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DTSTART;TZID=America/Phoenix:20261001T190000
DTEND;TZID=America/Phoenix:20261001T233000
DTSTAMP:20260921T115619Z
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SUMMARY:BABYMETAL + Halestorm at Talking Stick Resort Amphitheatre
DESCRIPTION:Tokyo’s BABYMETAL is a fascinating collision of J-pop and heavy metal that may have started off as a novelty\, but has endured to become something more serious. They emerged in the early 2010s at the dawn of the kawaii metal movement (also known as kawaiicore or idol/cute metal). Fronted by vocalist SU-METAL\, the group’s eponymous 2014 debut album was certified gold and found international success with the single “Gimme Chocolate!!\,” which became a viral hit. Subsequent offerings Metal Resistance (2016)\, Metal Galaxy (2019)\, and The Other One (2023) continued to mine the seemingly disparate worlds of pop and metal\, while 2025’s collaborator-heavy collection Metal Forth provided tangible evidence that they had gained the respect of the metal community. \nThe early lineup of BABYMETAL featured SU-METAL (Suzuka Nakamoto)\, MOAMETAL (Moa Kikuchi)\, and YUIMETAL (Yui Mizuno). The trio began as a subgroup of Sakura Gakuin\, a more traditional-sounding J-pop act whose members would leave the group once they graduated from junior high school. Taking their name from producer Key Kobayashi aka Kobametal‘s concept that BABYMETAL marked the birth of a new genre\, the band arrived in 2011 with the song “Doki Doki Morning\,” which introduced their mix of sugary vocals and melodies with pummeling riffs and drums. Their first indie single\, BabyMetal x Kiba of Akiba\, debuted at number three on Oricon’s weekly indie chart in early 2012; later that year\, the limited edition of another single\, Headbangeeerrr\, came with a neck corset to ease listeners into headbanging. BABYMETAL’s first major-label single\, Ijime\, Dame\, Zettai\, arrived in January 2013 and entered Oricon’s Weekly Singles chart at number six after selling 19\,000 in its first week of release. Later that year\, the Megitsune single and the live video Live: Legend I\, D\, Z Apocalypse set the stage for the release of BABYMETAL’s self-titled album and lead single “Gimme Chocolate!!” in early 2014. Soon after its release\, BABYMETAL made the Top Ten of online rock charts as well as some digital chart lists in six other countries. That March\, the trio became the youngest group to play the Budokan. \nFinding favor with more adventurous metalheads as well as pop music fans\, the band continued to tour the world\, playing festivals and opening shows for Lady Gaga on her U.S. tour. They also racked up an impressive array of awards\, including Breakthrough Act at the 2015 Metal Hammer Golden Gods and the Spirit of Independence prize at the 2015 Relentless Kerrang! Awards. In November\, they released the single “Road of Resistance\,” which featured Sam Totman and Herman Li of DragonForce on guitars. That song plus a live version of “Gimme Chocolate!!” were featured on the mid-2015 U.S. release of their eponymous album. \nBABYMETAL’s next album\, 2016’s Metal Resistance\, was again produced by Kobametal and featured a heavier\, slightly more serious sound and tone. The band spent the next year touring\, playing festival shows and American late-night talk shows\, and generally spreading the kawaii metal sound around the world. Highlights included headlining Wembley Arena in April 2016 (Live at Wembley arrived later that year)\, having their debut LP voted Best Metal Album of the 21st century by the readers of Metal Hammer\, and performing with Judas Priest‘s legendary singer Rob Halford at the Alternative Press Music Awards. The group finished the year with the release of a CD/DVD set taken from their Wembley concert and an opening slot on the Red Hot Chili Peppers‘ U.K. tour. \nIn 2017\, BABYMETAL continued touring in support of high-profile metal acts like Metallica and Korn\, which kept them on the road for most of the year. Festival slots followed in 2018 as the band promoted their next album cycle. The single “Distortion” was released in May on their own BABYMETAL RECORDS label. Several more singles followed\, including “Pa Pa Ya!” featuring Thai rapper F. Hero\, before their third album\, Metal Galaxy\, arrived in October 2019; it was their first without YUIMETAL\, who had left the band a year earlier. 2021 brought 10 Babymetal Years\, their first compilation album\, which celebrated their first decade in the business. 2022 saw the release of “Divine Attack (Shingeki)\,” the inaugural single from the group’s fourth long-player. A concept album about a virtual world called “The Metalverse\,” The Other One\, appeared in 2023. Following its release\, Momoko Okazaki\, a backup dancer for the group since 2019\, officially became a member\, dubbed Momometal. She was in the band for their two 2024 concerts at Yokohama Arena where 30\,000 people attended as well as their appearance in the film Heavier Trip and their collaboration with Indian metal band Bloodywood on their song “Bekhauf.” The latter foreshadowed the group’s 2025 album Metal Forth\, which featured the band working with quite a few collaborators including Tom Morello\, Bloodywood\, Slaughter to Prevail\, and Poppy. It was released in August of a busy year which also saw them launch a radio show on Toyko FM and play a sell-out show at the O2 Arena in London. \n \n \nAfter several decades together as a band\, Halestorm find themselves still climbing. Their sixth full-length album\, Everest\, represents both a return to the Nashville-based band’s roots and an evolution into the next chapter of their career. The aptly-titled Everest is a dark\, deeply personal effort that pushed each musician to their artistic limits\, ultimately resulting in an evocative\, genuine collection of rock songs. \nHalestorm began working on Everest only months after releasing their acclaimed album\, Back from the Dead\, in the spring 2022. They enlisted GRAMMY-winning