214805
CREATED:20170208T170730Z
LAST-MODIFIED:20170208T170730Z
UID:10002465-1488578400-1488578400@royaleboston.com
SUMMARY:Sofa King Friday w/ Borgeous
DESCRIPTION:21+ \n617-733-0505
URL:https://royaleboston.com/event/sofa-king-friday-w-borgeous/
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:20170225T220000
DTEND;TZID=America/New_York:20170225T220000
DTSTAMP:20260406T214805
CREATED:20170207T180158Z
LAST-MODIFIED:20170207T180158Z
UID:10001759-1488060000-1488060000@royaleboston.com
SUMMARY:Royale Saturday w/ Liz Ladoux & Kelly Ross
DESCRIPTION:21+ \nVIP: 617-733-0505
URL:https://royaleboston.com/event/royale-saturday-w-liz-ladoux-kelly-ross/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170225T180000
DTEND;TZID=America/New_York:20170225T213000
DTSTAMP:20260406T214805
CREATED:20170126T000603Z
LAST-MODIFIED:20170126T000603Z
UID:10001746-1488045600-1488058200@royaleboston.com
SUMMARY:SOLD OUT - Kehlani
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \nSOLD OUT \n*** \n \n*** \nKehlani \n \n[Website] [Facebook] [Twitter] \nKehlani tells it like it is. Whether in conversation or on stage\, the Oakland-born R&B singer and songwriter gives the straight truth about her life\, pain\, passion\, love\, triumph\, and everything in between with collected calm and confidence. It’s that type of honesty that makes her music resonate with the depth of classic Motown and a vividly confessional lyricism reminiscent of Neo Soul. At the same time\, her 2015 mixtape\, You Should Be Here\, tells a story that distinctly belongs to her. \nIt all starts on the East Bay… \nBorn a unique blend of ethnicities including African American\, Caucasian\, Native American\, Spanish\, and Filipino Native American Kehlani will casually tell you “You’re lucky if you make it out of Oakland.” However\, in her case\, talent usurped luck. Months after her birth\, Kehlani lost her father\, never properly meeting him. Mired in drug addiction\, her mom shuffled her to an aunt. She initially found solace in dance—ballet in particular—but a knee injury sidelined her what might’ve been a budding career as ballerina. \n“That’s when I started singing\,” she recalls. “When I was living with my aunt\, she played me all of these powerful women and love songs. It was that Neo Soul-R&B\, and I couldn’t get enough of it. It felt right to sing from the moment I began.” \nIn eighth grade\, she became a member of the group Poplyfe produced by D’wayne Wiggins of Tony! Toni! Toné! fame. With Kehlani front and center\, Poplyfe ended up becoming a finalist on America’s Got Talent—even performing with her idol Stevie Wonder during the final round. They didn’t win the competition\, but she made an invaluable ally in Nick Cannon. A few industry pitfalls and detours derailed her musical momentum for six months until she decided to pick up the mic again. Without a home\, she moved from couch to couch until Cannon got back in touch wanting to help however he could. Kehlani wanted one thing: studio time. \nKehlani’s 2014 mixtape\, Cloud 19\, introduced her to the world. Immediately\, tastemakers and audiences alike wholeheartedly embraced her. Complex showcased the songstress in a piece entitled “How R&B Saved 2014\,” Pitchfork dubbed the mixtape one of the “Overlooked mixtapes of 2014\,” Vice proclaimed her an “R&B Artist on the Verge of Blowing Up\,” BuzzFeed pegged her at #4 on their “41 SXSW 2015 Artists You Need In Your Life\,” and she ended up being one of SXSW’s “Top 5 Most Tweeted Artists.” \nIn late April she shared You Should Be Here with the world\, which earned Kehlani her very first GRAMMY nomination at the 58th GRAMMY Awards for “Best Urban Contemporary Album.” Upon its release Billboard immediately called this project “The year’s first great R&B album”. Amongst their great review\, You Should Be Here has seen quite a bit of success on the charts. Aside from being the top R&B debut of the week\, it also came in at #1 on the iTunes R&B/Soul chart and #2 on both the Overall R&B Albums and Current R&B Albums chart. \nSigning to Atlantic Records in early 2015 and releasing You Should Be Here\, Kehlani possesses the power to make an impact because she’s so unwaveringly honest.\n“I am one-hundred percent music\,” she’ll assure.