Beats Antique
2019-04-04 20:00 (America/New_York) | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Presented by Bowery Boston
Doors: 8:00 pm / Show: 9:00 pm
Tickets on sale Fri 12/7 at noon!
Tickets available at AXS.COM, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM.
Please note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches, backpacks, professional cameras, video equipment, large bags, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry.
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Beats Antique

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It’s impossible to describe Beats Antique using just a single genre. One listen to their forthcoming album, Shadowbox (released on their own Beats Antique Records imprint), and their unique hybrid of sound makes perfect sense; their ability to blend so many different kinds of music in to an incredibly vibrant, distinctive and peerless album is what this band has been doing for the past ten years.
Based in Oakland, California, Sidecar Tommy, David Satori and Zoe Jakes make up Beats Antique, who released their 10th album on October 5th 2016 to commemorate their tenth year as a band. They’ve mounted a larger-than-life cross-country tour that will take their vision to theaters across America. “Shadowbox is both the title of our new album, the theme of our tour, and our new store front in Berkeley CA. We decided to bring it all together on this release.“
Mostly recorded at their studio in Oakland (which has been around since the 50s), the Bay Area band also recorded in Russia and Israel. “We were lucky to record in both Moscow and Tel Aviv, because we had shows there and wanted to connect with the local artists. We had amazing sessions in both locations; In Moscow we recorded on the outskirts of the city in a wild Industrial complex. We ended up going through strange corridors into this plush bamboo-floored-Hare-Krishna-owned recording studio with state of the art gear. When we were in Tel Aviv, we gave a call to a local legend Yossi Fine and he helped us get time at Pluto Studios, which is one of the best in the city. We recorded with Talya Solan and her amazing group of musicians. We used elements of the Tel Aviv session to create our track “Bdna Salam,” which is raising money for Syrian refugees.” Along with Talya other features on Shadowbox include Lafa Taylor, Alam Khan, Tatiana Kalmykova, brasshouse trio Too Many Zooz (who are touring with Beats Antique), Preservation Hall Jazz Band, Dana Elle, Madoline Tasquin and Medium Troy Orchestra.
Shadowbox is a retrospective of sorts, with Beats Antique pulling from all of their previous work as almost a homage to the first ten years of their career. “This will be our first full album produced in Beats Antique’s recording studio/dance performance space. We feel like Shadowbox touches on all our styles from down-temp Middle Eastern influences to cinematic orchestral arrangements. The songwriting process is also different for every song. Sometimes David will come in with a melody and Sidecar will add the bass and beats, and vise versa. One thing that always makes the songwriting process unique is that Zoe creates and arranges music based around stories she wants to tell though dance, so sometimes the performance aspect influences the creation of the music.”
In June, the group premiered the first single, “Killer Bee,” featuring Lafa Taylor, on Billboard.com. The track is “about standing up to prejudices. Just because someone calls you a killer bee, doesn’t mean you need to kill. We want people to define themselves and not be defined by what people think they should be.” In addition to being a ‘killer’ track, with a compelling music video directed by Kyrian Bobeerian, Beats Antique donated a percentage of the proceeds from their July 1st show at Red Rocks Amphitheatre to The Honeybee Conservancy, a non-profit dedicated to raising awareness about the importance of bees.
An enthusiastic touring band, a new album also means a new tour, and since Beats Antique is all about the ‘concept,’ Shadowbox (the album and the idea) is another opportunity for them to get the creative juices flowing for the live shows. The band plan to use shadows, light, Indonesian shadow puppetry, custom-created lanterns, dance, story telling, crowd participation and more to make sure this is an unforgettable visual spectacle for their audience.
Shadowbox, an album that is an amalgamation of the history of Beats Antique, merged with a tour that will both tease and excite the senses, shows off what this band does best – transform, innovate and revolutionize what you think you know about music.
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Axel Thesleff

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Axel Thesleff is an electronic musician and producer based in Helsinki, Finland. His style is very diverse, ranging from bass-heavy bangers to more relaxed and deep tracks, never forgetting about the emotion and story behind each piece of music. His tunes will make subwoofers purr, but also deliver an emotional impact which resonates with your soul.
Axel’s popularity has been paced up by his 2014 release, Bad Karma. Which has been streamed more than 300 million times on Youtube and millions more on Spotify and Soundcloud. Also, his other releases have been noticed by BBC Asian Network, Kiss Fm Romania, Ylex Finland and lots of other radio channels around the world. Several club gigs, festival performances, and interesting collaborations are just a beginning of this skilled, but humble musicians career.

Getter **CANCELED SEE DETAILS**
2019-04-05 22:00 | MA
Call or text 617.733.0505 for VIP table reservations.
21+
Dear Fans – Due to circumstances beyond control, Getter’s performance at Royale in Boston on April 4, 2019 has been cancelled. Please send him ❤️ and remind him that Boston, Massachusetts is here for him.
Tickets will be refunded, in entirety, at point of purchase. Please allow 3-5 business days for the funds to post to your account. For any additional questions, please email tickets@discodonniepresents.com.
Friday’s show at Royale is now free before 11pm with RSVP on RoyaleBoston.com. Uncle Bob will crush a rocking dubstep set.
FREE BEFORE 11PM RSVP/Tickets here.

Uncle Bob
2019-04-05 22:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
FREE ENTRY BEFORE 11PM WITH RSVP
Call or text 617.733.0505 for VIP table reservations.
21+

[SOLD OUT] Japanese Breakfast
2019-04-06 18:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Presented by Bowery Boston
Doors: 6:00 pm / Show: 6:45 pm
This show is SOLD OUT! Due to overwhelming demand, a second show was added on April 1. Tickets are available for that show here.
Tickets available at AXS.COM, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM.
Please note: This show is open to all ages. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches, backpacks, professional cameras, video equipment, large bags, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry.
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Japanese Breakfast

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“The title Soft Sounds From Another Planet alludes to the promise of something that may or may not be there. Like a hope in something more. The songs are about human resilience and the strength it takes to claw out of the darkest of spaces.”
Michelle Zauner wrote the debut Japanese Breakfast album in the weeks after her mother died of cancer, thinking she would quit music entirely once it was done. That wasn’t the case. When Psychopomp was released to acclaim in 2016, she was forced to confront her grief. Zauner would find find herself reliving traumatic memories multiple times a day during interviews, trying to remain composed while discussing the most painful experience of her life. Her sophomore album, Soft Sounds From Another Planet, is a transmutation of mourning, a reflection that turns back on the cosmos in search of healing.
“I want to be a woman of regimen,” Zauner sings over a burbling synth on the album’s opening track “Diving Woman.” This serves as Zauner’s mission statement: stick to the routine lest you get derailed, don’t cling to the past, don’t descend. In fact, ascend to the stars; Zauner found artistic solace removed from Earth, in outer space and science fiction. “I used the theme as a means to disassociate from trauma,” she explains. “Space used as a place of fantasy.”
And yet, Soft Sounds From Another Planet isn’t a concept album. Over the course of 12 tracks, Zauner explores an expansive thematic universe, a cohesive outpouring of unlike parts structured to create a galaxy of her own design. In the instrumental “Planetary Ambience,” synths communicate the way extraterrestrials might, and on the shapeshifting single “Machinist,” which Zauner has been performing live for over a year now, she details the sci-fi narrative of a woman falling in love with a machine. “It’s pure fiction,” she explains, “But it can map onto real relationships in a relevant way.” The track, which begins with spoken-word ambience, moves into autotune ‘80s pop bliss and ends with a sultry saxophone solo, perfectly marries the experience: there’s a perceptible humanity in mechanical, bodily events.
Within its astral production, much of Soft Sounds From Another Planet stays grounded. “Road Head” is the last chest compression in attempt to resuscitate a doomed relationship, while the penultimate track “This House” is an acoustic dirge that honors Zauner’s chosen family. The baroque pop “Boyish” has a haunting, crystalline clarity that recalls the pathos of a Roy Orbison ballad, while “Body is a Blade” embraces the dark intimacy of Zauner’s Pacific Northwest heroes Elliott Smith and Mount Eerie.
With help from co-producer Craig Hendrix (who also co-produced Little Big League’s debut) and Jorge Elbrecht, (Ariel Pink, Tamaryn) who mixed the album, Zauner recontextualizes her bedroom pop beginnings, expanding and maturing her sound. The sheer massiveness of the big room production on Soft Sounds From Another Planet introduces listeners to a new Japanese Breakfast. Zauner’s familiar, capacious voice will serve as their guide.
“Your body is a blade that moves while your brain is writhing,” she sings. “Knuckled under pain you mourn but your blood is flowing.” There’s discernible pain in the phrasing, Zauner recognizing limitation, a lack of control, but then subverting the feeling, creating her own musical language for confronting trauma. Where Psychopomp introduced the world to Japanese Breakfast, Soft Sounds dives deeper. It builds space where there is none, and suggests that in the face of tragedy, we find ways to keep on living.
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Long Beard