producer Dave Cobb who suggested they come into the studio without preparing any ideas or writing any songs. “We’ve never done a record like this before\,” Lzzy says. “It was a very uncomfortable situation\, which was good.” Joe adds\, “We went in with the shirts on our back and 20 years of being professional musicians and we loved it.” \nLzzy’s brutal honesty and thoughtful vulnerability resonates through the songs. By opening herself up and accepting harder truths\, she continues to create a space for Halestorm’s fans\, who have found relatability in the lyrics and melodies since Lzzy formed Halestorm with Arejay in 1997. \nEverest represents the next stage of Halestorm’s climb. It underscores the connection they have as musicians and as friends\, and adds to the ever-growing list of accolades the band has achieved\, including a GRAMMY win\, another nomination\, and seven #1 songs at rock radio. \n \n \nVIOLENT VIRA channels her music from traumatic yet deeply relatable life experiences and extraordinary empathy for the world around her. That sensitivity manifests at both extremes\, swinging between beguiling melodies and cathartic screams. The Mexican-American songstress born Amy Gonzalez\, alongside bandmates Anthony Brown and Matt Bolling\, has quietly emerged as a hard rock phenomenon with hundreds of millions of streams and dozens of sold-out shows.​Born to first-generation Mexican parents\, she found solace in art. She went from listening to Mexican pop juggernaut RBD to obsessing over Selena and Michael Jackson before later discovering Evanescence\, Linkin Park\, Asking Alexandria and Three Days Grace.​Her 2023 EP\, Till’ Death Was Never Enough\, produced fan favorites “Collar of Truth” and “You’re Not Gone\, You’re Just Dead!” She later relocated to Texas and signed with MOM+POP. Beyond selling out headline tours\, she has appeared at major festivals including Aftershock\, RIOT Fest\, SICK NEW WORLD\, Welcome To Rockville\, and more.​Now\, VIOLENT VIRA returns sounding like someone clawing their way back to life against all odds as an artist/band. The three piece continues on.
URL:https://globalazmedia.com/event/babymetal-halestorm-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:20261004T193000
DTEND;TZID=America/Phoenix:20261004T233000
DTSTAMP:20260923T120356Z
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SUMMARY:Wu-Tang Forever: The Final Chamber at Talking Stick Resort Amphitheatre
DESCRIPTION:Emerging in 1993\, when ‘s G-funk had overtaken the hip-hop world\, the Staten Island\, New York-based Wu-Tang Clan proved to be the most revolutionary rap group of the ’90s — and only partially because of their music. Turning the standard concept of a hip-hop crew inside out\, the Wu-Tang Clan were assembled as a loose congregation of nine MCs\, almost as a support group. Instead of releasing one album after another\, the Clan were designed to overtake the record industry in as profitable a fashion as possible\, the idea being to establish themselves as a force with their debut album and then spin off into as many side projects as possible. In the process\, the members would all become individual stars as well as receive individual royalty checks. \nSurprisingly\, the plan worked. All of the various Wu-Tang solo projects elaborated on the theme the group laid out on its 1993 debut\, the spare\, menacing Enter the Wu-Tang (36 Chambers). The collective’s name was taken from a powerful\, mythical kung fu sword wielded by an invincible congregation of warriors\, and all nine members have worked under a number of pseudonyms\, but they are best known as (formerly ; aka \, \, and ; born Robert Diggs)\, (aka \, \, and ; born Gary Grice)\, (aka \, \, Dirt McGirt\, \, and ; born Russell Jones)\, (aka \, \, \, \, and ; born Clifford Smith)\, (aka Shallah Raekwon and ; born )\, (aka and ; born Dennis Coles)\, (aka \, \, \, and ; born )\, (aka and ; born Jason Hunter)\, and (aka ; born ). \nAlthough wasn’t one of the two founding members — and were the first — the vision of the Wu-Tang Clan undoubtedly arises from his musical skills. Under his direction\, the group — through its own efforts and the solo projects\, all of which he produced or co-produced — created a hazy\, surreal\, and menacing soundscape out of hardcore beats\, eerie piano riffs\, and minimal samples. Over these surrealistic backing tracks\, the MCs rapped hard\, updating the old-school attack with vicious violence\, martial arts imagery\, and a welcome warped humor. By 1995\, the sound was one of the most instantly recognizable in hip-hop. \nIt wasn’t always that way. Like most rappers\, they began their careers trying to get ahead whatever way they could. For \, that meant releasing a silly single\, “Ooh\, I Love You Rakeem\,” on in 1991. On the advice of his label and producers\, he cut the humorous lover-man single\, which went absolutely nowhere. Neither did the follow-up single\, “My Deadly Venom.” The experience strengthened his resolve to subvert and attack record industry conventions. He found partners in and . had also released a record in 1991\, the full-length Words from the Genius on \, which was preceded by the single “Come Do Me.” Both records were unsuccessful. After the failure of his album\, teamed with an old friend\, \, to form the crew that would evolve into the Wu-Tang Clan within a year. \nquickly became part of the crew\, as did several other local MCs\, including \, \, \, \, \, and . The nine rappers made a pact to a form an artistic and financial community — the Wu-Tang Clan wouldn’t merely be a group\, it would be its own industry. In order to do this\, they decided to establish themselves through a group effort and then begin to spread the word through solo projects\, picking up additional collaborators along the way and\, in the process\, becoming stronger and more influential. \nThe first Wu-Tang Clan single\, the hard-hitting “Protect Ya Neck\,” appeared on their own independent label and became an underground hit. Soon\, record labels were offering them lucrative contracts. The group held out until it landed a deal that would allow each member to record solo albums for whatever label he chose — in essence\, each rapper was a free agent. / agreed to the deal\, and the band’s debut album\, Enter the Wu-Tang (36 Chambers)\, appeared in November 1993. Enter the Wu-Tang (36 Chambers) was both critically acclaimed and commercially successful; although its financial success wasn’t immediate\, it was the result of a slow build. “C.R.E.A.M.