\nThat’s because it’s the truth. \n*** \nElla Mai \n \n[Website] [Facebook] [Twitter] \nLondon\, United Kingdom \n*** \nJahkoy \n \n[Website] [Facebook] [Twitter] \nLike all the most exciting new talents\, 21-year-old Toronto-born JAHKOY seemed to appear from nowhere. Shared speculatively on his Soundcloud last June\, the shimmering funk of debut single Still In Love – the first song he recorded after he moved to LA alone aged 20 – now sits at over one million plays on all platforms. Same with the skipping electro-throb of follow-up Hold Your Hand\, the string of those songs presenting a new artist in absolute control of his craft while already looking to manipulate it into new and exciting shapes. Both songs have received plays and shout outs on Beats 1\, most notably from Zane Lowe\, Drake and JAHKOY’s childhood hero\, Pharrell. In fact\, it’s telling that from a young age JAHKOY was drawn to a constant shape-shifter and experimentalist like Pharrell. “I loved the fact he was in his own lane\,” he explains. “There was stuff that was going on but he was creating new stuff. He didn’t fit in and he stepped over the boundaries of music and made what he has today.” A brief pause. “It’s something I want to do with my music.” \nBefore he could pinpoint his own musical inspirations\, there was a childhood household bustling with early influences\, mainly covering 90s R&B and hip-hop. “A lot of New Edition\, Total\, Notorious BIG\, Lil Kim\,” he says with a smile. While school didn’t offer him a musical education as such\, there were mandatory violin lessons to train his ear. “Because it’s the only instrument I know how to play I feel like it’s pretty easy\,” he shrugs. By the age of 11 music had started to go from something he listened to to something he created\, and buoyed by the expanding Toronto music scene he started (secretly) writing early lyrics in the form of poetry. Steadily these turned into raps\, which in turn became his debut releases under the name Raheem. “At the time I was doing music everyone was rapping\,” he says. “It started becoming more of a common thing and then it was too common. I put out three projects before changing my name.” While proud of the critically acclaimed mix-tapes\, he’s also aware that they were a stepping stone: “That was more my learning process to get to where I am now.” \nJAHKOY\, the artist\, was inspired by a perfect storm of circumstances\, mainly built around UK dance duo Disclosure and\, well\, good old-fashioned love. “Disclosure came to Toronto in 2014 and I had just dropped a project as Raheem that same day\,” he explains. “I went to the Disclosure show\, but I was going to see Vic Mensa\, who opened for them. So he killed it and then the headliners came on and they completely ripped it. I had no idea what kind of music they made or anything but their name. I was blown away by it. More because it was instrumental so I figured it would be dope if somebody sang or rapped over those kind of beats. So I started doing just that and then it turned into singing.” His passion for singing was also bolstered by falling in love\, the title of his forthcoming debut album\, Temptations\, inspired by his first date. \nIn amongst the musical re-awakenings and the young love\, JAHKOY also knew he needed to leave Canada to make his dreams a reality. “I left Toronto for Atlanta\,” he says. “I just needed to get out of Canada. So I spent some time there\, but eventually felt like there wasn’t what I needed in Atlanta. I needed to explore what was out there and so I went to LA and I grinded it out.” In fact\, he didn’t tell anyone he was going to LA\, just packed up his stuff and left.. While a move to LA sounds glitzy on paper\, in reality it was a leap into the unknown. “When I got to LA there was just one person I knew. I’d met him online. He was actually a fan of my early music\, so I knew he was really down to support the movement\,” he explains. “So I was staying on his couch for a while and getting a chance to meet people. The internet is a big world and there were some people who I knew were in LA that I hadn’t met before\, but I was willing to because I was there. So I linked up with a few people and I worked in a few studios and it went from there.” It was during those early sessions that he created Still In Love\, a song that re-shaped his journey.Steadily his name started to reach other producers\, most notably the likes of No ID\, Pop & Oak\, James Fauntleroy and DJ Dahi\, with a deal eventually signed with Def Jam. \nOften the inspirations behind JAHKOY’s songs are used purely as the foundation to careen off into glorious new areas. So Hold Your Hand was inspired by The Beatles’ I Want To Hold Your Hand\, this sense of carefree early love morphing into a day-glow mix of