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Royale Saturdays: Cosmic ft. DJ Tao
2019-04-06 22:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Call or text 617.733.0505 for VIP table reservations.
21+

Charlotte Gainsbourg
2019-04-07 19:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Presented by Bowery Boston
Doors: 7:00 pm / Show: 8:00 pm
Tickets on sale Fri 2/1 at noon!
Tickets available at AXS.COM, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM.
Please note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches, backpacks, professional cameras, video equipment, large bags, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry.
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Charlotte Gainsbourg

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From the first steps to the first words, to the first kisses … Life is made of first times that lead to a series of last times, Charlotte Gainsbourg speaks about herself in her latest album Rest. Uncompromising self-portrait, acclaimed by the international press, as one of 2017 best albums (Pitchfork, The Guardian, The Independent, Les Inrockuptibles…). The album is produced by SebastiAn, from the label Ed Banger, his background in electronic music accorded with Charlotte’s desire for a sound with a disquieting, mechanistic edge.
After having been surrounded in the past by Beck’s musicians, on Coachella’s stage and around the world, and then Connan Mockasin a few years later, Charlotte Gainsbourg is back on stage.

Bailo
2019-04-12 22:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States

Royale Saturdays Naughty Bunny Bash ft. DJ Rico Suave
2019-04-13 22:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Call or text 617.733.0505 for VIP table reservations.
21+
*THIS EVENT HAS NO RELATION TO THE MUSICAL ARTIST BAD BUNNY*

Children of Bodom
2019-04-17 18:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Presented by Bowery Boston and Grayskull Booking
Doors: 6:00 pm / Show: 6:45 pm
Tickets on sale Fri 1/18 at 10am!
Tickets available at AXS.COM, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM.
Please note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches, backpacks, professional cameras, video equipment, large bags, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry.
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Children of Bodom

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Formed in Espoo, Finland in 1993 originally under the moniker Inearthed, CHILDREN OF BODOM had an extraordinary start to their career. Their ‘90s take off was so impressive that many new metal bands still look up to it today – almost all of their albums earned platinum or gold status in Finland and over the past twenty five years they‘ve become regulars on some of the world‘s biggest stages. 2019 beckons in a new era for a revitalized and bloodthirsty Hate Crew, who will present their 10th studio album Hexed on March 8th.
It’s been three years since the release of I Worship Chaos and Bodom have taken time out around touring to carefully develop this new work, which packs a hell of a punch. History tells us that having an extensive time frame to work on a project can often result in procrastination and loss of focus – but with Hexed the reverse has manifest in this 11 track, impressively stripped back melo-death, rock-n-roll-rampage.
“This road’s gonna kill me,” exhorts shredder extraordinaire Alexi Laiho on the album’s opening track ‘The Road’ – paying homage to the determined decades which the guys have spent slogging it out on the tarmac, undoubtedly one of the toughest aspects to a musician’s career. Alexi opens up on this: “…I’ve been living on the road for over 20 years, and I’m sure that every single touring musician would agree that at some point it just becomes a blur and you don’t even know what the hell’s going on. You feel like it’s going to kill you, but you keep doing it no matter what. It’s kind of a drug because you can’t stop. I can’t. I’m going to do it as long as I live—there’s no other way.”
Musically, ‘The Road’ quickly betrays the band’s increasingly sophisticated approach to melody, evoking shades of Rush in the ‘80s.
“I’ll take that as a compliment,” laughs Laiho, at that assessment. “People have said that the album is generally catchier. So, I started thinking about that, perhaps the song structures are easier to grasp on initial listen. But there’s some crazy shit in there, almost progressive or at least technical. But you are right, there are certain melodies across the album that could have come from jazz songs, although they’re completely metal with us, of course (laughs). “
Another highlight to Hexed is ‘Hecate’s Nightmare’, an almost gothic outlier on what is for all intents and purposes a traditional all-guns-blazing Children of Bodom blowout.
“That’s a lot of people’s favourite song actually”, notes Alexi, “with that creepy music box opening keyboard thing. But then it builds up and it’s a really catchy song. Just talking about the chorus itself, I mean it totally could have been an ‘80s Ozzy Osbourne song. That’s the sort of stuff I grew up with and I still listen to. And those lyrics, I’ve always been into this witchy stuff and the different goddesses of the underworld. I’d been reading about Hecate a lot and before I knew it, I just started to write a song about it. But it’s a fictional story of two people trying to ask for help from Hecate and she helps them. They keep fucking it up and then eventually she gets pissed-off and you do not want to get that chick pissed-off.”
As usual, and as can be heard in this very much hit-ready song, keyboardist Janne Wirman is a big part of the Bodom sound. Laiho agrees, “Yes, he’s played a big part of every single album, but this time this might seem even more prominent only because of the sounds that he uses. Because the funny thing is that on, let’s say, I Worship Chaos or Halo of Blood, the keyboards were there all the time, but you might not even know that they’re there because he’s doubling my guitars with some insane, super-low octave sound that doesn’t really stick out. So maybe he pops out more on this album, and I guess he has more of a main role in a lot of parts of the songs.”
Underscoring their overall vision is the hard and modern production of longtime sound-shaper Mikko Karmilla, who Laiho can’t praise enough. “He knows very well what we want and we’ve been working together forever. The way he mixes the album, he just knows exactly—exactly—what we want. And it’s a unique sound and you can hear that sound. I’m not saying that all Finnish bands sound the same, but there’s a certain vibe on the records that he’s mixed that you can hear, especially with the drums, which sound fucking bad-ass. As a person, he’s super funny but if he doesn’t like something, he’ll tell you flat-out, and not in the nicest way ever. But it’s also very funny at the same time if you know him.”
In an album packed full of killer tracks, ‘Under Grass and Clover’ – once more, a song blessed with melodies that evoke images of both ‘70s prog and ‘80s pop metal – has been picked out for extra attention by Alexi. “It’s a track that people should hear first, besides ‘The Road’” says Alexi, “before you get to the rest of the album. And like ‘The Road’ it’s also about the dangers of alcoholism; let’s just put it that way (laughs). It’s something that I have not written about in a long time.”
A curious addition to the album, says Alexi, is a twisted second go at an old Bodom song. “We re-recorded a song called ‘Knuckleduster’ that was originally on the ‘Trashed, Lost and Strungout’ EP that came out in 2004, and we all thought that it was a great song. It was kind of overlooked and we just figured that we needed to do it again – it needed to be heard again. But I had no idea what I sang on that song; like no frigging idea except for the chorus. So I had to rewrite the lyrics and I had to… well at least I tried to write ‘em so that they would sound kind of like the original did. As for the lyrics, it’s just another vent about how I don’t like somebody.”
‘Knuckleduster’ is delivered with Alexi’s typical throat-shredding vocal style, but look out for a slight variant within a gem of a track called ‘Platitudes and Barren Words’: “My voice, obviously, I’m not doing clean vocals,” muses Laiho, “and I won’t -not with this fucking band, like never – that I can promise you. But that punk rock thing in that song, even though I am adding a bit of melody, it’s still more screaming than singing. Call it punk rock, but it’s maybe more Alice Cooper meets death metal.”
A material change for the better on Hexed is the addition of axeman Daniel Freyberg (ex-Naildown and ex-Norther) to the band. “It’s been pretty awesome with him,” reflects Alexi. “I think I’m speaking for all of us that we’re very happy that he ended up joining the band. The rest of us, you know, four of us, we’ve known each other since childhood. I know it sounds like a cliché, but try fucking touring for 20 years and you’ll see that it’s like a marriage sometimes, where you end up bickering about stupid shit. But with him being there, I don’t know, that’s just faded away. It’s just more fun. Plus he’s a hard worker; he really is. He takes everything so seriously when it comes to playing guitar and learning pretty much anything, not just guitar, but just learning how to be a professional musician. He’s one of those dudes that sits there and listens and watches and absorbs everything. And that’s what I like about him, because that’s how I am too. That’s the best way to learn – just observe. And still, I’ve known Daniel for something like ten years. But the other guys, me and Jaska, the drummer, we started this band, from when we were 13 and I met him when I was ten or 11. And Henkka, the bass player, he joined the band in 1995. So he was something like 14. It’s like we grew up together.”
Hexed is a high-energy, up-tempo record seething with new life but also all of the Children of Bodom trademarks that millions of fans around the world have grown to appreciate. Their mix of melo-death meets blackened thrash with a neo-classical twist, and piercing Derek Sherinian-intense keyboards peppered with Alexi’s venomous vocal bile, is what makes a Bodom spread so engaging. And it also explains why the Hate Crew continues to wow crowds across the globe; their reputation continues to grow as a fearsome live act with incredible technical proficiency. Stronger than ever and evidently thrilled to be in such great health, Hexed is beckoning Children of Bodom into a new era of world domination.
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Swallow the Sun