\,” released in early 1994\, was the single that put them over the top and won them a devoted following. The group wasted no time in pursuing other projects\, as a total of five of the members — \, \, \, \, and — landed solo contracts as a result of the success of “C.R.E.A.M.” was the first to reenter the studio\, this time as a member of \, a group he founded; in addition to \, who was rechristened \, the group included producer \, ‘s \, and ‘s . The ‘s album 6 Feet Deep appeared in August 1994; it eventually would go gold. Labeled “horrorcore” by the group\, it was an ultra-violent but comical tour de force that demonstrated ‘s production prowess. Shortly after its release\, released his first single\, “Heaven and Hell\,” on the Fresh soundtrack; the song was produced by and featured . \nThe first Wu-Tang member to become a major solo star was . In November 1994\, he released Tical\, the first official Wu-Tang solo album. Again\, produced the album\, creating a dense\, dirty sonic collage. Tical became a big hit in early 1995\, as did ‘s duet with \, “I’ll Be There for You/You’re All I Need to Get By.” followed ‘s breakthrough success with Return to the 36 Chambers\, which appeared in March 1995 on . Thanks to the hits “Brooklyn Zoo” and “Shimmy Shimmy Ya\,” the record became a gold success. Out of all the solo albums\, it was the one that sounded the most like Enter the Wu-Tang\, although it did have a more pronounced comic bent\, due to ‘s maniacal vocals. Tales from the Hood\, a movie soundtrack featuring ‘s first solo track\, appeared in May. \nLater in 1995\, the two most critically acclaimed Wu-Tang records appeared: ‘s Only Built 4 Cuban Linx and ‘s Liquid Swords. released his album on / in August 1995; the record featured extensive contributions — a total of 12 songs — from \, his greatest exposure yet. ‘s solo album was released by in November 1995. In February 1996\, ‘s first solo track\, “Winter Warz\,” appeared on the Don’t Be a Menace to South Central While You’re Drinking Your Juice in the Hood soundtrack. Later that October\, he released his own solo debut\, the critically acclaimed\, ’70s soul-flavored Ironman; the record was the first released on ‘s new subsidiary\, . \nThe Wu-Tang Clan finally reconvened and returned with their second album\, the double CD Wu-Tang Forever\, in June of 1997. Hugely anticipated\, the album entered the charts at number one — selling over 600\,000 copies in its first week alone — and quickly spawned the hit single “Triumph.” There were several contributions from guest associate (born )\, who’d appeared on Only Built 4 Cuban Linx and Ironman\, and would later become the tenth member of the Wu-Tang Clan. The group toured extensively in support of the album\, getting into a few minor scuffles with the law along the way. \nIn the meantime\, the next phase of the Wu-Tang plan started to take shape: unearthing new associates and spinning the resulting stable of talent into a brand-name franchise. A group of Wu protégés dubbed released their debut album\, Silent Weapons for Quiet Wars\, on in August 1997\, drawing heavily upon the Clan’s martial imagery. However\, the real year for Wu-related side projects proved to be 1998. In March\, released his solo debut\, The Pillage\, on . The same month\, — not an official part of the Clan\, but a frequent guest and a member of another protégé group\, — made his solo debut on with Heavy Mental\, an acclaimed album filled with spiritual imagery that established him as one of the more distinctive solo artists in the Wu-Tang orbit. In July released their own debut album\, The Last Shall Be First\, on \, and yet another group of up-and-comers dubbed the Wu-Tang Killa Bees released their first album\, The Swarm\, Vol. 1\, on \, featuring a number of guest appearances by Wu members and associates. In August\, issued their second album\, Dirty Weaponry. \nAlso in 1998\, began a long and bizarre saga of erratic behavior and run-ins with police that found him making headlines with alarming (and ridiculous) regularity. In February he interrupted ‘s acceptance speech at the Grammy Awards to protest the Clan’s loss in the Best Rap Album category; shortly thereafter\, he announced he was changing his name to \, an idea that never picked up steam. This was only the beginning — over the next year and a half\, would be arrested for a litany of offenses that included assault\, shoplifting\, making terrorist threats\, wearing body armor after being convicted of a felony\, possessing cocaine\, and missing countless court dates. Plus\, in early 1999\, the whole Clan fell under suspicion of masterminding a gun-running operation between Staten Island and Steubenville\, Ohio — charges that were never proven to have any validity. \nIn the midst of this legal sideshow\, the Clan kicked off a second round of solo projects in late 1998. This time around\, curtailed his activities somewhat\, making appearances but often leaving the majority of the production duties to his protégés. Still\, he released his own solo debut\, the soundtrack-styled RZA as Bobby Digital in Stereo\, in November 1998 on ; the same month\, ‘s second album\, Tical 2000: Judgement Day\, debuted at number two on the charts. June 1999 saw the release of an excellent singles compilation\, RZA Hits\, which covered the first Wu-Tang album and the first round of solo albums (1994-1995); the very next week\, ‘s second album\, Beneath the Surface\, was released. September brought plenty of new Wu product: ‘s Nigga Please\, released while the