filtered guitars\, shuffling beats and JAHKOY’s airy delivery. \nAsked where he’d like to be in five years’ time\, JAHKOY says it’s something he’s been thinking about a lot recently. Rather than emulate a specific career\, he’s focused on making his music meaningful to as many people as possible. Once again\, there’s this sense of following your own path and doing what you need to do in the best way you can\, regardless of what else is happening around you. “I want to be influential to the music world\,” he states\, and you believe him. “That’s really it. I want to be able to bring that light to music. \n*** \nNoodles \n \n[Website] [Facebook] [Twitter] \nA name to know and an artist to watch in Electronic music\, Noodles continues to shine as a rising star in the DJ/Producer ranks and has taken his fans on quite a wild and exciting ride this past year. Noodles is well known as the go-to remixer for some of the biggest names in music and 2015 allowed him to further expand his library of collaborations while working on official projects for artists spanning the gamete of the industry\, from David Guetta to Pitbull. His work was also featured in the widely successful 2015 blockbuster motion picture “Furious 7” and can also be found on the official movie soundtrack. \nAside from working on his original releases as well as remixing for the biggest acts in music\, Noodles has continued to grow his radio audience reach to impressive lengths. He can be heard by over 2.5 million listeners per week through his massive radio network which includes mixes every weekend on Miami’s #1 station HITS 97.3\, his internationally syndicated show “The Radio Remix”\, his signature “Noodle’s Nation” show on DASH radio\, as well as weekly appearances on SiriusXM. Turn on a radio just about anywhere and you are sure to hear a mix or remix that Noodles is responsible for. \nNoodles brings the show during his high energy live performances! His sound can be described as a genre mashing experience rooted in big room electronic music with hip-hop\, trap and reggae influences\, which is the perfect combination to get any crowd moving. \nRemix King\, Super Producer\, and Radio Ruler- Noodles is a name to know and a star to watch in 2016.
URL:https://royaleboston.com/event/kehlani-second-show-added/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20170224T220000
DTEND;TZID=America/New_York:20170224T220000
DTSTAMP:20260406T214805
CREATED:20161202T181443Z
LAST-MODIFIED:20161202T181443Z
UID:10002450-1487973600-1487973600@royaleboston.com
SUMMARY:Sofa King Friday W&W
DESCRIPTION:21+ \nVIP: 617-733-0505
URL:https://royaleboston.com/event/sofa-king-friday-ww/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Nightclub
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DTSTART;TZID=America/New_York:20170224T180000
DTEND;TZID=America/New_York:20170224T180000
DTSTAMP:20260406T214805
CREATED:20161207T150000Z
LAST-MODIFIED:20161207T150000Z
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SUMMARY:SOLD OUT - JAM’N 94.5 presents Kehlani
DESCRIPTION:JAM’N 94.5 presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \nTHIS SHOW IS SOLD OUT! \nA second show has been added on 2/25 due to overwhelming demand! Tickets for the 2/25 show available HERE. \n*** \n \n*** \nKehlani \n \n[Website] [Facebook] [Twitter] \nKehlani tells it like it is. Whether in conversation or on stage\, the Oakland-born R&B singer and songwriter gives the straight truth about her life\, pain\, passion\, love\, triumph\, and everything in between with collected calm and confidence. It’s that type of honesty that makes her music resonate with the depth of classic Motown and a vividly confessional lyricism reminiscent of Neo Soul. At the same time\, her 2015 mixtape\, You Should Be Here\, tells a story that distinctly belongs to her. \nIt all starts on the East Bay… \nBorn a unique blend of ethnicities including African American\, Caucasian\, Native American\, Spanish\, and Filipino Native American Kehlani will casually tell you “You’re lucky if you make it out of Oakland.” However\, in her case\, talent usurped luck. Months after her birth\, Kehlani lost her father\, never properly meeting him. Mired in drug addiction\, her mom shuffled her to an aunt. She initially found solace in dance—ballet in particular—but a knee injury sidelined her what might’ve been a budding career as ballerina. \n“That’s when I started singing\,” she recalls. “When I was living with my aunt\, she played me all of these powerful women