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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20260301T193000
DTEND;TZID=America/Phoenix:20260301T233000
DTSTAMP:20260428T023401
CREATED:20260220T010701Z
LAST-MODIFIED:20260220T010701Z
UID:20413-1772393400-1772407800@globalazmedia.com
SUMMARY:Cardi B at Mortgage Matchup Center
DESCRIPTION:Rapper and entertainer Cardi B draws from a seemingly never-ending supply of confidence\, charisma\, and evisceratingly sharp flows. She broke through in 2017 with her debut commercially released single\, “Bodak Yellow\,” topping the Billboard Hot 100 and becoming the first female rapper to do so in nearly two decades. Her 2018 debut studio album\, Invasion of Privacy\, followed shortly thereafter\, reaching number one and breaking additional records with the summer smash “I Like It.” The record also made her the first solo female rapper to win a Grammy for Best Rap Album. Heading into the next decade\, Cardi continued to dominate with chart-topping singles like 2020’s “WAP” with  and 2021’s “Up.” She again teamed with  for 2023’s “Bongos” before joining  for 2024’s “Puntería” and teasing her sophomore album with “Enough (Miami).” \nSpitting raw and aggressive rhymes in the tradition of \, \, and \, the former stripper and social media star born  made her television debut in late 2015 on VH1’s Love & Hip Hop: New York\, joining a cast that also included fellow New York rapper . A year later\, she made her musical debut alongside dancehall singer  on ‘s “Boom Boom” single. The solo single “Cheap Ass Weave” and the mixtape Gangsta Bitch Music\, Vol. 1 soon followed in early 2016. Two more singles\, “Foreva” and “Wash Poppin’\,” arrived that summer. A second mixtape\, Gangsta Bitch Music\, Vol. 2\, was released in early 2017. \nThat same year\, Cardi B signed with  and scored a hit with the single “Bodak Yellow\,” which climbed to the top spot of the Billboard Hot 100 in late September; it made her the first solo female rapper to do so since 1998. Her chart run continued with features on ‘s “No Limit” and ‘ “MotorSport\,” two additional Top Ten hits that crowned Cardi as the first female rapper to have her first three entries land in the Top Ten of the Hot 100 and Hot R&B/Hip-Hop Songs charts. After the release of her single “Bartier Cardi” with \, Cardi hopped onto a remix of ‘ “Finesse.” The new jack swing revival track soared to number three in the U.S. and topped charts across the globe. With these singles\, Cardi became the first woman in history to have five simultaneous Top Ten singles on the R&B/Hip-Hop Songs chart. \nHer official debut studio album\, Invasion of Privacy\, arrived in spring 2018. Including her two breakthrough singles\, the effort also featured appearances by  (“Drip”)\,  (“Best Life”)\,  (“Ring”)\,  (“I Do”)\,  (“She Bad”)\, and  and  on “I Like It.” The latter track was issued as a single and made a steady climb to the top of the Hot 100 in July 2018\, making Cardi the first female rapper to achieve two number ones. That summer\, she was also featured on hit singles with  (“Dinero”) and  (“Girls Like You”). To cap her banner year\, she was nominated for multiple Grammy Awards and Invasion of Privacy was included on numerous year-end critics’ lists. The album went on to win a Grammy for Best Rap Album\, making Cardi the first solo female rapper to achieve the honor. The next year\, she was nominated again in the category of Best Rap Performance for her  collaboration “Clout.” \nIn August 2020\, she topped the Billboard Hot 100 singles chart with the song “WAP\,” a collaboration with . Six months later\, Cardi landed another smash hit with 2021’s “Up\,” a drill-inspired solo single that earned global success and topped four different Billboard charts. That same year\, she contributed to hits by  (“Wild Side”) and  (“Rumors”) before returning in 2022 with the  and  collaboration “Hot Shit.” “Bongos\,” a second collaboration with \, arrived in September 2023 as the fourth single off Cardi’s sophomore album. It landed at number 13 on the Hot 100. That same month\, the duo performed the song at the MTV Music Video Awards ceremony. A fifth single\, the DJ SwanQo\, \, and Romano-produced “Enough (Miami)\,” appeared in March 2024. That same month\, Cardi joined  for the single “Puntería\,” off the “Hips Don’t Lie” singer’s 12th album\, Las Mujeres Ya No Lloran. ~ Neil Z. Yeung\, Rovi \n \n 
URL:https://globalazmedia.com/event/cardi-b-at-mortgage-matchup-center/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
ATTACH;FMTTYPE=image/webp:https://globalazmedia.com/wp-content/uploads/2026/02/Cardi-B-at-Mortgage-Matchup-Center.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20260227T183000
DTEND;TZID=America/Phoenix:20260228T233000
DTSTAMP:20260428T023401
CREATED:20260219T030249Z
LAST-MODIFIED:20260219T030249Z
UID:20408-1772217000-1772321400@globalazmedia.com
SUMMARY:Robin Thicke at Wildhorse Pass Casino
DESCRIPTION:Robin Thicke has established himself as one of the most respected singer songwriters in soul/R&B music today. Born in Los Angeles\, Robin taught himself to play piano at the age of 12 & by 16 was writing/producing songs for top R&B artists. At the age of 21\, he had written/produced songs on over 20 gold & platinum albums including Michael Jackson\, Marc Anthony\, Pink\, Christina Aguilera\, Usher & others. One year later he signed with Jimmy Iovine & Interscope records. The musician & composer released his critically acclaimed debut album\, A Beautiful World\, in 2003 under the name Thicke. The collection was followed by a succession of five critically acclaimed gold & platinum selling album releases. Robin’s sixth studio album\, Blurred Lines\, was released in July on 2013. The album garnered four GRAMMY nominations. The collection debuted at #1 on Billboard Top 200 while\, “Blurred Lines\,” the single\, continued its 12 week reign on the Billboard Hot 100 chart making Robin the first artist to take the top spot on both lists since December 2012 & only the 17th act to earn the distinction in the past ten years. “Blurred Lines” scored the highest audience ever recorded & broke records by climbing to #1 on 5 radio charts simultaneously (Top 40\, Rhythm\, Urban\, Hot AC & Urban AC) –the first time this has ever been done by an artist. Robin’s recent singles include the undeniably danceable pop record “Back Together” featuring Nicki Minaj\, “Deep” featuring Nas\, & a R&B classic “Morning Sun”. \n \n 
URL:https://globalazmedia.com/event/robin-thicke-at-wildhorse-pass-casino/
LOCATION:Wild Horse Pass\, 5040 Wild Horse Pass Blvd\, Chandler\, AZ\, 85226\, United States
ATTACH;FMTTYPE=image/webp:https://globalazmedia.com/wp-content/uploads/2026/02/Robin-Thicke-at-Wildhorse-Pass-Casino.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20260214T200000
DTEND;TZID=America/Phoenix:20260214T233000
DTSTAMP:20260428T023401
CREATED:20260112T012101Z
LAST-MODIFIED:20260112T012101Z
UID:20329-1771099200-1771111800@globalazmedia.com
SUMMARY:Lady Gaga at Desert Diamond Arena
DESCRIPTION:Academy Award and 14-time GRAMMY-winner Lady Gaga is a one-of-a-kind artist and performer. She has amassed an outstanding 110 million global album sales\, 175 billion streams\, and 758 million song consumption units\, making her one of the best-selling musicians of all time. Her most recent pop album\, Chromatica\, became her sixth consecutive #1 on the Billboard 200 chart\, making her the first female artist to achieve this over a ten-year period (2011-2020). Gaga’s collaboration with Ariana Grande on “Rain On Me” had the biggest Spotify debut of 2020\, reaching #1 on the Global and US Spotify Charts. In 2023\, her debut single “Just Dance” became her third diamond-certified single by the RIAA\, joining “Bad Romance” and “Poker Face.” In 2018\, she won an Academy Award for Best Original Song for “Shallow\,” featured on the soundtrack of Best Picture nominee A Star is Born (2018)\, in addition to claiming a Golden Globe\, a Critics’ Choice Award\, and four GRAMMYs for both “Shallow” and “I’ll Never Love Again\,” also from the same soundtrack. Lady Gaga knows no bounds\, from producing her classic pop hits to exploring the classic American Songbook with her albums Cheek to Cheek and Love For Sale with Tony Bennett\, both #1 albums. Beyond music\, she excels in business as the founder of Haus Labs and thrives as an actress (A Star Is Born\, House of Gucci\, Joker: Folie à Deux)\, as well as a passionate activist for mental health and LGBTQ+ rights through her Born This Way Foundation. \n \n 
URL:https://globalazmedia.com/event/lady-gaga-at-desert-diamond-arena/
LOCATION:Desert Diamond Arena\, 9400 W Maryland Ave\, Glendale\, AZ\, 85305\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2026/01/Lady-Gaga-at-Desert-Diamond-Arena.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20260131T183000
DTEND;TZID=America/Phoenix:20260131T233000
DTSTAMP:20260428T023401
CREATED:20260112T005034Z
LAST-MODIFIED:20260112T005034Z
UID:20322-1769884200-1769902200@globalazmedia.com
SUMMARY:Nothing More + Catch Your Breath and More at The Van Buren
DESCRIPTION:NOTHING MORE combines the cerebral and sublime. The music Jonny Hawkins\, Mark Vollelunga\, Daniel Oliver\, and Ben Anderson make together is primal\, elemental\, and even carnal. Their foundation is heady and heavy\, filled with creative nuance that rewards repeated listens\, while the catchy hooks always soar\, intertwined in a delicious dance between accessibility and experimentation. They’ve already earned three GRAMMY nominations and two gold plaques along the journey. 2022’s SPIRITS\, which produced songs like “YOU DON’T KNOW WHAT LOVE MEANS” and the Top 5 smash “TIRED OF WINNING\,” indulged the outer edges of NOTHING MORE’s esoteric leanings without sacrificing melody. Two years later\, CARNAL brings them full circle with focused precision. CARNAL harkens to their breakthrough 2014 self-titled set and the bombastic energy of songs like “This is the Time (Ballast)\,” while powerful interludes and trippy transitions anchor it all together. If SPIRTS was water\, CARNAL is fire. NOTHING MORE sound biting\, visceral\, and in-your-face. Kerrang! named NOTHING MORE one of 22 Artists Shaping the Future of Rock\, alongside Nine Inch Nails\, Twenty One Pilots\, and Bring Me The Horizon. And frontman Hawkins\, who met guitarist Vollelunga before they were old enough to drive\, appeared with Billie Joe Armstrong\, Dave Grohl\, and Hayley Williams in the English tastemaker’s Top 50 Greatest Rockstars in the World. Built to last\, here to stay. \n \n \nA fresh\, burgeoning Hard Rock band based out of Austin\, Texas. Comprised of vocalist Josh\, guitarist Teddy\, bassist Cianan\, and drummer Onell\, Catch Your Breath injects a unique mix of synth soundscaping elements\, imaginative production\, and refined songwriting for an intense amount of emotion. The secret ingredient of their music is their relatable core. Says Teddy of the sound\, “We want to mix it up with a new gen of rock… there’s almost never just our instruments playing by themselves”. With their hit single “Dial Tone” debuting on Sirius XM Octane radio\, hitting #3 on Spotify Metal’s worldwide chart\, and #7 on Billboard’s Hot Hard Rock Songs\, this track gave the band the surge they’ve deserved from the start. Whether it’s a design at Hot Topic\, coverage on Knotfest.com\, or on tour with Falling in Reverse\, fans can instantly connect with Catch Your Breath more than ever before. \n \n \nARCHERS combine massive melodies and crushing heaviness with unrivaled passion and precision. The music of the Midwestern quartet connects deeply via confessional tales of broken hearts and mental anguish\, building an intimate sense of community with outsiders from all corners of the world. \nAfter years of honing their craft on the road\, at major rock festivals and touring alongside bands such as Asking Alexandria\, Catch Your Breath\, From Ashes to New\, Magnolia Park and Imminence\, the band has developed a knack for delivering high octane\, head turning performances that resonate with their fans while continuing to win over a dedicated army of new fans with each performance. \n \n \nColumbus native Doobie has carved out his place as one of the most prominent independent artists in the underground scene\, known for his raw storytelling and genre-blending sound. His breakout single\, “When the Drugs Don’t Work\,” earned a platinum certification and racked up over 115 million views on YouTube — a major milestone for an artist who built his career from the ground up. Doobie’s music has always drawn influence from rock icons like Alice in Chains\, Nirvana\, Metallica\, and KISS\, blending gritty lyricism with emotional depth. \nIn 2024\, that rock influence took center stage with the release of his first rock single\, “Early Bird Gets the Whiskey\,” followed by his 2025 full-length rock album Give ’Em Hell Until You Get to Heaven. The project’s lead single\, “Worth A Shot\,” broke into the Top 30 at radio and marked a powerful debut in the rock space. Through battles with addiction and personal struggles\, Doobie continues to keep his music honest — often producing it himself to stay true to his story. As the first independent artist from Columbus to go platinum\, he’s just getting started.
URL:https://globalazmedia.com/event/nothing-more-catch-your-breath-and-more-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2026/01/Nothing-More-Catch-Your-Breath-and-More-at-The-Van-Buren.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20260128T200000
DTEND;TZID=America/Phoenix:20260128T233000
DTSTAMP:20260428T023401
CREATED:20260111T232325Z
LAST-MODIFIED:20260111T232325Z
UID:20319-1769630400-1769643000@globalazmedia.com
SUMMARY:Twice at Mortgage Matchup Center
DESCRIPTION:TWICE is a K-Pop girl group produced by JYP Entertainment through the reality program [SIXTEEN].   The group is composed of 9 members: NAYEON\, JEONGYEON\, MOMO\, SANA\, JIHYO\, MINA\, DAHYUN\, CHAEYOUNG\, and TZUYU.   Debuted on October 20th\, 2015 with the 1st EP [THE STORY BEGINS] that featured the title track “Like OOH-AHH”\, the group then achieved bigger fame in 2016 with the 2nd EP [PAGE TWO] that featured “CHEER UP.” Since then\, the group has won several big awards with TWICE’s own music style ‘color pop’ and continued to release the unique bright\, energetic and catchy songs: “TT”\, “KNOCK KNOCK”\, “SIGNAL”\, “LIKEY”\, “Heart Shaker”\, “What is Love?”\, “Dance The Night Away”\, “YES or YES” \,”The Best Thing I Ever Did”\, “FANCY”\, “Feel Special”\, “MORE & MORE” \,”I CAN’T STOP ME”\, “Alcohol-Free”\, “The Feels”\, “SCIENTIST”\, “Talk that Talk”\, “SET ME FREE”\, “I GOT YOU”\, “ONE SPARK”\, “Strategy”\, “THIS IS FOR” and “ME+YOU”.   Recognized as one of Asia’s top girl groups\, TWICE continues to break records worldwide\, from headlining Lollapaloza Chicago as the first K-pop female group\, to making history as the first overseas female artists to perform at multiple stadiums such as Nissan stadium in Japan.
URL:https://globalazmedia.com/event/twice-at-mortgage-matchup-center/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
ATTACH;FMTTYPE=image/webp:https://globalazmedia.com/wp-content/uploads/2026/01/Twice-at-Mortgage-Matchup-Center.webp
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20260103T183000
DTEND;TZID=America/Phoenix:20260103T233000
DTSTAMP:20260428T023401
CREATED:20251220T232616Z
LAST-MODIFIED:20251220T232616Z
UID:20308-1767465000-1767483000@globalazmedia.com
SUMMARY:The Atomic Punks at Marquee Theatre
DESCRIPTION:In the heart of Pasadena\, California\, where the iconic Van Halen first ignited their meteoric rise to stardom\, a tribute band emerged that would come to embody the very essence of the legendary rock group’s early years. The Atomic Punks\, formed in 1994\, are more than a tribute band—they are a sonic time capsule\, faithfully recreating the magic and energy of Van Halen’s David Lee Roth era. \nBoasting an impressive resume of over 1000 shows worldwide\, The Atomic Punks have firmly established themselves as the quintessential Van Halen tribute. Recognized as “Best Tribute Band” by LA’s esteemed “Rock City News” multiple times\, their influence extends far beyond the stage. The band made history as one of the original acts featured on AXS TV’s “The World’s Greatest Tribute\,” and their national following continues to swell\, reaching new heights with each performance. \nIn 1997\, former Van Halen front man David Lee Roth\, in his autobiography “Crazy from the Heat\,” bestowed the ultimate compliment upon The Atomic Punks\, proclaiming them “The best tribute to Van Halen ever!” This endorsement would evolve into a collaboration\, as original Punks guitarist Bart Walsh joined Roth’s “DLR Band” tours from 1999-2001. Brian Young\, Walsh’s successor\, so authentically replicated Eddie Van Halen’s unparalleled guitar mastery that Roth enlisted him for his 2002 national tour alongside ex-Van Halen frontman Sammy Hagar. \nVan Halen bassist Michael Anthony\, having shared the stage with The Atomic Punks on multiple occasions\, declared\, “I feel like I am back in 1982 performing with the old band!” Howard Stern echoed the sentiment on his radio show\, affirming\, “The Atomic Punks become Van Halen. It’s the total experience; they do Van Halen better than Van Halen themselves!” \nRenowned Sirius XM host Eddie Trunk and celebrated Van Halen photographer Neil Zlozower both frequent guests at Punks shows\, have lauded the band\, further solidifying their status in the rock pantheon. \nLead singer Brian Geller\, with his uncanny vocal prowess and dynamic stage presence\, has been recognized beyond the tribute scene\, being invited on stage by Van Halen’s second lead singer Sammy Hagar and hired to impersonate David Lee Roth’s voice on Comedy Central’s Celebrity Roast and in automotive commercials. \nLead guitarist Frankie Lindia\, a former member of RATT\, joins a prestigious lineage as the third Atomic Punks guitarist to grace David Lee Roth’s solo band. \nDrummer Scott Patterson\, the original Atomic Punk\, lays down a rock-solid rhythm and has collaborated with rock royalty Ace Frehley and Bret Michaels. \nThe newest Punk\, bassist Danny Spree\, brings professional excitement to the band\, sharing his talents with both Adler’s Appetite and Phil X and the Drills.\nYou never know who may turn up at a Punks show. Throughout their illustrious career\, The Atomic Punks have shared the stage with luminaries such as Nunu Bettencourt (Extreme)\, Jani Lane (Warrant)\, George Lynch (Dokken)\, Mike Tramp (White Lion)\, James Lomenzo (David Lee Roth/Megadeth/John Fogerty)\, Fred Coury (Cinderella)\, Michael Sweet (Stryper)\, Zak Wylde (Ozzy Osbourne)\, Taylor Hawkins (Foo Fighers) \, Dave Grohl (Foo Fighers/Nirvana)\, and Chad Smith (Red Hot Chili Peppers). They’ve opened for Heart\, Foo Fighters\, Night Ranger\, .38 Special\, Stephen Pearcy\, Warrant\, Sweet\, KIX\, and Zebra\, and participated in monumental events like Cal Jam\, Monsters of Rock Cruises\, Rocklahoma\, Moondance Jam\, and playing for KISS twice at the KISS Arena Football League games. \nHowever\, amidst all these accolades\, The Atomic Punks remain humble\, emphasizing at every show that they aren’t Van Halen; they simply love to play the timeless music of vintage Van Halen. Their note-for-note performances and the electrifying energy of their stage shows transport audiences back to the golden era of “Diamond” Dave and the “Mighty” Van Halen. For those who crave the authentic experience of early Van Halen\, The Atomic Punks stand as the ultimate tribute\, ensuring that the flame of Van Halen’s legacy burns brightly for generations to come. \n \n 
URL:https://globalazmedia.com/event/the-atomic-punks-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/webp:https://globalazmedia.com/wp-content/uploads/2025/12/The-Atomic-Punks-at-Marquee-Theatre.webp
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20251216T190000
DTEND;TZID=America/Phoenix:20251216T233000
DTSTAMP:20260428T023401
CREATED:20251201T003841Z
LAST-MODIFIED:20251201T003841Z
UID:20301-1765911600-1765927800@globalazmedia.com
SUMMARY:Queensryche + Accept at The Van Buren
DESCRIPTION:With a career that not only spans\, but has charted the course of multiple genres\, QUEENSRŸCHE remains a force in their own right. “Digital Noise Alliance”\, QUEENSRŸCHE’s 16thstudio album\, that will be out October 7th\, 2022\, continues the ever-evolving legacy the Bellvue Washington born band began in 1982 when they first took hold of the flame with their hugely received self-titled 4-song EP. Their recent U.S. tour with Judas Priest proved that the band’s time off the road and in the studio only stoked their ambition and fire. Once again teaming up with producer Zeuss (Rob Zombie\, Hatebreed)\, “Digital Noise Alliance” not only refracts QUEENSRŸCHE’s past accomplishments but also pushes into the band’s future. It is the band effortlessly moving from strength to strength: immediate and thought-provoking. Quintessentially QUEENSRŸCHE. \n \n \nTeutonic metallers ACCEPT were already able to achieve tremendous worldwide success with »Blood Of The Nations« and »Stalingrad« but with »Blind Rage« they reached the pinnacle of their career in the form of the pole position\, a #1 album. In 2017 their new album »The Rise Of Chaos« cemented their status as genre leaders once again and there’s no doubt that with “Too Mean To Die” Accept are once again playing at the top of the Champions League of the genre. Wolf Hoffmann & Co. present the (music) world eleven masterpieces at the beginning of 2021 – eleven songs for eternity!
URL:https://globalazmedia.com/event/queensryche-accept-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2025/11/Queensryche-Accept-at-The-Van-Buren.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20251122T200000
DTEND;TZID=America/Phoenix:20251122T233000
DTSTAMP:20260428T023401
CREATED:20251117T022002Z
LAST-MODIFIED:20251117T024115Z
UID:20265-1763841600-1763854200@globalazmedia.com
SUMMARY:Orianthi at Talking Stick Resort
DESCRIPTION:Australian-born guitarist and singer Orianthi Panagaris\, aka Orianthi\, is a virtuoso performer whose sound is steeped in hard rock traditions. She first began wowing audiences in her teens\, opening for Steve Vai and jamming with Carlos Santana. After issuing her debut long-player Violet Journey in 2005\, Orianthi relocated to Los Angeles where she performed on national television with Carrie Underwood and was part of Michael Jackson‘s planned This Is It tour. She broke through to a wider audience with 2009’s Believe\, netting the international hit single “According to You.” Along with her own albums\, like 2013’s Heaven in This Hell\, she has continued to earn respect from veteran rock icons\, including forming the group RSO with Richie Sambora\, with whom she released Radio Free America in 2018. Through it all\, Orianthi’s searing fretboard skills and passion for anthemic rock remain her focus\, as evidenced by 2020’s O and 2022’s Rock Candy. \nBorn in 1985 in Adelaide\, Australia\, Orianthi Panagaris was only six when she fell in love with the electric guitar\, thanks to her dad’s record collection. Legendary names like Clapton\, Hendrix\, and Santana influenced decision to take lessons. She spent five years learning the acoustic guitar before switching to the electric at the age 11. Playing in bands since she was 14\, she performed in her first stage show for Steve Vai at the age 15. Subsequently\, she left school\, turned her focus to songwriting\, and began her professional career. Three years later\, at 18\, while working as a studio and utility player\, Orianthi met and jammed with Carlos Santana in Adelaide. He invited her on-stage to play during his soundcheck and was so impressed he asked her to perform with him that night. The single-song guest spot evolved into a 30-minute jam. With Santana‘s enthusiastic endorsement\, she went on to share stages with Prince\, ZZ Top\, and others. In 2006 she independently released her debut album Violet Journey. Not only did it receive enthusiastic press response\, it won her a record deal with Geffen. The album was reissued a year later by Universal\, while she played as an opener for guitarist Steve Vai on a world tour. \nUpon her return\, Orianthi emigrated to Los Angeles. While working on her sophomore album she played extensively as a session and touring musician. Her abilities were noted by millions of television viewers when she joined Carrie Underwood‘s band for a 2009 Grammy Awards performance. That same year\, an email invitation arrived asking her to audition for Michael Jackson\, who was assembling a band for a 50-date residency at London’s O2 Arena. One blistering rendition of the “Beat It” solo was enough to land the gig\, but the King of Pop unexpectedly passed in June of that same year. Orianthi sang at the memorial service\, and rehearsal footage of the guitarist backing Jackson was featured in the popular film Michael Jackson’s This Is It. \nHer second long-player\, Believe\, arrived several days before the movie’s release\, featuring the Top 20 single “According to You.” It was re-released in 2010 as Believe (II) with four different songs\, including a cover of John Waite‘s “Missing You.” It also featured a guest spot from Vai on the tune “Highly Strung.” The set charted inside the top half of the Top 200. The following year\, Orianthi released the digital EP Fire featuring production from the Eurythmics‘ Dave Stewart. In 2013\, Orianthi returned with her third full-length album\, Heaven in This Hell. Also produced by Stewart\, it contained all five tracks from the EP and centered on modern country and blues. It charted inside the Top 40 on the Independent Albums chart. Orianthi also appeared during the Top Seven week on season 12 of American Idol to play guitar for each of the performances. \nWhile working with Cooper in 2013\, she met former Bon Jovi guitarist Richie Sambora who was vacationing in Hawaii. Cooper\, who was playing a benefit for the Maui Food Bank\, invited Sambora on-stage. He and Orianthi played Hendrix‘s “Voodoo Child” and Montrose‘s “Rock Candy” (the latter was sung by its original vocalist Sammy Hagar). The pair hit it off professionally and personally. A month later\, Sambora invited Orianthi to join him for a tour of Europe and Australia. By the time it ended\, they were a romantic couple. After fulfilling her remaining commitments to Cooper (while fending off numerous invites from Prince to join his band)\, Orianthi and Sambora built a home studio while making plans for a recorded musical collaboration. It took two years\, but by 2015\, the pair’s band\, called RSO (after their respective initials) enlisted Bob Rock as producer and began tracking some of the 70-plus songs they had penned together. In 2017 they released the five-track EP Rise and followed it a year later with the album Radio Free America. In May of 2018\, they performed during the 11th season of the PBS performance series Soundstage. Though they eventually split as a couple\, RSO remained a going concern. \nIn November of 2020\, Orianthi released her fourth solo album\, O\, produced by Marti Frederiksen on Frontiers Records. It was followed two years later by Live from Hollywood\, a concert album recorded at L.A.’s Bourbon Room. On the heels of that release\, she delivered her fifth studio album\, 2022’s Jacob Bunton-produced Rock Candy. ~ Matt Collar & Thom Jurek\, Rovi
URL:https://globalazmedia.com/event/orianthi-at-talking-stick-resort/
LOCATION:Talking Stick Resort\, 9800 E. Talking Stick Way\, Scottsdale\, AZ\, 85256\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2025/11/Orianthi-at-Talking-Stick-Resort.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20251122T193000
DTEND;TZID=America/Phoenix:20251122T233000
DTSTAMP:20260428T023401
CREATED:20251120T014450Z
LAST-MODIFIED:20251120T014450Z
UID:20272-1763839800-1763854200@globalazmedia.com
SUMMARY:Lily Rose at The Van Buren
DESCRIPTION:Atlanta\, Georgia native Lily Rose burst onto the scene with her viral hit “Villain\,” instantly propelling her into the national spotlight almost overnight. Lily toured with country’s hottest stars as she hungrily chased down her dreams and married her wife Daira in 2023. Amidst the whirlwind of success\, Lily felt a tug to reassess her priorities and find balance between her career aspirations and personal fulfillment. Out of that period of reflection comes the long-awaited EP and Lily’s first batch of new music since 2022\, Runnin’ Outta Time\, out May 10. A co-writer on each track\, it’s Lily at her most personal and honest\, bundling her beliefs and contradictions into six new songs that explain who she is\, where she came from and where she’s heading. It’s the perfect soundtrack for the intense push and pull in Lily’s life and a potent reminder of how important it is to take a breath and focus on the things that matter most. Lily has been on multiple tours with Sam Hunt and opened shows for Shania Twain\, and even experienced her own global pop moment when she sang on Diplo’s “Sad in the Summer” as she introduced herself to a whole new group of fans through performances on NBC’s The Voice and ABC’s Good Morning America. She’s already been nominated for ACM New Female Artist of the Year and took home GLAAD’s Outstanding Breakthrough Artist Award in 2022\, and now\, she emerges with a crisp\, edgy new sound and a renewed understanding of what matters most to her.