rapper was in rehab; ‘s acclaimed duo album with \, Blackout!; and the first-ever solo album by \, Uncontrolled Substance\, which appeared on . Another Wu member made his solo debut in October\, when issued Golden Arms Redemption on ; returned the following month with Immobilarity. Finally\, issued his well-received sophomore set\, Supreme Clientele\, in January 2000. \nHowever\, this second round of Wu-Tang solo albums didn’t attract as much attention\, either critically or commercially. True\, remained a popular solo star (and\, to a lesser degree\, so did )\, and reviews were highly positive for (and\, to a lesser degree\, ). But the Wu franchise was suffering from inconsistency\, overexposure (they’d spawned a clothing line\, a video game\, a comic book\, and more)\, and a flood of musical product that even diehards found difficult to keep up with. Their once-distinctive sound was becoming commonplace and diluted\, not just through the collective’s own releases but also ‘s many imitators; plus\, by this time\, had taken over the mantle of hip-hop’s most cutting-edge producer. \nIndie filmmaker commissioned to compose a soundtrack for his acclaimed Ghost Dog: The Way of the Samurai\, the results of which were unveiled in early 2000. Other than that\, the Clan reconvened for a new album and were mostly quiet during much of 2000 — aside from \, who unfortunately continued to spiral out of control. He spent some time in a California jail for violating the terms of his probation\, but appeared to be on the right track when suddenly\, in October — with just two months of rehab to go — he escaped the California facility and spent a month on the run from the law. Fans were shocked when turned up on-stage at the New York record-release party for the Clan’s new album\, The W\, which was released with considerably less fanfare in November 2000. A leaner\, more focused collection\, The W featured only one track from and pictured as a full-fledged member of the group (though he remained unnamed on their official contract with ). \nmanaged to exit the club after his surprise performance but was soon captured by police in Philadelphia and extradited to New York to face charges of cocaine possession. In April 2001\, he cut a deal with prosecutors that resulted in a sentence of two to four years in state prison\, bringing his outlaw saga to a sad end. In August 2001\, issued his second album\, Digital Bullet; November brought solo albums from (Bulletproof Wallets) and (The Yin and the Yang). This time\, though\, there was no full round of solo projects in between Wu albums; the full group (minus ) assembled for its fourth album\, Iron Flag\, which was released in December 2001\, just one year after its predecessor. Despite a lot of activity for the various solo projects\, Wu-Tang released only a live album\, 2004’s Disciples of the 36 Chambers\, during the subsequent five years. That document was one of the last places to hear \, who died of a heart attack in November 2004. \nIn early 2007\, in anticipation for the Clan’s upcoming album\, 8 Diagrams\, issued the -compiled Unreleased\, a collection of new remixes and hard-to-find\, previously unreleased songs from the group and some of its friends. It wasn’t until the end of the year\, however — after a couple of delays and some criticism from and directed at regarding the overall sound of the record — that 8 Diagrams came out. Solo albums from most members would follow\, but the Clan itself would remain dormant until 2011\, when the Wu-related compilation Legendary Weapons landed with some new tracks from the full group. That year\, it was also announced that the Clan were working on a new studio album that would be released in 2013 to celebrate their 20th anniversary. \nHowever\, the album failed to materialize as 2013 came and went\, with production stymied by a further public beef between and over the new album’s stylistic direction. Eventually they reconciled\, and in 2014 the album was finally finished. Entitled A Better Tomorrow\, it was released in December through That year the Clan also made history with the announcement that they had recorded a secret album called Once Upon a Time in Shaolin\, of which only one copy would be pressed and sold as a unique artwork\, in a custom-made hand-carved nickel and silver box\, to the highest bidder. In December 2015\, controversial pharmaceuticals CEO Martin Shkreli purchased the album for two million dollars. In 2017\, in addition to contributing “Don’t Stop” to the Silicon Valley soundtrack\, the Clan issued “People Say” with . The DJ Mathematics-produced single was the first offering from their album The Saga Continues. The soundtrack EP Of Mics and Men arrived in May of 2019 and featured songs inspired by the group’s Showtime documentary series. ~ Stephen Thomas Erlewine & Steve Huey\, Rovi \n \n \nBone Thugs-N-Harmony is an American Hip Hop music group hailing from the streets of Cleveland\, Ohio. The group includes members Wish Bone and brothers & The group met at a concert he promoted in Cleveland where they auditioned in his dressing room. Once signed to Ruthless Records\, BTNH released their debut EP in 1994 with hit singles & From 1995-1997 BTNH reached their pinnacle in the game with their best-selling multi platinum album with help from their #1 hit single They followed up their efforts with their first double album ‘The Art of War’ featuring the song ‘Thug Luv’ with the late That same year they featured on album ‘Life After Death’ on the song The group released BTNHRESURRECTION in 2000 & ‘Thug World Order’ in 2002. The group became a trio in 2006 and released ‘Thug Stories’ and in 2007 that featured the #1 single ‘I Tried’ featuring . In 2010 all 5 members reunited and they released the album which brought them back to the top of the charts.Since then they have focused their attention on releasing singles like ‘Everything 100’ featuring & ‘Reach for the Stars’ featuring . Group members & also released the much-anticipated duet album ‘New Waves’.