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Epic death/doom metallers from the darkest corners of Finland.
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Wolfheart

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The most overworked and undervalued busy bee on the Finnish metal scene, Tuomas Saukkonen shocked everyone in 2012 with his announcement that he will bury all of his metal music projects at the same time to start anew. Before The Dawn, Black Sun Aeon, Dawn Of Solace and RoutaSielu received their coup de grâce February 23rd 2013 with one last show, in which material from all the projects was played.
After years of pouring his creative juices to projects too numerous to count, since the end of 2012 Saukkonen has focused on just one labour of love, Wolfheart – the musical entity and form of expression that finally allows him to siphon all his musical genius to just one outlet. Be the approach melodic and hopeful, acoustic and fragile, harsh black/death metal or atmospheric doom, Wolfheart has it all, in a mix like of which you haven’t heard before.
Saukkonen recorded and released the first Wolfheart album “Winterborn” entirely by himself playing all the instruments and doing all the vocals, with Mika Lammassaari (Eternal Tears Of Sorrow, Mors Subita) as his only guest, playing guitar solos. Such confidence Saukkonen showed in his new material that he self-financed the album release. This bold leap of faith was rewarded with sales placing the album to #7 on the Official Finnish Album Chart and to the Pole Position on the alternative indie chart “Rumban Lista” which tracks the sales in specialized record stores not eligible for the official chart. Yet, probably even more rewardingly for Saukkonen, “Winterborn” proved a roaring critical success scoring high ratings in reviews left and right. To cap off a great year for his project, “Winterborn” was elected the best debut album of 2013 in the annual Record Store Äx customers’ poll. Tuomas’ risk had paid off handsomely. Wolfheart deserved to be a fully operating band.
Since the spring of 2014 Wolfheart has been a real, touring band. 2014 / 2015 took the pack on the road to the national stages with Shade Empire and Finntroll, into the international stages with the first European tour with Swallow The Sun and even to Tokyo with Sonata Arctica etc. Also big european / scandinavian festivals were targeted and the climax of the 2015 was the 2nd album “Shadow World” which continued the path of critical praises and placed #7 on the Official Finnish Album Chart. The album was also the first product from the co-operation with Spinefarm records.
After a rapid ride since the release of the debut album the band cleared their calender in the beginning of 2016, started the pre-production of the 3rd album and the legendary Petrax studios (CoB, HIM, Korpiklaani etc.) were booked for spring, only a few selected festival shows broke the studio cycle. The focus has been intense and the scheduled release of the 3rd album is set to the beginning of 2017 and the band is heading back to Europe with Insomnium and Barren Earth in January, making also their UK debut.
Three albums into their career, Wolfheart has become a staple in extraordinarily well-crafted melodic death metal. 3rd effort and tour-de-force to date, “Tyhjyys” (”Emptiness”) brings forth a dramatic, cinematic dimension to the music and turns it into an all-encompassing experience. From February 2013 onwards the name Wolfheart has been synonymous with atmospheric yet brutal Winter Metal.
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Summoner’s Circle
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Summoner’s Circle is a six-piece theatrical metal band that blends elements of doom, death, black and progressive metal into what they refer to as simply Epic Metal.
For the band, every song in an incantation, every live performance is a Summoning, and everything they do is tied intrinsically to the mythology, or lore, they have created. The lore tells the story of the band’s origins, battles of divine conquest and showcases their creativity and vision, which sets the stage for a very entertaining live performance where bigger is better, and Epic is always the standard.
The Summoners released their fist EP, entitled First Summoning, in late 2015. This was followed in 2016 by the single, Become None, and its b-side, Minotaur, both of which are included on the full-length release entitled Tome, which was released in June of 2018.
In November of 2018 Summoner’s Circle signed with PAVEMENT ENTERTAINMENT and will be repackaging and re-releasing Tome under a new name, spreading their magic, mayhem and metal to a worldwide audience.

Rival Sons
2019-04-18 19:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Presented by Bowery Boston
Doors: 7:00 pm / Show: 8:00 pm
Tickets on sale Fri 12/7 at 10am!
Tickets available at AXS.COM, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM.
Please note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches, backpacks, professional cameras, video equipment, large bags, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry.
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Rival Sons

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The Sheepdogs

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La Dispute
2019-04-19 18:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Presented by Bowery Boston
Doors: 6:00 pm / Show: 6:30 pm
Tickets on sale Fri 2/8 at 10am!
Tickets available at AXS.COM, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM.
Please note: This show is open to all ages. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches, backpacks, professional cameras, video equipment, large bags, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry.
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La Dispute