URL:https://globalazmedia.com/event/lily-rose-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2025/11/Lily-Rose-at-The-Van-Buren.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20251118T190000
DTEND;TZID=America/Phoenix:20251119T233000
DTSTAMP:20260428T023401
CREATED:20251029T005943Z
LAST-MODIFIED:20251029T005943Z
UID:20234-1763492400-1763595000@globalazmedia.com
SUMMARY:Billie Eilish at Mortgage Matchup Center
DESCRIPTION:Billie Eilish remains one of the biggest stars to emerge in the 21st century. Her third studio album\, HIT ME HARD AND SOFT features 10 tracks written and recorded in her hometown of Los Angeles\, with her brother and producer FINNEAS. In 2019\, her debut album WHEN WE ALL FALL ASLEEP\, WHERE DO WE GO? debuted at No. 1 in 18 countries\, and was the most streamed album of that year. In 2021\, her sophomore album ‘Happier Than Ever’ debuted at #1 in 20 countries. Both albums were critically acclaimed worldwide and were written\, produced\, and recorded entirely by Billie Eilish and FINNEAS. 9-time GRAMMY® Award-winning Billie Eilish has made history as the youngest artist to receive nominations and win in all the major GRAMMY® categories\, receiving an award for Best New Artist\, Album of the Year\, Record of the Year\, Song of the Year\, and Best Pop Vocal Album\, and is the youngest artist to write and record an official James Bond theme song\, ‘No Time To Die\,’ which won an Academy Award for Best Original Song in 2022. In 2023\, Eilish also wrote and released the critically acclaimed song “What Was I Made For?” for the Greta Gerwig-directed motion picture Barbie\, which also won Academy and Golden Globe Award for Best Original Song\, two GRAMMY® Awards for Song of the Year and Best Song Written For Visual Media\, and has solidified Billie Eilish yet again in the history books as the youngest person ever to win two Academy Awards. \n \n \nSinger and songwriter Lucy Dacus’ rich\, buttery voice commands both her thoughtful indie rock tunes and more intimate confessionals. Emerging from Richmond\, Virginia’s indie scene in the mid-2010s\, she broke through the blogosphere and onto major indie outlets with lead single “I Don’t Wanna Be Funny Anymore” from her 2016 debut album\, No Burden. It showcased the songwriter’s playful and also heartrendingly candid way with words. The critical success of the more dramatic follow-up\, Historian\, in 2018 was followed the same year by membership in Boygenius\, a trio with similarly lauded contemporaries Julien Baker and Phoebe Bridgers. Dacus’ more tender and more autobiographical third solo album\, Home Video\, arrived in 2021 and landed just outside the top half of the Billboard 200. As Boygenius‘ popularity surged\, Dacus’ first appearance in the Top Five came in 2023 with her trio’s Grammy- and Brit Award-winning full-length debut\, The Record. Her Boygenius bandmates\, Hozier\, and album co-producer Blake Mills were among the guests on Dacus’ adult-relationship-themed fourth solo outing\, 2025’s Forever Is a Feeling\, her major-label debut. A companion set subtitled The Archives arrived later in year and featured new material along with alternate versions. \nBorn and raised in Mechanicsville just outside of Richmond\, Dacus grew up singing; her mother was a music teacher. She began writing regularly in her journal in the sixth grade and attended concerts and connected with the Richmond music scene throughout high school. After graduating\, she tried studying film at Virginia Commonwealth University with a plan to make music on the side\, but soon dropped out to concentrate on writing songs. \nDacus’ debut was put together relatively last-minute when a friend who worked at Starstruck Studio in Nashville let her know they had an open day. She had assembled a band from area musicians in guitarist Jacob Blizard\, bass player Christine Moad\, and drummer Hayden Cotcher\, and the songs\, which had been written solo\, were arranged for the quartet in the week leading up to a ten-hour recording session. The friend at the studio\, Collin Pastore\, engineered and mixed the album\, which was co-produced by Dacus\, Pastore\, and Blizard. Richmond label Egghunt Records took interest in the results\, including late 2015’s “I Don’t Wanna Be Funny Anymore\,” and released No Burden in early 2016. \nThe album quickly received buzz in the indie music press\, and the band did an Audiotree Live session in March that was released as a digital EP. That June\, the 21-year-old Dacus signed with Matador Records\, which reissued No Burden in September 2016. She then toured with acts including the Decemberists\, Sylvan Esso\, and Car Seat Headrest before returning to the studio with the same team to record her second album. Featuring a similar demeanor but fleshier arrangements\, Historian saw release in March 2018 and reached number five on Billboard’s Heatseekers chart. Later that year\, Dacus formed the collaborative indie supergroup Boygenius with fellow singer/songwriters Julien Baker and Phoebe Bridgers\, releasing a self-titled EP in October and then embarking on a three-way co-headlining tour. \nOn Valentine’s Day 2019\, Dacus released a cover of Édith Piaf‘s “La Vie en Rose\,” the first in a series of holiday-themed original songs and covers that coincided with select occasions throughout the year. They were collected on the EP 2019\, issued by Matador that November. During 2020\, Dacus started writing and recording her third album\, which looked back at her coming-of-age experiences for lyrical inspiration. The resulting Home Video was released in June 2021 and accompanied by opening slots for Bright Eyes and Shakey Graves as well as a headlining tour. The critically acclaimed LP appeared on several charts both at home and abroad\, peaking at 104 on the Billboard 200. The tongue-in-cheek “Kissing Lessons\,” which was recorded during the sessions for Home Video\, appeared on Valentine’s Day the following year. \nDacus rejoined Boygenius in the studio for their full-length debut. Written both separately and together\, it showcased a unified front\, with the three songwriter’s voices meshing to create a hefty\, hooky\, and slightly bittersweet album. Titled The Record\, it was released on Interscope in March 2023 and went as high as number four on the Billboard 200 while charting internationally\, including topping the charts in the Netherlands\, the U.K.\, and Ireland. The album went on to win Best Alternative Music Album at the Grammys\, while their song “Not Strong Enough” took home the trophies for Best Rock Song and Rock Performance; the band collected the Brit Award for best international group. They followed it up with a folkier four-song EP\, the rest\, that October. In the meantime\, the group’s escalating popularity was reflected in a tour that included a sold-out show at Madison Square Garden. \nOver the course of Boygenius‘ rise\, Dacus contributed to some of her bandmates’ solo work\, including Bridgers‘ Punisher (2020) and Baker‘s Little Oblivion (2021)\, and Dacus’ next solo LP included appearances from both of them in addition to a feature spot by Hozier and contributions from Blake Mills\, Bartees Strange\, Madison Cunningham\, and Jay Som‘s Melina Duterte\, among others. Turning her focus from her youth to navigating complex contemporary relationships\, the resulting Forever Is a Feeling was co-produced by Mills and released on Geffen Records in March 2025. After her performance on The Tonight Show Starring Jimmy Fallon earlier in the year\, the single “Ankles” marked her debut in the Top Ten of the Billboard Adult Alternative Airplay chart and the rock airplay Top 40. Later that year\, Dacus compiled various demos\, alternate versions\, and new songs like “Bus Back to Richmond” into the companion album Forever Is a Feeling: The Archives.
URL:https://globalazmedia.com/event/billie-eilish-at-mortgage-matchup-center/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
ATTACH;FMTTYPE=image/webp:https://globalazmedia.com/wp-content/uploads/2025/10/Billie-Eillish-at-Mortgage-Matchup-Center.webp
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20251107T180000
DTEND;TZID=America/Phoenix:20251109T233000
DTSTAMP:20260428T023401
CREATED:20251019T222817Z
LAST-MODIFIED:20251019T222817Z
UID:20223-1762538400-1762731000@globalazmedia.com
SUMMARY:The Hondo Rodeo Fest at Chase Field
DESCRIPTION:Join us for an unforgettable experience at the Hondo Rodeo Fest in Phoenix\, AZ! Witness the incredible skills of professional rodeo athletes as they compete for the title & prize money!  Don’t miss out on the thrilling rodeo and live concerts that will keep you entertained all day long. Grab your tickets now and be part of this exciting celebration of rodeo culture! \n\n\nThe Hondo Rodeo Fest today unveiled its star-studded 2025 lineup for its return to Chase Field\, home of the Arizona Diamondbacks\, in Phoenix\, AZ on November 7-9th. This year’s headliners include some of the biggest artists in rock and country music today\, including Nickelback\, Cody Johnson and Jason Aldean\, in addition to Treaty Oak Revival\, Jon Pardi and Riley Green. \nThe Hondo Rodeo Fest launched in November of 2024 with a new three-day rodeo competition and nightly\, full two-hour country music concert with top music acts. The Hondo Rodeo’s invite-only format featured world champion cowboys and cowgirls across eight categories\, all competing for a $1 million prize purse. Adding to the unmatched intensity and star power to the arena\, were Cord McCoy’s world-renowned roster of bucking bulls. During the day\, fans could also experience a free Western culture fan festival with more music\, food\, shopping and innovative brand activations. \nApproaching 2025 was no different\, as The Hondo Rodeo Fest announced an incredible three night line-up. \nFriday\, November 7th – Nickelback & Treaty Oak Revival \nSaturday\, November 8th – Kid Rock & Jon Pardi \nSunday\, November 9th – Jason Aldean & Riley Green \nFor more information\, and to sign up for sales alerts\, visit https://thehondorodeofest.com/. \n \n \n \nExperience the ultimate in comfort and exclusivity with our VIP suites\, designed to put you right at the heart of the action. Our Premium Floor Suites seat up to 14 guests and are located just steps from the excitement\, with dedicated wait staff ensuring every need is met.  \nFor larger gatherings\, our Diamond Level Concourse Boxes accommodate up to 18 guests and offer a private restroom\, dedicated wait staff\, and a TV feed so you never miss a moment. Whether you choose the floor-level thrill or the elevated diamond view\, our VIP suites deliver an unforgettable\, first-class event experience. \nREQUEST FORM
URL:https://globalazmedia.com/event/the-hondo-rodeo-fest-at-chase-field/
LOCATION:Chase Field\, 401 E Jefferson St\, Phoenix\, AZ\, 85004\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2025/10/The-Hondo-Rodeo-Fest-at-Chase-Field.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20251105T193000
DTEND;TZID=America/Phoenix:20251105T233000
DTSTAMP:20260428T023401
CREATED:20251019T205851Z
LAST-MODIFIED:20251019T205851Z
UID:20218-1762371000-1762385400@globalazmedia.com
SUMMARY:Avatar at The Van Buren
DESCRIPTION:The journeyed\, eccentric\, Gothenburg\, Sweden-founded melodic death metal act formed in 2001 and enjoyed major home country success with their fourth and fifth albums\, 2009’s Avatar and 2012’s Black Waltz. It was between these releases that Avatar debuted the look which ultimately defined them\, with their lead vocalist Johannes Eckerström presenting himself as a cross between the Joker and a ringmaster leading a group of jesters. It was a distinct image and made Avatar well-known internationally. Eckerström maintained this look into the 2020s with the release of 2023’s Dance Devil Dance. \nFormed by two kindred musical souls who realized that their previous band was holding them back\, Avatar were born when drummer John Alfredsson and guitarist Jonas Jarlsby decided that their positions in Lost Soul were going nowhere\, so they left and regrouped under their new moniker. Eventually\, Alfredsson and Jarlsby would be introduced to Eckerström\, and the core of Avatar would be in place. To round out their membership\, bassist Henrik Sandelin and guitarist Simon Andersson joined the fold in 2003\, just in time to record the band’s first demo\, Personal Observations. While gigging to promote this\, Avatar stepped back into the studio to record their debut EP\, 2004’s 4 Reasons to Die. Following the EP’s release\, Avatar were given the opportunity to tour outside Sweden for the first time. They next entered the studio to work on a debut full-length and scored a deal with Gain Records during the recording process. That album\, Thoughts of No Tomorrow\, was released in 2006 and followed by two European tours\, one with Impaled Nazarene\, the other with Evergrey. Their busy year was rounded out with two shows alongside original Iron Maiden vocalist Paul Di’Anno. \nAvatar had an equally busy 2007\, starting off as the opening act for major metal band Stone Sour and finishing it with a new album. Schlacht\, released in October of that year\, was followed by a support slot on the 2008 Obituary tour. The group’s eponymous third studio album was released in 2009\, and the next two years found Avatar hitting the tour circuit hard and embarking on their first-ever U.S. jaunt. Two nights before Halloween 2011 — in Helsingborg\, Sweden — Eckerström stepped on-stage sporting his unhinged Joker look for the first time. \nA couple of months later Andersson left the band and was replaced by the guitarist Tim Öhrström\, who also provided backing vocals. Arriving in 2012\, the well-received Black Waltz peaked at number 25 in their native Sweden\, and 2014’s Hail the Apocalypse became the first Avatar outing to crack the Billboard 200. In 2016\, the band issued its sixth studio long-player\, Feathers & Flesh\, a conceptual piece about an owl who declares war on the world. Their seventh effort\, Avatar Country\, arrived in early 2018. Produced by Jay Ruston (Stone Sour\, Anthrax\, Steel Panther)\, the album featured the singles “A Statue of the King” and “The King Wants You\,” as well as Avatar’s spin on the Swedish royal anthem “Glory to Our King.” The following year\, the band released their first live outing\, The King Live in Paris. 2020 found them returning to the studio with Ruston to record their eighth album. The resulting Hunter Gatherer was issued toward the end of the year. In 2021\, they founded their own label\, Black Waltz Records\, and it was on this imprint that they unveiled 2023’s Dance Devil Dance\, featuring a duet with Lzzy Hale of Halestorm. \n \n \nIn the recent history of heavy metal\, there have been few emerging bands that have shaken up the scene in the way Alien Weaponry has. Since releasing their acclaimed Napalm Records debut Tū in 2018\, the New Zealand band’s kinetic presence and unique sound – combining thrash metal with lyrics in the native indigenous language\, te reo Māori — has attracted throngs of fans and media supporters across the globe that have responded to the sheer ruthlessness\, untempered passion\, and unbelievable noise created by the three-piece. \nRising even higher with the release of their second acclaimed album\, Tangaroa (2021)\, the band has amassed millions of streams\, video views and success at SiriusXM Liquid Metal\, was hailed the “future of metal” by Metal Hammer\, and has performed with the likes of Guns N’ Roses\, Gojira\, Slayer and the New Zealand Symphony Orchestra. Most recently\, the band capped off 2024 with the release of a documentary film\, Kua Tupu Te Ara\, which premiered at the renowned Tribeca Film Festival. \nNew Zealand modern groove metal trio Alien Weaponry will release their heaviest\, most powerful and mature offering to date\, Te Rā\, on March 28\, 2025 via Napalm Records. \n \nSpiritWorld is a heavy metal band from Las Vegas\, formed in 2017 by vocalist Stu Folsom\, known for its “death-western” style that blends thrash\, death metal\, and hardcore with outlaw country and horror themes. The band’s aesthetic combines elements of the Old West with supernatural horror\, presented through high-energy\, aggressive metal music. Folsom’s background\, including growing up in a country-western environment\, is a major inspiration for the band’s unique concept and imagery.  
