Royale Boston

Roxy Reunion Party ft. DJ Adilson & Chris P
2019-01-05 22:00 (America/New_York) | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
21+
Call or text 617.733.0505 for VIP table reservations.

Customer Appreciation Night ft. DJs of Boston
2019-01-04 22:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States

New Years Eve 2019
2018-12-31 21:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
21+
Call or text 617.733.0505 for VIP table reservations

Anti-NYE ft. The Deadbeatz
2018-12-29 22:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
21+
Call or text 617.722.0505 for VIP table reservations.

The Ballroom Thieves Home for the Holidays Tour
2018-12-29 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 9/14 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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The Ballroom Thieves

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Darker times make for bolder and, sometimes, brighter art.
The Ballroom Thieves – Calin “Callie” Peters (vocals, cello), Martin Earley (guitar, vocals), and Devin Mauch (percussion, vocals) – mine immense melodies and hypnotic hooks from personal stories on their 2018 EP, Paper Crown (Nettwerk Records). Under the cover of vintage jazz-style, the five songs reflect feelings of rootlessness from four nomadic years, bouts of depression, and the ever-looming specter of political unrest hanging over the country.
Nevertheless, a noticeable glimmer of light always peeks through.
“Our lifestyle has shaped our perspective,” explains Martin. “We’ve toured so much that we haven’t been able to call anywhere home. A lot of the songwriting was done from this place of simply not having a home base. We were the perennial guests.”
“Some of the more somber moments come from a darkness I carry,” admits Callie. “I’m not an optimist, and I suffer from insomnia and depression. Traveling around on highways and utilizing the faux likes of large cooperate hotels and chains can bring a person down. Songwriting is a way to speak about sad things in a pretty and concise way while providing a distraction from some of the realities of tour life. It’s not all dreary though, and the enormous range of experiences give us the juxtaposition of happy, easygoing vintage music and dark lyrics.”
That subtle balance has transformed The Ballroom Thieves into a quiet phenomenon. Following two EPs, the group released their full-length debut A Wolf in the Doorway in 2015. Between marathons of touring, 2016’s Deadeye would spawn a string of fan favorites. They claimed real estate on prime Spotify playlists (e.g. “Your Favorite Coffeehouse,” “Relax & Unwind,” “Morning Acoustic”) with “Bees” cracking 10 million streams on the platform. Along the way, they sold out shows and delivered standout performances at festivals such as Boston Calling and Newport Folk Festival, while landing features at NPR, Baeble Music, Boston Globe, Paste, Earmilk, and many others.
In late 2017, they commenced work on Paper Crown, collaborating with producer Ryan Hadlock (The Lumineers, Brandi Carlile, Vance Joy) in Washington for the first time.
“Working with Ryan at Bear Creek was a completely new and unique experience,” affirms Devin. “He naturally pushed us through our vulnerabilities, challenging the band to grow and apply some of his more pop sensibilities to our traditional ‘Thieves sound.’ The rustic wooded environment at Bear Creek also had a serious impact on the band’s experience creating these songs as we found ourselves there at two very different times of year – once in the beautiful but smoky heat of August and again in February’s more frigid rain season. The result was a pretty stark contrast in the sounds, tones, textures, colors, and feel between each song, which in itself is a reflection of this band and our journey. “
During the process, The Ballroom Thieves dramatically expanded their sonic palette. Electric guitars figured prominently, and the group wholeheartedly embraced the fifties and sixties pop and country influences such as Etta James, Ella Fitzgerald, Nina Simone, and Willie Nelson in addition to religiously spinning Dan Auerbach.
“It was an attempt to make contemporary music accessible for a large range of music lovers” explains Callie. “You can’t deny those classics are special, and people across all generations have loved them for decades. Listeners keep coming back to them again and again for a reason.”
Martin elaborates, “We liked mixing those old-school pop elements with our big harmonies and folk-sensible songwriting.”
The band introduced the EP with the haunting “Only Lonely.” It quickly generated over 3.9 million streams. Meanwhile, the single “Do Something” illuminates their evolution. Its smoky soul could very well have swooned right out of a Chicago jazz haunt and onto a California beach circa 1965. At the same time, it encases fiery rhetoric within those sweet sonics.
The Ballroom Thieves culled the EP title Paper Crown from a lyric in “Do Something.” Representing the ephemeral nature of consumerism, corporate greed, and reality TV, it’s symbolic of the fake coronation atop the country’s hierarchy. At the same time, it proposes an alternative charge for unity in the face of this misdirection.
“It’s a letter to this administration to do something kind,” Callie exclaims. “This president is not a suitable representative for any human being, but ironically, many of the Americans rallying behind him are the ones who stand to suffer the most if he continues to bolster ideals that only work for people who look and live like him. For ‘Do Something’, instead of focusing on my cynicism about it, I was trying to have higher hopes, and maybe scream a little about what most of us are thinking.”
Martin goes on, “It’s unifying rather than being divisive. It points towards the fact we’re all trying to navigate this situation together. We shouldn’t be doing that as two separate factions.”
Whether it’s the hard-hitting “Can’t Cheat Death” or the tearful, yet upbeat joy of “Almost Love,” they make pronounced creative strides together.
“To me, this EP is a transition,” Martin states. “It leads us towards the next project and stands as an evolution of our sound. Just like any band, we keep evolving and writing new songs that require creativity in production. I hope we take our older fans with us while making some new ones along the way.”
In the end, The Ballroom Thieves strain light through all the darkness.
“We hope people find it catchy and inviting,” Callie leaves off, “but are also able to find a likeness and connection to any of the ideas we express and the music we love to create.”
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Odetta Hartman