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La Dispute has never been a band prone to settling. The five-piece from Grand Rapids, Michigan, is responsible for some of the most uncompromising, experimental hardcore music of the last decade. From their 2008 debut (in their current formation) Somewhere at the Bottom of the River Between Vega and Altair, to 2011’s Wildlife, to 2015’s Rooms of the House, La Dispute have continually pushed themselves to find new ways to portray some of the most difficult and universally affecting subject matters. Casting a wide stylistic net that includes – but isn’t limited to – jazz, blues, spoken word, screamo and prog rock, La Dispute have developed a sound that, while constantly evolving, is unmistakably theirs.
A lot of structural change has taken place around the band since Rooms of the House that has forced them to adapt. La Dispute has always kept a tight grip on their own reins. Their first two records came out on Californian independent label No Sleep – trusted home to many of the bands they cut their teeth alongside – while Rooms of the House was released through their own label, a subsidiary of Vagrant records. After Vagrant was bought out by BMG in 2014, the band found themselves looking for a new home, ultimately finding one in Epitaph. Their fourth full-length, Panorama, is the first fruit of this new relationship.
Recorded between November 2017 and August 2018, Panorama is in many ways a continuation on a theme. It’s a highly ambitious and deeply affecting body of work that filters narrative storytelling through a personal lens, like a set of Joan Didion essays set to music. It’s heavier and weirder than previous efforts, taking the intensity of Wildlife and the patience of Rooms of the House and using them as pillars upon which to build something new. And, in doing so, they have broken through their own ceiling and set a new one.
Panorama has not been without its challenges, both creatively and practically. Only three members were living in Michigan when they started writing, with drummer Bradley Vander Lugt now living in Australia. Out of necessity, the incubation period for ideas began with back and forth over the internet, but the bulk of the writing had to be done together in their hometown of Grand Rapids. So, finding a time when Brad could make the trip with his family, they blocked three months off to write and rented a studio space to work 9-5 through the week. For over two months, they worked in separate rooms on individual tracks based on a rough concept and outline that Jordan had put together. They had around seven tracks finished when they came to the decision that no one was happy with them. With only the weeks before Brad was due to fly back to Australia left to work with, they scrapped everything and started all over again.
“In general, I think working apart when we were all there together was a waste, but I think we had it in our heads that there was a direction we should be going. That we needed to pick up where the last record left off and push further in the direction of quieter, more structured songs, but that never felt right,” Jordan says in retrospect. “Feels a bit silly to say, but when we started over we all more or less just went by instinct. What happened felt right, and that’s really where the record started.”
Panorama is the spiritual successor to Wildlife in that it takes a snapshot of the city Jordan grew up in. While Wildlife darts in and out of lives like a news broadcast, telling separate stories that reveal a broader connection of human suffering, Panorama zeroes in on events that have taken place in a particular neighborhood. Rather than looking at the connection between strangers, as Wildlife does, or putting the connection between two people in a relationship under a microscope, as with Rooms – Panorama traces the emotional atmosphere of a place through its own history, like someone rifling through old archives of newspaper clippings. As if, by doing so, they will find the key that unlocks answers to questions about themselves.
Most of what happens on Panorama takes place on the route Jordan and his partner would drive from their home in the East Hills neighborhood of Grand Rapids to the city of Lowell, where she grew up. Everywhere along the drive are places where, in varying degrees of recency, people have died: a pond where a man drowned walking home in the winter, multiple places where people crashed driving drunk or were killed in car accidents, and one place where years prior a city worker found a Jane Doe decomposed. Panorama is intended to be a wide angled shot of that drive, with the stories of those tragedies becoming focal points that create a larger narrative, but it’s also tethered to reality more than Wildlife or Rooms of the House.
While Wildlife and Rooms both saw Jordan playing the role of a fly on the wall – a detached narrator, creating
realistic fictions through which tragedies are explored – the writing process for Panorama found him inadvertently talking about his own life. The physical act of travelling through those spots every day, with someone else, inevitably caused them to take on their own significance. “The more I thought about the stories the deeper the relation to her life became, and to our life together, and the more personal the record became,” Jordan says.
As a result, Panorama is less lyrically direct than previous efforts. Tracks like “In Northern Michigan” and “You Ascendant” feel more abstract as he leans into the fantastic, otherworldly material that flashes through Wildlife. Elsewhere, more narrative tracks like “Rhodonite and Grief” and “Views From Our Bedroom Window” are interspersed with spoken-word tone poems that disrupt the perspective – viewing their stories through a prism, rather than a single pane.
This wandering lyrical approach is borne out of the music itself. When the band opted to scrap their initial material and follow their instinctive push rather than reason their way to the next step, the result was a desire to create something “more ethereal, layered, dreamlike, fantastic from a sonic standpoint” than before. You can see this approach demonstrated beautifully throughout, as the band delves into new sonic territories as well as expanding on familiar ones.
The spectral electro-leaning instrumental “Rose Quartz”, which opens the album, will perhaps come as the most surprising to long-time fans, while tracks like “Fulton Street I”, “Anxiety Panorama” and “You Ascendant” will feel a little more familiar as they drag the darkness of Wildlife into harsher places. Elsewhere, the relaxed, bluesy sound they dipped into on Rooms of the House finds new life in “Rhodonite and Grief” and “There You Are (Hiding Place)”, while “Footsteps At The Pond” is the closest to straight-up indie rock the band has ever come, evoking Brother, Sister era mewithoutYou.
Panorama is perhaps La Dispute’s most diverse album so far, carried by their strength as musicians both individually and as a unit. Bradley Vander Lugt’s precise, textured drum patterns; Adam Vass’ sonorous, driving bass lines; Chad Morgan-Sterenberg’s crisp, fretful guitar work – they all react to one another instinctively in a way that feels like a jam session in places, particularly on more sombre tracks like “In Northern Michigan” and “Rhodonite and Grief”.
Panorama is also their first album written and recorded with Corey Stroffolino, who has been a touring musician with the band since Rooms of the House, taking over from Kevin Whittemore. Their abilities fit together like a perfect parts of a puzzle, knowing exactly when to settle into the rhythm and when to pierce the foreground; when to build into a cacophony and when less is more.
Despite its intuitive feel, Panorama was a difficult project to start and to finish. Although recording for the album began in November 2017 and the music was done by April 2018, it took Jordan until August – including several separate solo trips from Seattle to the studio in Conshohocken, Pennsylvania – to finish writing lyrics and tracking vocals. By the end, he was sleeping in a spare mixing room in the studio, spending entire days more or less locked in the same room. At one point, producer Will Yip (Turnstile / Quicksand / Tigers Jaw) was taking naps on the couch in the control room while Jordan wrote and rewrote lines until he was satisfied, filling several notebooks front to back with different versions of the same few lines.
“It was… stupid,” he says of the process now. “I spent a lot of time trying to understand why I was having such a motherfucker of a time, and I’m still not entirely sure I’ve arrived at the reason. Partly, I think, the music required more from me. The parts are more challenging, more outside of the box then the songs on Rooms in particular, and I didn’t want to short change the work and creativity of my band mates. There’s always the anxiety of falling short of them for me, but it felt stronger this time. There’s the general anxiety, too, of making something permanent. Of committing to a thing finally and forever and never being able to do anything about it.”
It can be difficult for punk and hardcore bands in particular to evolve and maintain momentum simultaneously the longer they stay active. At a time of economic uncertainty, and with the music industry not being lucrative as it once was, creativity and reality are often at odds with each other. In spite of this, La Dispute has maintained the same attitude they started with. They are a band figuring out, as we all are, how to live meaningfully while also trying to make meaningful art without compromise. Panorama, then, is another chapter in a discography that tells everyday stories in a remarkable way. It takes you deep within the heart of the world we live in, which may not always be a comfortable or comforting place to be, but at the very least it’s a reminder that we’re not there alone.
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Gouge Away

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What started as an outspoken hardcore band around 2013, has mutated into an angular blend of sass and spitefulness. Taking cues from bands of yesteryear such as Unwound, The Jesus Lizard, and Fugazi, we find Gouge Away pulling no punches.
Vocalist, Christina Michelle, comes with a deeper introspection on struggles with mental health, not holding back with this incredibly personal outpouring. Guitarists, Mick Ford and Dylan Downey, bring a dissonance to their sound that separates the listener from what could be expected while the rhythm section made up of Tyler Forsythe and Tommy Cantwell aggressively keep the songs in place.
The Florida born five-piece recently recorded their Deathwish Inc. debut with Jack Shirley at Atomic Garden (Deafheaven, Oathbreaker, Jeff Rosenstock) which was co-produced by Jeremy Bolm of Touche Amore. Burnt Sugar appeared on many Best of 2018 lists including those by Revolver, Stereogum, AV Club, NME, and Brooklyn Vegan.
Having shared the stage with bands such as Touche Amore, Ceremony, Culture Abuse, Drug Church, Daughters, G.L.O.S.S., Thursday, Paint It Black, and Russian Circles, the band has no plans of
slowing down anytime soon.
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Slow Mass

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“Chicago’s Slow Mass has a simple guiding principle: “No shortcuts.” Formed in 2015, the band released their debut EP Treasure Pains, offering up an expansive new take on both post-hardcore and indie-rock. The band toured in support of the EP with the likes of mewithoutYou and The World Is A Beautiful Place & I Am No Longer Afraid To Die, and now, on May 11th, Landland will release On Watch, the band’s debut album. On Watch expands Slow Mass’ sonic palette in service of creating an ambitious, uncompromising album that never adheres to a single genre. It deserves a place alongside other classic albums like Fugazi’s The Argument and Unwound’s Leaves Turn Inside You, becoming the latest in a long line of records that push a genre forward by remaining focused on creating a
cohesive, expansive work.” – David Anthony, 2018

BONNIE X CLYDE
2019-04-19 22:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States

[SOLD OUT] Bad Suns
2019-04-20 18:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Presented by Bowery Boston
Doors: 6:00 pm / Show: 6:45 pm
This show is SOLD OUT!
Tickets available at AXS.COM, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM.
Please note: This show is open to all ages. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches, backpacks, professional cameras, video equipment, large bags, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry.
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Bad Suns

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Carlie Hanson

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Royale Saturdays: Up In Smoke ft. DJ RM + DiMare
2019-04-20 22:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States

Girlpool - Moved to The Sinclair
2019-04-23 19:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Presented by Bowery Boston and WMBR
Doors: 7:00 pm / Show: 8:00 pm
This show has been moved to The Sinclair. All tickets will be honored from the show at Royale.
Tickets available at AXS.COM, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM.