URL:https://globalazmedia.com/event/avatar-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2025/10/Avatar-at-The-Van-Buren-2025.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20251025T190000
DTEND;TZID=America/Phoenix:20251025T203000
DTSTAMP:20260428T023401
CREATED:20251019T181300Z
LAST-MODIFIED:20251019T181300Z
UID:20215-1761418800-1761424200@globalazmedia.com
SUMMARY:The Cult at The Arizona State Fair
DESCRIPTION:Fronted by vocalist Ian Astbury and featuring guitarist Billy Duffy\, the Cult evolved from a Gothic post-punk outfit in 1984\, transforming themselves into England’s leading hard rock revivalist act. Their image combined the pseudo-mysticism and Native American cultural obsessions of the Doors with the guitar orchestrations of Led Zeppelin\, and the three-chord crunch of AC/DC\, with blended traces of post-punk goth rock. Their 1984 debut Dreamtime performed well\, but follow-up Love amplified their hard rock direction and chart success with breakout single “She Sells Sanctuary.” 1987’s Rick Rubin-produced Electric\, was their hardest record yet and went Top 40 stateside thanks to the smash singles “Lil’ Devil\,” “Love Removal Machine\, and “Wildflower.” 1989’s\, Sonic Temple became their most successful album\, peaking at ten in America behind single “Edie (Ciao Baby).” The spoils of success began tearing at the members\, and they disbanded in 1995. Astbury and Duffy resurrected the Cult for 2001’s Beyond Good and Evil. Subsequent efforts included Born Into This (2007)\, Choice of Weapon (2012)\, and Under the Midnight Sun (2022). \nThe origins of the Cult lie in the Southern Death Cult\, a goth rock outfit formed by vocalist Ian Astbury (born May 14\, 1962) in 1981. Astbury was the son of a merchant navy man\, which meant he moved frequently during his youth; at one point in his childhood\, his family lived in Canada\, where the young Astbury became fascinated with Native Americans\, who would become a recurring theme in his songwriting. Astbury eventually settled in Bradford\, Yorkshire\, where he met a group comprising David Burrows (guitar)\, Barry Jepson (bass)\, and Haq Quereshi (drums). Ian joined the group as its lead vocalist (performing with the last name of “Lindsay\,” which was his mother’s maiden name) and had the group renamed the Southern Death Cult. By only their fifth concert\, the band was attracting audiences of 2\,000. In December 1982\, the Southern Death Cult released their first single — the double A-side “Moya”/”Fatman” — and the following month\, they supported Bauhaus on tour. Though the group’s future was looking bright\, Astbury pulled the plug on the band because he was frustrated with the positive articles he was receiving in the press. The remaining three members joined Getting the Fear\, which eventually became Into a Circle; in the late ’80s\, Quereshi became a member of Fun^Da^Mental. All of the Southern Death Cult recordings were eventually released in 1986. \nFollowing the breakup\, Astbury shortened the name of the group to Death Cult and recruited guitarist Billy Duffy — who had previously played with Morrissey in the pre-Smiths band the Nosebleeds\, as well as Theatre of Hate — and drummer Ray Mondo and bassist Jamie Stewart\, who had previously played with Ritual. Death Cult released an eponymous EP in the summer of 1983; on the EP\, Astbury reverted back to his given name. Later in the year\, Mondo was replaced by Nigel Preston\, who had previously played with Duffy in Theatre of Hate; coincidentally\, Mondo became the drummer for Preston’s previous group\, Sex Gang Children. \nIn early 1984\, the bandmembers decided to excise “Death” from the title\, fearing that the word gave them the misleading appearance of being a goth band. Where both Southern Death Cult and Death Cult had been overtly influenced by post-punk\, the Cult were a heavy hard rock band with slight psychedelic flourishes. Dreamtime\, the group’s first album\, was released in the fall of 1984\, accompanied by the single “Spiritwalker.” Dreamtime reached number 21 on the U.K. charts. In the spring of 1985\, Preston left the group. For the group’s summer single\, “She Sells Sanctuary\,” the band was joined by Big Country‘s drummer\, Mark Brzezicki. “She Sells Sanctuary” became a major U.K. hit\, peaking at number 15. During the recording of the group’s second album\, drummer Les Warner joined the group. Love\, released in the fall of 1985\, continued the hard rock direction of its teaser single and became a number four hit in Britain. \nFor their third album\, the Cult shuffled their lineup — Stewart moved to rhythm guitar\, while former Zodiac Mindwarp bassist Kid Chaos joined the lineup — and hired Rick Rubin as producer\, and the result\, Electric\, was their hardest\, heaviest record to date. The first single from the album\, “Love Removal Machine\,” became a number 18 hit in the spring of 1987\, while the album itself reached number four in the U.K. upon its April release. Later that year\, Electric gained the Cult a fan base in America\, and the album cracked the U.S. Top 40. \nIn 1988\, the group fired Chaos and Warner\, replacing the latter with Matt Sorum; the band failed to hire another bassist. The new lineup released Sonic Temple\, which would prove to be the band’s most successful effort. The hit single “Fire Woman” helped propel the album into the American Top Ten\, and within no time\, the Cult were seen hanging out with the likes of Mötley Crüe and Aerosmith\, as well as supporting Metallica on the Damaged Justice tour. Though the group was experiencing its best sales\, it was fraying behind the scenes due to infighting and substance abuse. By the time they recorded their follow-up to Sonic Temple\, Sorum had left to join Guns N’ Roses and Stewart had quit; they were replaced by drummer Mickey Curry and bassist Charlie Drayton. The resulting album\, Ceremony\, was released in the fall of 1991 to weak reviews and disappointing sales. \nFollowing the release of Ceremony\, the group took a break for the next three years. In 1993\, the band released the U.K.-only hits compilation Pure Cult\, which debuted at number one. By summer 1993\, the Cult had a new rhythm section\, featuring former Mission bassist Craig Adams\, second guitarist Mike Dimkich (Channel 3)\, and drummer Scott Garrett. This lineup recorded The Cult\, which was released in late 1994 to poor reviews and sales. In spring 1995\, the Cult disbanded\, with Ian Astbury forming the Holy Barbarians later in the year. Billy Duffy briefly played with Miles Hunt‘s Vent 414 before leaving to pursue a solo project. In 2000\, the band’s catalog was remastered and reissued\, and Pure Cult was released in the U.S. (despite a similar compilation\, High Octane Cult\, having appeared four years earlier). It was followed by Rare Cult\, a six-disc box set of rarities. \nA new Cult\, with Matt Sorum\, Martyn LeNoble\, and Chris Wyse joining Astbury and Duffy\, made their debut in June 1999 at the Tibetan Freedom Festival. This band produced the 2001 album Beyond Good and Evil before the Cult were retired again\, as Astbury joined former Doors members Robbie Krieger and Ray Manzarek in the Doors of the 21st Century (later renamed Riders on the Storm). In 2007\, it was announced that Astbury had left the band to rejoin Duffy in a new version of the Cult\, with Chris Wyse on bass and John Tempesta on drums. They signed to Roadrunner and released Born Into This in 2008\, which they promoted over the next few years on their highly publicized Love Live tour. They returned to the studio in 2011 after inking a deal with Cooking Vinyl Records and released their ninth studio album\, Choice of Weapon\, the following year. \nIn 2013\, Duffy announced in an interview that the Cult were working on new material for 2015. However\, personnel changes put a bit of a damper on the band’s plans: after 20 years\, Dimkich left to play with Bad Religion and Wyse left for Ace Frehley‘s band. Longtime friend James Stevenson took the second guitar chair\, while Grant Fitzpatrick took over on bass to play the band’s 2014 world tour. Jane’s Addiction bassist Chris Channey came on board in the studio for the band’s tenth studio album. With Bob Rock producing\, the Cult completed Hidden City in 2015. The first two singles\, “Dark Energy” and “Deeply Ordered Chaos\,” were issued in November and December\, respectively\, with a third\, “Hinterland\,” appearing in January of 2016. The album followed in February of that year. \nFollowing two world tours\, and summers spent playing sheds and festivals on both sides of the Atlantic\, the Cult took a well-deserved breather extended by the onset of the COVID-19 pandemic. In July 2022\, they quietly released the video single for “Give Me Mercy.” In October they released the full-length Under the Midnight Sun. Produced by Tom Dalgety (Pixies\, Ghost) it appeared from hard rock indie Black Hill Records\, offering eight tracks that also included a second single in “A Cut Inside.” ~ Stephen Thomas Erlewine
URL:https://globalazmedia.com/event/the-cult-at-the-arizona-state-fair/
LOCATION:Arizona State Fairgrounds\, 1826 W McDowell Rd\,\, Phoenix\, AZ\, 85007\, United States
ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2025/10/The-Cult-at-The-Arizona-State-Fair-2025.png
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20251022T183000
DTEND;TZID=America/Phoenix:20251022T233000
DTSTAMP:20260428T023401
CREATED:20251009T013414Z
LAST-MODIFIED:20251009T013414Z
UID:20190-1761157800-1761175800@globalazmedia.com
SUMMARY:Judas Priest + Alice Cooper at Talking Stick Resort Amphitheatre
DESCRIPTION:Judas Priest are one of the most influential and long-lasting heavy metal groups of all time. Emerging at the dawn of the New Wave of British Heavy Metal\, Priest combined straightforward rock & roll muscle with a more theatrically minded performance presence. This sound was made more unique by the dynamic banshee wail of Rob Halford and the vicious dual-lead guitar attack of Glenn Tipton and K.K. Downing. While issuing metal anthems like “Breaking the Law\,” “Living After Midnight\,” and “You’ve Got Another Thing Coming\,” Judas Priest set the pace for the genre from 1975 until 1985 with iconic albums like British Steel (1980)\, Screaming for Vengeance (1982)\, and Defenders of the Faith (1984)\, and helped lay the groundwork for speed and death metal. The group struggled after Halford‘s departure in the early ’90s but were restored to prominence in the 2000s upon his return\, issuing a string of acclaimed efforts — Angel of Retribution (2005)\, Nostradamus (2010)\, Redeemer of Souls (2014)\, and the U.S. and U.K. Top Five-charting Firepower (2018) — that skillfully married melody\, pageantry\, and force. Judas Priest were inducted into the Rock & Roll Hall of Fame in 2022\, two years before the arrival of Invincible Shield\, their 19th studio LP. \nFormed in Birmingham\, England\, in 1970\, the group’s core members were guitarist K.K. Downing and bassist Ian Hill. Joined by Alan Atkins and drummer John Ellis\, the band played their first concert in 1971. Atkins’ previous group was called Judas Priest\, yet the members decided it was the best name for the new group. The band played numerous shows throughout 1971. During the year\, Ellis was replaced by Alan Moore; by the end of the year\, Chris Campbell replaced Moore. After a solid year of touring the U.K.\, Atkins and Campbell left the band in 1973 and were replaced by vocalist Rob Halford and drummer John Hinch. They continued touring\, including a visit to Germany and the Netherlands in 1974. By the time the tour was completed\, they had secured a record contract with Gull\, an independent U.K. label. Before recording their debut album\, Judas Priest added guitarist Glenn Tipton. \nRocka Rolla was released in September 1974 to almost no attention. The following year\, they gave a well-received performance at the Reading Festival and Hinch departed the band; he was replaced by Alan Moore. Later that year\, the group released Sad Wings of Destiny\, which earned some positive reviews. However\, the lack of sales was putting the band in a dire financial situation\, which was remedied by an international contract with CBS Records. Sin After Sin (1977) was the first album released under that contract; it was recorded with Simon Phillips\, who replaced Moore. The record received positive reviews and the band departed for their first American tour\, with Les Binks on drums. \nWhen they returned to England\, Judas Priest recorded 1978’s Stained Class\, the record that established them as an international force in metal. Along with 1979’s Hell Bent for Leather (Killing Machine in the U.K.)\, Stained Class defined the nascent New Wave of British Heavy Metal movement. A significant number of bands adopted Priest’s leather-clad image and hard\, driving sound\, making their music harder\, faster\, and louder. After releasing Hell Bent for Leather\, the band recorded the live album Unleashed in the East (1979) in Japan; it became their first platinum album in America. Les Binks left the band in 1979; he was replaced by former Trapeze drummer Dave Holland. Their next album\, 1980’s British Steel\, entered the British charts at number three\, launched the hit singles “Breaking the Law” and “Living After Midnight\,” and was their second American platinum record; Point of Entry\, released the following year\, was nearly as successful. \nAt the beginning of the ’80s\, Judas Priest was a top concert attraction around the world\, in addition to being a best-selling recording artist. Featuring the hit single “You’ve Got Another Thing Comin’\,” 1982’s Screaming for Vengeance marked the height of their popularity\, peaking at number 17 in America and selling over a million copies. Two years later\, Defenders of the Faith nearly matched its predecessor’s performance\, yet metal tastes were beginning to change\, as Metallica and other speed/thrash metal groups started to grow in popularity. That shift was evident on 1986’s Turbo\, where Judas Priest seemed out of touch with current trends; nevertheless\, the record sold over a million copies in America on the basis of name recognition alone. However\, 1987’s Priest…Live! was their first album since Stained Class not to go gold. Ram It Down (1988) was a return to raw metal and returned the group to gold status. Dave Holland left after this record and was replaced by Scott Travis for 1990’s Painkiller\, arguably the band’s heaviest set to date. Like Ram It Down\, Painkiller didn’t make an impact outside the band’s die-hard fans\, yet the group were still a popular concert act. \nIn the early ’90s\, Rob Halford began his own thrash band\, Fight\, and soon left Judas Priest. In 1996\, following a solo album by Glenn Tipton\, the band rebounded with a new young singer\, Tim “Ripper” Owens (formerly a member of a Priest tribute band and of Winter’s Bane). They spent the next year recording Jugulator amidst much self-perpetuated hype concerning Priest’s return to their roots. The album debuted at number 82 on the Billboard album charts upon its release in late 1997. Halford had by then disbanded Fight following a decrease in interest and signed with Trent Reznor‘s Nothing label with a new project\, Two. In the meantime\, the remaining members of Judas Priest forged on with ’98 Live Meltdown\, a live set recorded during their inaugural tour with Ripper on the mike. Around the same time\, a movie was readying production to be based on Ripper‘s rags-to-riches story of how he got to front his all-time favorite band. Although Priest was originally supposed to be involved with the film\, they ultimately pulled out\, but production went on anyway without the band’s blessing (the movie\, Rock Star\, was eventually released in the summer of 2001\, starring Mark Wahlberg in the lead role). Rob Halford in the meantime disbanded Two after just a single album\, 1997’s Voyeurs\, and returned to his metal roots with a quintet simply named Halford. The group issued their debut in 2000\, Resurrection\, following it with a worldwide tour that saw the new group open Iron Maiden‘s Brave New World U.S. tour and issue a live set one year later (which included a healthy helping of Priest classics) — Live Insurrection. \nIn 2001 the Ripper-led Priest released a new album\, Demolition\, and Priest’s entire back catalog for Columbia was reissued with remastered sound and bonus tracks. In 2003 the band — including Halford — collaborated on the liner notes and song selections for their mammoth career-encompassing box Metalogy\, a collaboration that brought Halford back into the fold. Owens split from the group amicably in 2003\, allowing the newly reunited heavy metal legends to plan their global live concert tour in 2004 (including a set alongside Black Sabbath at Ozzfest)\, with their 16th studio album\, Angel of Retribution\, to be released the following year. In 2008\, the band released Nostradamus\, a sprawling\, two-disc conceptual piece that charted the life and times of the famous French seer and that hit the Top 30 across Europe and in the U.S. (number 11) and Australia (number 17). 2009’s Touch of Evil: Live included a rendition of their 1977 song “Dissident Aggressor” that won the Grammy for Best Metal Performance. Before their next tour commenced\, founding member Downing left the band over differences with the other members and their management; he was replaced by Richie Faulkner. \nPriest worked on their new album during the tour\, which ran until 2012. The record’s release was delayed several times\, but it would eventually see the light of day in July 2014. Entitled Redeemer of Souls\, it was described by Priest as a traditional\, crowd-pleasing return to their roots\, and went on to become the group’s first Top Ten album in the U.S.\, landing at the number six slot on the Billboard 200 chart. A lengthy tour followed\, and in early 2016 Priest issued the concert album Battle Cry\, which featured highlights from their August 1\, 2015 performance at Germany’s Wacken Festival. \nJudas Priest began loosely demo’ing ideas for their 18th studio album in 2016\, but they didn’t enter the studio as a band until a year later. They revisited their original\, organic way of recording\, with the entire band playing together at the same time in the studio. They underscored this by enlisting producers Tom Allom — who worked on all the band’s records from 1979 through 1988 — and Grammy-winning veteran Andy Sneap. In February 2018\, guitarist Tipton — diagnosed with Parkinson’s disease a decade earlier — announced that it had progressed to the point where he had to retire from touring. Sneap would fill his slot on the road. Firepower was issued that March and soared to number five in the U.K.\, making it their first Top Ten album there since British Steel. It was accompanied by tours including a North American run with Deep Purple. They only took a break from touring when forced off the road by the COVID-19 pandemic in 2020\, and then by Faulkner’s ill health in 2021. They were able to launch their delayed 50th anniversary tour of the U.S in early 2022\, which they followed with dates worldwide throughout the rest of the year. That November\, the lineup of Rob Halford\, Glenn Tipton\, Ian Hill\, and Scott Travis were inducted into Rock & Roll of Hall Fame. \nJudas Priest continued to take their show on the road into 2023 with a schedule that included co-headlining California’s PowerTrip Music Festival with AC/DC. That October\, they released “Panic Attack\,” the lead single from their 19th studio album\, Invincible Shield. The album was once again produced by guitarist Sneap (who also produced Firepower) and was released in March of 2024. ~ Stephen Thomas Erlewine & Greg Prato\, Rovi \n \n \nThe man (and the band) who first brought shock rock to the masses\, Alice Cooper became one of the most successful and influential acts of the ’70s with their gritty but anthemic hard rock and a live show that delivered a rock & roll chamber of horrors\, thrilling fans and cultivating outrage from authority figures (which made fans love them all the more). The name Alice Cooper originally referred to both the band and its lead singer (born Vincent Furnier)\, as they played dark\, eccentric\, psychedelic rock on their first two albums\, Pretties for You (1969) and Easy Action (1970). After a spell in Detroit where they soaked up the high-energy influence of the Stooges and the MC5\, Alice Cooper scored breakthrough hits in 1971 with “I’m Eighteen” and the album Love It to Death\, in which the group finally stumbled upon the formula that made them stars\, blending tough\, dirty\, guitar-fueled hard rock with Cooper’s sneering vocals and lyrics that were by turns relatable (“I’m Eighteen\,” “Body”) and willfully spooky (“Black Juju\,” “The Ballad of Dwight Frye”). Coupled with a live show that included snakes\, electric chairs\, fake blood\, and mock hangings\, Alice Cooper had something to offend everyone\, and from 1971’s Killer to 1973’s Billion Dollar Babies\, they could seemingly do no wrong. Following the commercial and critical disappointment of 1973’s Muscle of Love\, the Alice Cooper band broke up\, and Alice went forward as a solo act\, delivering a cleaner and more professional variation on the themes of his early ’70s hits\, while the band attempted to continue as Billion Dollar Babies\, with little success. Cooper’s glossy 1975 solo debut\, Welcome to My Nightmare\, was a massive hit\, and his shows became even more elaborate as he became a regular fixture on television\, but subsequent solo releases saw his following dwindle until 1989’s Trash and 1991’s Hey Stoopid\, where he blended his trademark sound with hair metal arrangements and production and gained a new audience. Cooper’s dedicated fan base kept him in the game long after his ’70s peak\, touring regularly and releasing albums like 2021’s high-spirited Detroit Stories and 2023’s tightly wound\, live-sounding set Road. \nVincent Furnier formed his first group\, the Earwigs\, as an Arizona teenager in the early ’60s. Changing the band’s name to the Spiders in 1965\, the group was eventually called the Nazz (not to be confused with Todd Rundgren‘s band of the same name). The Spiders and the Nazz both released local singles that were moderately popular. In 1968\, after discovering there was another band with the same name\, the group changed its name to Alice Cooper. According to band legend\, the name came to Furnier during a Ouija board session\, where he was told he was the reincarnation of a 17th century witch of the same name. Comprised of vocalist Furnier — who would soon begin calling himself Alice Cooper — guitarist Mike Bruce\, guitarist Glen Buxton\, bassist Dennis Dunaway\, and drummer Neal Smith\, the group moved to California in 1968. There they met Shep Gordon\, who became their manager\, and Frank Zappa\, who signed Alice Cooper to his Straight Records imprint. \nAlice Cooper released their first album\, Pretties for You\, in 1969. Easy Action followed early in 1970\, but failed to chart. The group’s reputation in Los Angeles was slowly shrinking\, so the band moved to Furnier’s hometown of Detroit. For the next year\, the group refined their bizarre stage show. Late in 1970\, the group’s contract was transferred to Straight‘s distributor Warner Bros.\, and they began recording their third album with producer Bob Ezrin. With Ezrin’s assistance\, Alice Cooper developed their classic heavy metal crunch on 1971’s Love It to Death\, which featured the number 21 hit single “Eighteen”; the album peaked at number 35 and went gold. The success enabled the group to develop a more impressive\, elaborate live show\, which made them a highly popular concert attraction across the U.S. and eventually the U.K. Killer\, released late in 1971\, was another gold album. \nReleased in the summer of 1972\, School’s Out was Alice Cooper’s breakthrough record\, peaking at number two and selling over a million copies. The title song became a Top Ten hit in the U.S. and a number one single in the U.K. Billion Dollar Babies\, released the following year\, was the group’s biggest hit\, reaching number one in both America and Britain; the album’s first single\, “No More Mr. Nice Guy\,” became a Top Ten hit in Britain\, peaking at number 25 in the U.S. Muscle of Love appeared late in 1973\, yet it failed to capitalize on the success of Billion Dollar Babies. After Muscle of Love\, Furnier and the rest of Alice Cooper parted ways to pursue other projects. Having officially changed his name to Alice Cooper\, Furnier embarked on a similarly theatrical solo career; the rest of the band released one unsuccessful album under the name Billion Dollar Babies\, while Mike Bruce and Neal Smith both recorded solo albums that were never issued. In the fall of 1974\, a compilation of Alice Cooper’s five Warner albums\, entitled Alice Cooper’s Greatest Hits\, became a Top Ten hit. \nFor his first solo album\, Welcome to My Nightmare\, Cooper hired Lou Reed‘s backing band from Rock ‘N’ Roll Animal — guitarists Dick Wagner and Steve Hunter\, bassist Prakash John\, keyboardist Joseph Chrowski\, and drummer Penti Glan — as his supporting group. Released in the spring of 1975\, the record was similar to his previous work and became a Top Ten hit in America\, launching the hit acoustic ballad “Only Women Bleed.” Its success put an end to any idea of reconvening Alice Cooper the band. Its follow-up\, 1976’s Alice Cooper Goes to Hell\, was another hit\, going gold in the U.S. After that album\, Cooper’s career began to slip\, partially due to changing trends and partially due to his alcoholism. Cooper entered rehab in 1978\, writing an album about his treatment called From the Inside (1978) with Bernie Taupin\, Elton John‘s lyricist. During the early ’80s\, Cooper continued to release albums and tour\, yet he was no longer as popular as he was during his early-’70s heyday. \nCooper made a successful comeback in the late ’80s\, sparked by his appearances in horror films and a series of pop-metal bands that paid musical homage to his classic early records and concerts. Constrictor\, released in 1986\, started his comeback\, but it was 1989’s Trash that returned Cooper to the spotlight. Produced by the proven hitmaker Desmond Child\, Trash featured guest appearances by Jon Bon Jovi\, Richie Sambora\, and most of Aerosmith; the record became a Top Ten hit in Britain and peaked at number 20 in the U.S.\, going platinum. “Poison\,” a midtempo rocker featured on the album\, became Cooper’s first Top Ten single since 1977. After the release of Trash\, he continued to star in the occasional film\, tour\, and record\, although he wasn’t able to retain the audience he’d recaptured with Trash. Still\, 1991’s Hey Stoopid and 1994’s The Last Temptation were generally solid\, professional efforts that helped Cooper settle into a comfortable cult status without damaging the critical goodwill surrounding his ’70s output. After a live album\, 1997’s Fistful of Alice\, Cooper returned on the smaller Spitfire label in 2000 with Brutal Planet\, and Dragontown a year later. The Eyes of Alice Cooper appeared in 2003 and found Cooper and company playing a more stripped-down brand of near-garage rock. Dirty Diamonds from 2005 was nearly as raw and hit the streets around the same time Cooper premiered his syndicated radio show Nights with Alice Cooper. Three years later he returned with Along Came a Spider\, a concept album that told the story of a spider-obsessed serial killer. In 2010\, he released the live album Theatre of Death\, along with a download-only EP of redone Cooper classics titled Alice Does Alice. 2011’s Welcome 2 My Nightmare\, a sequel to his 1975 conceptual classic of the same name (minus the 2)\, was recorded with longtime co-conspirator Bob Ezrin\, and featured 14 brand-new cuts that spanned multiple genres and relied on the talents of a host of previous members of the Alice Cooper band (including Steve Hunter)\, as well as a guest spot from pop superstar Ke$ha. The same year\, he was awarded the Kerrang! Icon Award. \nAdvancing years didn’t prevent Cooper from maintaining a hectic schedule\, and by 2012 he was touring with Iron Maiden and headlining Bloodstock Open Air. Aside from his musical pursuits\, he also starred in Tim Burton’s adaptation of Dark Shadows\, playing himself alongside Helena Bonham Carter\, Johnny Depp\, and Michelle Pfeiffer. He returned to touring in 2014 as the opening act for Mötley Crüe‘s final tour\, and the following year he unveiled a new supergroup called Hollywood Vampires\, which included Johnny Depp and Joe Perry. They subsequently released an album of rock covers. He reunited with Ezrin yet again for his 27th studio record. Paranormal was released in 2017\, featuring contributions from ZZ Top‘s Billy Gibbons\, Deep Purple‘s Roger Glover\, and U2‘s Larry Mullen\, alongside original bandmembers Smith\, Dunaway\, and Bruce. The album was also released in a special edition with a bonus disc of live material. Early the following year\, an EP was released\, centered around Paranormal single “The Sound of A\,” which included a handful of live cuts from his 2017 tour. In August 2018\, Cooper released A Paranormal Evening at the Olympia Paris\, a live album drawn from his European tour in support of the Paranormal album. A 2019 EP\, Breadcrumbs\, saw Cooper paying tribute to his hometown of Detroit with songs written about his early garage rock heroes. He continued the Detroit homage on his next full length\, 2021’s Detroit Stories. In addition to many new songs of his own\, the album included covers of Bob Seger\, Detroit indie mainstays Outrageous Cherry\, and the Velvet Underground‘s “Rock & Roll” presented in the style of Mitch Ryder & The Detroit Wheels‘ 1971 rendition. The LP peaked at number 47 on the Billboard 200 and at number seven on the Top Independent Albums chart. The following year saw the release of the concert album Detroit Stories/Paranormal/A Paranormal Evening with Alice Cooper at The Olympia\, Paris. In August of 2023\, Cooper released a new album\, Road. This set of new\, guitar-heavy tunes sought to capture the power his band had in an on-stage setting. In addition to the album’s live sound\, Road was held together by the loose conceptual theme of situations unique to the rock & roll touring life. The album fared well on the Billboard charts\, making the Hard Rock Top Ten\, while topping the U.K.’s Rock and Metal chart. Tours with Mötley Crüe\, Def Leppard\, and Rob Zombie followed. Cooper’s 2024 output was mainly archival\, though he did issue a new acoustic recording of his 1973 cut “Teenage Lament ’74” as part of a deluxe reissue of its parent album\, Muscle of Love. ~ Stephen Thomas Erlewine & Mark Deming\, Rovi \n \n \nOne of the first punk-metal fusion bands\, Corrosion of Conformity were formed in North Carolina by guitarist Woody Weatherman during the early ’80s. In their early years\, C.O.C. became known for their aggressive sound\, intelligent political lyrics\, and willingness to break away from both hardcore and metal conventions. In the ’90s\, their shift to a more stripped-down\, deliberate sound — sort of Black Sabbath filtered through the Deep South — brought them enough in line with the alt-metal Zeitgeist to bring them a measure of mainstream popularity. \nC.O.C. debuted in 1983 with the thrashy\, Black Flag-influenced Eye for an Eye\, featuring a lineup of Weatherman\, drummer Reed Mullin\, vocalist Eric Eycke\, and bassist Mike Dean. They began to build up a cult following with 1985’s Animosity\, but their label at the time\, Death\, grew tired of their internal instability — lineup changes found Eycke replaced by vocalist Simon Bob — and dropped them following 1987’s Technocracy. It took several years for a new lineup to come together — featuring Weatherman\, guitarist Pepper Keenan\, Mullin\, vocalist Karl Agell\, and bassist Phil Swisher — but when it did\, the result was 1991’s Blind\, a powerful\, focused\, more metallic record that increased their audience by leaps and bounds. Agell was fired following its success\, and he and Swisher went on to form Leadfoot; meanwhile\, Keenan became the full-time lead vocalist on 1994’s even more Sabbath-esque Deliverance\, which also featured the return of original bassist Mike Dean. During 1995\, Keenan took a short detour into the Southern metal supergroup Down (which also featured Pantera‘s Phil Anselmo and members of Crowbar). \nThanks to a shift in popular taste in favor of the ultra-heavy brand of alternative metal\, the group had helped pioneer\, C.O.C. found themselves with a larger audience than ever before when they released 1996’s Wiseblood\, which continued and expanded their rock radio success. After a lengthy break from recording and a world tour with Metallica\, C.O.C. returned with a new album in the fall of 2000\, titled America’s Volume Dealer. Another break ensued\, resulting in the release of the live recording Live Volume in 2001. It wasn’t until April of 2005 that the band regrouped for the hard-hitting and complex In the Arms of God. C.O.C. went on hiatus\, with the members working on various side projects until 2010\, when drummer Reed Mullin rejoined the band\, reuniting the Animosity lineup while Pepper Keenan continued working with his other band\, Down. The remaining trio began work on new material\, and in 2012 released their eighth album\, the eponymous Corrosion of Conformity\, on Candlelight Records. Their ninth album\, aptly titled IX\, arrived in 2014. Shortly after the latter LP’s release\, C.O.C. reunited with Keenan and began work on their tenth studio long-player\, No Cross No Crown\, which dropped in January 2018. The band announced the death of Reed Mullin on January 27\, 2020. ~ Steve Huey\, Rovi \n \n 