URL:https://globalazmedia.com/event/wu-tang-forever-the-final-chamber-at-talking-stick-resort-amphitheatre/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
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DTEND;TZID=America/Phoenix:20261005T233000
DTSTAMP:20261001T114807Z
CREATED:20261001T114807Z
LAST-MODIFIED:20261001T114807Z
UID:21244-1791223200-1791243000@globalazmedia.com
SUMMARY:Breaking Benjamin + Chevelle at Talking Stick Resort Amphitheatre
DESCRIPTION:Breaking Benjamin are Pennsylvania-based metal-tinged alternative rockers with a radio-friendly approach that’s aggressive and forceful\, yet still melodic. Originally indebted to the minor-chord dirges of grunge rockers like Alice in Chains and the menacing darkness of nu-metal acts like Godsmack and Chevelle\, Breaking Benjamin became one of the most popular rock groups in the United States\, scoring a number one with the single “Breath” in 2007 and topping the Billboard 200 in 2015 with Dark Before Dawn. In addition\, three of their albums — 2004’s We Are Not Alone\, 2006’s Phobia\, and 2009’s Dear Agony — have been certified platinum in the U.S. \nIn late 2000\, after parting ways with the band Lifer\, founding guitarist Aaron Fink and bassist Mark Klepaski joined forces with singer Benjamin Burnley and drummer Jeremy Hummel to form Breaking Benjamin. When the quartet started playing around their hometown of Wilkes-Barre\, they favored a radio-friendly post-grunge approach that was informed by influences like Live\, Bush\, Pearl Jam\, Stone Temple Pilots\, and Nirvana. Later\, they would adopt the downtuned guitar sound of groups such as Korn and Tool. \nIn 2001\, Breaking Benjamin’s Wilkes-Barre gigs caught the attention of a local radio DJ named Freddie Fabbri\, who was an on-air personality at alt-rock station WBSX-FM. Fabbri put their song “Polyamorous” in rotation\, later financing the recording of their self-titled debut EP. That year\, they signed with Hollywood Records\, which connected the band with Ulrich Wild (Static-X\, Pantera\, Slipknot)\, who served as both producer and engineer on their debut full-length\, 2002’s Saturate. The David Bendeth-produced We Are Not Alone followed two years later\, complete with a few collaborations with Billy Corgan. The group landed a spot on tour with Evanescence in support of the effort\, as three of the album’s singles made their way onto the Billboard charts (“So Cold” and “Sooner or Later” both peaked at number two on the Mainstream Rock Songs list). \nBreaking Benjamin issued their third album\, Phobia\, in August 2006 before heading out on a nationwide headlining trek. The album featured new drummer Chad Szeliga and was spearheaded by the single “The Diary of Jane\,” which gained radio airplay and helped the album debut at number two on the Billboard charts. Phobia was reissued that fall with additional bonus tracks\, while the band continued touring alongside Godsmack. After the tour\, Breaking Benjamin dove back into the studio to begin work on their fourth full-length. The resulting Dear Agony\, fueled by first single “I Will Not Bow\,” arrived in the summer of 2009. More touring followed\, including legs with Three Days Grace and Nickelback\, before Burnley announced a hiatus due to persistent health issues. Ensuing legal disputes within the group led to Fink and Klepaski being fired just before a collection\, Shallow Bay: The Best of Breaking Benjamin\, was released in 2011. Szeliga exited the band in 2013. \nThe following year\, Burnley confirmed that Breaking Benjamin would continue as a quintet\, and in June of 2015 they returned with their first album of new material in six years\, Dark Before Dawn. The comeback effort featured the lineup of Burnley (who also produced)\, guitarists Jasen Rauch and Keith Wallen\, bassist Aaron Bruch\, and drummer Shaun Foist. The lead single\, “Failure\,” cracked the Billboard Hot 100 and hit number one on the Mainstream Rock Songs chart\, and the album became their first American chart-topper. While still touring behind Dark Before Dawn\, Breaking Benjamin recorded their sixth effort\, Ember\, which arrived in 2018. Debuting on the charts at number three\, the LP included the hit singles “Red Cold River\,” “Feed the Wolf\,” and “Blood.” Two years later\, Breaking Benjamin returned with Aurora\, a collection of reimagined versions of some of their best-known songs featuring a guest list that included Cold frontman Scooter Ward\, Saint Asonia vocalist Adam Gontier\, and Underøath‘s Spencer Chamberlain. Two years later\, the band hit number two on the Billboard Mainstream Rock Airplay chart with the single “Waiting on the Sky to Change\,” a collaboration with Ohio rockers Starset. 