[SOLD OUT] PUP
2019-04-25 19:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Presented by Bowery Boston
Doors: 7:00 pm / Show: 8:00 pm
This show is now SOLD OUT. Due to overwhelming demand, a second show has been added for Saturday, May 18. Tickets for that show are on sale NOW here.
Please note: This show is open to all ages. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches, backpacks, professional cameras, video equipment, large bags, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry.
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PUP

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Diet Cig

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Ratboys

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Born out of fierce friendship and a mutual affection for melody, Chicago’s Ratboys – anchored by the partnership of Julia Steiner and Dave Sagan – aim to ‘write songs that tell stories and honor the intimacy of memory,’ according to Steiner.
GN, the group’s second full-length album via Topshelf Records, offers a bevy of tales, laments and triumphs, which recount near-tragedies by the train tracks, crippling episodes of loneliness, remembrances of a deceased family pet with freezer burn, and on and on. The songs shift and breathe as worlds all their own, tied together by the group’s self-proclaimed ‘post-country’ sound, which combines moments of distortion and a DIY aesthetic with a devotion to simple songwriting and ties to the Americana sounds of years past.
Drawing influence from the down-to-earth sincerity of late-90s Sheryl Crow and the confessional confidence of Kim Deal and Jenny Lewis, the songs on GN (aka ‘goodnight’) “largely detail experiences of saying goodbye, finding your way home, and then figuring out what the hell to do once you’re back,” says Steiner. The songs chosen to close both sides of the record – the slow-burning ‘Crying About the Planets’ and quizzical ‘Peter the Wild Boy’ – unpack the respective journeys of two real people who were quite literally lost and found. ‘Crying’ tells the survival story of Antarctic explorer Douglas Mawson from a first-person perspective, and ‘Peter’ reflects on the life of a feral child in Germany who was eventually adopted by the King of England,’ according to Steiner. ‘Writing as and about these people is the best way I can attempt to empathize with them and really just wrap my mind around these bits of history that otherwise might not get talked about. And it helps me understand my own experiences a little bit better,’ she says.
Certain personal stories – the tour adventures recapped in ‘GM,’ the struggle to learn to show affection as divulged in ‘Molly’ – find Ratboys just as eagerly exploring subject matter that comes from within, and then illustrating the highs and lows with soaring hooks and plaintive ones. Even in the moments that lie somewhere between bliss and misery, a tension persists between Steiner’s sweet vocal delivery and Sagan’s physical, almost-off-the-hinges guitar playing that lends each song a deeper sense of color and movement.
Steiner and Sagan felt the impulse to make music together from the get-go – they first met as university students, quickly put out an EP together, and started performing as an acoustic two-piece in dorm rooms and backyards. During the next few years, the friends traveled separately, eventually reunited, and recorded what would become the first Ratboys record, AOID, which the folks at GoldFlakePaint describe as ‘a gleaming, joyous, raucous display of melodic indie-rock.’
After a year and a half of touring the US and Europe as a plugged-in full band (featuring the additions of drums, bass, and trumpet), the members of Ratboys returned to Chicago and holed up at Atlas Studios for two weeks to record with engineer Mikey Crotty (who had previously worked with the group on the songs ‘Not Again’ and ‘Light Pollution’). ‘This time around, we were lucky enough to feature the talents of friends who play the pedal steel, accordion, cello and violin to give the songs an extra something,’ says Steiner. ‘Dave finally got to show off his ridiculous skills on the pocket piano, and the whole thing felt like one big loving experiment.’
Ratboys keep the good times going in 2018 with a new EP called GL (aka Good Luck). Featuring four songs recorded shortly after the GN sessions, this new companion piece expands upon themes of isolation and memory, while focusing closely on the ups and downs of personal relationships.
‘Each of the songs on GL sounds like its own little world, which is what we set out to do,’ Steiner says. With each song sounding distinct from the rest, the EP offers up four different takes on the sounds of heartache.
On the heels of their newest release, you can find Ratboys on the road, playing songs old and new all over North America and Europe.

ATLiens
2019-04-26 22:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States

Foxing / Now, Now
2019-04-27 18:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Presented by Bowery Boston
Doors: 6:00 pm / Show: 6:30 pm
Tickets on sale Fri 1/25 at 10am!
Tickets available at AXS.COM, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM.
Please note: This show is open to all ages. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches, backpacks, professional cameras, video equipment, large bags, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry.
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Foxing

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Now, Now

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Daddy Issues

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When singer and guitarist Jenna Moynihan saw the phrase “Daddy Issues” scribbled on the bathroom wall of a now-defunct Nashville DIY venue, she mistakenly assumed it was the name of an all-girl punk outfit sure to become her next favorite band. Upon realizing that no such band existed, Moynihan and friends Emily Maxwell (drums) and Jenna Mitchell (bass) picked up their instruments, taught themselves how to play and started their own band. In May of 2017, Daddy Issues released their full-length vinyl debut Deep Dream via Infinity Cat Recordings.
The band originally caught Infinity Cat’s eye after tastemaker Casey Weissbuch offered the trio a spot on the cassette series he curates for the label, which has hosted releases from artists like Rozwell Kid, Colleen Green and Guerrilla Toss over its three-year history. Days after submitting their tape in the summer of 2015, the band signed to Infinity Cat as official artists, releasing a 7″ split with Louisville band White Reaper later that year. Shortly thereafter, the band started work on Deep Dream with producer and label owner Jake Orrall (JEFF The Brotherhood, Colleen Green). Combining the sounds of ‘80s alternative, ‘90s grunge and ‘00s pop, Daddy Issues tackle the difficulties of friendship, heartbreak, mental health, sexual assault and a number of other issues that come with the package of youth in the modern world.

Royale Saturdays: Get Lei'd ft. Richard Fraioli, Hizzy, Real Ace
2019-04-27 22:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States

Sugarbabies Band Live!
2019-05-02 21:00 | MA

Paul Oakenfold
2019-05-03 22:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States

Royale Boston: Cinco De Mayo Bash ft. DJ Tao
2019-05-04 22:00 | MA

Parachute
2019-05-05 19:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Presented by Bowery Boston
Doors: 7:00 pm / Show: 8:00 pm
Tickets on sale Fri 1/18 at 10am!
Tickets available at AXS.COM, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM.
Please note: This show is open to all ages. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches, backpacks, professional cameras, video equipment, large bags, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry.
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Parachute

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Platinum-selling band PARACHUTE are on the brink of a momentous 2019 with the release of their first new music in three years, the new single “Young” from their highly-anticipated fifth studio album, coming spring 2019. In April, they will embark on The Young Tour 2019 which will travel throughout 35+ cities across the United States. Will Anderson, lead vocalist and songwriter of Parachute, calls “Young” one of the most personal songs he’s ever written, but notes its undeniable relatability. “Everyone has felt that vulnerable feeling of uncertainty and fear of the unknown. Maybe that’s what becoming an adult is all about, and the song is an exploration of that.” Fans and critics alike are no stranger to Anderson’s impeccable ability to connect as a songwriter, with Billboard hailing that he has a “knack for writing emotionally connecting, hook-laden songs that linger in the brain for days” as well as Idolator calling the band’s past songs “well-crafted and infectious.” The album and tour will mark the trio’s first new material and full-fledged touring since the 2016 release of Wide Awake. Friends since childhood, Parachute’s Will Anderson (vocals, guitar), Johnny Stubblefield (drums), and Christopher “Kit” French (saxophone, keyboards) spent nearly every afternoon of high school in Anderson’s basement, dreaming up songs showing a deep affinity for classic pop, heart-felt rock, and tuneful blue-eyed soul. The band quickly began landing gigs locally and soon gained a following at the nearby University of Virginia. As their inaugural release under the name Parachute, Losing Sleep debuted at #2 on the Billboard Digital Albums Chart and climbed to #40 on the Billboard Top 200 chart. Over the next few years, along with releasing The Way It Was and Overnight (which shot to the #3 spot on iTunes), Parachute toured with such artists as Kelly Clarkson, Gavin DeGraw and Mat Kearney in addition to three sold out headlining tours. The band has spent a decade touring internationally and turning out hit singles like the platinum “She Is Love” (#1 at iTunes), the gold “Kiss Me Slowly,” “Forever And Always,” and the infectious smash single “Without You” from Wide Awake (#1 iTunes Pop Album).
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Billy Rafoul