URL:https://globalazmedia.com/event/judas-priest-alice-cooper-at-talking-stick-resort-amphitheatre/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
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DTSTART;TZID=America/Phoenix:20251017T190000
DTEND;TZID=America/Phoenix:20251017T203000
DTSTAMP:20260428T023402
CREATED:20251010T012447Z
LAST-MODIFIED:20251010T012447Z
UID:20198-1760727600-1760733000@globalazmedia.com
SUMMARY:Mastodon at The Arizona State Fair
DESCRIPTION:Atlanta’s Mastodon are one of the most original and influential American metal bands to appear in the 21st century. Their wide-angle progressive approach encompasses stoner and sludge metal\, punishing hardcore and metalcore\, neo-psych\, death metal\, and more. The group’s playing style incorporates technically complex guitar riffs\, lyric hooks\, long\, melodic instrumental passages\, and intricate\, jazz-influenced drumming with syncopated time signatures. Their second album\, 2004’s Leviathan\, was a concept set based on Moby Dick\, Herman Melville‘s iconic novel of whaling and obsession\, and became the band’s commercial breakthrough. The record is regarded critically as one of the most important albums in genre history. 2011’s conceptual The Hunter reflected the band’s embrace of prog; it channeled disparate influences ranging from King Crimson to Opeth. 2017’s Emperor of Sand debuted inside the Top Ten and was nominated for a Grammy for Best Rock Album — the single “Sultan’s Curse” took one home for Best Metal Performance. Change and evolution (Mastodon’s raison d’être) are as integral to their musical identity as their personnel. 2020 saw the issue of Medium Rarities\, featuring live cuts\, covers\, and instrumentals. In 2021\, Mastodon returned to proper studio recording with the double-length Hushed and Grim\, and in 2024\, they teamed up with Lamb of God on the single “Floods of Triton.” \nMastodon formed in 1999 around the talents of guitarist Bill Kelliher\, drummer Bränn Dailor\, bassist/vocalist Troy Sanders\, and guitarist/vocalist Brent Hinds. One of the more notable New Wave of American Heavy Metal acts\, a genre spawned in the mid-’90s by bands like Pantera\, Biohazard\, and Machine Head\, Mastodon’s innovative\, lyrically astute blend of metal subgenres helped position the band as one of the pre-eminent metal acts of the early 21st century. \nFormed out of a mutual admiration for the Melvins\, Black Sabbath\, Neurosis\, and Thin Lizzy\, Mastodon signed with Relapse Records (Today Is the Day\, Dillinger Escape Plan\, Coalesce) in 2001 on the strength of a four-song demo. The EP Lifesblood arrived that same year\, followed by the group’s full-length debut\, Remission\, in 2002. The album made positive waves in the metal community\, but it wasn’t until 2004’s Leviathan that the band’s eclectic brand of proto-metal began to enter the bloodstream of the entire music community. As polished and melodic as it was brutal and genre-defying\, Leviathan\, loosely based on Herman Melville‘s Moby Dick\, signaled a turning point in Mastodon’s career\, appearing on critics’ year-end Top Ten lists across the musical spectrum. Leviathan also featured a guest vocal appearance from Neurosis‘ frontman Scott Kelly\, which marked the beginning of a tradition: He has appeared on each of the band’s full-length recordings ever since. \nMastodon’s newfound popularity eventually landed them a deal with Warner Bros.\, but not before fulfilling their contract with Relapse in 2006 with Call of the Mastodon\, a remastered version of the group’s first two demo EPs\, and Workhorse Chronicles\, a DVD that chronicled the band’s story thus far with interviews and concert footage. Their third album\, Blood Mountain\, debuted at number 32 on the Billboard charts and received a Grammy nomination in the Best Metal Performance category for the song “Colony of Birchmen.” Blood Mountain marked the group’s highest chart peak to date and set the stage for its long-awaited 2009 follow-up Crack the Skye. In 2011\, the band released the CD/DVD package Live at the Aragon\, which was recorded in Chicago during the Crack the Skye tour. Mastodon quickly followed with new material\, taking a step back from their more prog-oriented approach on their fifth studio album\, The Hunter. It gave them huge commercial success\, hitting number ten on the Billboard charts. \nLater in 2011\, Troy Sanders took some time out from the band\, forming the metal supergroup Killer Be Killed with Dillinger Escape Plan vocalist Greg Puciato\, Soulfly‘s Max Cavalera\, and former Mars Volta drummer Dave Elitch. He worked with the group on and off for the next few years; their debut album was eventually released in 2014. Mastodon was still a priority\, however. After touring Europe and South America in 2012\, they started work on their sixth album the following year with producer Nick Raskulinecz. The record\, eventually titled Once More ‘Round the Sun\, was released in June 2014\, preceded by the sludgy single “High Road.” \nOver the next two years\, several of the bandmembers’ relatives suffered from cancer. Sanders’ wife\, Jeza\, received treatment for breast cancer\, recovering in 2015; the following year\, Kelliher’s mother died of a brain tumor and Dailor‘s mother also received a diagnosis. These traumatic experiences informed the lyrics of the band’s seventh album\, Emperor of Sand\, produced by Brendan O’Brien and released in 2017. Its concept\, revolving around the curse placed on a wandering traveler by a desert ruler\, was acknowledged by Dailor in interviews as a metaphor for cancer. The late summer of 2020 saw the release of Medium Rarities\, a stopgap compilation of instrumentals\, live tracks\, and covers. Led by the previously unissued single “Fallen Torches” (recorded with Neurosis‘ Kelly as guest vocalist)\, the 16-song set included readings of Feist‘s “A Commotion\,” Metallica‘s “Orion\,” Flaming Lips‘ “A Spoonful Weighs a Ton\,” and “Atlanta” with guest Gibby Haynes. The comp also included “White Walker\,” their contribution to the HBO series Game of Thrones. \nIn October 2021\, Mastodon issued the sprawling\, double-length Hushed and Grim. Produced by David Bottrill (Tool\, Rush\, Peter Gabriel) the 15-track set was penned and recorded over the course of a year. Its stylistic palette crisscrossed death and sludge metal\, alt and hard rock\, psychedelia\, punk\, and prog. In 2024\, the band issued the kinetic single “Floods of Triton\,” a collaboration with tourmates Lamb of God\, celebrating the 20th anniversary of their classic albums Leviathan and Ashes of the Wake. ~ James Christopher Monger & John D. Buchanan\, Rovi \n \n 
URL:https://globalazmedia.com/event/mastodon-at-the-arizona-state-fair/
LOCATION:Arizona State Fairgrounds\, 1826 W McDowell Rd\,\, Phoenix\, AZ\, 85007\, United States
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DTSTART;TZID=America/Phoenix:20251002T180000
DTEND;TZID=America/Phoenix:20251002T233000
DTSTAMP:20260428T023402
CREATED:20250921T224927Z
LAST-MODIFIED:20250921T224927Z
UID:20180-1759428000-1759447800@globalazmedia.com
SUMMARY:BRING ME THE HORIZON at PHX Arena
DESCRIPTION:English rock band Bring Me the Horizon have made a steady progression from their death metal-inspired grindcore debut to melodic metalcore\, maturing into a pop-savvy headline act by the end of their first decade together. With each release — from 2006’s caustic Count Your Blessings to 2013’s mainstream breakthrough Sempiternal — they dialed back the blood-curdling screams and injected more melody until capturing an alt-metal balance on their 2015 international chart-topping effort That’s the Spirit. By 2019’s Amo\, they had incorporated elements of electronic and even hip-hop into their edgy\, genre-blurring blend. In 2020 Bring Me the Horizon issued Post Human: Survival Horror\, the first installment of an ambitious conceptual series. The follow-up\, Post Human: NeX Gen\, landed in 2024. \nThe group was formed in 2004 from the ashes of several Sheffield-based outfits\, with the 2003 Disney film Pirates of the Caribbean serving as the inspiration for the band’s name. Singer Oliver Sykes\, guitarists Lee Malia and Curtis Ward\, bassist Matt Kean\, and drummer Matt Nicholls initially established their own label\, Thirty Days of Night\, to release their debut EP\, 2005’s This Is What the Edge of Your Seat Was Made For. Upon signing to the higher-profile label Visible Noise (whose roster also included Bullet for My Valentine and Lostprophets)\, they reissued the EP to a wider audience. Bring Me the Horizon’s full-length debut\, Count Your Blessings\, appeared in October 2006\, with an American release following one year later courtesy of Epitaph Records. \nWith their second album\, Suicide Season\, Bring Me the Horizon moved in a more accessible direction and wound up cracking the U.K. album charts. Not everyone approved of the new sound\, though\, and Ward left the band in early 2009. His temporary replacement was Jona Weinhofen\, formerly a member of I Killed the Prom Queen. Weinhofen ended up staying with the band and the group returned to the studio with producer Fredrik Nordström in March 2010 to begin work on a third album. The resulting There Is a Hell\, Believe Me I’ve Seen It\, There Is a Heaven\, Let’s Keep … was released during the latter half of 2010\, several months after the band wrapped up their engagement with the Warped Tour. \nA fourth album\, the critically lauded Sempiternal\, arrived on Epitaph in 2013\, and peaked at number three on the U.K. albums chart. Around this time\, Weinhofen parted ways with the band and was replaced by Jordan Fish for their next effort\, which marked a stark departure from the sound they’d been honing since their debut. Released in 2015\, the loosely conceptual That’s the Spirit saw the group dropping some of their metalcore tendencies in lieu of a more melodic\, alt-metal approach\, capturing mainstream ears with the singles “Happy Song\,” “True Friends\,” and “Avalanche.” Their highest-performing effort to date\, the set topped charts across the globe\, peaking in the Top Three in their native England and in the U.S. Riding the success of Spirit\, the band staged an ambitious charity concert benefitting the Teenage Cancer Trust. Backed by the Parallax Orchestra and Simon Dobson\, the group set their hits to orchestral backing on 2016’s Live at the Royal Albert Hall. \nIn the summer of 2018\, Bring Me the Horizon continued down an increasingly experimental path with the mainstream-ready anthem “Mantra” and the surprisingly poppy “Medicine.” Both tracks landed on their sixth full-length effort\, Amo\, which was released in early 2019. Their first U.K. chart-topper\, Amo incorporated electronic dance elements and trap production\, featuring guest appearances by Dani Filth (Cradle of Filth)\, art-pop singer Grimes\, and rapper Rahzel. As the band toured the globe\, they joined a stacked roster of artists for the soundtrack to the video game Death Stranding\, contributing the track “Ludens.” At the close of 2019\, in addition to Amo receiving a Grammy nomination for Best Rock Album\, the group issued a surprise project titled Music to Listen To…. The experimental foray dabbled in electronic atmospherics\, ambient noise\, and trip-hop\, reimagining tracks from Amo in the process. Guests on the release include Halsey and Theresa Jarvis of Yonaka. \nIn early 2020\, the band quarantined in their home studios during the COVID-19 pandemic to record their next effort\, which was heavily influenced by global events. During the summer\, they issued “Parasite Eve” and the industrial-tinged “Obey\,” a collaboration with English upstart Yungblud. These tracks landed on 2021’s Post Human: Survival Horror\, the first installment of a proposed multi-part EP series. In addition to the previously released singles\, the set also included appearances by Babymetal (“Kingslayer”)\, Nova Twins (“1×1”)\, and Amy Lee of Evanescence (“One Day…”). The first taste of the follow-up\, the more melodic and anthemic “DiE4u\,” arrived that September. A string of high-profile collaborations marked the band’s 2022 output and included featured appearances with Ed Sheeran (“Bad Habits”)\, Machine Gun Kelly (“Maybe”)\, and Sigrid (“Bad Life”). \nContinuing the lead-up to their proposed Survival Horror sequel\, which was titled Post Human: NeX Gen\, the band spent 2023 touring and releasing more singles\, including “Lost\,” “Darkside\,” and “Amen!” with Daryl Palumbo (Glassjaw) and Lil Uzi Vert. At the end of the year\, longtime keyboardist Fish left the band. Weeks later\, the four-piece released “Kool-Aid\,” the sixth offering from NeX Gen. After a brief delay\, that sprawling effort finally arrived in May 2024\, featuring additional guests Aurora and Underoath. The album tackled dark emotional themes and featured genre-blurring hyperpop flourish\, pop-punk energy\, glitchy electronic chaos\, hardcore aggression\, death growls\, and pop choruses. \n \n \nAn industrial city situated in Northeastern Pennsylvania\, you could say Scranton quietly prides itself on a tried-and-true Rust Belt blue-collar work ethic. \nFor their fourth full-length album and first for Roadrunner Records Graveyard Shift\, Motionless In White—Chris Motionless [Vocals]\, Ricky Horror [Guitar]\, Ryan Sitkowski [Guitar]\, Ghost [Bass]\, and Vinny Mauro [Drums]—dug into the roots of their hometown’s pervasive attitude. \n“We’re a band that came out of the small town blue-collar spirit\,” affirms Chris. “We put ten years into growing this and working hard to do what we love the most. We look forward to putting in another ten. Both the area we come from and the fan base brought us to this point. Graveyard Shift is all about that work ethic. It’s been instilled in us. Early on\, we realized if you give the time and effort to chase a dream\, it’s possible to achieve it by the sheer amount of drive and passion you have.” \nSince 2006\, that ethos has fueled Motionless In White’s rise to the upper echelon of modern rock. Albums such as 2010’s Creatures and Infamous in 2012 would galvanize a rabid fan base around the quintet. During 2014\, Reincarnate reached new heights\, bowing at #9 on the Billboard Top 200 and claiming #1 on Billboard’s Top Rock Albums Chart. The title track and lead single turned into a Top 20 Active Rock smash and notched 13.2 million YouTube views and 9.8 million Spotify streams. Simultaneously\, they have shared stages alongside everyone from Slipknot\, Korn\, and Breaking Benjamin to A Day To Remember and Marilyn Manson in addition to making arresting festival appearances at Warped Tour\, Aftershock\, Rock On The Range\, Rock Allegiance\, and beyond. \nIn 2016\, they entered a Los Angeles studio with producer and longtime collaborator Drew Fulk [Emmure\, Crown The Empire] to record what would become Graveyard Shift. \n“It was all about writing bigger\, better\, and more refined songs\,” exclaims the frontman. “On Reincarnate\, we felt like we had discovered our true identity. This record wasn’t so much centered on experimentation as it was on refinement. In the past\, I feel like I always placed the vocals second to music. This time\, there was a focus on trying to make sure the vocals had their big moments. That was a major key in really making Graveyard Shift separate from all of the other albums. I haven’t really been able to look back at anything I would’ve done differently or something I didn’t feel like I put my whole heart into here. I just feel incredibly confident about everything on the record.” \nMotionless In White introduced this latest body of work with the galloping gut punch of “570”—the area code of Scranton and something of an homage to home. In less than three months\, it amassed 3.1 million Spotify streams and amplified anticipation for the full-length’s impending arrival. \n“Last summer\, I had the opportunity to meet with a lot of fans on Warped Tour and have some very intense\, personal\, and deep discussions\,” recalls Chris. “I walked away from these meetings feeling energized. Whether the conversations were dark or uplifting\, I was ready to approach anything in my way with how I felt afterwards. Our current single\, ‘LOUD\,’ is a direct result of that energy. I wanted to encourage people to feel the same way. It’s definitely one of the more powerful and inspirational messages on the album.” \nThroughout its 12 tracks\, Graveyard Shift weaves together various personal vignettes. From embracing one’s dark side on “Necessary Evil” [feat. Jonathan Davis] to the hypnotic and humorous ode to Danny Elfman’s influential body of work\, “Not My Type (Dead As Fuck 2)\,” the record remains unpredictable at every turn. “Eternally Yours” signals a first for the group. \n“It’s our first true love song\,” Chris goes on. “There was a very poetic and romantic approach. That’s something\, as a lyricist\, I have been trying to explore more of within myself over the past few albums.  It’s a special song for all of us.” \n  \nScranton plays a subtle role in the overarching narrative itself. Chris can recall finding early inspiration in the city’s once fertile music scene\, which slowly dissipated over the years. At the same time\, he and his bandmates have transported that energy worldwide with Graveyard Shift. \n“I like to think we’re taking our favorite traits of this area on the road and showing the rest of the world what Scranton created out of all that great camaraderie\, those friendships\, and the memories\,” he says. “We all come from the same spot. It’s something I think many people all over the world can identify with. We’re not content to just sit still and let life happen. We want to show you can take the initiative\, go out there\, and make a difference for yourself. That rings throughout all of the songs and speaks to the true meaning of Graveyard Shift.” \nUltimately\, Motionless In White have the power to electrify a new love for rock music in the process. \n“We’re quite a simple band in terms of our intent\,” he leaves off. “Turn off your head\, detach from reality\, listen to the music\, and enjoy the songs. That’s what we’re encouraging. We want to give people something to latch on to away from life’s bullshit. I hope they walk away feeling their love for music was either restored or upheld.” \n \n \nThrough balancing even the most extreme dynamics\, The Plot In You consistently overturn and upend expectations. On any given track\, it might seem like they’re about to go one way\, but the band will turn on a dime and shift course before the crowd can even catch a breath. This uncanny element of surprise has entrenched the gold-selling Ohio quartet—Landon Tewers [vocals]\, Josh Childress [guitar]\, Ethan Yoder [bass]\, and Michael Cooper [drums]—on the cutting edge of heavy music. Whether it be threads of alternative\, electronic\, pop\, or R&B\, nothing is off limits\, and everything is fair game for their creative process. That process has continued to morph. Following a series of fan favorite releases\, the band made major waves with DISPOSE [2018]. “FEEL NOTHING” surged on social media as a viral phenomenon\, generating hundreds of millions of streams and picking up a gold certification from the RIAA. The musicians only maintained this momentum with Swan Song in 2021. Hysteria rated it “9-out-of-10.” Simultaneously\, they sold out shows coast-to-coast. During 2023\, the band kickstarted another era with Vol. 1. “Divide” generated 9 million Spotify streams right out of the gate followed by “Left Behind\,” exploding to the tune of 15.9 million Spotify streams. Upon the arrival of “Forgotten\,” Revolver praised it among the “6 Best New Songs Right Now.” \n \n \nLos Angeles-based singer Amira Elfeky combines nu-metal influences\, a brooding goth flair\, and emotional songwriting into a hard-hitting but accessible rock sound. The Connecticut native moved to California where she started working on songs inspired by 1990s alternative rockers like Nirvana and early-2000s nu-metallers like Deftones and Linkin Park. She released her first songs in 2023\, including “Tonight (demo)” and “Coming Down\,” which quickly caused a stir and resulted in her getting signed by Anemoia Records\, an imprint of Atlantic. In early 2024\, Elfeky released her first EP\, Skin to Skin. \nElfeky was born in Connecticut\, started playing the violin at an early age\, and was interested in every music class her school offered. At 15\, she moved to the Bay Area and discovered grunge and nu-metal. Through a “drummer wanted” ad\, she met Brandon Iljas\, and the pair started working on songs in his San Francisco bedroom studio\, but she wasn’t quite satisfied with the results. In Los Angeles\, Elfeky had the opportunity to work and record in the home of Ian Hunter\, founder of the Anemoia label\, and she refined her blend of blurry Deftones-style alternative metal and the dramatic goth rock of Evanescence. After “Tonight (demo)” was released in mid-2023 and featured on a new songs playlist\, she signed with the label and followed up with songs like “Coming Down” and “Everything I Do Is for You.” In February 2024\, she released a cover of System of a Down‘s “Lonely Day.” Elfeky’s first EP\, Skin to Skin\, was released in March 2024 and featured the new single “A Dozen Roses.”
URL:https://globalazmedia.com/event/bring-me-the-horizon-at-phx-arena/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20250928T190000
DTEND;TZID=America/Phoenix:20250928T233000
DTSTAMP:20260428T023402
CREATED:20250903T005909Z
LAST-MODIFIED:20250903T005909Z
UID:20146-1759086000-1759102200@globalazmedia.com
SUMMARY:Marilyn Manson at The Van Buren
DESCRIPTION:Marilyn Manson is a perpetually controversial presence and one of the key figures in aggressive\, boundary-challenging rock music. Manson became a mainstream antihero in the 1990s — much to the chagrin of conservative politicians\, religious leaders\, and concerned parents — ruffling feathers and shocking the masses with his dark brand of glam-influenced industrial metal\, outspoken social commentary\, and incendiary live shows. The self-proclaimed “Antichrist Superstar\,” he peddled a disquieting vision of society that focused on sex\, drugs\, violence\, politics\, and organized religion\, which pushed many of his singles — including “The Dope Show\,” “The Beautiful People\,” and a cover of Eurythmics‘ “Sweet Dreams (Are Made of This)” — into the upper reaches of the modern rock charts during the late ’90s and early 2000s. During his band’s commercial peak\, the conceptual triptych of Antichrist Superstar\, Mechanical Animals\, and Holy Wood won him a legion of die-hard fans while also attracting media attention and cultural notoriety. Following 2003’s The Golden Age of Grotesque\, Manson entered his next era with a trio of releases that marked a downturn in mainstream popularity and sales. However\, at the turn of the following decade\, he staged a late-era comeback with a string of critically acclaimed albums: The Pale Emperor (2015)\, Heaven Upside Down (2017)\, and We Are Chaos (2020). After a series of abuse allegations came to light and he was dropped by his label and longtime manager\, Manson remained out of the public eye until 2024\, when he returned with his 12th album\, One Assassination Under God: Chapter 1. \nBorn Brian Warner\, Manson was raised in Canton\, Ohio. At the age of 18\, he relocated to Tampa Bay\, Florida\, where he worked as a music journalist. In 1989\, he became friends with guitarist and fellow outsider Scott Mitchell Putesky; the two soon decided to form a band\, with Putesky rechristening himself Daisy Berkowitz and Warner adopting the name Marilyn Manson. With the addition of bassist Gidget Gein and keyboardist Madonna Wayne Gacy\, the group — originally dubbed Marilyn Manson & the Spooky Kids — began self-releasing cassettes and playing gigs\, their gothic stage shows notable for Manson’s elaborate makeup and homemade special effects. Jettisoning their drum machine in favor of Sara Lee Lucas\, the band’s sound began taking on a harder edge\, and by 1992 they were among the most popular and notorious acts in the South Florida underground. \nIn 1993\, Nine Inch Nails‘ Trent Reznor came calling\, offering both a contract with his Nothing Records label as well as the chance to open for NIN the following spring; Manson accepted both offers\, and the group’s debut LP\, Portrait of an American Family\, appeared during the summer of 1994. With new bassist Twiggy Ramirez replacing Gein\, the band’s notoriety soared. Most infamously\, during an appearance in Salt Lake City\, Manson ripped apart a copy of the Book of Mormon while on-stage. The Church of Satan’s founder\, Anton LaVey\, also bestowed upon him the title of “Reverend\,” further stoking conservatives’ fears. Manson’s cult following continued to swell\, and the band broke into the mainstream with the release of 1995’s Smells Like Children EP\, propelled by their enduring hit cover of Eurythmics‘ “Sweet Dreams (Are Made of This).” Berkowitz quit a short time later and was replaced by guitarist Zim Zum\, and the revised group saw their next LP\, 1996’s conceptual opus Antichrist Superstar\, debut at the number three spot on the pop album charts and sell nearly two million copies in the U.S. alone. Produced by Trent Reznor\, the multi-platinum Antichrist Superstar became the band’s most influential and defining statement. As Manson’s popularity grew\, so did the furor surrounding him. His concerts were regularly picketed by civic groups\, and his music was the subject of widespread attacks from right-wing and religious fronts. \nManson continued to court controversy in 1998 with the glam-inspired Mechanical Animals\, which included cover art depicting the singer as a naked androgynous alien. The album became the band’s first to top the charts and spawned the singles “The Dope Show” and “I Don’t Like the Drugs (But the Drugs Like Me).” While the resulting tour yielded a live album\, Last Tour on Earth\, the trek was cut short in early 1999 after the band was erroneously blamed for influencing the perpetrators of the Columbine High School massacre. Out of respect for the public\, the group retreated from the spotlight and returned to the studio. \nThe third and final part of a thematic album triptych\, Holy Wood (In the Shadow of the Valley of Death) arrived at the end of 2000\, just barely missing the Top Ten. One of Manson’s most sprawling conceptual pieces\, the politically charged Holy Wood included the singles “Disposable Teens” and “The Fight Song.” The band returned to the road and toured to support the album during much of 2001. That December\, Manson’s version of “Tainted Love” appeared on the Not Another Teen Movie soundtrack\, becoming an unexpected European chart hit. \nFreed from the mythology of his prior trio of albums\, Manson found inspiration for his fifth effort in the sounds of burlesque\, cabaret\, and the excess of Weimar-era Germany. Longtime bassist Twiggy Ramirez amicably left the group before recording and his spot was filled by Tim Skold (ex-KMFDM). The result was 2003’s The Golden Age of Grotesque\, which spent a week atop the album charts and ended up on several critics’ year-end Top Ten lists. The singles “This Is the New Shit” and “Mobscene” also became live staples for years to come\, debuted on the accompanying Grotesk Burlesk tour. As the Grotesque period drew to a close\, so too did the stints of longtime members Madonna Wayne Gacy and John 5\, who left the group between album releases. The following year\, another symbolic end to the era arrived in the form of a greatest-hits affair titled Lest We Forget. The collection covered the band’s career highlights — from Portrait‘s first single\, “Get Your Gunn\,” to a 2004 cover version of Depeche Mode‘s “Personal Jesus” — and earned gold status in multiple countries. At this point\, Manson began to branch out from music\, displaying his watercolor paintings at art exhibitions\, dabbling in filmmaking\, and producing his own absinthe. \nWith the curtains closed on his peak mainstream period\, Manson’s output also took an inward turn\, thematically shifting from the grandiose concepts of his peak mainstream period to more personal statements. This next stage began with 2007’s Eat Me\, Drink Me. Debuting a darker emotional perspective and an increase in singing\, the record was written\, performed\, and produced entirely by Manson and Skold. Landing in the Billboard 200’s Top Ten\, the set included the singles “Heart-Shaped Glasses” and “Putting Holes in Happiness.” Skold parted with Manson shortly thereafter and was replaced by returning member and right-hand man Twiggy Ramirez. Manson and Ramirez then began writing material for the band’s seventh studio album\, The High End of Low\, which arrived in spring 2009 and reached number four on the charts. \nIn 2011\, during preparation for the release of the band’s eighth studio album\, longtime drummer Ginger Fish announced he had left the group. On his own\, Manson forged ahead\, premiering Born Villain\, a short film directed by Shia La Beouf that served as support for his forthcoming album of the same name. One of his lowest-performing albums to date\, Born Villain featured the track “No Reflection\,” which managed to become his highest-charting single in almost a decade. \nDespite the creative musical slump\, Manson remained busy with other exploits\, furthering his acting career with film and television roles\, including a fortuitous appearance on the show Californication\, where he met score composer Tyler Bates (Guardians of the Galaxy\, John Wick\, 300). The pair hit it off and began recording what would become Manson’s big comeback. His ninth album overall\, The Pale Emperor was released in January 2015 on Loma Vista in the U.S. and Cooking Vinyl internationally. Favored by critics as one of the band’s best late-era efforts\, the blues-rock-inspired album peaked in the Top Ten of the Billboard 200 and topped the Hard Rock chart. Capitalizing on the creative momentum\, Manson and Bates extended their partnership in 2017 with another collaboration. Originally titled Say10\, Heaven Upside Down — Manson’s tenth album — featured the singles “We Know Where You F*cking Live” and “Kill4Me.” The set placed Manson back on the pop Top Ten and was supported by extensive touring\, including a summer jaunt that reunited Manson with fellow shock-rock veteran Rob Zombie. At the start of their joint tour\, Manson issued a cover of the song “Cry Little Sister” and a duet with Zombie covering the Beatles‘ “Helter Skelter.” More cover singles arrived in 2019\, namely “God’s Gonna Cut You Down” and “The End” by the Doors. \nThe 2020s were ushered in by Manson’s 11th full-length\, We Are Chaos\, which was produced by outlaw country musician Shooter Jennings. Released that September\, the set yielded the singles “Don’t Chase the Dead” and the title track. Months later\, in January 2021\, multiple allegations of abuse against Manson were made public. Subsequently\, he was dropped by Loma Vista\, his talent agency\, and his manager of 25 years. He was also removed from scheduled appearances on television shows American Gods and Creepshow. Keeping out of the spotlight over the next few years\, he returned in 2024\, opening a tour with Five Finger Death Punch and issuing a handful of singles (“Raise the Red Flag\,” “As Sick as the Secrets Within\,” and “Sacrilegious”) which appeared on his 12th studio set\, One Assassination Under God: Chapter 1. \n \n \n \nWhen the universe aligns\, magic happens. This was certainly the case when Shavo Odadjian\, the legendary bass player of System of a Down\, crossed paths with producer and multi-instrumentalist Morgoth at a party on 2.22.22. Their initial sessions were a spontaneous combustion of creativity\, transforming from a potential solo venture into a full-fledged band. “We wrote a song right away. It wasn’t like any writing session I had been part of before\, riffs were just flowing out of me without me even having to try. Every time I felt like I couldn’t write anything. Morgoth would hand me a guitar and say\, “go\, go\, go”. I needed that\, you know? I needed someone to push me when I wasn’t pushing myself. ” Shavo recalls. As music continued to pour out in torrents\, with Shavo writing and performing all the guitar and bass parts and Morgoth producing and providing the beats\, atmospherics and FX\, Morgoth suggested they turn it into a Shavo solo project. However\, with his eye now firmly set on the live arena\, Shavo decided to create a full band.