2024 saw Breaking Benjamin ink a deal with BMG and release “Awaken\,” the first single from their forthcoming seventh long-player. “Something Wicked” surfaced in 2026. \n \n \nIn a dizzying display of evolutionary action\, Chevelle have gone from being moody\, Steve Albini-produced indie rockers to platinum-selling\, Ozzfest-playing rock stars. Their blend of alternative\, nu metal\, and post-grunge endeared them to the masses\, and on their first couple of albums\, a Christian lyrical slant piqued the interest of the faithful as well. While Chevelle eventually dropped the Christian-oriented themes\, they continued building on their success\, becoming one of the most high-profile active rock outfits of the 2000s. The band spent the 2010s and 2020s crystallizing their radio-friendly but punishing blend of alternative metal\, post-grunge\, and hard rock on anthemic\, commercial-grade outings like Hats Off to the Bull (2011)\, Niratias (2021)\, and Bright as Blasphemy (2025). \nFormed in 1995 and comprising brothers Sam (drums)\, Pete (vocals\, guitar)\, and Joe Loeffler (bass)\, the band began playing parties and outdoor events\, which quickly led to bookings at Chicago clubs when youngest member Joe was just 14 years old. In 1999\, Chevelle released their Steve Albini-produced debut album\, Point #1\, on Squint Entertainment. Three years later\, following tours with groups like Filter\, Sevendust\, Powerman 5000\, and Machine Head\, the band inked a deal with Epic and issued Wonder What’s Next\, released in August 2002. The album went platinum by the following summer\, propelled in part by its second single\, “Send the Pain Below\,” which became a number one hit on modern rock and mainstream radio. Main-stage dates with the annual Ozzfest tour followed that summer\, and 2003 brought a concert album\, Live from the Road. \nChevelle returned in the fall of 2004 with their third full-length effort\, This Type of Thinking (Could Do Us In)\, and with it came another hit song\, “Vitamin R (Leading Us Along).” Joe parted ways with his brothers in July 2005\, and though he was replaced on bass a month later by Dean Bernardini\, Chevelle remained a family affair\, since Bernardini was the siblings’ brother-in-law. With the new member came a newfound energy and optimism that replaced the internal bickering of the past\, and the guys carried that spirit into the recording of their next two albums\, 2007’s Vena Sera and 2009’s Sci-Fi Crimes. The following year\, the band celebrated their ten-year anniversary in the music business with a pair of live shows in Chicago\, later released on the concert film Any Last Words. \nIn 2011\, Chevelle announced that they were taking a break from touring to head into the studio\, eventually releasing their sixth album\, Hats Off to the Bull\, in the winter of that year. Following the touring cycle for that album\, they went back into the studio with Joe Barresi (Kyuss\, Tool\, Queens of the Stone Age)\, utilizing the producer’s vast collection of percussion instruments to subtly reinvent their sound once again. Arriving in early 2014\, their next release was the groovy\, aggressive single “Take Out the Gunman\,” from their seventh album\, La Gárgola\, which followed in April of that year. \nTwo years later\, the band released their eighth album\, North Corridor. The heavier effort — again produced by Joe Barresi — was showcased by lead single “Joyride (Omens).” In 2018\, Chevelle issued 12 Bloody Spies\, a compilation LP featuring B-sides\, covers\, rarities\, and remixes. Longtime bassist Dean Bernardini departed the following year\, leaving brothers Sam and Pete as the band’s core. Early 2021 saw the arrival of the single “Self Destructor\,” which appeared on the group’s long-awaited ninth full-length effort\, the sci-fi-inspired Niratias\, which arrived later that March. Early 2025 saw the release of the singles “Rabbit Hole (Cowards\, Pt. 1)” and “Jim Jones (Cowards\, Pt. 2)\,” both of which focused narratively on internet-era anxiety\, specifically doomscrolling. Later that August\, both cuts appeared on the group’s tenth full-length effort\, Bright as Blasphemy\, their first outing on Alchemy Recordings. \n \n \nThe stylistically ambitious Starset are a Columbus\, Ohio rock band who describe their sound as “cinematic rock” and emerged in the mid-2010s with a thoroughly developed thematic narrative already in place. With sweeping science fiction concept albums like 2017’s Vessels and 2019’s Divisions\, the band built a devoted audience and enjoyed chart success in the process. Starset’s fourth LP\, Horizons\, appeared in October 2021 and they landed a hit single a year later with the Breaking Benjamin collaboration “Waiting on the Sky to Change.” \nLed by former Downplay frontman Dustin Bates\, Starset have constructed an elaborate mythos surrounding themselves (as detailed on their website and shared through their social media posts)\, in which they insist they were recruited by one Dr. Aston Wise of the Starset Society to spread awareness of scientific phenomena that have been ignored or hidden from public view\, most notably transmissions believed to be of human origin that have been broadcast from the constellation Ophiuchus. However\, Bates and his bandmates first came together in July 2013\, when their debut single\, “Carnivore\,” was released online. A second track\, “My Demons\,” appeared in August 2013\, after which the band made its live debut in Salem\, Ohio on November 27\, 2013. \nStarset laid down their conceptual premise with 2014’s Transmissions\, their full-length debut. Released by Razor & Tie\, it cracked the Top 50 and was followed in 2017 with by their second studio effort\, Vessels. A breakout success for the band\, Vessels hit number 11 on the Billboard 200 and yielded a hit in the single “Monster.” Capitalizing on their momentum\, Starset released a deluxe version of the LP (Vessels 2.0) in 2018 featuring reimagined\, acoustic\, and remixed versions of its songs. During this period\, Bates also debuted his electronic side project\, MNQN\, after which Starset returned to work\, releasing their third proper