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Emerging singer/songwriter Billy Raffoul confirms North American tour dates this spring supporting Parachute. The extensive run of dates brings Raffoul to New York’s Gramercy Theatre, Nashville’s Cannery Ballroom, D.C.’s 9:30 Club, Boston’s Royale as well as two dates at Los Angeles’ Troubadour. Raffoul has spent the past few years on the road sharing the stage with Kings of Leon, ZZ Ward, NEEDTOBREATHE, Mondo Cozmo, Judah & The Lion and more. Ticket’s on-sale begins on Friday, January 18 and can be purchased at billyraffoul.com. See below for complete tour dates.
Raffoul’s debut EP 1975, which was released last year via Interscope Records, continues to receive critical praise. The Observer proclaims, “Falling somewhere in-between Hozier and James Bay is Billy Raffoul. The 22-year-old knows how to balance poetry with an anthemic, hard rock edge. We’ll definitely be seeing more of this Nashville by Canada troubadour,” while Ones To Watch adds, “Never hiding behind overly-clever production techniques or superfluous furnishings, lyrically or sonically, 1975 paints a brutally honest portrait of Raffoul as a genuine artist.”
Raffoul grew up in a creative family in the small farming town of Leamington, Ontario. His mother is an artist, writer and teacher and his father Jody Raffoul is a solo artist and hometown hero who has opened for everyone from Joe Cocker to Bon Jovi. Raffoul’s earliest musical influences come from his dad. “The Beatles were like Jesus in our house,” he recalls, adding that he also listened to soul singers like Otis Redding and Sam Cooke. On his tenth birthday, Billy received a British Invasion-inspired guitar with a Union Jack on its front from Jody and started teaching himself to play. By 16, he had bought his first real guitar, a 1968 Gibson Les Paul Black Beauty.

The Dandy Warhols
2019-05-07 19:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Presented by Bowery Boston
Doors: 7:00 pm / Show: 8:00 pm
Due to overwhelming demand, this show has been moved from The Sinclair to Royale! Tickets on sale now!
Tickets available at AXS.COM, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM.
Please note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches, backpacks, professional cameras, video equipment, large bags, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry.
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The Dandy Warhols

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Cosmonauts
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The Vacant Lots

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The Vacant Lots are an American duo comprised of Jared Artaud and Brian MacFadyen. The key element of The Vacant Lots’ minimalist, primitive rock and roll songs is their boundless energy, which tears up the psych template with a genuine punk spirit. The notion of duality is also a recurring theme in the band’s minimal means maximum effect aesthetic, whether in their lyrics or fiercely monochromatic artwork.
The group has collaborated with underground music legends including; Sonic Boom (who mixed their debut album Departure), Alan Vega of Suicide (who’s vocals are featured on the band’s second album Endless Night) and Anton Newcombe who has recorded and produced 2 EPs at his Berlin studio with the band. Their second EP together is expected for a 2019 release on Anton’s label, A Recordings.
Having recently toured Europe with Black Rebel Motorcycle Club, The Vacant Lots will be hitting the road with The Dandy Warhols this May in the USA.

[SOLD OUT] Movements
2019-05-09 19:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Presented by Bowery Boston
Doors: 7:00 pm / Show: 7:30 pm
This show is now SOLD OUT!
Tickets available at AXS.COM, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM.
Please note: This show is open to all ages. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches, backpacks, professional cameras, video equipment, large bags, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry.
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Movements

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Music and emotion share a timeless physiological, psychological, and spiritual bond. A chord, a melody, or a lyric can lift spirits and inspire. Movements achieve that sort of reaction on their full-length debut, Feel Something [Fearless Records]. Threading together spacey guitars, evocative and introspective lyricism, ponderous spoken word, and tight songcraft, the Southern California quartet—Patrick Miranda [vocals], Ira George [guitar], Spencer York [drums], and Austin Cressey [bass]—immediately connect by opening up. That musical empathy quietly launched Movements on an upward trajectory in 2015. Formed by longtime friends, the group landed a deal with Fearless Records after just one local gig. Produced by Will Yip [Tigers Jaw, Title Fight, Turnover, Citizen], their debut EP, Outgrown Things, became a fan favorite. Acclaimed by the likes of Alternative Press and New Noise Magazine, songs like “Nineteen” and “Kept” each respectively amassed over 800K Spotify streams and counting as they have toured nonstop. Along the way, the boys started working on what would become Feel Something before returning to the studio with Yip in February 2017. In the sessions, their signature style crystallized and coalesced. Ultimately, Movements bring emotion to life in each note.
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Boston Manor

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Blackpool’s Boston Manor formed in 2013 and, in two short years, worked their way to signing with renowned US indie label Pure Noise Records, worldwide. In that period, they’ve successfully built a name for themselves with their modern day emotive rock anthems and DIY work ethic. A band with expert songwriting and craftsmanship, they are also heavily involved in the production of their own videos and visual content, and as a result are now a mainstay with the likes of Kerrang TV & Scuzz. The band has also been in constant circulation across major radio stations in the UK such as BBC Radio 1 & Kerrang, with significant coverage also coming from Rock Sound, Upset & Discovered to name a few. The band were even nominated for ‘Best British Breakthrough’ at the 2018 Kerrang awards.
They released their debut album ‘Be Nothing’ in 2016 to widespread acclaim and the band have continued to tour the world since then. Now veterans across the US, UK & European circuits, the band have toured with the likes of Moose Blood, Knuckle Puck, Have Mercy, Lower Than Atlantis, & Four Year Strong, and also completed a Summer on Vans Warped Tour 2017. Topping their 2017 off with high profile slots at Slam Dunk Festival, Reading & Leeds, and the Kerrang Tour, Boston Manor have stormed into 2018 fully charged, ready to unleash their next offering onto the world.
Produced by Mike Sapone (Taking Back Sunday, Mayday Parade, Public Enemy), ‘Welcome To The Neighbourhood’ is a soundtrack to disenfranchisement set in a fictionalised version of the band’s hometown. In support of it’s release, the band will be heading out on their largest UK headline tour to date (including a London show at Electric Ballroom) before heading back to the US for a main support slot on the Real Friends tour to cap off an action packed 2018.
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Trash Boat

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In nature, crown shyness is a phenomenon in which the crowns of neighboring trees refuse to touch one another, instead creating a canopy-like cover for the sun’s rays to peek through. From the ground, it’s a stunning image, and it paints a striking contrast between the trees’ interconnectedness at their roots and their complete detachment at their tallest points.
On their second full-length album, CROWN SHYNESS (out July 20), the UK-based TRASH BOAT push toward the light as they explore similarly disparate emotions, juxtaposing hard-fought introspection against external strife to create a propulsive, captivating blend of punk and melodic hardcore.
The album, produced by Andrew Wade (A Day To Remember, Neck Deep) follows 2016’s Nothing I Write You Can Change What You’ve Been Through, their debut LP for Hopeless Records that launched the quintet—vocalist Tobi Duncan, guitarists Dann Bostock and Ryan Hyslop, bassist James Grayson and drummer Oakley Moffatt—into the pages of Alternative Press and Rock Sound and onto festivals like the prestigious Reading and Leeds.
Two years of nonstop worldwide touring with acts such as New Found Glory, Beartooth and The Wonder Years fine-tuned the band’s jagged, muscular songwriting—and helped imbue Crown Shyness with an overflowing sense of honesty and, above all, accountability.
“There’s a lot of things I’d like to keep secret: bad decisions, anxieties, thought processes,” Duncan explains. “It’s so easy to hide those things, but it can be a self-defeating process if you never address any of your issues. Through songwriting, I can’t cut myself any slack. I’ll call myself out on these things and put them in a song, then I have to sing it every day on tour and remind myself. It stops me from slipping.”
So the band look inward, mining themes of personal responsibility (the caustic “Controlled Burn”), betrayal (“Shade”) and the subconscious (“Inside Out”) to wrestle with the at-times uncomfortable facets of ourselves. But at the same time they’re staring down the ugliness, they’re finding the joy in celebrating unbreakable bonds (“Love, Hate, React, Relate”) and resolving to live up to familial legacy (“Old Soul”).
It’s this push and pull that makes for such a powerful statement from a still-young band, an emotional awareness wiser than their years. Ultimately, Crown Shyness is overflowing with acceptance and understanding. Because Trash Boat don’t shut the darkness out—they invite it in, knowing the only way to break through that canopy and into the sunlight above is to embrace life’s obstacles head-on and work every day to defeat them.
“Throughout my life, I’ve always found music as something that challenges me,” Duncan says. “Sometimes you hear a song that hits you so hard, it feels like it was exactly what you needed to hear at that moment. The spark could change your day and challenge you. That’s what this album did: It challenged my anxiety, my family, my responsibilities, my past, my future. I spent a lot of time looking inward, and now the album is ready to reach out.” XX
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Drug Church