URL:https://globalazmedia.com/event/marilyn-manson-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/webp:https://globalazmedia.com/wp-content/uploads/2025/09/Marilyn-Manson-at-The-Van-Buren.webp
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20250924T183000
DTEND;TZID=America/Phoenix:20250924T233000
DTSTAMP:20260428T023402
CREATED:20250910T004901Z
LAST-MODIFIED:20250910T004901Z
UID:20170-1758738600-1758756600@globalazmedia.com
SUMMARY:Falling in Reverse at Talking Stick Resort Amphitheatre
DESCRIPTION:FALLING IN REVERSE return with 2024’s Popular Monster\, the postmodern trailblazer’s first full-length in seven years. The album arrives armed with no less than three RIAA-certified gold singles (“ZOMBIFIED\,” “Voices in My Head\,” “Watch the World Burn”)\, the double-platinum title track\, a reimagined nü-metal classic\, and six brand new anthems of furious metal\, melody\, and hip-hop. \nPopular Monster is a defiant statement and triumphant victory for singer\, songwriter\, bandleader\, and provocateur Ronnie Radke\, who invented Falling In Reverse inside a prison cell. \nRadke fills the fifth full-length from Falling In Reverse with invincible and irresistible songs that resonate across generations and genres. Co-produced with longtime collaborator Tyler Smyth (I Prevail\, Skillet\, Lights)\, Popular Monster is full of confessional angst\, bravado\, and clever wordplay. \nRonnie formed a series of pop-punk bands in Las Vegas as a teenager\, culminating in the creation of Escape The Fate. The metalcore group’s meteoric rise coincided with the singer’s spiral into addiction. By the time he was sentenced to two years in prison\, the band he started had moved on without him. Some fans\, critics\, and industry types figured his story would end there. \n \n \nSlaughter To Prevail is pushing heavy music to new extremes\, delivering unapologetically hard modern metal while smashing expectations\, and becoming one of the most talked about bands in heavy music in the process. \nSlaughter To Prevail’s journey began in the most unlikely of ways: two musicians from completely different worlds. Alex Terrible\, forging his monstrous vocals from a small bedroom in the cold\, rural Russian city of Yekaterinburg\, crossed paths online with guitarist Jack Simmons\, who sharpened his craft in a quiet town on the outskirts of Essex\, UK. What started as a distant collaboration quickly turned into a brotherhood\, as their exchanges of ideas took shape\, songs were formed and it became apparent to Jack and Alex that they were on to something special. \nAll of this momentum leads to “Grizzly”\, their most anticipated release yet. Featuring the already released singles ‘Conflict\,’ ‘Viking\,’ ‘1984\,’ ‘Behelit\,’ and ‘Kid of Darkness\,’ the album is a relentless assault\, balancing raw aggression with massive\, unforgettable catchiness. \nThis is Slaughter To Prevail’s moment. “Grizzly” is the culmination of everything they have built\, a defining record that cements their place at the top of modern heavy music. \n \n \nHollywood Undead hail from the streets of Hollywood\, California\, mixing brash hip-hop\, rock\, and minor metalcore touches with cocky posturing. With their colorful pseudonyms and unique hockey goal tender-inspired masks\, the band debuted in 2008 with Swan Songs\, but didn’t hit their commercial stride until the release of their 2011 sophomore effort\, American Tragedy\, which cracked the Top Ten on the Billboard 200 chart. Subsequent outings like Notes from the Underground (2013)\, Five (2017)\, the two-volume New Empire (2020)\, and Hotel Kalifornia\, performed just as well\, if not better\, cementing the group’s reputation as one of rapcore’s leading lights. \nOwing much of their popularity and exposure to the social networking website MySpace\, the group started as the musical project of J-Dog and Tha Producer in June 2005. They uploaded some new music to their profile and very quickly started amassing song plays and online friends with tracks about drinking\, sex\, and emo kids. “The gang\,” as the guys liked to refer to themselves\, grew to include six members: J-Dog and Tha Producer alongside Charlie Scene\, Johnny 3 Tears (formerly called the Server)\, Funny Man\, and Da Kurlzz. As the band’s online profile steadily increased\, MySpace head honcho Tom Anderson wasn’t immune and wound up featuring Hollywood Undead’s song “No. 5” on MySpace’s first compilation album\, in addition to giving them the distinction of being the first act signed to the site’s new record label (distributed by Interscope) in 2005. \nSwan Songs finally appeared in 2008 on A&M/Octone Records. A year later\, that label released an album of B-sides\, live tracks\, and covers titled Desperate Measures. In 2010\, vocalist Aron “Deuce” Erlichman left the group; he was replaced by Daniel “Danny” Murillo\, a former contestant on American Idol and lead singer of Lorene Drive. After shows with Avenged Sevenfold on The Nightmare After Christmas Tour\, Hollywood Undead released their sophomore album\, American Tragedy\, in April of 2011\, and the album debuted in the Top Five of Billboard’s Top 200. The following November\, A&M/Octone Records released a remix version of the record called American Tragedy Redux\, which featured mixes by Andrew W.K.\, Borgore\, and KMFDM\, among others. \nIn January of 2013\, after embarking on The Underground Tour\, Hollywood Undead released their third studio album\, Notes from the Underground\, which proved to be their highest-charting outing to date\, landing at the number two spot on the Billboard Top 200 and soaring to number one on the Canadian albums chart. Their hotly anticipated fourth studio album\, Day of the Dead\, arrived in March 2015\, and was preceded by the singles “Usual Suspects\,” “Gravity\,” “How We Roll\,” and the explosive title cut. The band returned to the studio in late 2016 to record its fifth studio album\, Five. With their contract with Interscope finished\, Hollywood Undead set up their own label\, Dove & Grenade Media\, in collaboration with BMG to release the album. The first single\, “California Dreaming” — a scathing look at the inequalities between the two sides of Los Angeles culture — was released in mid-2017\, with the full-length Five arriving later that October. In 2018 the Undead released the standalone single “Gotta Let Go\,” a summery blast of feel-good nostalgia about letting go of pain. The EP Psalms also arrived that year. Two years later\, the band released their sixth album\, New Empire\, Vol. 1. A deliberate attempt to change their sound\, it was heavier than before\, with more electronic elements. The like-minded sequel\, New Empire\, Vol. 2.\, arrived in 2020. In 2022\, the band issued their eighth full-length effort\, the confident and earworm-friendly Hotel Kalifornia. Two years later\, they inked a deal with Sumerian Records and issued “Hollywood Forever\,” an anthem written to honor their legions of fans. \n \n \nPoint North are an American band based in Los Angeles\, California consisting of Jon Lundin (vocals)\, Andy Hershey (guitar) and Sage Weeber (drums). The band is signed to Hopeless records and released their debut album Brand New Vision in August of 2020\, featuring popular song Into The Dark. To date\, the band have only headlined once on a sold North American tour in April 2022. \nPoint North dropped their sophomore record Prepare For Despair in August of 2023. The album is said to feature a heavier sound from the trio\, touching upon themes including mental health issues. From this album\, the band’s second radio single Below The Belt\, featuring Set It Off impacted rock radio on October 17th 2023 and was most added in the country.
URL:https://globalazmedia.com/event/falling-in-reverse-at-talking-stick-resort-amphitheatre-2/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
ATTACH;FMTTYPE=image/webp:https://globalazmedia.com/wp-content/uploads/2025/09/Falling-in-Reverse-at-Talking-Stick-Resort-Amphitheatre-2.webp
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20250921T190000
DTEND;TZID=America/Phoenix:20250921T233000
DTSTAMP:20260428T023402
CREATED:20250905T022911Z
LAST-MODIFIED:20250905T022911Z
UID:20159-1758481200-1758497400@globalazmedia.com
SUMMARY:Chevelle + Asking Alexandria & Dead Poet Societ at Arizona Financial Theatre
DESCRIPTION:CHEVELLE is the understated musical powerhouse who have continually delivered rock anthems for the past 24 years. 7 number one hits\, 17 songs reaching the top 10 charts\, over 4 million records sold in the USA and many more worldwide. Platinum and gold albums across their 8 studio records and successful live CD and two live DVD releases completes their extensive body of work to date. It’s all credit to their continuing dedication to be true to their craft\, the genre and their fans. Chevelle’s last two album releases\, La Gargola and The North Corridor both debuted #1 on the Billboard rock charts and #3 and #8 respectively\, on the Billboard top 200 charts. With no signs of this Chicago alternative rock trio slowing down any time soon\, their numerous chart-topping releases have certainly earned this band a place in American rock music history. After more than two decades together\, numerous releases\, and countless worldwide tours\, the band consisting of brothers\, Pete Loeffler [guitars\, vocals] and Sam Loeffler [drums]\, have confidently sailed through decades of uncharted waters and have emerged with a collection that’s equally intricate and intimate. \n \n \nMetal Hammer declared See What’s On The Inside (2021)\, “an outrageously infectious ode to classic rock.” Forbes noted the album’s visceral connection to early Asking Alexandria influences like Guns N’ Roses\, Metallica\, and Pantera. After “Alone Again” hit No. 1 on Active Rock\, “Never Gonna Learn” (from the 2022 E.P. of the same name) went to No. 6. The band boasts over 1.4B combined streams and over 700 million views of their music videos on YouTube. Asking Alexandria offers reverence to touchstone icons like Led Zeppelin\, AC/DC\, and Queen\, with a relentless urgency harkening back to their early days as metalcore upstarts. In 2023\, long-time comrades Ben Bruce (lead guitar)\, Danny Worsnop (vocals)\, Cameron Liddell (guitar)\, Sam Bettley (bass)\, and James Cassells (drums) ride a creative high with their forthcoming eighth studio album kicked off by the immediate success of the arresting\, catchy\, and sober “Dark Void.” “With the world seemingly getting darker and darker\, so many of us struggle with anxiety\, depression\, loneliness\,” Bruce says of the next album’s themes. “We are all on our own journey with unique challenges\, but we have our inner strength to fall back on.” Even as their creative ambitions continue to grow\, that transcendent connection between Artist Audience remains the essential lifeblood pumping through the heart of Asking Alexandria. From personal struggles to career highs and everything in between\, this band truly understands. \n \n \nA perfect symbol for Dead Poet Society is the “shitty old seven-string” that guitarist Jack Collins bought at a mall back in high school. \n“Our former bass player actually took a soldering iron and soldered the frets off\,” he recalls. “You couldn’t play it normally at all. I thought it was going to be a great idea. Years later it was sitting in my closet\, and I decided to pick it up again because I got really bored. It became the new way for us to write music — it opened up a door into this whole new world we discovered.” \n“It was like\, ‘This is the guitar\,’ he adds. “It’s like taking something broken and creating art out of it.” \nWith its wonky intonation\, the instrument can’t produce traditional chords or scales — an unlikely choice for a rock band with such strong commercial potential. Collins and frontman Jack Underkofler are a factory of hooky riffs\, even at their most detuned and menacing; and the latter barks and coos with a crystalline purity that recalls Jeff Buckley and Muse’s Matt Bellamy. \nThat contrast is crucial to the band’s debut LP\, -!- out February 12\, 2021 via Spinefarm Records. Take the bruising belter “Been Here Before\,” which pairs a stadium-sized chorus with angular guitars and Dylan Brenner’s blown-out fuzz bass; “I Never Loved Myself Like I Loved You” opens with the fidelity of an iPhone demo before blooming into a cinematic dream-pop singalong anchored by Will Goodroad’s rim-click drum groove. Brenner is a new addition to the lineup\, but his experience as the band’s touring stand-in for the duration of their career has made him a natural fit. \nIt’s no surprise that Dead Poet Society like screwing with rock conventions — that’s been their aim since forming in 2013 as students at Boston’s Berklee College of Music. Hilariously\, at least in retrospect\, it did take them a bit to find common ground. \n“My best friend drummed for them\, and I convinced him to leave the band\,” Underkofler says with a laugh. “Six months later\, Jack asked me to sing on a couple songs they’d written. My apprehension came from the fact that they were kind of a meme for being one of the worst bands at school. I kind of tried to push away — our old bassist just kept asking me\, ‘Do you want to write with us?’ One day he showed up on my door step and I was like\, ‘Fuck.’ After I wrote my first song with them [“145″]\, I was like\, ‘I think there’s something here.’” \nThe newly solidified quartet quickly developed a chemistry: Underkofler and Collins had a mutual love of Coldplay\, but their tastes sprawled over time along with drummer Will Goodroad: heavy acts like Royal Blood and Led Zeppelin\, modern art-pop artists like St. Vincent\, even hip-hop experimentalists like Tyler\, the Creator. Not all of those influences are detectable on the largely self-produced -!-\, which features a handful of tracks co-helmed by studio veteran Alex Newport. But that eclecticism makes sense\, given their distaste for most modern rock. \n“It’s just lame\,” Collins says. “It has been for like 10 years. I think that’s because people are paying too much umbrage to classic rock — there’s this ‘passing of the torch’ thing that I think is just bullshit. Heavy music is the way we communicate — it happens to be rock music\, but the expression itself and what we’re trying to say and how we want to make people feel is unique. That’s what bands used to do\, and I think that’s what a lot of hip-hop artists do nowadays.” \n“Our goal\,” he emphasizes\, “is to make someone feel something they haven’t felt before.”
URL:https://globalazmedia.com/event/chevelle-asking-alexandria-dead-poet-societ-at-arizona-financial-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85003\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20250916T193000
DTEND;TZID=America/Phoenix:20250916T233000
DTSTAMP:20260428T023402
CREATED:20250826T004804Z
LAST-MODIFIED:20250826T004804Z
UID:20089-1758051000-1758065400@globalazmedia.com
SUMMARY:Nine Inch Nails at Phx Arena
DESCRIPTION:Pulling the harsh sounds of industrial rock into the mainstream\, Trent Reznor and his band Nine Inch Nails became the face of industrial music in the ’90s with “Head Like a Hole\,” “Closer\,” and “Hurt” becoming hits and The Downward Spiral (1994) and The Fragile (1999) topping the charts. Nominated for over a dozen Grammys\, NIN won Best Metal Performance awards in 1992 and 1996 for two tracks — “Wish” and “Happiness in Slavery” — from their metallic EP Broken. Extending into the 2000s\, Reznor maintained his chart success\, even as the band’s style shifted to incorporate atmospheric electronic elements influenced by his Oscar-winning film scores. In 2016\, after decades as the only official member of the band\, he welcomed English producer Atticus Ross — his longtime film scoring partner and bandmate in side project How to Destroy Angels — as NIN’s official second member. Over the next five years\, the duo enjoyed a prolific period that saw additional new film scores as well as NIN projects like 2018’s Bad Witch LP and a continuation of their ongoing instrumental Ghosts series which saw two new entries in 2020’s Ghosts V: Together and Ghosts VI: Locusts. \nMichael Trent Reznor was born May 17\, 1965\, in New Castle\, Pennsylvania and raised in Mercer\, a small town outside Pittsburgh. His parents divorced when he was six and he was raised by his maternal grandparents. As a child\, Reznor had already developed a keen interest in music. He learned to play piano\, tenor sax\, and tuba\, playing in his school’s jazz and marching bands while also acting in high-school productions of Jesus Christ Superstar and The Music Man. Outside of the classical sphere\, his biggest rock influence was Kiss\, whose theatricality and live shows would later inform NIN’s acclaimed stage production. While studying music and computer engineering at local Allegheny College\, he was a fleeting member of new wave outfit Option 30\, contributing vocals and keyboards before parting ways with the band when he dropped out of school to pursue music full-time. He packed up and moved to Cleveland\, Ohio with his friend Chris Vrenna\, who later became a founding member of the first incarnation of NIN. \nWhile in Cleveland\, Reznor was drawn to new wave and the industrial sounds of Ministry and Skinny Puppy. He gigged around town for a few years\, playing in cover band the Urge before joining the Innocent as their keyboardist. The latter band released a single full-length\, 1985’s Livin’ in the Street (Red Label Records)\, before Reznor quit. He soon hooked up with synth pop group Exotic Birds\, contributing keys\, programming\, and backing vocals\, while also recruiting Vrenna on drums. Despite their brief run together\, Reznor appeared with the band in the 1987 Michael J. Fox/Joan Jett film Light of Day as a fictional band dubbed The Problems. His final roles in the local keyboardist circuit were with pop outfit Slam Bamboo — they issued a single “White Lies”/”Cry Like a Baby” in 1988 — and new wavers Lucky Pierre\, whose vocalist Kevin McMahon would later form Prick\, one of the first signees to Reznor‘s future record label\, Nothing Records. \nDuring these stints\, Reznor continued to work on his own material while employed as an assistant engineer and handyman at Cleveland’s Right Track studio. When the shop closed for the day\, owner Bart Koster allowed Reznor to use the facilities for free. The seeds from these early recording sessions — on which he played keyboards\, drums\, guitars\, and samplers himself — would grow into Nine Inch Nails’ first demo\, Purest Feeling. After making NIN’s live debut as tour openers for Skinny Puppy\, Reznor shopped the demo tape around the U.S.\, landing a deal with indie label TVT Records. Reznor quickly returned to the studio to polish existing Purest Feeling tracks and record some new songs. The result\, 1989’s Pretty Hate Machine\, presented a dark\, synth-soaked vision of industrial that was also hook-heavy and accessible. Combined with a lyrical focus on sex\, self-loathing\, betrayal\, angst\, and religion\, these attributes would become hallmarks of Reznor‘s early-era material. Pretty Hate Machine only peaked at number 75 on the Billboard 200\, but a burgeoning cult following helped maintain its chart presence and sales. Buoyed by radio and MTV airplay for singles “Down in It” and “Head Like a Hole\,” it became the first independent release to receive platinum certification to date. \nPromotion of Pretty Hate Machine kept the band (then primarily composed of Reznor\, Richard Patrick\, Chris Vrenna\, and various drummers/keyboardists) on the road for years\, spreading NIN’s fan base across genre lines by not only opening for Skinny Puppy\, but also alternative/goth acts the Jesus and Mary Chain and Peter Murphy of Bauhaus. Their American reach expanded in 1991 when they joined inaugural Lollapalooza tour\, playing alongside Siouxsie and the Banshees\, Living Colour\, Violent Femmes\, Rollins Band\, Lords of Acid\, Jane’s Addiction\, and more. Days after the conclusion of Lollapalooza\, NIN shipped off to Europe\, opening a pair of shows for Guns N’ Roses and penetrating the German industrial market. \nWhen NIN returned to the U.S.\, Reznor became embroiled in a lengthy legal feud with TVT\, which was eager to pump out another\, similar-sounding hit album\, constricting his creativity in the process. In secret\, he signed a new deal with Interscope Records and created the vanity label Nothing Records. The band relocated to a new studio in Los Angeles and began recording a batch of aggressive songs inspired by punk and metal. With production by Flood and drumming by Martin Atkins and Vrenna\, the Broken EP landed in September 1992\, peaking inside the Top Ten on the Billboard 200. In addition to the Grammy-winning single “Wish\,” the effort also included covers of Adam and the Ants‘ “(You’re So) Physical” and Reznor‘s collaboration with Pigface\, “Suck.” Reznor enhanced his reputation as a provocateur with a widely banned music video for “Happiness in Slavery\,” which depicted S&M performance artist Bob Flanagan being torn apart by a machine. There was also a near-mythical\, long-form clip for Broken that was never officially released commercially due to its graphic content (a torture victim is dismembered while viewing NIN videos). Bootleg versions became a prized fan commodity and a remastered version found its way onto the Internet in 2006. The Broken era came to a close with NIN’s first remix EP\, Fixed. \nStill based in the Los Angeles studio dubbed Le Pig — coincidentally built in the same house where actress Sharon Tate was murdered by Charles Manson‘s followers in 1969 — Reznor began work on the highly anticipated follow-up to Pretty Hate Machine. A concept album centered on the protagonist’s titular descent into self-destruction\, The Downward Spiral arrived in March 1994 and debuted at number two. Widely considered to be Reznor‘s masterwork\, The Downward Spiral is often cited as one of the most important albums of the ’90s\, presenting a bleak\, nihilistic version of NIN that would nonetheless break the band into the mainstream. Hit single “Closer” was a staple on both MTV and radio\, despite its graphic music video and lyrical content\, while “Hurt” became a live fixture for NIN\, receiving a second life in 2003 through Johnny Cash‘s stripped-down cover version. \nThe Downward Spiral was anything but for the band\, launching them further into the public consciousness and prompting an industry push for soundalikes Gravity Kills\, Stabbing Westward\, and Filter on rock radio. NIN promoted the effort with the Self Destruct Tour\, which featured Vrenna on drums\, James Woolley on keyboards\, Robin Finck on guitar\, and Danny Lohner on bass. Already a formidable concert presence\, NIN’s reputation grew with chaotic performances that often ended in destroyed equipment and serious injuries. That intense commitment to their live show reached into American living rooms in the summer of 1994 with their show-stealing\, mud-covered set from Woodstock ’94\, which won them another Grammy for the live recording of “Happiness in Slavery.” After the release of the remix album Further Down the Spiral\, NIN continued to tour\, supported by then-newcomers Marilyn Manson\, before joining major influence David Bowie on the co-headlining Dissonance Tour. \nDuring this period\, Reznor took his first step into the world of film\, assembling the soundtrack to Oliver Stone‘s controversial movie Natural Born Killers\, which included the previously unreleased NIN song “Burn\,” as well as edits of “Something I Can Never Have” and “A Warm Place.” Another track\, a cover of Joy Division‘s “Dead Souls\,” was featured on the soundtrack for The Crow. Reznor also contributed vocals to Tori Amos‘ “Past the Mission” from her album Under the Pink. \nAfter the conclusion of the Spiral era\, NIN entered a period of hibernation. Although Reznor remained active — producing Marilyn Manson‘s breakthrough sophomore effort\, Antichrist Superstar\, and contributing the NIN single “The Perfect Drug” to the Reznor-produced soundtrack to David Lynch‘s Lost Highway — a growing case of writer’s block\, struggles with drug and alcohol addiction\, and public pressure put a hold on album number three. Encamped at the newly constructed Nothing Studios in New Orleans\, a reclusive Reznor spent five years crafting that follow-up\, which arrived in 1999. \nInfluenced by the passing of Reznor‘s maternal grandmother\, the deterioration of his friendship with Manson\, and his increasing addictions\, the conceptual double-disc opus The Fragile debuted at the top of the charts and was certified double platinum within months. Meticulously produced by Reznor and Alan Moulder\, the album included singles “We’re in This Together\,” “The Day the World Went Away\,” “Into the Void\,” and “Starfuckers\, Inc.” The remix LP Things Falling Apart featured interpretations of Fragile tracks\, as well as the unreleased “10 Miles High” and Gary Numan cover “Cars.” On the supporting Fragility tour\, the NIN lineup featured Reznor\, Finck\, and Lohner\, as well as newcomers Charlie Clouser on keyboards and Jerome Dillon on drums. That trek spawned a tour documentary titled And All That Could Have Been\, which was accompanied by a live recording and limited-edition EP\, Still\, which featured stripped-down versions of NIN deep cuts\, as well as previously unreleased recordings from the era. \nToward the end of the Fragile years\, Reznor entered rehab after an unexpected overdose in London\, putting NIN on hold until they returned in 2005. Sober and refocused\, Reznor inaugurated this new chapter with an equally hungry release\, fourth LP With Teeth. \nUnlike prior albums\, With Teeth traded gloom\, frustration\, and pain for outward aggression\, matured emotions\, and Reznor‘s first attempts at sociopolitical commentary\, also marking a turning point for NIN that informed the vocal delivery\, production\, and collaborative spirit of the band into the next decade. In addition to production by Reznor and Moulder\, the taut set featured programming by Atticus Ross and live percussion by Dave Grohl. In addition to being the band’s second straight number one\, With Teeth also included a trio of chart-topping singles: “The Hand That Feeds\,” “Only\,” and “Every Day Is Exactly the Same.” A lengthy tour — featuring the lineup of Reznor\, bassist Jeordie White (aka Marilyn Manson‘s Twiggy Ramirez)\, keyboardist Alessandro Cortini\, guitarist Aaron North\, and drummers Josh Freese/Jerome Dillon — accompanied the release\, documented on 2007’s Beside You in Time. \nWhile the first decade of NIN’s existence was marked by mystery and long periods of silence between major releases\, the reinvigorated outfit began churning out material in earnest after With Teeth. In early 2007\, a multimedia promotional effort was rolled out to earnest fans who deciphered clues found on T-shirts\, websites\, and strategically placed USB drives placed hidden throughout Europe. Part of a high-concept alternate reality game\, they revealed a fictional story of a future dystopian America and a burgeoning resistance movement\, all of which was inspired by George W. Bush‘s presidency and the post-9/11 Iraq invasion. This overtly political concept was at the core of Year Zero\, which arrived in April on Interscope Records. Delving deeper into digital soundscapes\, Reznor was once again joined by Ross\, who was promoted from assistant to producer (a position he would hold until becoming an official member of NIN a decade later). The promotional tour took the band through Europe\, Australia\, the U.S.