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With a heart – stopping voice & wide – ranging instrumental talent, Odetta Hartman carries cowboy soul into an era where country can clash with computers, and bluegrass isn’t afraid of bass. Her debut LP 222 — an experimental, bedroom-produced hybrid of folk, musique concrète and psychedelia — was released on Northern Spy Records in 2015 to critical acclaim. Alongside her partner, sound artist & radio producer Jack Inslee, Odetta continues to explore the sonic vernacular created by their uncanny collaboration: badass banjos, detuned violins, field recordings, superstitious soundscapes, and vocal stylings ranging from sensual to spooky. A new album, Old Rockhounds Never Die, is slated for release on Northern Spy Records in August of 2018.

Slander Presents: The Headbangers Ball
2018-12-28 22:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
21+
Call 617.733.0505 for VIP table reservations.

Christmas Queens
2018-12-27 19:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
VIP Entrance: 6pm
General Admission Entrance: 7pm
Show: 8pm
All Ages

32nd Annual Matzoball
2018-12-24 21:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
21+

Naughty Santa Hat ft. Dirty DEK
2018-12-22 22:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
21+
Call or text 617.733.0505 VIP table reservations.

Joyryde
2018-12-21 22:00 | MA

Ugly Sweater Party ft. Richard Fraioli
2018-12-15 22:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States

Jeffrey Sutorius (The Artist Formerly Known As Dash Berlin)
2018-12-14 22:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States

Cosmic Royale ft. DJ Tao
2018-12-08 22:00 | MA

Phosphorescent
2018-12-08 18:00 - 21:30 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Presented by Bowery Boston
Doors: 6:00 pm / Show: 6:45 pm
Tickets on sale Fri. 8/3 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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Phosphorescent