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Drug Church are a glorious contradiction. They are an unabashedly aggressive band that writes hooks you can’t stop humming: too poppy for the heavy crowd, too heavy for the poppy crowd. Their frontman is a singer who rarely sings and delivers lyrics that revel in the darkest corners of the human condition, but are just as likely to make you laugh as they are to make you flinch. They loudly shout the uncomfortable truths we prefer to ignore but somehow make us want to shout along with them; they make serious music but don’t take themselves too seriously; they are completely adverse to planning but have accidentally built a loyal cult following. On Cheer, the band has doubled down on their Drug Church-iest impulses and emerged with an album that’s sure to please longtime fans and turn new heads. If there’s anything intentional about Drug Church, it’s knowing the value of being unintentional.

Ferry Corsten
2019-05-10 22:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States

Neon Nights ft. DJ RM, Rivas (Wear Neon For Free Admission All Night)
2019-05-11 22:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States

[SOLD OUT] FKJ
2019-05-12 20:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Presented by Bowery Boston
Doors: 8:00 pm / Show: 9:00 pm
This show is SOLD OUT!
Tickets available at AXS.COM, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM.
Please note: this show is 18+ with valid ID. Patrons under 18 admitted if accompanied by a parent. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches, backpacks, professional cameras, video equipment, large bags, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry.
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FKJ

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Lou Phelps

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A longtime fixture of the Montreal arts scene, Lou Phelps is one of Canada’s foremost purveyors of club-rap bangers. Lou started making music in 2011 with KAYTRANADA, forming a future-rap group called The Celestics, releasing their debut project, Massively Massive. Using the moniker, Lou Phelps, Lou developed a reputation for creating tasteful and danceable hip-hop music, releasing Supreme Laziness in 2014 and curating Cause I Wanna, an 80-minute DJ mix that featured tracks from innovative electronic artists like DJ Rashad, RP Boo, and Kyle Hall, showcasing his excellent taste and long list of influences. In 2017, Lou released 001: Experiments, his debut project which racked up millions plays on SoundCloud, featured appearances from Bishop Nehru, Innanet James, KALLITECHNICS, and earned a nomination from Canada’s JUNO Awards for Rap Recording of the Year. In September 2018 Lou shared his sophomore album, 002 / LOVE ME, via Last Gang Records. 002 / LOVE ME sees Lou’s older brother, Kevin, aka the Polaris Prize-winning producer, KAYTRANADA, as executive producer, with guest spots from BADBADNOTGOOD, JAHKOY, Planet Giza, Pony and drum master, Karriem Riggins.

Citizen / Knuckle Puck
2019-05-14 18:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Presented by Bowery Boston
Doors: 6:00 pm / Show: 7:00 pm
Tickets on sale Fri 2/22 at 10am!
Tickets available at AXS.COM, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM.
Please note: This show is open to all ages. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches, backpacks, professional cameras, video equipment, large bags, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry.
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Citizen

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Citizen’s As You Please reports from ground zero of an epidemic. Two years removed from their previous Run For Cover LP, Everybody Is Going To Heaven, Citizen’s perspective is far less sublime. As You Please is a confrontational record, incapable of turning a blind eye toward the inescapable strife. And so, songwriter Mat Kerekes pursues the source of discontent that is ravaging his friends, his family, and his Rust Belt city of Toledo, Ohio with the band’s most dynamic record to date.
On As You Please the epidemic is bigger than addiction and overdoses. There is no longer a Dream to be pursued for the friends and family surrounding Citizen. The band explores that absence and the misguided ways in which it gets filled. On opener “Jet” the kids move slow and there’s a stranger living in the narrator’s home. Both are Kerekes’ discreet way of expressing the wreckage of widespread opiate addiction. “In The Middle Of It All” might be Citizen at their most hopeful, but it also reads as agonizing expression of the ruin in the Heartland.
As You Please also showcases the growing versatility of a band seven years deep and still restless. Citizen has fully outgrown the pop punk, but also refuses to brood in post-hardcore dirges. Written over the course of a year, the record is devoid of the brutish and sinister elements found on Everybody Is Going To Heaven. Here, Citizen go beyond the grunge to shoegaze contrasts and strive for something benevolent.
There’s a spiritual core to the record that manifests in subtle ways like the ethereal vocals echoing in the breakdown of “Control,” the droning organs on “You Are A Star” or the almost operatic refrain on “In The Middle Of It All.” The finespun ways in which Citizen has written this record mark a cataclysmic breakthrough for the band. There is damage and disarray in the band member’s daily lives, but within this record all the pieces have been restored in an ornate arrangement befitting a stained glass mosaic.
In the end, As You Please tries to give strength to those in need. There are illitic factors that control, but Citizen has written a guiding light of an album out of the debris. It concludes with “You Are A Star” and “Flowerchild;” one an unstable request of confidence set to soaring progressions, the other a blistering finale that subverts expectation. As You Please might read as meek, but it represents Citizen in its most confident and expansive state.
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Knuckle Puck

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In early 2017, Knuckle Puck entered the studio to record the follow-up to Copacetic—their 2015 breakthrough that debuted in the Top 10 of five different Billboard charts, earned a nomination for Album of the Year at the 2016 Alternative Press Music Awards and launched them from the Chicago suburbs to a place among the most beloved acts of the modern pop-punk genre.
But midway through the process, the band (vocalist Joe Taylor, guitarists Nick Casasanto and Kevin Maida, bassist Ryan Rumchaks and drummer John Siorek) realized they were on the wrong path. They weren’t only making the wrong album for Knuckle Puck—they were making the wrong album for themselves. They knew they had no choice but to start from scratch.
“Having such a struggle and being so disconnected in the recording process felt wrong,” Casasanto explains. “It felt so wrong, and we were all afraid to talk about it. There was some denial when we realized what was unfolding.”
Discouraged but undefeated, the band changed producers, eventually landing back with Copacetic producer Seth Henderson, and began rebuilding the songs they’d written from the ground up. Knuckle Puck’s first attempt would have produced a fine album, but their second created the right one.
The result is Shapeshifter, due October 13 on Rise Records. Despite its title, the album isn’t a reinvention for the band; rather, it’s the sound of Knuckle Puck taking their best qualities and honing them to make them even sharper. The songwriting became tighter and more deliberate, the lyrics more introspective and urgent—without losing an ounce of the sweat-soaked authenticity and passion that made Copacetic so captivating. Above all, it’s an album that proves the band are unflinchingly unwilling to compromise when it comes to their art. That’s a sentiment reinforced throughout Shapeshifter’s main lyrical theme—the importance of identity—which was only magnified during their first studio session.
“When you reach early adulthood and start to see your life take shape, it’s also important to shape your identity and break yourself free from anything that might be holding you down,” Casasanto says. “That was a glaring parallel between what was going on with the record and what we were writing about at the time. Although it was tumultuous, I truly think we wouldn’t have written the same record without going through what we did.”
Throughout their struggle, Knuckle Puck grew stronger and more confident in themselves, something the band ultimately want listeners to take from Shapeshifter.
“I hope the album instills a little bit of hope in people,” Casasanto says. “You look at politics and how fast the world is now, everything the internet is bringing to the world. It’s difficult to form an identity when there’s so much in your face. I hope people realize they should consume the things that really speak to them. Through that, I feel like it’s the most satisfying way to be who you want to be.” XX
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HUNNY