\, and Asia\, notable for featuring NIN’s first stop in mainland China at the Beijing Pop Festival that September. While a television show and movie were planned to accompany the Year Zero story\, those never came to fruition. The album cycle closed with Year Zero Remixed\, which featured reinterpretations by Ladytron\, Bill Laswell\, the Faint\, and rapper Saul Williams\, whose third effort\, 2007’s The Inevitable Rise and Liberation of NiggyTardust!\, was produced by Reznor. \nDuring this prolific period\, NIN also released the four-part ambient instrumental album Ghosts I-IV — released on Reznor‘s new label\, The Null Corporation — as well as the surprise album The Slip. Both 2008 efforts were available for free in their digital formats. While The Slip charted outside the Top Ten on the Billboard 200 and the single “Discipline” became another rock chart hit\, Ghosts was nominated for a pair of Grammy Awards (and the track “34 Ghosts IV” would crash the mainstream in an interesting way in 2019). Continuing the direct-to-fans approach\, NIN later provided live footage from their accompanying Lights in the Sky tour to online fans\, who stitched the pieces together to create a documentary dubbed Another Version of the Truth. \nThe next year\, NIN embarked on another trek\, the forebodingly dubbed Wave Goodbye tour. When the journey concluded\, the band entered an official extended hiatus\, during which time Reznor and Ross focused on film scores for director David Fincher (2010’s Oscar-winning The Social Network\, 2011’s The Girl with the Dragon Tattoo\, and 2014’s Gone Girl). The pair also formed a side project with Reznor‘s wife\, Mariqueen Maandig\, called How to Destroy Angels. Essentially NIN with a female vocalist\, the outfit released a pair of EPs in 2010 and 2012\, as well as a full-length album in 2013. Months after the conclusion of their first tour\, NIN returned with their eighth album. \nThe Grammy-nominated Hesitation Marks (Columbia/The Null Corporation) was issued in August 2013. Produced by Reznor\, Ross\, and Moulder\, it debuted at number three on the charts and included the Top Ten single “Came Back Haunted” as well as “Copy of A” and “Everything.” Guest collaborators on the album included Pino Palladino\, Lindsey Buckingham\, and Adrian Belew. The ensuing Tension arena tour featured backup vocalists Lisa Fischer and Sharlotte Gibson alongside another revamped lineup that included Reznor\, Finck\, Cortini\, Palladino\, drummer Ilan Rubin\, and guitarist Josh Eustis. NIN extended the Hesitation Marks cycle into 2014 with a co-headlining tour with fellow ’90s mainstays Soundgarden. That same year\, NIN were nominated for induction into the Rock and Roll Hall of Fame. \nThe following year\, NIN began the rollout of remastered reissues of past albums. The Fragile appeared in instrumental form exclusively on a streaming platform\, with an accompanying collection of instrumental\, alternate\, and unreleased songs collected as The Fragile: Deviations 1. After the completion of scores for Before the Flood and Patriots Day\, Reznor announced a multi-year project that resulted in a NIN EP/short album trilogy\, which started with late 2016’s Not the Actual Events. A return to the abrasive industrial of the band’s earlier days\, the five-song set featured the brooding track “She’s Gone Away” and special guests Mariqueen Maandig\, Dave Grohl\, and Dave Navarro. Also\, after decades of NIN liner notes reading “Nine Inch Nails is Trent Reznor\,” it was announced that Ross had become a permanent member of the band. \nIn the summer of 2017\, the second installment of the series arrived. Add Violence debuted in the Top 20 and spawned the radio hit “Less Than\,” which climbed the Mainstream Rock and Alternative Songs charts. A year later\, the trilogy ended with Bad Witch\, which was officially issued as the band’s ninth album. Notable for lead single “God Break Down the Door” — featuring jazz saxophone and Reznor singing with a Bowie-esque croon — Bad Witch also included vocals from the Cult‘s Ian Astbury and Mariqueen Maandig on “Shit Mirror.” In support of the effort\, NIN embarked on a 2018 tour dubbed Cold and Black and Infinite\, which reunited Reznor with the Jesus and Mary Chain after opening for them almost three decades prior. \nIn 2019\, NIN experienced a pop culture resurgence\, reaching a fresh audience through some unlikely sources. In addition to a savvy pairing with Captain Marvel — which saw the titular superhero donning a vintage NIN shirt throughout much of the film — the band returned to the charts through a clever cover (a pop makeover of “Head Like a Hole” called “On a Roll\,” which was performed by fictional pop star Ashley O\, depicted by Miley Cyrus) and a strategic sample (Lil Nas X‘s use of “34 Ghosts IV” in his record-breaking hit single “Old Town Road\,” which later made Reznor and Ross Country Music Award winners). To close the year\, the pair crafted a trio of very NIN-esque scores for the HBO series Watchmen. \nAt the start of the 2020s\, as the world was in the grip of a global pandemic\, NIN revived their Ghosts series with the sequels Ghosts V: Together and Ghosts VI: Locusts\, nearly two-dozen additions to the series inspired by the need for connection in an uncertain time. NIN were also inducted into the Rock & Roll Hall of Fame as part of the Class of 2020 (by Iggy Pop no less)\, which would be celebrated years later as the pandemic eased. In the interim\, Reznor and Ross won another Oscar for their score to the animated film Soul\, hopped onto HEALTH‘s song “Isn’t Everyone\,” and produced Halsey‘s Grammy-nominated If I Can’t Have Love\, I Want Power. In 2022\, NIN were finally able to celebrate their Rock Hall induction with a historic hometown show in Cleveland that featured a surprise encore featuring Richard Patrick\, Chris Vrenna\, Danny Lohner\, Alessandro Cortini\, Robin Finck\, Ilan Rubin\, and Charlie Clouser. In addition to performing a selection of early NIN classics\, they even performed Filter‘s “Hey Man Nice Shot.” \nWhile NIN remained quiet through 2023\, Reznor and Ross appeared on Fever Ray‘s “Even It Out” from Radical Romantics and they crafted scores for Bones and All\, Empire of Light\, Teenage Mutant Ninja Turtles: Mutant Mayhem\, The Killer\, and Challengers. ~ Neil Z. Yeung\, Rovi \n \n \n \nBOYS NOIZE (Alex Ridha) builds worlds\, then builds bridges between them. Propelled by an infatuation with sonic invention and a prescience for subculture\, the German-Iraqi artist\, DJ and producer has developed a peerless practice that is both deeply informed by electronic music history and determinedly transcending conventions. As an international festival headliner and A-list producer\, BOYS NOIZE embodies the transformation and expansion of 21st century techno\, house and electro into the current zeitgeist\, and he has the GRAMMY win to prove it. Yet as a Berliner and lifelong DJ\, he remains dedicated to the underground\, regularly flexing the decks at techno meccas and experimenting through a multiplicity of multi-genre aliases. Some fans find BOYS NOIZE through his productions for A$AP ROCKY and FRANK OCEAN\, or his film scores for OLIVER STONE’s “Snowden”; through his house hit “Mvinline”\, or his collaborative projects OCTAVE MINDS and DOG BLOOD with SKRILLEX\, as well as an EP and OFF-WHITE capsule collection with VIRGIL ABLOH; through his remixes for DAFT PUNK\, YEAH YEAH YEAHs and DEPECHE MODE\, his features with RICO NASTY\, PUSSY RIOT and KELSEY LU\, or reworks of SHYGIRL\, SEGA BODEGA and SOPHIE; through this year’s blazing run of 140+ bpm techno tracks and remixes\, or the massive “Fine Day Anthem” with SKRILLEX. BOYS NOIZE’s most important collaboration of all\, however\, is with the ravers that join him across the globe from basements to warehouses to the main stage.
URL:https://globalazmedia.com/event/nine-inch-nails-at-phx-arena/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
ATTACH;FMTTYPE=image/webp:https://globalazmedia.com/wp-content/uploads/2025/08/Nine-Inch-Nails-at-Phx-Arena.webp
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20250914T183000
DTEND;TZID=America/Phoenix:20250914T233000
DTSTAMP:20260428T023402
CREATED:20250905T020735Z
LAST-MODIFIED:20250905T020735Z
UID:20154-1757874600-1757892600@globalazmedia.com
SUMMARY:Coheed and Cambria + Taking Back Sunday at Arizona Financial Theatre
DESCRIPTION:Ten albums in\, something changed for Coheed and Cambria. As singer\, guitarist\, and storyteller Claudio Sanchez began plotting out the sci-fi-inspired New York prog legends’ latest\, The Father of Make Believe\, he found himself writing more directly about his life and\, especially\, his career. Amid the wailing guitars\, cracking drums\, and Sanchez’ powerful voice — centering listeners throughout moments placid and pinwheeling — Coheed devotees will still find plenty of character work and references to the lore. But if you’re new here\, there’s no homework required to feel our host’s hopes\, fears\, battles\, and triumphs. Of course\, you may get drawn in anyway. Coheed — which includes Travis Stever (lead guitar)\, Josh Eppard (drums)\, and Zach Cooper (bass) — emerged in the early 2000s wedged between an emo renaissance and a metal revival. While their peers broke hearts and banged heads\, they crafted Game of Thrones-level fantasies around their Amory Wars storyline\, which unfurls across 78 planets known as Heaven’s Fence. Eight of the band’s albums thus far (plus a small galaxy of comics and novels) live in this space and so does The Father of Make Believe. It’s just that the sky is cracking\, revealing the hand behind the scene. In the past\, says Sanchez\, “I’ve kept the struggles of my life private. When I can’t express myself in words\, I express in worlds.” And yet\, as he assumes the role of main character\, Coheed are yet again finding new ways to bring us into their universe. \n \n \nThey’ve been making music together as a band for more than 20 years\, have sold millions of albums—and along the way\, amassed a devoted\, international fan base. But ask the members of Taking Back Sunday if they still feel a burning desire to make a powerful impact and connect in a big way\, and there’s not a moment of hesitation in the response. “I’m gonna try and conquer the world every time\,” says lead singer Adam Lazzara with a smile.” Adds drummer Mark O’Connell: ”When we’re writing songs\, the one thing we ask ourselves is\, ‘will it make people feel something?’ You try to make people feel emotion. That’s the one goal we went in with\, and I think we did it.” \nThis unrelenting pursuit of greatness lies at the heart of 152\, Taking Back Sunday’s long-awaited\, thrilling eighth studio album (and Fantasy Records debut) out October 27\, 2023. Written and refined over the course of several years\, the group’s first full-length offering since 2016’s Tidal Wave is a passionate\, melody-infused confessional from a band forever known for its honesty and vulnerability. The 10-track LP was produced by Tushar Apte (whom the band met through a mutual collaboration with DJ Steve Aoki) and mixed by Neal Avron (Twenty One Pilots\, Bleachers). \n“What Mark describes was the process for “Amphetamine Smiles\,” notes lead guitarist John Nolan. “When I brought that demo in\, the band was vocal about making changes but not from some negative motivation. You have to be able to trust and listen to try to make the song better. We all had to do that constantly throughout the process of making this album\, and it shows.” \n“I genuinely feel we’re the band that hasn’t stopped and keeps getting better\,” says Lazzara proudly of Taking Back Sunday’s unwavering creative spark. Adds bassist Shaun Cooper: “I really feel the sky’s the limit!” \nWhen Taking Back Sunday first sat down together in late 2019 to begin working in earnest on what became 152\, the band laid out some ground rules from the outset. They weren’t out to simply add more songs to their already-storied catalog\, but rather make a piece of art they could be proud of. “We sat down and said\, “Look\, nothing mediocre is gonna stay\,” recalls Lazzara. “So if you have a mediocre idea\, keep simmering on it.” \nTo that end\, so many of the songs that comprise 152 were workshopped like never before. As the band members explain\, over the years they’ve learned to love letting a piece of music develop from its initial idea all the way to its sometimes drastically-different finished form. It’s a journey \nthey’ve undoubtebly been on many times before when making previous albums\, but as they found out when making 152\, it’s one that continues to thrill them and keep things fresh. \nLazzara gets animated as he describes how so many songs on 152 morphed over the multi-year writing and recording process. Whether it was “S’old” transforming from a punky\, Green Day-style rocker into a slow-building\, emotion-dripping plea for acceptance\, or “I Am The Only One Who Knows You\,” which evolved from a galloping rock song into a beatific ballad\, so many of the songs that comprise 152 found Taking Back Sunday continually surprising one another with musical ideas in new and exciting ways. \n“You would think after 20 years we know what each other is going to do\,” offers Lazzara. “But there were so many times making this record where you would hear the initial idea and think\, ‘I know where this is going\,’ but then was super surprised where it ended up. It’s those kinds of surprises that make it so exciting. That’s why we all still want it so badly.” Adds Cooper: “If you can predict what each other is going to do\, then it just becomes a job. It’s not an artistic expression. You’re not trying to grow.” \nA major part of that growth is heard explicitly in 152’s unguarded lyrics: 20-plus years into Taking Back Sunday\, Lazzara and Nolan are peeling back the curtain like never before. From the heartfelt recollections of the album’s epic opener “Amphetamine Smiles\,” (We talked until the sun came up/It meant so much/we can’t remember what/You better save yourself before you try and save somebody else”)\, to the expressive yearning in lead single “The One” (“You were the one/Put me at ease/Brought out my best/I let you in/You ignored the mess/You didn’t mind”)\, listeners are invited into the songwriter’s collective heart. \n“It’s often hard to turn off those other voices in your head: ‘OK\, we gotta do what people expect. This is our lane\,’ explains Lazzara. “I have to step out of that skin. We learned with Tidal Wave that if it’s the four of us playing it’s going to sound like Taking Back Sunday. Once we really embraced that sentiment\, the world was our oyster. We were freed up to take chances.” \nOn the subject of the band’s renowned live performances\, O’Connell didn’t mince words. “There’s no question\, when it comes to the stage\, no one is getting left behind\,” he declared. “No one wants to be the weak link. We all want to step up our game up because we love it. The amount of effort we give on stage is crazy\, especially with Nathan Cogan Post\, who performs with us on the road. He’s a very big part of that effort as well. When you get a little older\, you don’t want to waste time\, time is what we got\, so let’s make the most of it.” \nWhen it came time to title the project\, 152 was the only option. A section of road in North Carolina between Highpoint\, Chapel Hill and Raleigh where the band and their friends would meet up as teenagers before seeing shows\, 152 has become synomynous with Taking Back Sunday and has appeared in some form on every one of their album covers. \n“We wanted something that represents us as a band and who we are now\,” says Cooper of the title. “The universe was pointing us in that direction. This is what we have to do.” Adds Lazzara\, “It was right there waiting for us. It was a nod to all our friends and our people.” \nRevitalized and unusually optimistic\, Taking Back Sunday is ready to embrace what lies ahead. “Normally it’s like\, this is working right now\, let’s just go with it and see what happens\,” admits Lazzara. “But the process of making this record has helped get me to a point where I’m looking ahead. I’m so excited about the possibilities. You’ve got to keep moving forward. We need to continue building onto this wonderful world.” \n \n \nBeneath the audible progress of Foxing’s 13 year career – from the chamber emo of debut The Albatross to the art pop of 2021’s Draw Down The Moon – has been a gradual movement towards self-sufficiency. Appropriately\, the quartet of vocalist Conor Murphy\, guitarist Eric Hudson\, drummer Jon Hellwig\, and bassist Brett Torrence chose to self-title their fifth LP simply\, Foxing. The album was entirely produced by the band and mixed by Hudson. The cover art was created by Murphy and Torrence\, and it is being released on the band’s own Grand Paradise label. \nDIY requires doing\, and Foxing was not an easy album to make. I share a studio space with the band and was an onlooker to the tedious two year process of its creation. I was jarred by explosive cheering as the band turned the basement hallway into a makeshift putting green during breaks. I overheard arguments that were decibels shy of shouting matches. It is fitting that tension is at the core of Foxing\, an album that balances hopefulness and nihilism\, the pastoral with the tumultuous. Whether oscillating between visceral noise rock & intimate bedroom cassette experiments on opener “Secret History” or cruising at the edge of collapse on “Barking\,” the dramatic dynamics that have long permeated Foxing’s music have never felt so extreme. Five albums into a discography defined by its own restlessness\, Foxing is a document of a band finding comfort in their own chaos.
URL:https://globalazmedia.com/event/coheed-and-cambria-taking-back-sunday-at-arizona-financial-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85003\, United States
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DTSTART;TZID=America/Phoenix:20250906T193000
DTEND;TZID=America/Phoenix:20250906T233000
DTSTAMP:20260428T023402
CREATED:20250817T194807Z
LAST-MODIFIED:20250817T194807Z
UID:20077-1757187000-1757201400@globalazmedia.com
SUMMARY:Linkin Park + Jean Dawson at Phx Arena
DESCRIPTION:LINKIN PARK is the magnetic hub of an emotional and cultural community—staggering in scope\, intimate in connection\, and wholly unique. Blending sonic and visual inspiration under the name Xero\, later Hybrid Theory\, before finally settling on LINKIN PARK\, Mike Shinoda\, Chester Bennington\, Brad Delson\, Joseph Hahn\, Rob Bourdon\, and Dave “Phoenix” Farrell had no idea they were about to become the biggest rock band of their generation. In 2000\, they released their first full-length\, Hybrid Theory. Certified Diamond\, it became “the bestselling debut of the 21st century.” Seven seminal albums followed: Meteora\, Collision Course\, Minutes To Midnight\, A Thousand Suns\, LIVING THINGS\, The Hunting Party\, and One More Light. LINKIN PARK has received multiple GRAMMY Awards\, sold over 100 million albums worldwide\, and notched five #1 Billboard debuts. \nAfter the tragic loss of Bennington in 2017\, the band came to a devastating halt; their future obscured by grief and unanswered questions. Friendships led the way. Mike\, Brad\, Phoenix\, and Joe began making music together again. They met Emily Armstrong and Colin Brittain\, jam sessions organically morphed into recording\, and LP quietly crafted a collection of songs channeling the open-hearted spontaneity of starting over: FROM ZERO. Earning some of the highest critical praise of their career\, FROM ZERO peaked at #1 in 14 countries\, igniting the triumphant FROM ZERO WORLD TOUR and LINKIN PARK’s continuing artistic evolution. \n \n \nRapper and singer Jean Dawson is known for his lyrical and hypnotic genre-mashing blend of hip-hop\, trap\, and experimental indie rock. He garnered widespread buzz with his 2019 EP Bad Sports and quickly followed in 2020 with his debut full-length\, Pixel Bath. His sophomore album\, Chaos Now*\, arrived in 2022\, and Glimmer of God appeared in 2024. \nBorn in San Diego and raised in Tijuana\, Mexico\, Dawson was raised in a biracial Black and Mexican family\, and was first introduced to hip-hop by his parents. Growing up\, he crossed the border for several years to attend school before moving with his family back to San Diego. From a young age\, Dawson imbibed an eclectic mix of music\, driven in part by his older brother’s love of downloading and his own voracious musical appetite. By his teens\, he had developed a wide-ranging taste\, listening to artists like Jay-Z\, Kanye West\, N.E.R.D.\, and Nirvana\, as well as sundry other indie rock artists. He eventually discovered Bon Iver and Frank Ocean\, and began writing his own songs\, pushing his sound in more experimental directions. Working with producer/songwriter Lecx Stacy\, he recorded his 2019 debut EP\, Bad Sports. Included on the release were the tracks “Bull Fighter” and “’90s Green Screen.” \nIn October 2020\, Dawson issued Pixel Bath\, his first full-length studio album\, which included a guest feature from A$AP Rocky on the song “Triple Double.” In late 2021\, Dawson teamed with Mac DeMarco for collaborative track “Menthol*.” Shortly thereafter\, he released “Porn Acting*\,” the first single from his sophomore album\, Chaos Now*. “3 Heads*” and “Pirate Radio*” also preceded the record\, which was released in October 2022. The reflective “No Szns\,” a collaboration with SZA\, appeared in 2023. The following year brought the full-length Glimmer of God\, which included features by Lil Yachty and BONES.