and love songs. It was that Neo Soul-R&B\, and I couldn’t get enough of it. It felt right to sing from the moment I began.” \nIn eighth grade\, she became a member of the group Poplyfe produced by D’wayne Wiggins of Tony! Toni! Toné! fame. With Kehlani front and center\, Poplyfe ended up becoming a finalist on America’s Got Talent—even performing with her idol Stevie Wonder during the final round. They didn’t win the competition\, but she made an invaluable ally in Nick Cannon. A few industry pitfalls and detours derailed her musical momentum for six months until she decided to pick up the mic again. Without a home\, she moved from couch to couch until Cannon got back in touch wanting to help however he could. Kehlani wanted one thing: studio time. \nKehlani’s 2014 mixtape\, Cloud 19\, introduced her to the world. Immediately\, tastemakers and audiences alike wholeheartedly embraced her. Complex showcased the songstress in a piece entitled “How R&B Saved 2014\,” Pitchfork dubbed the mixtape one of the “Overlooked mixtapes of 2014\,” Vice proclaimed her an “R&B Artist on the Verge of Blowing Up\,” BuzzFeed pegged her at #4 on their “41 SXSW 2015 Artists You Need In Your Life\,” and she ended up being one of SXSW’s “Top 5 Most Tweeted Artists.” \nIn late April she shared You Should Be Here with the world\, which earned Kehlani her very first GRAMMY nomination at the 58th GRAMMY Awards for “Best Urban Contemporary Album.” Upon its release Billboard immediately called this project “The year’s first great R&B album”. Amongst their great review\, You Should Be Here has seen quite a bit of success on the charts. Aside from being the top R&B debut of the week\, it also came in at #1 on the iTunes R&B/Soul chart and #2 on both the Overall R&B Albums and Current R&B Albums chart. \nSigning to Atlantic Records in early 2015 and releasing You Should Be Here\, Kehlani possesses the power to make an impact because she’s so unwaveringly honest.\n“I am one-hundred percent music\,” she’ll assure.\nThat’s because it’s the truth. \n*** \nElla Mai \n \n[Website] [Facebook] [Twitter] \nLondon\, United Kingdom \n*** \nJahkoy \n \n[Website] [Facebook] [Twitter] \nLike all the most exciting new talents\, 21-year-old Toronto-born JAHKOY seemed to appear from nowhere. Shared speculatively on his Soundcloud last June\, the shimmering funk of debut single Still In Love – the first song he recorded after he moved to LA alone aged 20 – now sits at over one million plays on all platforms. Same with the skipping electro-throb of follow-up Hold Your Hand\, the string of those songs presenting a new artist in absolute control of his craft while already looking to manipulate it into new and exciting shapes. Both songs have received plays and shout outs on Beats 1\, most notably from Zane Lowe\, Drake and JAHKOY’s childhood hero\, Pharrell. In fact\, it’s telling that from a young age JAHKOY was drawn to a constant shape-shifter and experimentalist like Pharrell. “I loved the fact he was in his own lane\,” he explains. “There was stuff that was going on but he was creating new stuff. He didn’t fit in and he stepped over the boundaries of music and made what he has today.” A brief pause. “It’s something I want to do with my music.” \nBefore he could pinpoint his own musical inspirations\, there was a childhood household bustling with early influences\, mainly covering 90s R&B and hip-hop. “A lot of New Edition\, Total\, Notorious BIG\, Lil Kim\,” he says with a smile. While school didn’t offer him a musical education as such\, there were mandatory violin lessons to train his ear. “Because it’s the only instrument I know how to play I feel like it’s pretty easy\,” he shrugs. By the age of 11 music had started to go from something he listened to to something he created\, and buoyed by the expanding Toronto music scene he started (secretly) writing early lyrics in the form of poetry. Steadily these turned into raps\, which in turn became his debut releases under the name Raheem. “At the time I was doing music everyone was rapping\,” he says. “It started becoming more of a common thing and then it was too common. I put out three projects before changing my name.” While proud of the critically acclaimed mix-tapes\, he’s also aware that they were a stepping stone: “That was more my learning process to get to where I am now.” \nJAHKOY\, the artist\, was inspired by a perfect storm of circumstances\, mainly built around UK dance duo Disclosure and\, well\, good old-fashioned love. “Disclosure