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Alt-indie rock band HUNNY has signed to Epitaph and have released a new EP Windows II available today. Windows II is the follow up to the band’s 2017 EP release Windows I.
“We’re super stoked to finally release this music we’ve been sitting on for a bit and even more stoked for who were releasing it with. I have dreamt of being on Epitaph since the first band I started back in the eighth grade. Please enjoy the second installment of our windows series. Be good to each other and play loud.”
HUNNY is a band from Newbury Park, CA who first made a name for themselves in early 2015 after releasing their debut single “Cry for Me”. Tastemakers and fans alike found the Southern California group to be a perfect mix of post-punk tinged pop and their childhood influences like Prince and The Cure. The result is a sound that feels uniquely them. With a few more years and more material under their belt, HUNNY has gained across the globe by touring with the likes of The Neighbourhood, The Frights, Bad Suns, Beach Slang, and more. This is just the start of a long and promising career for HUNNY.
HUNNY is front man Jason Yarger, guitarist Jake Goldstein, bassist/keyboardist Kevin Grimmett, and drummer Joey Anderson.
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Oso Oso

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Basement
2019-05-16 19:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Presented by Bowery Boston
Doors: 7:00 pm / Show: 7:45 pm
Tickets on sale Fri 2/15 at 10am!
Tickets available at AXS.COM, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM.
Please note: This show is open to all ages. Opening acts and set times are subject to change without notice. All sales are final unless a show is postponed or canceled. All bags larger than 12 inches x 12 inches, backpacks, professional cameras, video equipment, large bags, luggage and like articles are strictly prohibited from the venue. Please make sure necessary arrangements are made ahead of time. All patrons subject to search upon venue entry.
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Basement

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Andrew Fisher (vocals) – Alex Henery (guitar) – Ronan Crix (guitar), Duncan Stewart (bass) James Fisher (drums)
The fourth full-length from Basement, Beside Myself is an intimate look at the drawbacks of living in your own head, and the attempt to shake off everyday anxieties. “One of the things everyone in the band seems to struggle with is living fully in the present time,” says Andrew Fisher, who co-founded the Ipswich, England-bred five-piece in 2010. “We tend to look back on the past and think, ‘That was so much better than what’s going on now,’ or look toward the future and assume it’s going to be better than today. The title came from thinking about, ‘Wouldn’t it be great if you could stop yourself from doing that, and just appreciate the moment as it happens?’”
But for all its intense introspection and confessions of self-consciousness, Beside Myself centers on a powerful, passionately charged sound that makes every track feel deeply cathartic. A relentless burst of pure vitality, the album expresses its unrest in the language of furious guitar riffs and visceral rhythms. And at the heart of Beside Myself are Basement’s indelible melodies, an element that lends an anthemic quality to even the most heavy-hearted songs.
The follow-up to Promise Everything—a 2016 album whose re-release the following year
marked Basement’s debut for Fueled by Ramen—Beside Myself was co-produced by the band and Colin Brittain, and mixed by Rich Costey (Arctic Monkeys, Foo Fighters, Muse). In creating the
album, Basement focused on channeling the raw energy of their live performance, adding little adornment beyond the occasional synth line or piano melody. But despite the stark simplicity of its sonic
palette, Beside Myself emerges as the band’s most fully realized work to date. “We’d never been able to take this much time with something before,” says Fisher. “It was always this rushed writing process, rushed rehearsal, rushed recording. This was the complete opposite, and because of that it feels like the most complete thing we’ve ever come up with.”
On the album-opening lead single “Disconnect,” Basement set the tone for Beside Myself with a hard- hitting track built on lyrics that closely detail the nagging pain of ambivalence. “From a young age I wanted very badly to be in a band and travel all over playing for people,” says Fisher. “But now sometimes I get bogged down in thinking things like, ‘Is this the best thing for me to be doing? Should I be doing something that could help make someone else’s life better?’ So ‘Disconnect’ is about trying not to get too entrenched in those thoughts, and to let myself just enjoy this whole experience for what it is.”
Basement continue that exacting self-examination on “Be Here Now,” bringing a frenzied intensity to their own struggle with embracing the sentiment of the song’s title. Later, Beside Myself veers into darker terrain with “Stigmata,” whose serpentine guitar riffs and dizzying rhythms sharply capture what Fisher refers to as “those moments when everything’s going okay, but you just feel incredibly down for real reason.” Meanwhile, “New Coast” looks back on Basement’s first trip to Los Angeles and its exacerbation of their misfit tendencies, the song’s shiny textures brilliantly clashing with their self-effacing lyrics (“For me it’s too bright outside/If it is bright at all/The leaves are alive outside/But better when they fall”). “There’s something unreal about L.A., in a way that’s magical but also slightly ridiculous,” says Fisher. “‘New Coast’ is about us trying to cope with feeling so grateful to be in the position we’re in, but also recognizing that it’s so different from where we came from.”
On the delicately unsettling “Ultraviolet,” Basement turn their focus outward, reflecting on the 2017 terrorist attack on the Westminster Bridge in London. With its eerily ethereal guitar tones, the song is threaded with plainspoken yet piercing lyrics (e.g., “We’ll be wanting you home safe and sound”). “I remember hearing the news in my kitchen in America, and feeling so alienated and far from home,” says Fisher, who now lives in Richmond, Virginia. “I just felt incredibly helpless, and realized that this kind of thing could happen to anyone at anytime.”
While an undeniable volatility infuses much of Beside Myself, Basement slip into a gentler mood on songs like “Keepsake,” a harmony-laced reverie that adds a touch of wide-eyed romanticism to the album (“Can you put me in your pocket?/Let me be your lucky charm/I’m right here waiting/So come and use me”). A
spontaneously composed interlude driven by elegant piano work and graceful acoustic guitar, “Changing Lanes” looks at the fragility of human existence. “Anyone who’s ever been behind the wheel in a moving vehicle has probably had that realization that—at any minute—you could be in a fatal accident,” says Fisher. “‘Changing Lanes’ is about that moment of realization, and how terrifying that possibility is.”
On “Slip Away,” Basement shift into a fast-paced, joyfully frenetic epic that offers up a subtle message of hope (“Carry on, it gets darkest before dawn/Wait a while, it won’t be long until the morning”). And with “Reason for Breathing,” Beside Myself turns gloriously pensive, with Basement’s sludgy guitars and brooding rhythms create a perfect contrast to the song’s tender vulnerability. “When you’re a kid, all that matters to you is your family, and what you’re having for tea that night,” says Fisher in discussing the song’s inspiration. “But as you get older, you start to think about the fact that these people that you love so much are going to die someday—even though at some point they probably told you they’d never leave you. ‘Reason for Breathing’ is about those lies that parents tell their children to make them feel secure.”
Throughout Beside Myself, Fisher’s lyrics reveal the thoughtful sensitivity partly honed through his recent stint as a teacher of religious studies at a school in East London (a position he held while Basementtook a break between their 2012 sophomore album Colourmeinkindness and their 2014 EP Further Sky). “Every single day I could genuinely affect young people on a face-to-face level,” says Fisher of his teaching experience. “I had a purpose and a drive, and there was real meaning to it. I think it’s possible for music to inspire other people too—but as soon as you make that your goal, or have an agenda to what you’re creating, it taints everything. For me the only goal behind making music is some kind of emotional outpouring.”
On Beside Myself, that outpouring unfolds at its own distinct pace, with Basement bringing an unhurried deliberation to their meditations on mental health and the overall anxiety of getting by in the modern world. As a result, the album invites a certain self-reflection in the listener, and ultimately provides a sense of solace. “I don’t think making this album has changed my perspective in any way, but I do think it’s good to talk about things that you’re struggling with,” says Fisher. “Even if it doesn’t help you to understand the world any better, it’s always good to just get those thoughts and feelings out. That’s what music’s always been able to do for me.”
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Nothing

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Teenage Wrist

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Fiddlehead
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