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In the five years since Matthew Houck’s last record as Phosphorescent he fell in love, left New York for Nashville, became a father, built a studio from the ground up by hand, and became a father again. Oh, and somewhere along the way, he nearly died of meningitis. Life, love, new beginnings, death— “it’s laughable, honestly, the amount of ‘major life events’ we could chalk up if we were keeping score,” Houck says. “A lot can happen in five years.”
On C’est La Vie, Houck’s first album of new Phosphorescent material since 2013’s gorgeous career defining and critically acclaimed Muchacho, he takes stock of these changes through the luminous, star-kissed sounds he has spent a career refining. By now, Houck has mastered the contours of this place, as intimate as it is grand, somewhere between dreamed and real, where the great lyrical songwriters meet experimental pioneers and somehow distill into the same person. It is Houck’s own personal musical cosmos, a mixture of the earthy and the wondrous, the troubled and the serene, and by now he commands it with depth and precision. When you ask Houck about the cumulative effect of all this life happening in such a short time, he turns philosophical: ”These significant moments in life can really make you feel your insignificance,” he says. “It’s a paradox I guess, that these wildly profound events simultaneously highlight that maybe none of this matters at all…” On this album, Houck reckons with that void — the vanishing point where our individual significance melts into the stars — and sums it up thusly: C’est La Vie.
From the album’s opening moments, Houck sings of this newfound landscape. Of the discovery of new paradigms and the disposal of those no longer useful. After the wordless, haunting Houck-choir opener of “Black Moon / Silver Waves”, he pointedly begins the title track “C’est La Vie No. 2” with the albums first lyrics: “I wrote all night / Like the fire of my words could burn a hole up to heaven / I don’t write all night burnin’ holes up to heaven no more.”
“I was always pursuing this thing of Phosphorescent and becoming the artist that I wanted to become, that sometimes I didn’t even have a second for reflection,” Houck says of the hectic years spent creating, releasing and touring Muchacho. “I was plowing forward—just do, do, do and all else was secondary.” Not that this album exhibits any sense of settling down into complacency. On the contrary, this collection contains some of Houck’s most devastating works to date, but there’s a refreshing measured confidence that radiates throughout C’est La Vie.
Sonically, C’est La Vie is his masterwork: Every sound, including his famously frayed, bemused voice, rings out as inviting and clear as a koi pond. Working in a studio he built from scratch (which certainly came with its own set of challenges) Houck once again set off to produce his own record, calling in musicians from his crack live band as well as friends new and old, and enlisting veteran Vance Powell to help mix the completed project. The writing process was more intuitive, less cerebral and with fewer revisions than anything he’d written before. It was a scary, liberating new approach, like painting with his eyes closed. “I let go of a lot of my writer-poet tricks, and let the lyrics be what they wanted to be,” he says. These lyrics marvel at life’s ability to uproot and re-deposit you into alien, revelatory landscapes: “If you’d have seen me last year, I’d have said, ‘I can’t even see you there from here.’” he sings, wryly, on “There From Here.” This has been one of Phosphorescent’s constant themes—the ever-present possibility for transformation.
But for the first time, Houck seems to be laying down some burdens. “These rocks, they are heavy/I’ve been carrying them around all my days,” he sighs on the album’s closing ballad “These Rocks.” On that same song he also muses, with disarming forthrightness, about drinking: “I stayed drunk for a decade/I’ve been thinking of putting that stuff away.” The lyric makes Houck somewhat uncomfortable, both in its direct simplicity and its capacity to distract listeners into thinking he’d written a stereotypical “battle with the bottle” song. “I’m aware of how that verse resonates, but for me those lines take a backseat to the main driver of that song,” he says. “I originally assumed I’d rewrite and re-sing that lyric,” he says. “But the bones of that song were recorded live and it was the first time I ever played it. It was the first time the band ever heard it and I think it captured something perfect. And it was, y’know, true.” So I had to ask myself, again, ‘Well, what is the point of what I’m doing here? I could re-record it but why not just let it be?” To hear Houck, he confronts this moment of mystery every time he records. “Oh yeah, this process is positively filled with moments where you go ‘What exactly the hell is it that I’m doing here?’” Houck laughs. “And the answer always comes back a resounding, ‘I don’t know.’”
Ain’t that just how it goes, C’est La Vie.
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Liz Cooper and The Stampede