full-length\, Divisions\, in September 2019. The set debuted at number 37 on the Billboard 200 and further expanded the band’s ongoing narrative about a dystopian future world. It was also their first release for the Fearless label\, which also issued Starset’s fourth album\, Horizons\, in October of 2021. In August 2022\, the band collaborated with Breaking Benjamin on the single “Waiting on the Sky to Change\,” a song previously recorded by Bates‘ old band Downplay. It made a Top 20 showing on Billboard’s Mainstream Rock chart. A flurry of singles\, including the blazing hard rock hit “Brave New World\, ” appeared in 2024\, heralding the arrival of the band’s forthcoming fifth full-length effort slated to appear in 2025. \n \n \nWith her mix of edgy alt rock and bratty pop\, Kami Kehoe brings a sense of personality to songs which have resonated with audiences\, especially on social media. The Las Vegas native began releasing music in the early 2020s and found breakout success with tracks like 2023’s “Loaded Gun” and “SLEEP WHEN IM DEAD.” Following her debut album\, Drama Queen\, Kehoe issued the 2024 follow-up REVIVED\, then collaborated with Colorblind and Ekoh on the 2025 single “Safehouse.” \nKami Kehoe grew up in a musical Las Vegas family\, playing drums in a band with her sisters at the age of six. Over time\, she began writing her own songs on keyboards\, inspired by artists like Amy Winehouse and Lana Del Rey. She was in her late teens when she released her debut single\, “SLOW.” More songs followed throughout 2022 as she explored a mix of pop\, punk\, R&B\, and alt-rock. After signing with Oxide Records\, Kehoe released her debut album\, 2023’s Drama Queen. A follow-up single\, “SLEEP WHEN IM DEAD\,” found viral success on social media platforms and was included alongside other popular tracks like “KAMELEON” and “LA LA LAND” on her sophomore album\, REVIVED\, in October 2024. Her first song of 2025 was “Safehouse\,” a collaboration with labelmates Colorblind and Ekoh.
URL:https://globalazmedia.com/event/breaking-benjamin-chevelle-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:20261020T190000
DTEND;TZID=America/Phoenix:20261020T233000
DTSTAMP:20261004T002626Z
CREATED:20261004T002626Z
LAST-MODIFIED:20261004T002626Z
UID:21254-1792522800-1792539000@globalazmedia.com
SUMMARY:Weezer at Mortgage Matchup Center
DESCRIPTION:As one of the most popular groups to emerge in the post-grunge alternative rock aftermath\, Weezer merges the heavy power pop of arena rockers like Cheap Trick and the angular guitar leads of the Pixies while injecting their melodies with doses of ’70s metal gleaned from bands like Kiss. What truly sets the band apart\, though\, is their implied geekiness. None of the members of Weezer\, especially leader Rivers Cuomo\, were conventional rockers: they were kids who holed up in their garage to play along with their favorite records when they weren’t studying or watching TV. As a result\, their music is infused with a quirky sense of humor and an endearing awkwardness that made songs from their debut\, Weezer (aka “The Blue Album”)\, into big modern rock hits during the mid-’90s. Weezer’s early singles turned into hits with immeasurable help from clever videos\, and the quickly canonized 1994 debut was followed by a more artistically than commercially motivated 1996 sophomore effort\, Pinkerton\, which was adored by critics and set the tone for what became the band’s long and winding career. As years turned into decades\, Cuomo‘s idiosyncratic personality seeped more and more into his songwriting\, resulting in albums that ranged from the catchy nerd rock of 2009’s Raditude to the enduringly tender orchestral pop songcraft of 2021’s OK Human\, as well as their ambitious four-part EP series SZNZ in 2022. The band’s 20th album — 2026’s Gold Album — featured them in back to basics mode with a heavy sound that recalls their early days. \nRaised in Massachusetts\, Rivers Cuomo moved to Los Angeles to attend college in the late ’80s. During high school\, he had played with a number of metal bands\, but upon his move out west\, his interests broadened to include alternative and post-punk music. By early 1992\, he had fused such interests together and formed Weezer with bassist Matt Sharp and drummer Patrick Wilson. Over the course of the next year\, the group played in the competitive Los Angeles club scene\, eventually landing a deal with DGC during the post-Nirvana alternative signing boom. Three days before Weezer began recording a debut album with producer Ric Ocasek\, they added guitarist Brian Bell to the mix. Upon completing the record\, Weezer went on hiatus; Cuomo was studying at Harvard when their eponymous debut record came out. With the support of DGC and a striking\, Spike Jonze-directed video\, “Undone (The Sweater Song)” became a modern rock hit in the fall of 1994\, but what made Weezer a crossover success was “Buddy Holly.” Jonze created an innovative video that spliced the group into old footage from the sitcom Happy Days and the single quickly became a hit\, making the album a multi-platinum success as well. \nBy the time the album’s final single\, “Say It Ain’t So\,” was released in the summer of 1995\, the group had gone on hiatus once again\, with Cuomo returning to Harvard. During the time off\, Sharp and Wilson formed the new wave revival band the Rentals\, who had a hit later that year with “Friends of P.” During the hiatus\, Cuomo