came to Toronto in 2014 and I had just dropped a project as Raheem that same day\,” he explains. “I went to the Disclosure show\, but I was going to see Vic Mensa\, who opened for them. So he killed it and then the headliners came on and they completely ripped it. I had no idea what kind of music they made or anything but their name. I was blown away by it. More because it was instrumental so I figured it would be dope if somebody sang or rapped over those kind of beats. So I started doing just that and then it turned into singing.” His passion for singing was also bolstered by falling in love\, the title of his forthcoming debut album\, Temptations\, inspired by his first date. \nIn amongst the musical re-awakenings and the young love\, JAHKOY also knew he needed to leave Canada to make his dreams a reality. “I left Toronto for Atlanta\,” he says. “I just needed to get out of Canada. So I spent some time there\, but eventually felt like there wasn’t what I needed in Atlanta. I needed to explore what was out there and so I went to LA and I grinded it out.” In fact\, he didn’t tell anyone he was going to LA\, just packed up his stuff and left.. While a move to LA sounds glitzy on paper\, in reality it was a leap into the unknown. “When I got to LA there was just one person I knew. I’d met him online. He was actually a fan of my early music\, so I knew he was really down to support the movement\,” he explains. “So I was staying on his couch for a while and getting a chance to meet people. The internet is a big world and there were some people who I knew were in LA that I hadn’t met before\, but I was willing to because I was there. So I linked up with a few people and I worked in a few studios and it went from there.” It was during those early sessions that he created Still In Love\, a song that re-shaped his journey.Steadily his name started to reach other producers\, most notably the likes of No ID\, Pop & Oak\, James Fauntleroy and DJ Dahi\, with a deal eventually signed with Def Jam. \nOften the inspirations behind JAHKOY’s songs are used purely as the foundation to careen off into glorious new areas. So Hold Your Hand was inspired by The Beatles’ I Want To Hold Your Hand\, this sense of carefree early love morphing into a day-glow mix of filtered guitars\, shuffling beats and JAHKOY’s airy delivery. \nAsked where he’d like to be in five years’ time\, JAHKOY says it’s something he’s been thinking about a lot recently. Rather than emulate a specific career\, he’s focused on making his music meaningful to as many people as possible. Once again\, there’s this sense of following your own path and doing what you need to do in the best way you can\, regardless of what else is happening around you. “I want to be influential to the music world\,” he states\, and you believe him. “That’s really it. I want to be able to bring that light to music. \n*** \nNoodles \n \n[Website] [Facebook] [Twitter] \nA name to know and an artist to watch in Electronic music\, Noodles continues to shine as a rising star in the DJ/Producer ranks and has taken his fans on quite a wild and exciting ride this past year. Noodles is well known as the go-to remixer for some of the biggest names in music and 2015 allowed him to further expand his library of collaborations while working on official projects for artists spanning the gamete of the industry\, from David Guetta to Pitbull. His work was also featured in the widely successful 2015 blockbuster motion picture “Furious 7” and can also be found on the official movie soundtrack. \nAside from working on his original releases as well as remixing for the biggest acts in music\, Noodles has continued to grow his radio audience reach to impressive lengths. He can be heard by over 2.5 million listeners per week through his massive radio network which includes mixes every weekend on Miami’s #1 station HITS 97.3\, his internationally syndicated show “The Radio Remix”\, his signature “Noodle’s Nation” show on DASH radio\, as well as weekly appearances on SiriusXM. Turn on a radio just about anywhere and you are sure to hear a mix or remix that Noodles is responsible for. \nNoodles brings the show during his high energy live performances! His sound can be described as a genre mashing experience rooted in big room electronic music with hip-hop\, trap and reggae influences\, which is the perfect combination to get any crowd moving. \nRemix King\, Super Producer\, and Radio Ruler- Noodles is a name to know and a star to watch in 2016.