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Ah, yes, hello, howdy and welcome to the about section of Liz Cooper & The Stampede. My name is Liz, it’s a pleasure to meet you. Dream-folk psychedelic rock is what we’ve heard on the streets and we dig what the people think. I suppose the blending of my unique vocal texture with my no rules, what-the-hell-am-I-doing picking and playing style from acoustic to electric guitar is the dream folk. The psychedelic is the way Grant Prettyman makes his v rare, v sexy Red Lobster® red bass sometimes sound like a scary monster that lives in your basement, or a beautiful melody that makes you wanna cry. And our rock? Ryan Usher. He’s always creatively thinking outside the box, always bringing the vibe, and is always there to reel us back in from a jam we’ve lost ourselves in. All together we like to sing sweet sweet harms, we live to be wild, we love getting weird, and we always have fun. Pure bliss. We recorded our debut album, “Window Flowers” in 2016 at Welcome to 1979 in Nashville, TN and we are elated to finally be releasing these songs through our label Sleepyhead Records in conjunction with Thirty Tigers on August 10th.

Sofa King Fridays Ft. Tchami
2018-12-07 22:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States

[SOLD OUT] Khruangbin
2018-12-06 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
SOLD OUT!
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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Khruangbin

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Texan trio Khruangbin is formed of Laura Lee on bass, Mark Speer on guitar, and Donald “DJ” Johnson on drums. Taking influence from 1960’s Thai funk – their name literally translates to “Engine Fly” in Thai.
The seeds of Khruangbin were sown when Mark and Laura were invited to tour with Ninja Tune’s YPPAH supporting Bonobo across his 2010 American tour. The tour galvanised the two to start making music together more seriously, with DJ – he and Mark have played in the same gospel band for years – the natural choice for drums. Sharing their first recordings, Bonobo included Khruangbin’s ‘A Calf Born In Winter’ on his 2013 Late Night Tales compilation. Subsequently signed to Late Night Tales offshoot Night Time Stories, ‘A Calf Born In Winter’ was released as a single in May 2014 and saw support from DJs Zane Lowe, Cerys Matthews, Tom Ravenscroft, Gideon Coe, Don Letts and magazines as musically diverse as i-D, The 405, Clash, Ransom Note, Test Pressing and For Folk’s Sake. Four track EP ‘The Infamous Bill’ followed in October, with covers EP ‘History Of Flight’ on Record Store Day 2015. The band’s debut album ‘The Universe Smiles Upon You’ was released in November 2015 to widespread acclaim.
‘The Universe Smiles Upon You’ steeped in the bass heavy, psychedelic sound of their inspiration, Tarantino soundtracks and surf-rock cool, was recorded at their spiritual home, a remote barn deep in the Texas countryside. The band listened to a lot of different types of music on the long drives out to the country but their favorites were 60s and 70s Thai cassettes gleaned from the cult Monrakplengthai blog and compilations of southeast Asian pop, rock and funk. This had a heavy impact on the direction of the band, the scales they used and the inflection of the melodies; which coupled with the spaciousness of the Texan countryside culminated in Khruangbin forming their exotic, individual sound.
2016 was a defining year for Khruangbin. After a chance meeting on BBC Radio, Father John Misty invited the band to support him on his UK & European tour. They hit the road for a month experiencing some of Europe’s biggest stages – and they didn’t falter once. A summer of live shows followed which saw them play the Park Stage at Glastonbury, a sunrise session at Love International Croatia, BST Hyde Park London and supporting Massive Attack in landmark event The Downs to name just a few. Come the Autumn the band took to the road again for their first US headline tour, this was followed by an appearance at Austin City Limits and a UK headline tour. They sold out shows including New York, London, San Francisco, Berlin and the list goes on.
Having engaged early support from KCRW, The New Yorker and named The Guardians Band Of The Week in the UK, press and radio support for the band grows with every release and every tour. During their 2016 UK visit they were invited to play their first ever set on the prestigious Boiler Room.
Where they find the time for further projects no one is quite sure but this is a band whose creative interests extend beyond the confines of traditional formats. In 2016 the band released a short film “Two Fish and an Elephant” directed by Scott Dungate. This beautifully crafted film, released to accompany the album track of the same name, was funded in part by an innovative Kickstarter campaign, so creative in its design it smashed its target and beyond. The resulting film had such impact it scored a premier on NPR.
When you hear Khruangbins album it is likely you will fall in love with it, its fair to say there is nothing else out there that sounds quite like it. You see them play live and you fall in love all over again when you experience the music translated to stage in a way you won’t have imagined. When Khruangbin play a show – they play a show!
2017 kicks off with a US winter tour and a return to South By Southwest. The summer will include a variety of US festivals and a visit back to European soil. Will we see new material emerge this year? Knowing this band and how their artistry seems to effortlessly turn out new offerings it is very likely – and so we eagerly wait…
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Will Van Horn