URL:https://globalazmedia.com/event/linkin-park-jean-dawson-at-phx-arena/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
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DTSTART;TZID=America/Phoenix:20250827T190000
DTEND;TZID=America/Phoenix:20250827T233000
DTSTAMP:20260428T023402
CREATED:20250817T191602Z
LAST-MODIFIED:20250817T191602Z
UID:20069-1756321200-1756337400@globalazmedia.com
SUMMARY:The Offspring + Jimmy Eat World & New Found Glory at Talking Stick Amp
DESCRIPTION:The Offspring is perhaps the quintessential SoCal punk band of the 1990s — survivors of the 1980s hardcore scene who revamped themselves for the heavier alt-rock era. Dexter Holland and Noodles had been kicking around the Orange County scene since the mid-’80s\, adopting the name the Offspring as the band’s lineup firmed up toward the end of the decade. The group released their second album\, Ignition\, on Epitaph in 1992 but it was 1994’s Smash and its accompanying singles “Come Out and Play (Keep Em Separated)” and “Self Esteem” that pushed the band toward blockbuster national success. Shortly afterward\, the Offspring made the leap to the major labels and continued a streak of snotty\, satirical alt-rock hits such as “Pretty Fly (For a White Guy)” and “Why Don’t You Get a Job?” that kept the group squarely in the hard rock mainstream through the 2000s. By the dawn of the 2010s\, the Offspring had experienced several membership changes\, the first bit of turmoil that would extend through a decade marked by battles with record companies. The middle-aged Offspring reemerged in 2021 with Let the Bad Times Roll\, their first album since 2012’s Days Go By. They followed in 2024 with Supercharged. \nFeaturing Dexter Holland\, guitarist Kevin “Noodles” Wasserman\, bassist Greg Kriesel\, and drummer Ron Welty\, the Offspring released their self-titled debut album in 1989. Four years later\, their second album\, Ignition\, became an underground hit\, setting the stage for the across-the-board success of 1994’s Smash. The Nirvana soundalike “Come Out and Play\,” the first single from the album\, became an MTV hit in the summer of 1994\, paving the way to radio success. The Offspring were played on both alternative and album rock stations\, confirming their broad appeal. “Self Esteem\,” the second single\, followed the same soft verse/loud chorus formula and stayed on the charts nearly twice as long as “Come Out and Play.” The group got offers from major labels yet chose to stay with Epitaph. While they were able to play arenas in the U.S.\, their success didn’t translate in foreign countries. Nevertheless\, the band’s popularity continued to grow in America\, as “Gotta Get Away” became another radio/MTV hit in the beginning of 1995. The Offspring recorded a version of the Damned‘s “Smash It Up” for the Batman Forever soundtrack in the summer of that year; it kept the group on the charts as the bandmembers worked on their third album. \nFollowing a prolonged bidding war and much soul-searching\, the Offspring decided to leave Epitaph Records in 1996 for Columbia. The move was particularly controversial within the punk community\, and many artists on the Epitaph roster\, including Pennywise and owner Brett Gurewitz\, criticized the band. After much delay\, the Offspring finally released their Columbia debut\, Ixnay on the Hombre\, in February of 1997. Expectations for the record were high and it did receive good reviews\, but Ixnay on the Hombre failed to become a crossover hit on the level of Smash\, and the group also lost a significant portion of its hardcore punk audience due to the album’s major-label status. Americana followed in 1998\, scoring the hit “Pretty Fly (For a White Guy).” In mid-2000\, the Offspring made controversial headlines with their decision to offer Conspiracy of One free of charge on the Internet prior to the initial November release date. Sony Music did not adhere to such a move and threatened a lawsuit\, so the band nixed the plan to release the album in such a manner. Individual singles\, however\, were made available on the band’s official website and other music-related sites such as MTV Online. \nThe Offspring returned in 2003 with Splinter. The album was released through Columbia\, proving the band’s flouting of the record biz hadn’t soured the major labels. It also featured the single “Hit That\,” which returned to the smarmy\, pop-referential feel of “Pretty Fly.” The Offspring toured the world in support of Splinter\, and in the process they hit nearly every continent at least once. They returned in June 2005 with a greatest-hits set; in addition to their major hits\, it included the new track “Can’t Repeat.” In 2008\, after several delays\, the band released its first studio release in four-and-a-half years\, the highly anticipated Rise and Fall\, Rage and Grace. While touring for in support\, the Offspring set to work writing new material and recording when they could. After three years of work\, their ninth album\, Days Go By\, arrived in the summer of 2012. \nThe Offspring then entered an extended period of touring\, recording\, lineup changes\, and battling their record label. Summer Nationals\, a digital EP of covers\, appeared in 2014\, the same year they negotiated a deal for the rights to the music they made at Columbia; in 2016\, they sold these masters and all their publishing rights to Round Hill. The Offspring began working on a new album in earnest in 2018\, reuniting with producer Bob Rock. The resulting Let the Bad Times Roll appeared on Concord in the spring of 2021\, its release delayed due to the COVID-19 pandemic. Upon release\, the set topped charts in Austria\, the U.K.\, and the U.S. Seizing their newfound momentum\, they returned to the studio after touring concluded\, delivering their eleventh album Supercharged in 2024. \n \n \nEmerging as a trailblazing name in the mid-’90s emo scene\, Jimmy Eat World eventually found a larger audience by embracing a blend of alternative rock and power pop that targeted the heart as well as the head. The band’s influence widened considerably with 1999’s Clarity — an album that has since emerged as a landmark of the emo genre — but it was the follow-up\, 2001’s Bleed American\, and the infectious single “The Middle” that broke them into the commercial rock mainstream. The emo label proved difficult to shake throughout the 2000s\, even when subsequent Top Ten albums Futures (2004) and Chase This Light (2007) did little to evoke the hard-edged sensitivity of Clarity\, but Jimmy Eat World still remained a league above the generation of genre torchbearers they helped spawn. Settling into comfortable veteran status in the 2010s\, the band continued to issue reliable Top 20 efforts\, rounding out the decade with their tenth album\, 2019’s Surviving. \nJimmy Eat World formed during 1993 in the Phoenix suburb of Mesa\, Arizona. Jim Adkins (vocals/guitar) and Zach Lind (drums) met while attending Mountain View High School; years of playing in local bands had also introduced them to locals Tom Linton (guitar/vocals) and Mitch Porter (bass). The four musicians joined forces and derived the band’s moniker from an argument between Linton’s younger brothers\, Ed and Jimmy. The two siblings were prone to fighting\, with the heavyset Jimmy usually emerging as the victor. One day\, a revengeful Ed resorted to drawing a picture of his heavyset older brother shoving the entire world into his mouth. The caption “Jimmy Eat World” was printed beneath\, and the band deemed it a perfect fit. Citing influences like Rocket from the Crypt\, early Def Leppard\, the Jesus and Mary Chain\, Fugazi\, and the Velvet Underground\, Jimmy Eat World outfitted themselves as a punk rock act and began playing small shows in the Phoenix valley. \nOver the course of 1994 and early 1995\, Jimmy Eat World released several EPs and singles on Wooden Blue Records\, an imprint based in the nearby town of Tempe. Limited-edition pressings of “One\, Two\, Three\, Four\,” “Back from the Dead Mother Fucker\,” and split EPs with Christie Front Drive\, Emery\, and Blueprint would later run out of print\, as would the band’s self-titled debut album. Their audience was steadily growing\, and Capitol Records responded by signing Jimmy Eat World in mid-1995\, when bandleaders Adkins and Linton were only 19 years old. Porter soon exited the group; Linton’s best mate since seventh grade\, bassist Rick Burch\, was enlisted as a replacement\, and the band marked their major-label debut with the release of 1996’s Static Prevails. \nThree years passed; by 1999\, Jimmy Eat World had officially transformed themselves into an emo outfit with the release of their intricate sophomore album\, Clarity. The record marked Adkins‘ first time as the group’s lead singer and principal songwriter\, two roles that Linton had previously handled. Unfortunately\, Capitol Records had also experienced some significant changes\, ultimately culminating in the departure of president Gary Gersh — the same man who signed Jimmy Eat World in 1995. Capitol‘s new management balked at Clarity’s sensitive sound and started to shelve the album; it wasn’t until several key radio stations (including L.A.’s influential KROQ) started airing the song “Lucky Denver Mint” that the label relented and released Clarity in February 1999. “Lucky Denver Mint” proved to be popular on the radio and in the movies\, where it scored a spot in the Drew Barrymore comedy Never Been Kissed. Jimmy Eat World’s fan base continued to grow\, but their relationship with Capitol progressively soured. After the label shelved the band’s third LP\, Jimmy Eat World decided to leave the label\, and Capitol was happy to let them go. \nMeanwhile\, Jimmy Eat World’s music was attracting an audience overseas\, where Clarity had become a hit in countries like Germany. The band responded by financing and promoting a tour throughout the European continent. Singles\, a collection of unreleased B-sides and rarities\, was issued that same year on the independent label Big Wheel Recreation. A split EP with Australian rockers Jebediah was also released\, and the group scraped together the profits from those ventures before entering the studio to record Bleed American (whose title would later be changed to Jimmy Eat World after the events of September 11\, 2001). Enlisting the help of Clarity’s producer\, Mark Trombino\, the band independently created the record that would effectively launch their high-profile careers. Jimmy Eat World then used the completed product to land a contract with Dreamworks\, who released the album in July 2001. While the hard-hitting title track did moderately well\, it was the record’s second single\, “The Middle\,” that landed Jimmy Eat World a spot on the pop/rock map. Featuring a video filled with scantily clad teenagers\, the song also enjoyed heavy exposure on MTV\, where a younger audience latched onto the band’s summery appeal. A year after its release\, Jimmy Eat World was still a fixture on the Billboard charts and modern rock radio. A third single\, “Sweetness\,” was released in summer 2002\, and “A Praise Chorus” followed soon after\, allowing the album to go platinum. \nAfter the Dreamworks label closed its doors in January 2004\, Jimmy Eat World shifted their operations over to Interscope for the release of their fifth album. Futures was released in October 2004 and debuted at number six on the Billboard charts\, eventually going gold on the strength of the Top 40 hit “Pain.” The Stay on My Side Tonight EP appeared one year later\, featuring a Heatmiser cover and several tracks that had been axed from the Futures track list. Jimmy Eat World continued to tour in support of the album before entering the recording studio with Butch Vig (Nirvana\, Smashing Pumpkins\, Garbage). With Vig behind the controls\, Jimmy Eat World recorded their sixth studio LP\, Chase This Light. The leadoff single\, “Big Casino\,” was released in August 2007\, and the album followed in October. Before the release of their next record\, the band embarked on a ten-year anniversary tour celebrating Clarity. \nIn 2010\, Jimmy Eat World issued their seventh album\, Invented (Dine Alone)\, which saw the return of Trombino as producer. This release marked the first instance since their self-titled debut with original vocalist Linton taking over primary vocal duty (on “Action Needs an Audience”). Singer/songwriter Courtney Marie Andrews provided backing vocals for a handful of tracks on Invented and joined the band on tour. Damage (RCA Records) arrived in 2013\, this time with Alain Johannes (Queens of the Stone Age\, No Doubt) at the helm. The next year\, the group took to the road once again to celebrate another milestone: the ten-year anniversary of Futures. \nThe band’s ninth album landed in late 2016. Produced by Justin Meldal-Johnsen (Nine Inch Nails\, Paramore)\, Integrity Blues featured the singles “Get Right” and “Sure and Certain.” Well-received\, the record reached the Top 20 of the U.S. Billboard 200\, and peaked at number four on the U.S. Alternative Albums chart. In 2019\, Jimmy Eat World returned with their tenth set\, Surviving\, which was also produced by Meldal-Johnsen. More uptempo than Integrity Blues\, the album dealt with themes of self-acceptance and sobriety\, including tracks such as “All the Way (Stay)” and “Congratulations\,” featuring vocals by Davey Havok (AFI\, Blaqk Audio). In 2022\, the band issued the stand-alone singles “Something Loud” and “Place Your Bets.” \nThe next year\, the band toured the U.S. with Manchester Orchestra. To promote the jaunt\, they covered each other’s songs\, with Jimmy Eat World sharing their take on “Telepath” from Manchester Orchestra‘s The Million Masks of God (and the latter band tackling “Table for Glasses” from Clarity). ~ Andrew Leahey\, Rovi \n \n \nAs New Found Glory can attest\, life moves quickly. Just three years after forming in Coral Springs\, Florida\, in 1997\, the group were fast-tracked from local upstarts to mainstream stars on the back of ebullient pop melodies and hardcore-tinged breakdowns\, setting off a blast of pop-punk dynamite that still lights the torch for modern acts more than two decades later. They became the voice of an underground movement\, spurring iconic gold and platinum records (2000’s New Found Glory\, 2002’s Sticks & Stones\, and 2004’s Catalyst)\, countless MTV appearances\, an entire subgenre (easycore) and sold-out tours the world over. \nBut\, as the band have also learned\, everything can get upended in the blink of an eye. In December 2021\, fresh off the celebratory Pop Punk’s Still Not Dead Tour in support of their 10th album\, Forever + Ever x Infinity\, guitarist Chad Gilbert was found unresponsive in bed at home\, rushed to a local hospital\, and diagnosed with an 8-inch cancerous tumor\, a rare pheochromocytoma. Hospital stays\, surgery\, and a long road to recovery followed – but\, in typical New Found Glory fashion\, so did the songs. \nThe band’s new acoustic album\, Make The Most Of It (Revelation Records)\, tackles the last year head-on with their most emotional and cathartic collection of songs to date. The album is a rumination on what it means to grieve\, to live\, to approach every day with appreciation and a sense of fulfillment.
URL:https://globalazmedia.com/event/the-offspring-jimmy-eat-world-new-found-glory-at-talking-stick-amp/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
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DTSTART;TZID=America/Phoenix:20250826T190000
DTEND;TZID=America/Phoenix:20250826T233000
DTSTAMP:20260428T023402
CREATED:20250801T022138Z
LAST-MODIFIED:20250801T022138Z
UID:20009-1756234800-1756251000@globalazmedia.com
SUMMARY:Pantera at Talking Stick Resort Amphitheatre
DESCRIPTION:One of the preeminent metal bands of the ’90s\, Texan powerhouse Pantera put to rest any and all remnants of the ’80s metal scene\, almost single-handedly demolishing any notion that hair metal\, speed metal\, power metal\, et al.\, were anything but passé. Loathe to admit it\, the Texas band had in fact been one of those ’80s metal bands\, releasing fairly unsuccessful (and later disowned) glam-inspired music throughout much of the decade. The about-face came in 1986 with the addition of vocalist Phil Anselmo\, who joined the classic\, core lineup of bassist Rex Brown\, drummer Vinnie Paul\, and guitarist Dimebag Darrell. After the release of 1988’s Power Metal\, the band pushed their sound to a new extreme with their major-label debut\, Cowboys from Hell (1990). Pantera’s mainstream breakthrough came next with Vulgar Display of Power (1992)\, their second major-label album\, which thrust the band to the forefront of the metal scene\, alongside such veteran bands as Metallica\, Megadeth\, Slayer\, and Anthrax\, as well as fellow up-and-comers Sepultura and White Zombie. By the time Pantera unleashed Far Beyond Driven (1994)\, after two long years of touring\, they were the most popular metal band in the land: the new album debuted atop the Billboard Top 200 as its lead single\, “I’m Broken\,” was getting massive airplay. \nAt the height of their popularity and influence\, Pantera began to self-destruct. Less than two months after the release of The Great Southern Trendkill (1996) — an album ridden with allusions to drug abuse and personal destruction — Anselmo overdosed on heroin after a homecoming concert in Texas\, and as tensions rose between him and his fellow bandmembers\, he began engaging with a growing list of side projects that kept him away from Pantera. A live album\, Official Live: 101 Proof (1997)\, was compiled for release when it became evident that no new studio album was forthcoming any time soon. One final studio album did result\, Reinventing the Steel (2000)\, but that was more or less it for the briefly reunited Pantera. The bandmembers once again went their separate ways\, forming such bands as Damageplan\, Down\, and Superjoint Ritual. \nThe end of an era for Pantera became official on December 8\, 2004\, when guitarist Dimebag Darrell was murdered on-stage by a deranged fan at a Damageplan show in Columbus\, Ohio. This much-publicized murder shone the spotlight back on Pantera for an extended moment\, and amid all of the emotional outpouring and tributes\, a consensus arose: in retrospect\, there was no greater metal band during the early to mid-’90s than Pantera\, who inspired a legion of rabid fans and whose oft-termed “groove metal” style bucked all prevailing trends of the day — from hair metal and grunge to nu-metal and rap-metal — and remains singular decades later\, as defined by the vocals of Anselmo as it is by the guitar of Dimebag. \nIn the years that followed\, Anselmo and Rex Brown continued work as Down\, while Vinnie Paul formed the supergroup Hellyeah with members of Mudvayne and Nothingface. A Pantera greatest hits compilation\, 1990-2000: A Decade of Domination\, landed in 2010. Before the band managed an oft-teased official reunion\, Paul died on June 22\, 2018. Surviving members Anselmo and Brown eventually teamed with Zakk Wylde and Charlie Benante\, playing as Pantera in a co-headlining spot with Judas Priest at the Monterrey Metal Fest in December 2022. That kicked off years of touring\, joining the lineups for Hell & Heaven Metal Fest\, Knotfest\, and Metallica‘s extensive M72 World Tour. ~ Jason Birchmeier\, Rovi \n \n \nFormed in 1992\, Amon Amarth became modern metal greats the hard way. The Swedes steadily built a formidable reputation as a ferocious live band and\, as the years passed\, were increasingly recognised for their recorded achievements. Breakthrough releases like 2006’s With Oden On Our Side and 2008’s Twilight Of The Thunder God\, cemented their popularity throughout the metal world. Jomsviking (2015) hit the #1 spot in Germany’s official album chart and swiftly became their most successful worldwide release to date. Amon Amarth return to action in 2019\, with their biggest\, boldest and most bombastic musical statement to date. Amon Amarth – completed by vocalist Johan Hegg\, guitarists Olavi Mikkonen and Johan Söderberg\, bassist Ted Lundström and drummer Jocke Wallgren – know that expectations for their next move are at an all-time high. The excellent news is that the band’s 11th studio album\, the aptly-named Berserker\, is guaranteed to have all discerning metal fans punching the air with joy. Today\, Amon Amarth stand tall and unassailable: over 25 years into a career that has seen them evolve from humble origins in the dark\, dank rehearsal rooms of their native Tumba to their current status as explosive festival headliners and one of the metal world’s most widely adored bands. All of this and more has been captured in the band’s recent live DVD and documentary\, The Pursuit Of Vikings: 25 Years In The Eye Of The Storm.
URL:https://globalazmedia.com/event/pantera-at-talking-stick-resort-amphitheatre/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
ATTACH;FMTTYPE=image/webp:https://globalazmedia.com/wp-content/uploads/2025/07/pantera-at-Talking-Stick-Resort-Amphitheatre.webp
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20250802T190000
DTEND;TZID=America/Phoenix:20250802T233000
DTSTAMP:20260428T023402
CREATED:20250721T014414Z
LAST-MODIFIED:20250721T014414Z
UID:20002-1754161200-1754177400@globalazmedia.com
SUMMARY:Shinedown + Bush at Phx Arena
DESCRIPTION:Multi-platinum band Shinedown Brent Smith [vocals]\, Zach Myers [guitar]\, Eric Bass [bass\, production]\, and Barry Kerch [drums] – have cemented their status as one of the most vital and forward-thinking powerhouses in modern rock. Their most ambitious and masterfully realized work to date\, their seventh studio album Planet Zero firmly places the group in the pantheon of artists capable of moving the culture forward on the strength of their singular vision\, uncompromising honesty\, and fierce commitment to constant evolution. The record-breaking band have achieved astronomical success while embodying the kind of creative dynamism that defies expectation and transcends boundaries. They were named #1 on Billboard’s Greatest Of All Time Mainstream Rock Artists Chart\, after notching the most ever #1s in the 40-year history of the Mainstream Rock Songs Chart with a string of consecutive #1 hit singles. Tickets at shinedown.com. \n \n \nAfter three decades\, well over 20 million records sold\, a GRAMMY® Award nomination\, 1 billion streams\, and a procession of #1 hits\, BUSH stand tall as rock outliers whose imprint only widens as the years pass. Turn on rock radio\, and it won’t be long before you hear “Glycerine” or “Machinehead.” On the big screen\, their music courses through blockbuster franchises such as John Wick. On the road\, they regularly pack amphitheaters and ignite festival stages. In 1994\, the group delivered their seminal debut\, Sixteen Stone. It notably achieved a six-times platinum certification\, remaining a pillar of modern rock. The triple-platinum follow-up\, Razorblade Suitcase\, bowed at #1 on the Billboard Top 200 and boasted “Swallowed\,” which garnered a GRAMMY® nomination in the category of “Best Hard Rock Performance.” Their catalog spans the platinum The Science of Things [1999] through Black and White Rainbows [2017]. Most recently\, 2020’s The Kingdom arrived to acclaim highlighted by “Flowers On A Grave” and “Bullet Holes.” Thus far\, they have notched 25 straight Top 40 hits on the Modern Rock and Mainstream Rock charts\, earning seven #1 entries – most recently\, 2022’s “More Than Machines”. As indefatigable as ever\, they’re still here too\, which brings us to their ninth full-length offering\, The Art of Survival. The twelve new tracks aren’t just the sound of a band surviving though; they’re the sound of a band bucking trends\, breaking ground\, and besting even their most celebrated canon. \n \nMost artists don’t top Rolling Stone’s Best Country Albums of the year list with their debut album. But most artists aren’t Morgan Wade\, who earned the top spot with her scathingly honest and raw 2021 LP Reckless. While Reckless\, and its Top 30 lead single “Wilder Days\,” busted down the doors and introduced Wade as a once-in-a-generation songwriter\, she now readies her anticipated follow-up project\, Psychopath\, arriving Aug. 25. An astounding 13-track LP\, Psychopath most excitingly finds Wade peeling back layers of her psyche like never before. Wade has been no stranger to the road throughout the first quarter of 2023 on her headlining NO SIGNS OF SLOWING DOWN TOUR\, which sold out 35 shows for more than 40\,000 tickets sold. A Virginia native\, Wade has broken away from the pack to become one of country music’s most compelling new voices. Possessed with a raw and unflinching voice anchored by a perfect tinge of twang; the rare ability to pen honest portraits of some of life’s most precious and painful and unpredictable moments; and an onstage vulnerability that so seamlessly breaks down the wall between fan and artist\, Wade has quickly made her mark on the country music scene — and the music world at large – with nominations for ACM New Female Artist of the Year\, Americana Music Association Emerging Act of the Year\, and CMT Breakthrough Female Video of the Year.
URL:https://globalazmedia.com/event/shinedown-bush-at-phx-arena/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
ATTACH;FMTTYPE=image/webp:https://globalazmedia.com/wp-content/uploads/2025/07/Shinedown-at-Phx-Arena.webp
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20250729T190000
DTEND;TZID=America/Phoenix:20250729T233000
DTSTAMP:20260428T023402
CREATED:20250716T235221Z
LAST-MODIFIED:20250716T235221Z
UID:19996-1753815600-1753831800@globalazmedia.com
SUMMARY:Architects at The Van Buren
DESCRIPTION:Architects\, a versatile metalcore group based out of Brighton\, England\, employ a lethal amalgam of breakdown-heavy hardcore\, symphonic screamo\, death metal\, and ambient post-metal. That sonic malevolence is conducted from a platform built on veganism and environmental activism\, with influences ranging from Hatebreed and Shadows Fall to Bring Me the Horizon. Emerging in 2006 as a punishing\, no-frills metalcore act\, the band expanded their sound on 2011’s The Here and Now\, adopting a more melodic — though still punishing — and less predictably structured approach to the genre\, which they perfected on 2016’s critically lauded All Our Gods Have Abandoned Us. Heading into the next decade\, the group continued to refine their more varied sound\, delivering immaculately crafted efforts like The Classic Symptoms of a Broken Spirit (2022) and The Sky\, The Earth & All Between\, rooted in expressive and expansive\, stadium-ready metalcore. \nArchitects recorded their debut album\, Nightmares\, in 2006 with a lineup consisting of twin brothers Tom (guitar) and Dan Searle (drums)\, Tim Hillier-Brook (guitar)\, Tim Lucas (bass)\, and Matt Johnson (vocals)\, but the latter was replaced on-stage by new frontman Sam Carter in January 2007 during the last show of the band’s subsequent tour. Later that year\, they recorded their sophomore effort\, Ruin (introducing new bass player Ali Dean)\, and signed a worldwide deal with Century Media for its re-release in 2008. Their first American tour was next on the agenda\, and saw the group joining Suicide Silence\, Beneath the Massacre\, and the Tony Danza Tapdance Extravaganza\, among other bands. \nUpon their return to England\, Architects recorded their third album\, Hollow Crown\, which arrived in 2009. They took their sound in a relatively subdued\, post-hardcore direction on their fourth album\, 2011’s Here and Now\, but transitioned back to a heavier sound the following year on Daybreaker. The band continued to expand their limits\, pushing things in both extreme and ambient directions on their sixth album\, Lost Forever // Lost Together\, which appeared in 2014. Two years later\, they issued the critically acclaimed and uncompromising All Our Gods Have Abandoned Us\, which they described as their “heaviest and darkest work” to date. It would be the final recording for founding guitarist and primary songwriter Tom Searle\, who passed away in August of that year after a battle with cancer. \nSeptember 2017 saw the band issue the single “Doomsday\,” which evolved from a song that was partially written by Searle before his passing. It appeared on the group’s eighth studio long-player\, Holy Hell\, that was released the following year. That album was the first to feature new guitarist Josh Middleton (Sylosis)\, who had filled in on tour. He co-produced and contributed to the writing on Architects’ ninth album\, For Those That Wish to Exist\, released in February 2021. The record deals with climate change and features guest vocals from members of Parkway Drive\, Royal Blood\, and Biffy Clyro. Unable to tour during the COVID-19 pandemic\, the band filmed an elaborate livestream performance of the album at Abbey Road Studios and released it as a live album in March of the following year. \nAfter having made their previous LP remotely during the pandemic\, Architects were able to return to the studio as a unit\, capturing a more spontaneous live energy on their tenth album\, The Classic Symptoms of a Broken Spirit\, which appeared in October 2022 and reached number one on the U.K. Rock & Metal Albums Chart. Looking to capture the discordant zeitgeist of the decade\, 2025’s The Sky\, The Earth & All Between marked a return to the punitive heaviness of earlier efforts\, highlighting the era’s tribalism and divisiveness with a set of songs — including collaborations with House of Protection and Amira Elfeky — that played to all of their strengths. \n \n \nDetermination and steadfast dedication have defined ERRA’s path\, forging a unique connection with an ever-growing audience\, without the advantages of traditional recognition. On their career-defining\, self-titled fifth studio album ERRA\, the band confront depression\, anxiety and desperation throughout. They take listeners on a near-out-of-body journey to Aokigahara\, the infamous Suicide Forest of Japan; into episodic storytelling that would make Black Mirror writers proud; and into the literary works of Cormac McCarthy and Hubert Selby Jr. \nAs their music finds the balance between the crushingly heavy and the headily melodic\, its members seek to find harmony between the needs of the individual and the natural flow of this shared reality. ERRA\, as a band of brothers and creative force\, strive to live in alignment with the present moment. ERRA\, the album\, represents redemption for the band\, who emerged from the creative process with renewed focus\, confidence\, and certainty of self. \n \n 
URL:https://globalazmedia.com/event/architects-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2025/07/Architects-at-the-van-buren.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20250727T200000
DTEND;TZID=America/Phoenix:20250727T233000
DTSTAMP:20260428T023402
CREATED:20250708T004918Z
LAST-MODIFIED:20250708T004918Z
UID:19887-1753646400-1753659000@globalazmedia.com
SUMMARY:The Rose: Once Upon A WRLD at Mullett Arena
DESCRIPTION:The Rose is a Korean alt-pop band comprised of four talented members: vocalist and guitarist Woosung\, vocalist/multi-instrumentalist Dojoon\, bassist Jaehyeong\, and drummer Hajoon. Renowned since their inception for electrifying performances\, The Rose quickly became one of Korea’s most sought-after groups\, delivering a series of critically acclaimed albums that resonated with fans worldwide. \nThe Rose’s first full-length album HEAL was inspired by the transformative power of music and the stories shared by both their fans and themselves. HEAL soared to #4 on Billboard’s Heatseekers Chart\, while their accompanying HEAL Together World Tour drew an overwhelming crowd of over 100\,000 attendees. \nNow\, with their highly anticipated second full-length album DUAL\, The Rose takes their music to new heights. Building upon the emotional honesty and vulnerability showcased in HEAL\, this latest offering explores the profound concept of ‘balance.’ Seamlessly merging light and dark elements\, The Rose masterfully weaves emotions and sounds\, capturing the dualistic essence that defines their music. \nDriven by unwavering dedication to their fans and the unbreakable bond of their friendship\, The Rose continues to push their artistic boundaries\, captivating audiences worldwide with their soul-stirring music and unforgettable performances.