URL:https://royaleboston.com/event/kehlani/
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:20170220T190000
DTEND;TZID=America/New_York:20170220T190000
DTSTAMP:20260406T214805
CREATED:20161107T190742Z
LAST-MODIFIED:20161107T190742Z
UID:10002439-1487617200-1487617200@royaleboston.com
SUMMARY:SOLD OUT - Japandroids
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.\nSOLD OUT \n*** \nJapandroids \n \n[Website] [Facebook] [Twitter] \nAfter playing the last of their 200 shows in more than 40 countries in support of their critically acclaimed 2012 album Celebration Rock\, Japandroids took a much needed break to rest and recover after their last show in November of 2013. The band would not play again for three years. This month\, they made their triumphant return to the stage\, playing intimate shows in Vancouver\, LA\, Toronto\, London and NYC\, in which they treated fans to their favorites from Celebration Rock and Post-Nothing\, and previewed a handful of new\, unreleased songs. And today\, the band has announced their much anticipated third album\, Near To The Wild Heart Of Life\, out worldwide on Anti- this January 27\, 2017.\nNear To The Wild Heart Of Life\, was written clandestinely throughout 2014 and 2015 in Vancouver\, Toronto\, New Orleans\, and Mexico City. It was (mostly) recorded by Jesse Gander (who had previously recorded both Post-Nothing and Celebration Rock) at Rain City Recorders in Vancouver\, BC (September-November\, 2015). One song\, True Love And A Free Life Of Free Will\, was recorded by Damian Taylor during an exploratory recording session at Golden Ratio in Montreal\, QC (February\, 2015). The album was mixed by Peter Katis at Tarquin Studios in Bridgeport\, CT (May\, 2016) and mastered by Greg Calbi at Sterling Sound in New York\, NY (July\, 2016). \nLike Post-Nothing and Celebration Rock\, the album is 8 songs. This is because 8 songs is the standard template for a great rock n roll album: Raw Power by The Stooges\, Born To Run by Bruce Springsteen\, Marquee Moon by Television\, IV by Led Zeppelin\, Horses by Patti Smith\, Paranoid by Black Sabbath\, Remain In Light by Talking Heads\, Master Of Puppets by Metallica\, etc. \nLike Post-Nothing and Celebration Rock\, the album was sequenced specifically for the LP. On Near To The Wild Heart Of Life\, side A (songs 1-4) and side B (songs 5-7) each follow their own loose narrative. Taken together as one\, they form an even looser narrative\, with the final song on side B (song 8) acting as an epilogue. \n*** \nCraig Finn & the Uptown Controllers \n \n[Website] [Facebook] [Twitter] \nPerhaps best known as the singer of the Hold Steady\, Craig Finn is a Minnesota-bred singer\, songwriter\, and guitarist based out of New York City. Combining literary influences like Jack Kerouac and John Berryman with the musical influences of Bruce Springsteen and fellow Minnesotan Paul Westerberg\, Finn’s highly descriptive lyrical style has a focus on narrative\, crafting whole worlds for the people in his songs to exist within. In 1994\, the singer put this style to work with the indie rock band Lifter Puller\, refining his craft over the course of their three albums before the band called it quits in 2000. After the band dissolved\, Finn relocated from the Twin Cities to New York\, where he would collaborate with producer Mr. Projectile on the short-lived project the Brokerdealer in 2001 before eventually reuniting with Lifter Puller bassist Tad Kubler to form the Hold Steady in 2004. While the band’s whiskey-fueled bar rock sound was a departure from the angular\, synth-filled sounds of Lifter Puller\, Finn’s lyrically dense storytelling style remained intact\, making the Hold Steady the thinking man’s bar band. After five albums with the band\, the singer and songwriter tried his hand at a solo album during some downtime from his main project\, and in 2012 released Clear Heart Full Eyes through Vagrant Records. In 2015\, Finn dropped his second solo album; Faith in the Future\, released by Partisan Records\, was drawn from a set of songs inspired by themes of loss and survival that Finn wrote in the wake of his mother’s death. ~ Gregory Heaney\, Rovi
URL:https://royaleboston.com/event/japandroids/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://royaleboston.com/wp-content/uploads/2016/11/Japandroids-Album-Cover-1.jpg
ORGANIZER;CN="Bowery Boston":MAILTO:info@boweryboston.com
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END:VEVENT
END:VCALENDAR