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Reverend Horton Heat & Junior Brown
2018-12-05 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. 6/22 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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Reverend Horton Heat

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Junior Brown

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The Blasters

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Big Sandy

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[MOVED TO THE SINCLAIR] Wild Child
2018-12-04 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 has been moved to The Sinclair. More info at the ticket link
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.

Draco Rosa
2018-12-02 19:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Presented by Bowery Boston & World Music/CRASHarts
Doors: 7:00 pm / Show: 8:00 pm
Tickets on sale Fri 9/7 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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Draco Rosa

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Born in Long Island, NY, Draco Cornelius Rosa was raised surrounded by an eclectic mélange of musical tastes: from his mother’s affinity to the rock of the Beatles, Led Zeppelin, the Who and the funk-ridden R&B of the seventies, to his father’s propensity toward salsa—not just any salsa, but, as Rosa puts it, “the dark, aggressive kind.” At a young age, his family moved him to Puerto Rico, where he became a member of the increasingly popular band Menudo.
Wanting to extend the reach of his talents into other media, Rosa moved to Los Angeles. A solo contract with Sony Latin in 1993 enabled him to record in Spain the first of his highly celebrated Spanish-language solo albums, Frío. In between solo projects, Draco worked with Ricky Martin, Ednita Nazario and Julio Iglesias among other celebrated artists. He is the creator of unforgettable hits such as “A Medio Vivir”, “María,” “Vuelve”, “La Copa De La Vida”, “Livin’ La Vida Loca”, “She Bangs”, “Más Grande Que Grande”, and many more.
Phantom Vox Studios, Rosa’s own multi-media recording studio worked as Music Supervisor for Livin’ the Life, an independent movie that won the Best Film Award in the 1999 New York Latin Film Fest. The studio filmed and edited the video for “Commitment #4,” a track Draco composed and recorded in dedication to the freedom of the island of Vieques, a municipality of Puerto Rico.
In 2004, Draco released Mad Love. With most songs in English, collaborations with musicians from all over the world and two videos included in the CD–for “Dancing in the Rain” and “Lie Without a Lover,” both directed by Angela Alvarado Rosa.
In 2008, Draco released his second Spanish only album, Vino which was a follow up to Vagabundo. Vino is included in his long awaited production DRACO: LIMITED COLLEC TOR’S EDITION.
Outside of his personal investments, musical and otherwise, he has also contributed towards the improvement of artistic and cultural life in Puerto Rico, sponsoring the island’s Museo de Arte and Museo de Arte Contemporáneo, and setting up an annual scholarship for outstanding students at the Puerto Rico’s Music Conservatory.

'Little Black Dress Party' ft. DJRM
2018-12-01 22:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States

Tall Heights
2018-12-01 18:00 - 21:30 | 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. 7/13 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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Tall Heights