URL:https://globalazmedia.com/event/the-rose-once-upon-a-wrld-at-mullett-arena/
LOCATION:Mullett Arena\, 411 S. Packard Drive\, Tempe\, AZ\, 85287\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2025/07/the-rose-at-Mullett-Arena.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20250726T190000
DTEND;TZID=America/Phoenix:20250726T233000
DTSTAMP:20260428T023402
CREATED:20250716T011344Z
LAST-MODIFIED:20250716T011344Z
UID:19988-1753556400-1753572600@globalazmedia.com
SUMMARY:Volbeat + Halestorm at Talking Stick Resort Amphitheatre
DESCRIPTION:Volbeat\, consisting of Michael Poulsen (vocals\, guitar)\, Kaspar Boye Larsen (bass)\, and Jon Larsen (drums) have earned more than 143 platinum and gold certifications around the globe\, and scored ten #1 songs on the Billboard Mainstream Rock airplay chart\, the most ever for a band based outside North America. For their ninth album\, God Of Angels Trust\, Poulsen threw caution to the wind\, paying little heed to traditional songwriting in the search for something more immediate and surprising. God Of Angels Trust is a punchy\, crunchy album that’s undeniably Volbeat\, yet marches to a fresh new metallic and melodic energy. From Poulsen’s more instinctual songwriting came more anthemic\, tuneful\, and instantly recognizable rhythms and hooks. The band tracked the album with longtime producer Jacob Hansen in the fall of 2024. To keep the music sounding urgent and immediate\, Volbeat recorded live in the studio\, playing as few takes as possible before moving from one song to the next. Just thirteen days after they started working with Hansen\, Volbeat were finished. As a result\, God Of Angels Trust sounds as fleshed out\, eclectic\, and fulfilling as albums that have taken ten times longer (or more) to create. In the end\, creating such a strong album so quickly was a tremendous challenge that demanded Zen-like calm\, a joy for exploration\, maximal creativity\, and razor-sharp concentration to pull off. \n \n \nLed by charismatic vocalist/guitarist Lzzy Hale\, Pennsylvania-based post-grunge/metal quartet Halestorm are one of the most successful hard rock groups of the early 21st century. With an aggressive yet hook-heavy sound that has become a fixture of American rock radio\, Halestorm have toured restlessly\, playing hundreds of shows per year and sharing the stage with nearly all of the popular American hard rock acts of their era. In 2013\, the band took home a Grammy Award for Best Hard Rock/Metal Performance for the single “Love Bites (So Do I)\,” which appeared on their sophomore studio effort\, The Strange Case Of…. Subsequent efforts Into the Wild Life (2015)\, Vicious (2018)\, and Back from the Dead (2022) have shown the group to be equally adept at muscular hard rockers and piano-driven power ballads\, and their sound has branched out to include elements of dance music and pop-country. \nSiblings Elizabeth and Arejay Hale\, the core members of Halestorm\, formed the group in late 1997 near York\, Pennsylvania\, with Arejay on drums and Elizabeth on vocals and keyboard. Wanting to expand their sound\, the duo invited their father\, Roger\, to play bass with the band. Shortly after their first professional gig in 1998 at the Blue Mountain Coffee House in Hershey\, Pennsylvania\, Halestorm added various guitar players and released an EP\, 1999’s (Don’t Mess with The) Time Man. More lineup changes occurred\, but Halestorm finally solidified with Elizabeth (who was by then going by Lzzy) on vocals and guitar\, Josh Smith on bass\, Arejay on drums\, and Joe Hottinger on guitar. The band caught the attention of producer David Ivory as well as Atlantic Records — both were involved in the group’s major-label debut\, 2006’s One and Done\, a five-song EP recorded live at a show in Philadelphia. They would finally make their full-length studio debut in 2009 with the eponymous Halestorm\, all the while maintaining a rigorous touring schedule that would see them playing upwards of 250 shows a year. \nThe following year\, Halestorm released the concert recording Live in Philly 2010\, and Reanimate: The Covers EP appeared in 2011\, featuring the band’s takes on songs by Heart\, Guns N’ Roses\, and Lady Gaga. Their sophomore album\, The Strange Case Of…\, followed in 2012\, and the single “Love Bites (So Do I)” earned the group a Grammy Award for Best Hard Rock/Metal Performance. Reanimate 2.0 was released in 2013\, this time finding the band tackling Fleetwood Mac\, Daft Punk\, and Marilyn Manson. Halestorm’s eclectic third studio long-player\, the Jay Joyce-produced Into the Wild Life\, was released in April 2015\, and was preceded by the single “Apocalyptic.” The live EP Into the Wild Live: Chicago arrived in 2016\, followed in early 2017 by their third covers set\, Reanimate 3.0\, which featured songs by Whitesnake\, Metallica\, and Soundgarden. Vicious\, the band’s fourth studio long-player\, followed in July 2018 and earned the group a Best Rock Performance Grammy nomination for the single “Uncomfortable.” 2020 saw Halestorm issue Reimagined\, a six-song EP that featured stripped-down versions of five fan favorites and a cover of “I Will Always Love You.” \nTwo years later\, they unveiled their fifth long-player\, Back from the Dead. Produced by Nick Raskulinecz with co-production by Scott Stevens\, the 11-song set included “The Steeple” and “Back from the Dead\,” the latter of which became Halestorm’s sixth single to reach number one on the Active Rock charts. A deluxe edition of the album with seven new tracks arrived later that December. \n \n \nCaptivating bangers like “Engine 45\,” “Avalanche\,” “Aftermath\,” “Wash It Away\,” and “Pressure Point” are anthems for outcasts. Since its formation in El Segundo\, California\, The Ghost Inside has inspired international audiences with passion and determination. Tremendous obstacles never dampened their energy. The Ghost Inside is stronger than ever. \nThe lesson isn’t only about strength through adversity. In recent years\, vocalist Jonathan Vigil\, guitarists Zach Johnson and Chris Davis\, bassist Jim Riley\, and drummer Andrew Tkaczyk learned an esoteric truth about tranquility. As the axiom says\, it’s the journey\, not the destination\, a theme throughout the band’s dynamic sixth album\, Searching for Solace. \nThe Ghost Inside merges the New Wave of American Metalcore’s proficiency with punk’s urgency\, building a bridge between more aggressive sounds and thoughtful messaging. Melody is another constant\, explored to dizzying new heights in Searching for Solace. \nFury and the Fallen Ones (2008) and Returners (2010) preceded The Ghost Inside’s breakthrough album on Epitaph\, Get What You Give (2012). Goodwill\, momentum\, and engaging live performances continued behind the conceptually driven Dear Youth (2014).
URL:https://globalazmedia.com/event/volbeat-halestorm-at-talking-stick-resort-amphitheatre/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2025/07/Volbeat-Halestorm-at-Talking-Stick-Resort-Amphitheatre.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20250712T190000
DTEND;TZID=America/Phoenix:20250712T233000
DTSTAMP:20260428T023402
CREATED:20250622T201311Z
LAST-MODIFIED:20250622T201311Z
UID:19878-1752346800-1752363000@globalazmedia.com
SUMMARY:Katy Perry at Phoenix Arena
DESCRIPTION:Flirting with the aplomb of an assassin\, Katy Perry created a distinctly new millennial pop persona: a Disney princess as imagined by Madonna. Perry enjoyed tweaking the sensibilities of a straitlaced audience — she sneered on her first single\, “Ur So Gay” (punch line: “and you don’t even like boys”)\, she gasped “I Kissed a Girl” and she liked it — and her stylish provocations certainly put her on the pop culture radar\, but the reason she stayed there was because of her knack for blending pop conventions with trends. This talent reached its apex on 2010’s Teenage Dream\, a blockbuster sophomore set that generated hits as diverse as its dreamily romantic title track\, the cotton-candy summertime pop of “California Gurls\,” and the steely EDM variant “Firework.” As her career progressed\, she cannily tempered her risqué moves\, adding the empowerment anthem “Roar” to her repertoire while still finding space for dance club hits like “Dark Horse.” Perry broadened her audience with film cameos and a stint as a judge on American Idol\, projects that kept her in the spotlight while easing her transition from pop diva to showbiz staple. Even with her diversified résumé\, Perry continued to tackle a variety of pop styles\, either on such solo albums as 2020’s Smile or as a duet partner\, where she’d alternate between a collaboration with the Swedish DJ Alesso and country-pop singer Thomas Rhett. In 2024\, she heralded her seventh album\, 143\, with the clubby feminist anthem “Woman’s World.” \nPerry’s success was so sudden in 2008 it seemed as if she was an overnight success when the opposite was true. The daughter of Pentecostal pastors\, she was born Katheryn Elizabeth Hudson on October 25\, 1984\, in Santa Barbara\, California. Raised by born-again parents\, Katy was initially attracted to gospel music\, sometimes sneaking pop music in to balance the inspirational tunes\, but when she first started singing it was in the church. She picked up the guitar at the age of 13 and started writing songs\, pursuing a music career in earnest when she was 15. Earning the attention of CCM artists Jennifer Knapp and Steve Thomas\, Katy headed out to Nashville in 2001\, where she cut demos and eventually secured a contract with Red Hill Records. \nRed Hill released Katy Hudson\, a record targeted at a Christian/inspirational demographic\, in February 2001\, but it didn’t garner much attention and was ultimately buried once the label was shuttered at the end of the year. In the wake of the album’s failure\, Perry transitioned toward pop music\, relocating to Los Angeles and working with producer Glen Ballard\, chief collaborator with Alanis Morissette\, one of Perry’s biggest inspirations. As she abandoned Christian music\, she also abandoned her surname Hudson\, choosing to use her mother’s maiden name\, Perry\, instead. \nBallard signed Perry to his Island/Def Jam-distributed label Java in 2004\, but once the producer’s imprint severed ties with its parent company\, Perry and the album were dropped. Next up\, she signed to Columbia Records\, where she worked on a record for two years\, collaborating with the likes of Max Martin\, Dr. Luke\, the Matrix\, Desmond Child\, and Butch Walker\, but just as the album was reaching the finish line in 2006\, she was dropped from Columbia. Perry continued to soldier forth\, working as a backup singer for hire (she can be heard on Mick Jagger‘s “Old Habits Die Hard” from the soundtrack to 2004’s Alfie)\, and recording a full album with the production team the Matrix\, only to find that album also scrapped. \nShe finally had a song called “Simple” released on the soundtrack to 2005’s The Sisterhood of the Traveling Pants\, but her next big break arrived in 2007\, when Jason Flom signed her to Capitol. Once again\, Perry headed into the studio to create a would-be blockbuster — Ballard\, Dr. Luke\, and Butch Walker all returned\, with Dave Stewart\, Greg Wells\, and S*A*M* & Sluggo also showing up — but this time everything fell into place for the singer. First came the deliberately controversial “Ur So Gay\,” released as a video and digital single\, and it gained enough attention that by spring of 2008\, Madonna was calling it her current “favorite song.” By that point\, Perry’s first real single was scheduled for release: “I Kissed a Girl.” Also vaguely scandalous\, “I Kissed a Girl” became a smash and headed all the way to the top of the Billboard Hot 100. Her debut\, One of the Boys\, followed in June 2008\, and it was also a success\, supported by the Top Ten hit “Hot N Cold\,” along with “Thinking of You” and “Waking Up in Vegas.” One of the Boys was a big enough hit that the shelved album Perry had recorded with the Matrix back in 2004 saw a release in January 2009\, but it didn’t do much. \nPerry supported One of the Boys with media appearances and steady tours\, including an appearance on the 2008 Warped Tour and her own headlining Hello Katy jaunt in 2009. A stopgap MTV Unplugged album appeared in November 2009\, by which time Perry was hard at work on her second album\, Teenage Dream. Preceded by the frothy single “California Gurls\,” Teenage Dream was an international smash\, generating no less than five consecutive number one singles in the U.S.: “California Gurls\,” “Teenage Dream\,” “Firework\,” “E.T.” (which featured Kanye West)\, and “Last Friday Night (T.G.I.F.).” This success set a couple precedents: she was the first female artist ever to achieve such a run of number ones and the first artist since Michael Jackson to have so many singles from an individual album reach the pole position. In 2012\, the album was expanded to Teenage Dream: The Complete Confection\, which contained a new single in “Part of Me\,” which also topped the charts. During this entire cycle\, Perry was a constant pop culture presence\, undergoing an international tour\, appearing in cameos all over television\, courting mild social media controversies\, creating fragrances\, and filming the documentary Katy Perry: Part of Me\, which appeared in theaters in July 2012. \nAs the Teenage Dream juggernaut wrapped up\, Perry turned her attention to recording her third album. Appearing in October 2013\, Prism signaled a more mature Katy Perry\, something that was apparent from its motivating first single\, “Roar.” Prism received a lift from its third single\, “Dark Horse\,” which became her ninth number one (“Unconditionally” didn’t crack the Top Ten)\, and it was followed by “Birthday” and “This Is How We Do\,” both released as she supported the album with an international tour. The highlight of that tour was her appearance at the half-time show for 2014’s Super Bowl XLIX\, where she performed with Missy Elliott and Lenny Kravitz. \nTwo years later\, Perry made her comeback with another major sporting event: the 2016 Rio Summer Olympics. Her single “Rise” was honored as the official anthem for the games; it peaked at 11 on Billboard’s Hot 100. Perry next released “Chained to the Rhythm\,” a single co-written with Sia Furler and co-produced by Max Martin\, in February 2017. Another single — “Bon Appetit” featuring Migos — appeared before the June release of Witness\, an album that emphasized EDM-inspired dance-pop. Perry returned with a holiday single\, the family-inspired “Cozy Little Christmas\,” in December 2018. \nEarly in 2019\, she collaborated with Zedd on his single “365” and appeared on a hit remix of Daddy Yankee‘s smash “Con Calma” before issuing her solo single “Never Really Over” in May 2019. “Never Really Over” climbed to 15 on the Billboard Top 40\, setting the stage for a series of digital singles that arrived before the August 2020 release of her sixth album\, Smile. Featuring production by the Monsters & Strangerz\, Zedd\, Carolina Liar\, and others\, the set hit number five on the Billboard 200 and generated another Top 40 single in “Daisies.” \nPerry released a flurry of singles in 2021\, starting with “Electric\,” a song taken from Pokemon 25: The Album. From there\, she issued a cover of the Beatles‘ “All You Need Is Love” that doubled as a soundtrack to a Gap advertising campaign\, plus “When I’m Gone\,” a bright\, danceable single cut in collaboration with DJ Alesso. In 2022\, Perry appeared on “Where We Started\,” a ballad by country-pop singer Thomas Rhett\, and in 2023 she issued a 15th Anniversary Edition of One of the Boys\, which included two bonus tracks. The dance-oriented feminist anthem “Woman’s World” arrived in July 2024 as the lead single off the singer’s seventh full-length album\, 143. 143\, set to be released in September of that year\, included production from Stargate\, Dr. Luke\, and Max Martin\, and boasted guest features from 21 Savage\, JID\, Doechii\, and Kim Petras. \n \n \nIn 2011\, Rebecca Black’s viral hit “Friday” reached more than 150 million people worldwide and became the fastest-growing song and video that year; but it was not until 2021 that Rebecca Black solidified her stamp on pop culture. Ten years since her first release\, Rebecca Black delivered a six-track hyperpop-infused sonic journey titled “Rebecca Black Was Here” – and her 1.5 Million YouTube subscribers are screaming and streaming. This year\, the RIAA Gold-selling singer\, songwriter\, and queer creator sold-out her debut headline tour across North America\, celebrating her first project in 10 years\, ‘Rebecca Black Was Here’ which is nominated for “Best Self Released Record of the Year” at A2IM’s Liberia Awards on June 16th in New York City\, and the queer pop idol brought the “Rebecca Black Is Here” tour to the UK and Europe in May\, after taking over Coachella weekend 1\, teasing the live experience across a string of appearances in the Palm Springs. Her new music collaborations include “Yoga” with bbno$\, “heart2” with Umru & Petal Supply\, and a feature on MØ’s “New Moon”. In her leisure\, Rebecca advocates for anti-bullying\, mental health initiatives\, and the LGBTQ+ community\, across recent partnerships with the AdCouncil\, GLAAD\, and Best Buddies. \n \n 
URL:https://globalazmedia.com/event/katy-perry-at-phoenix-arena/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
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DTSTART;TZID=America/Phoenix:20250706T190000
DTEND;TZID=America/Phoenix:20250706T233000
DTSTAMP:20260428T023402
CREATED:20250619T234348Z
LAST-MODIFIED:20250619T234448Z
UID:19868-1751828400-1751844600@globalazmedia.com
SUMMARY:Kesha & Scissor Sisters at Talking Stick Resort Amphitheatre
DESCRIPTION:A brash and driven Grammy-nominated pop singer and songwriter\, Kesha went straight to the top of the Billboard Hot 100 in 2009 with her breakthrough recording\, a feature spot on Flo Rida‘s “Right Round.” Her own major-label debut\, Animal\, followed a year later and made her a bona fide star\, showcasing her exuberant electro pop sound and reaching number one in the U.S. and Canada behind the international party-time hit “TiK ToK.” The album spawned three more Top Ten singles as well as the Get Sleazy Tour\, her first as a headliner. A second solo number one\, “We R Who We R\,” was included on the 2010 EP Cannibal\, and she reached the Top Ten of the Billboard 200 for the third time straight with her second full-length\, 2012’s Warrior. A more rock-influenced effort\, it found space for a previous collaborator\, Wayne Coyne of the Flaming Lips\, punk godfather Iggy Pop\, and the indie pop band Fun. She had another Hot 100-topping single a year later with “Timber\,” a collaboration with Pitbull. After a series of legal battles with her longtime producer\, Dr. Luke that involved claims of physical and emotional abuse and business-related mistreatment\, Kesha returned with her third album\, Rainbow\, in 2017. Its themes of self-empowerment hit number one in the U.S.\, Canada\, and across Europe. She again hit the Top Ten of the Billboard 200 with 2020’s upbeat High Road and collaborated with producer Rick Rubin on 2023’s Gag Order. In 2024\, the single “Joyride” heralded the arrival of her sixth album and the launch of her own independent Kesha Records. \nKesha Rose Sebert was born in Los Angeles but moved to Nashville when she was four\, where her mother — a longtime songwriter — had inked a publishing deal. (Over a decade prior to that\, Pebe Sebert‘s biggest success had come with “Old Flames Can’t Hold a Candle to You\,” originally recorded by Joe Sun and later by Dolly Parton.) Before finishing high school\, Kesha returned to L.A. for the sake of jump-starting her own music career\, despite being set up to study psychology at Columbia. She soon met Dr. Luke\, the co-writer and co-producer of Kelly Clarkson‘s “Since U Been Gone” (among several other hits)\, who was impressed with her demo recordings. Kesha penned the Veronicas‘ “This Love” and later contributed background vocals to Britney Spears‘ “Lace and Leather\,” both of which were released in 2008. The biggest turning point came one year later\, when she was tapped to contribute vocals to Flo Rida‘s Dr. Luke-produced “Right Round\,” a number one Hot 100 hit. \nKesha subsequently signed to RCA\, and her debut album Animal — featuring collaborations with Dr. Luke\, Max Martin\, and Benny Blanco — was released in early 2010. Animal proved to be a big hit\, reaching the top of the Billboard 200 and spinning off the number one single “TiK ToK.” The nine-song EP Cannibal appeared at the end of the year. Its single\, “We R Who We R\,” became her second chart-topper\, and “Blow” also reached the Top Ten. Cannibal was followed in 2011 by another stopgap release\, I Am the Dance Commander + I Command You to Dance: The Remix Album. In 2012\, she was called upon by rocker Wayne Coyne for The Flaming Lips & Heady Fwends\, a collaborative album that partnered Kesha with Biz Markie on the track “2012 (You Must Be Upgraded).” \nDr. Luke was back on board for her second official album\, Warrior\, but the more rock-influenced effort also found space for Coyne\, punk godfather Iggy Pop\, and the indie pop band Fun. Preceded by the Billboard Top Ten single “Die Young\,” Warrior was released in December 2012 and reached the Top Ten of the albums chart. Two other singles hit the Top 40: “C’Mon” and “Crazy Kids.” Kesha toured North America in 2013 as part of a co-headlining bill with Pitbull\, and the duo also recorded a single together\, “Timber\,” which became Kesha’s third number one hit. \nEarly in 2014\, she entered rehab for treatment of bulimia nervosa\, a period that included writing and recording over a dozen songs for her third studio album. That June\, she began a stint as a celebrity expert on the ABC singing competition Rising Star alongside Ludacris and Brad Paisley. In late 2014\, Kesha sued Dr. Luke for an array of charges\, including sexual assault\, harassment\, emotional abuse\, and bad business practices; she also sought release from her contract with Dr. Luke’s Kemosabe label. Although the courts initially rejected her claims\, wide public support for Kesha caused Kemosabe to release her from her contract in early 2016. \nHer return to performing came in April 2016\, when she took the stage at Coachella to perform “True Colors” during Zedd‘s set. The studio version was released at the end of the month. Following her own world tour in the summer of that year\, Kesha returned to the studio to complete work on her long-awaited third LP\, Rainbow. “Praying\,” its lead single\, was released in July 2017\, with the album arriving a month later; it debuted at number one on the Billboard 200. More singles followed\, including “Learn to Grow” and “Woman\,” the latter of which hit the top of the U.S. Dance Club Songs chart. In January 2018\, Kesha picked up two Grammy nominations\, including Best Pop Vocal album for Rainbow\, and Best Pop Solo Performance for “Praying.” Later that year\, she released the single “Here Comes the Change\,” which was used to promote the Ruth Bader Ginsberg biopic On the Basis of Sex. “Best Day\,” a cut for the Angry Birds 2 movie soundtrack\, followed in 2019. \nA return to the joyful pop of her early career\, her fourth studio album High Road arrived in January 2020. Buoyed by the lead single “Raising Hell\,” featuring Big Freedia\, the album debuted at number seven on the Billboard 200. It spawned several more singles\, including “My Own Dance\,” “Tonight\,” and “Resentment\,” the latter featuring Brian Wilson\, Sturgill Simpson\, and Wrabel. The following year\, the singer headlined her Kesha Live Tour. She also joined Sam Feldt for his song “Stronger.” \nIn May 2023\, Kesha delivered her fifth studio album\, Gag Order. Largely produced by Rick Rubin\, the album found her continuing to process the upheaval of her lawsuit against Dr. Luke and her inability to comment publicly on the case. Included on the album were the tracks “Eat the Acid” and “Fine Line\,” which were released in tandem as the lead singles. It reached 14 on the Top Alternative Albums chart and cracked the Billboard 200. The Zhone-produced “Joyride” appeared in July 2024 as the first single released off the singer’s sixth album and the first on her own independent Kesha Records. A second single\, the power ballad “Delusional\,” followed that November around the same time as her cover of Lindsay Buckingham‘s 1983 hit “Holiday Road.” In early 2025\, she also contributed the song “Dear Me” to the soundtrack to the documentary Diane Warren: Relentless. \n \n \nA genre- and gender-defying mix of rock\, pop\, and dance inspired by burlesque\, drag queens\, and glam rock\, New York’s Scissor Sisters made a splash in late 2003/early 2004 with their neon-bright reimagining of Pink Floyd‘s “Comfortably Numb\,” the B-side to the band’s first single\, “Electrobix.” The song made quite a name for the band\, which featured singers Jake Shears and Ana Matronic\, keyboardist/bassist Babydaddy\, guitarists Del Marquis and Derek G\, and drummer Paddy Boom: along with becoming the calling card that got the band signed to spotify:search:label%3A%22Polydor%22 in the U.K.\, “Comfortably Numb” was heralded Single of the Month by Dazed and Confused and Jockey Slut magazines\, named an Essential New Tune by Pete Tong on Britain’s Radio 1\, and also received considerable play by DJs including Felix Da Housecat and Tiga. Scissor Sisters (whose name is slang for a lesbian sex act) came from the cutting edge of New York’s nightlife and gay culture\, incorporating elements of burlesque and drag shows\, as well as performance art\, into their theatrical live shows. This was the perfect setting for their music\, which gleaned the best of Elton John\, Bee Gees\, The B-52’s\, David Bowie\, and many other artists with a campy sense of humor and impeccable style. 
 After proving themselves one of the city’s most dynamic live acts\, Scissor Sisters won over British and European audiences on a tour early in 2004 that coincided with the release of their self-titled debut album. That March\, they returned stateside for a South by Southwest gig with Junior Senior and The B-52’s before returning to the U.K. to tour with Duran Duran in support of the “Take Your Mama Out” single. The band continued to have a busy spring and summer\, launching its first U.S. tour in May — coinciding with the stateside release of Scissor Sisters — and returning to Europe in June and July. These dates included two gigs supporting Scissor Sisters’ spiritual and musical godfather\, Elton John\, as well as appearances at festivals such as Glastonbury\, T in the Park\, Roskilde\, and the Montreux Jazz Festival. Late that year\, Scissor Sisters were nominated for a Grammy for Best Dance Record for “Comfortably Numb.” The band kept busy with touring and producing remixes during 2005\, and returned with new material in fall 2006\, when the single “I Don’t Feel Like Dancin'” hit number one in England. The band’s subsequent album\, Ta-Dah\, also topped the charts in Great Britain. In 2008\, Paddy Boom left the group and was replaced by Randy Schrager. After completing and then scrapping an entire set of songs\, Scissor Sisters worked with producer Stuart Price for their third album\, Night Work\, which was released in 2010 and preceded by the power ballad “Fire with Fire.” Guests such as Pharrell Williams\, Calvin Harris and Azealia Banks gave an edge to 2012’s Magic Hour. ~ Heather Phares\, Rovi \n \n 
URL:https://globalazmedia.com/event/kesha-scissor-sisters-at-talking-stick-resort-amphitheatre/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
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