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Getting there is half the fun, as the old saying goes, but the journey is really the whole point for Boston electrofolk duo Tall Heights. Singer/guitarist Tim Harrington and singer/cellist Paul Wright know where they’ve been, and where they want to go. As for the route, well, “we’re just mapping it out as we take it, day by day,” says Harrington.
They’ve reached their biggest junction so far — Neptune, out now, is Tall Heights’ first album for Sony Music Masterworks, and the latest step in the ongoing evolution of their sound and style.
Harrington and Wright formed Tall Heights in 2010, keeping their songs stripped down to their essential elements, in part, to make it simpler to perform on the streets of Boston.
Neptune is a far lusher construct: along with pristine and emotive vocal harmonies, there’s subtly chugging electric guitar and a spare descending bassline on “Iron in the Fire,” ethereal synthesizers and a spacious drum part on “Spirit Cold,” a brittle splash of percussion to open “Backwards and Forwards” and feedback created by two cellphones on “Cross My Mind.”
“It was helpful and I think comforting to define ourselves as two vocalists, guitar and cello,” Wright says. “There was a beauty and a simplicity, and stepping outside of that box is pretty scary, because you’re forced to redefine yourself and do some sonic soul-searching. I think this record reflects the results of that scary step.”
The band’s broadening sound came from the musicians’ conscious effort to push themselves, and each other, to create in new ways. By relying on a few core elements at the start, the duo learned to make the most of their minimalist set-up. “It taught us to be lean and mean and effective with just two voices and two instruments,” Harrington says. “It made us consider vocal tone and the way voices can mesh and interact.”
As those lessons took root, the pair essentially gave themselves permission to push their musical boundaries outward over three separate recording sessions at Color Study studio in tiny Goshen, Vermont, that yielded songs for their 2015 EP Holding On, Holding Out, and for Neptune. Not only did Harrington and Wright expand their sonic palette throughout the process, they also altered their approach to writing. The musicians tend to develop ideas separately, before one brings a new song to the other for further development. It’s a reflection of their early days sharing musical ideas, when Wright was living overseas and Harrington was finishing up college.
“We would send each other terrible sound-recorder voice memo files and we’d write these nice emails to each other about each other’s songs, so creating concepts independently is something we’ve always done,” says Wright, who has been friends with Harrington since they were kids growing up in the central Massachusetts town of Sturbridge.
They changed the formula on Neptune. Four songs on the album — “River Wider,” “Infrared,” “Cross My Mind” and “Growing” — are the result of one musician looping a simple instrumental part and letting the other write lyrics for it. With the last recording session looming, the duo worked faster than usual on those songs, particularly the somber, atmospheric “Cross My Mind.” “We were under the gun, he was downstairs making one thing, I was upstairs making another thing, we put them together and then we workshopped it in the car on the drive up to the studio,” says Harrington, whose Boston apartment is literally upstairs from Wright’s.
Their ever-closer collaboration, and the time they gave themselves in the studio to develop it, is indicative of the band’s developing approach to making music. “I can hear the evolution happening,” Harrington says. “I feel like we’re walking across a bridge from one place to another, and maybe I’ll always feel that way, but I’m really happy with how we’re moving.”
“Intimate and arresting” – NPR
“Tall Heights employ a collection of acoustic guitar, cello, and electronic drums,​ ​reminiscent of contemporary indie folk giants like Justin Vernon and Fleet​ ​Foxes.”​​ – XPN
“In addition to finger-picked guitar, swelling cello and tight,​ ​prismatic vocal harmonies, ‘Spirit Cold’ boasts a bold, airy drum part​ ​that propels the song through the peaks and troughs of the​ ​arrangement.”​ – Wall Street Journal​
“It’s a contemporary sound that is not without its ageless qualities.” – Chicago Sun Times
“Certifiably unclassifiable” – Boston Herald
“There have been many bands in recent years that have employed beautiful close harmonies, but when you add the strings and the great songwriting, Tall Heights is a notch above the pack.” – WBEZ
“Call it simply gorgeous.” – WFUV
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Frances Cone

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FRANCES CONE is Christina Cone, Andrew Doherty, Adam Melchor, and Aaron Hamel. The Nashville based indie-pop band, fronted by Christina Cone, is named after Christina’s father and great-grandfather, both musicians themselves in South Carolina and both born on September 11th. The band has been praised for their compelling, emotional live show and captivating recordings. In 2016, FrancesCone released, “Arizona,” the first single from their forthcoming full-length album, Late Riser, which is set to release in 2018. Stereogum praised “Arizona” for “Cone’s melodic vocals, rich harmonies, and an electrifying guitar sound.” Written about her brother, filmmaker Stephen Cone, “Arizona’s” reach has extended far and wide at 9.5 million streams on Spotify.
The band’s second single, “Leave Without You,” released in March 2017, is an emotional song about the band’s decision to leave Brooklyn. Cone says, “it is the only place I’ve known as an adult person, and (the song is about) what and who I’ll carry with me.” Billboard raved that the track “employs the band’s signature slow build before exploding with synth and drums into the song’s chorus.”
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Old Sea Brigade

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Old Sea Brigade is Atlanta raised, Nashville based singer-songwriter, Ben Cramer. He delivers a compelling, heartfelt, and atmospheric blend of folk, country, Americana, and indie rock that CLASH music has described as “gorgeous, meditative songwriting” with a “sense of Southern gothic.”
In 2016 after self releasing his debut EP, Cramer embarked on his first U.S. tour landing key support slots for Julien Baker, Hiss Golden Messenger and John Paul White. During this time he signed with Nettwerk Music Group and over the following year released two more EP’s, “Wash Me Away” and “Cover My Own.”
Old Sea Brigade continued to tour throughout 2017, including support for Joseph on their UK/EU tour in February and Lewis Watson in September. The singer/songwriter also saw support from major radio stations such as BBC Radio 1, Radio X, Virgin Radio and KEXP as well as having his music streamed over 20 million times on Spotify.
Old Sea Brigade will be releasing his debut full-length record in 2018.

Ben Nicky
2018-11-30 22:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States

Laboda: Superstar Tour
2018-11-30 08:00 - 17:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
21+
Valid US government issued ID or international passport required for entry.

[CANCELLED] Adam Conover
2018-11-28 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 unexpected scheduling conflicts that have arisen with Adam Conover’s production schedule, we regretfully have to cancel the Adam Conover: Mind Parasites Live! show at Royale on November 28, 2018.
Refunds will be issued at the point of purchase.

VNV Nation
2018-11-25 18:45 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Presented by Bowery Boston
Doors: 6:45 pm / Show: 7:30 pm
Tickets on sale Fri. 6/15 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 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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VNV Nation

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VNV Nation is a European based alternative electronic project led by Ronan Harris in the roles of singer, songwriter and producer.
Never content with fitting in a category, VNV Nation’s sound blends poetic and thought provoking lyrics with a sound that ranges from melodic dance beats and indie-electronic anthems, to haunting ballads and post-classical soundtrack pieces. The live shows are legendary for their energy and positive emotion, drawing a devoted fanbase from across the musical spectrum to sold out tours and headline appearances at festivals in Europe and America.
Over the course of the project’s career, VNV Nation has continued to reach new heights, with its last 3 albums charting top 10 in Germany, as well as top 5 Billboard Chart positions in the US.
Ronan Harris was born in Dublin, Ireland and lives in Hamburg, Germany
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HOLYGRAM

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HOLYGRAM walks the tightrope between New Wave, Postpunk and Industrial Krautrock: driving and gloomy but still full of catchy moments. Music for the lost.
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The Rain Within
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Boston's Biggest Disco
2018-11-24 19:00 - 2018-11-25 01:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Please join over 1,000 guests for a spectacular evening of dancing, delicious food and amusing company amidst the amazing and energizing theatre district of Boston.
You’ll have the opportunity to dress in your favorite disco garb, get down to your favorite disco tunes, as well as meeting some local celebrities!
Ticket purchases are not tax deductible contributions to Dana-Farber Cancer Institute.
21+

Chromeo (DJ Set)
2018-11-23 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+

Allen Stone
2018-11-23 18:00 - 21:30 | 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. 4/13 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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Allen Stone

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Soul/ R&B artist Allen Stone proves himself deeply devoted to making uncompromisingly soulful music that transcends all pop convention. His vocals and melodic style show the clear influence of classic soul and R&B of the 1960s and ’70s, while his lyrics reveal an idealism and passion that recall the folk-inspired singer/songwriters of the same era.
Born in Chewelah Washington, Stone started discovering those vocals as a kid, thanks largely to his parents’ influence. “My father was a minister so I spent about half my childhood in church, watching my mom and dad sing together and lead the congregation in song,” he recalls. By the time he was 11 he’d picked up a guitar and written his first song, and soon began self-recording demo tapes to pass along to classmates. Although Stone enrolled in Bible College after high school, he quickly dropped out to move to Seattle and kick start his music career. “I had an ’87 Buick and I’d drive up and down the west coast, playing any gig I could get just to try to put my music out there,” he says.
In 2010, Stone recorded an album called Last to Speak that he released digitally through his own Stickystones label. A second album, simply titled Allen Stone, followed in the fall of 2011, and quickly became an independent success story. Online sales took the album to the top of the online charts, and it placed on Billboard’s Heatseekers chart, all without a formal distribution deal. The artist-friendly ATO Records label signed Stone in 2012, and reissued his eponymous album in the summer of that year. He then signed to Capitol Records and worked extensively with fellow singer and songwriter Tingsek. The result, Radius, was released in May 2015.
Stone decided to return to ATO Records and released his latest album, Radius Deluxe. As the New York Times recently said Stone’s lyrics “promise honest sentiments, grooves built with physical instruments and a gospel-rooted determination to uplift … glimmers of Al Green, Bill Withers, Curtis Mayfield, George Clinton, Prince and a bit of Sting.”
Stone is currently working on his next album, which is set be released on ATO Records later this year.
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Nick Waterhouse

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Nick Waterhouse is the New Breed – An R&B fanatic who combines an uncanny old-school sensibility with a charged, contemporary style. At just 25, He joins the ranks of a growing cabale of similar acts and producers of recent times – Mark Ronson, Mayer Hawthorne, the Daptone Crew et al – that are all moving forward into the past, yet all quite different. For Waterhouse, his muse is the over-modulated sound of vintage R&B, and his take on such a time-honored tradition evokes the back-alley thrill of New Orleans, Detroit and Memphis in their heyday. He combines an astute attention to detail with an honest desire to match the emotional impact of the music that inspires him.
When asked to pinpoint the sound or style he strives for, Nick Waterhouse simply shrugs and responds, “American music. And I know that’s pretty general, but it is what it is. I have spent so much of my life immersed in this stuff, because I wanted to figure it out, [yet] all I figured out was that there was no plan.” In other words, whatever musical style Nick may choose to espouse, it’s not done because someone else did it, but done for the same reason someone else did it. “To me, [the music I play] is not a ‘type’ of music,” he emphasizes; “it IS music. The records I listen to ARE music. A record is a moment in time, and something recorded in 1955 is the same as something recorded in 2010.” Growing up in the Southern California, Waterhouse eschewed his surroundings and found emotional authenticity in the vintage wax of Ray Charles, Roy Head, Little Willie John and the whole panoply of American music, where feel so often trumps technique. After the sold out release of his own self-produced 45, the raunchy ‘Some Place’, and a string of exciting shows with his live group The Tarots, Nick went to work on his forthcoming full-length for Innovative Leisure – continuing an undeniably raw and rhythmic take on American music.
His approach to production – entirely vintage analog equipment, open-reel tape machines, lacquer cutting machines, and even hand letter-pressed labels – has left a few fans wondering where and when he comes from; Long-lost deadstock Rhythm & Blues artifact? White or Black? New or old? It’s a fitting recall to the days of early Rock & Roll, when rhythms crossed the tracks and no-one was quite sure WHAT or WHO this music was. As LA Record bears witness, “You’ve gotta be one kind of maniac to produce like this, and a whole other kind to shout like this, and an even more frightening kind to make the first two maniacs work together. Nick pulling this all off simultaneously means preternatural powers in play”

Annual Thanksgiving Night Gala: Lefteris Pantazis
2018-11-22 21:15 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
Doors @ 8:30pm
21+
Valid US Government-issued ID or international passport required.

10th Annual Thanksgiving House Music Ball ft. Chus + Ceballos
2018-11-21 21:00 | Royale Nightclub Boston, MA, 279 Tremont Street, Boston, MA, 02116, United States
21+
Valid United States ID or international government password required for entry.