became a recluse\, disappearing at Harvard and suffering writer’s block. When Weezer reconvened in the spring of 1996 to record their second album\, he had written a loose concept album that featured far more introspective material than their debut. Ironically\, the band sounded tighter on the resulting album\, Pinkerton. Released in the fall to generally strong reviews\, the record failed to become a hit\, partially because Cuomo did not want the band to record another series of clever videos. Grudgingly\, the remainder of the bandmembers contented themselves being a supporting group for Cuomo\, largely because each member had his own solo project scheduled for release within the next year. DGC\, however\, had the band make one last stab at a hit with “The Good Life\,” but by the time the single was released\, MTV and modern rock radio had withdrawn their support not only of Weezer but their style of guitar-driven punk-pop in general. \nShortly after the tour in support of Pinkerton was completed in 1997\, it appeared as though Weezer had fallen off the face of the planet. Stung by the public’s initial reaction to their sophomore effort (Rolling Stone even named Pinkerton the Worst Album of 1996)\, the band took time off to regroup and plan their next move. Unhappy with the sluggish rate of the reassessment period\, Sharp left the group to concentrate more fully on the Rentals\, fueling rumors that Weezer had broken up. But a funny thing happened during Weezer’s self-imposed exile — while their copycat offspring were falling by the wayside (Nerf Herder\, Nada Surf)\, a whole new generation of emocore enthusiasts discovered Weezer’s diamond-in-the-rough sophomore effort for the first time\, and their audience grew despite not having a new album in the stores. \nOnce Weezer’s members wrapped up work on their side projects (Bell with Space Twins; Wilson with the Special Goodness)\, the band recruited former Juliana Hatfield bassist Mikey Welsh to take the place of Sharp and began working on new material. Before they could enter the studio to record their third release\, however\, Weezer tested the waters by landing a spot on the 2000 edition of the Warped Tour\, where they were consistently the day’s highlight. Hooking up again with the producer of their 1994 debut\, Ric Ocasek\, Weezer recorded what would be known as “The Green Album” (an informal title given by fans\, since it was actually their second self-titled release). The album was an immediate hit\, debuting at number four in May 2001 and camping out in the upper reaches of the charts for much of the spring/summer\, during which such songs like “Hash Pipe” and “Island in the Sun” became radio and MTV staples\, reestablishing Weezer as one of alt-rock’s top dogs. During their tour that summer\, Welsh fell ill and was replaced by Scott Shriner\, also of the band Broken. (Welsh died in Chicago in October 2011 at the age of 40.) That fall and winter\, the group busied itself with touring alongside bands like Tenacious D and recording their next album\, Maladroit\, which arrived a year after The Green Album‘s release. \nJust before Maladroit‘s release\, former bassist Matt Sharp sued Weezer\, seeking compensation and songwriting credit for songs such as “Undone (The Sweater Song)\,” “El Scorcho\,” and “The Good Life.” The band eventually reconciled with Sharp\, though he didn’t rejoin\, and Weezer continued with the lineup of Cuomo\, Bell\, Wilson\, and Shriner. The limited-edition live EP Lion and the Witch appeared in May 2002\, and Maladroit‘s “Keep Fishin'” was released as a single. Most of 2003 was spent on side projects; Cuomo did some hired-gun songwriting\, Bell‘s band the Space Twins put out End of Imagining\, and Wilson‘s Special Goodness project issued Land Air Sea. Weezer returned to the studio in 2004\, working with Rick Rubin on their fifth full-length album. Make Believe appeared in May 2005\, prepped by the single “Beverly Hills\,” and eventually went platinum in multiple countries. Weezer (Red Album) followed in 2008 and featured a more collaborative approach with several bandmembers contributing songwriting ideas and lead vocals to the tracks. One year later\, the group returned with Raditude. Greeted with mixed reviews\, Raditude marked Weezer’s last album for Universal. They jumped to the indies in 2010\, releasing Hurley on Epitaph. The new album was quickly followed by two archival releases: an expanded deluxe edition of Pinkerton and the outtakes collection Death to False Metal. \nWeezer took their time returning to the studio\, finally re-emerging in the autumn of 2014 with Everything Will Be Alright in the End\, a record produced by Ric Ocasek and released on Republic Records. Greeted by generally good reviews\, the album debuted at five on the Billboard 200 upon its October 2014 release. In the fall of 2015\, the band delivered a pair of new singles — “Thank God for Girls” and “Do You Want to Get High? — the first fruits of their sessions with producer Jake Sinclair. One other single\, “King of the World\,” appeared in January 2016\, timed to arrive at the announcement of their tenth studio album. Another self-titled\, color-coded (this time\, it was white) album saw release in April. Weezer’s White Album peaked on the Billboard 200 at number four and was followed by an extensive tour with Panic! At the Disco. \nA year after the release of the White Album\, the band returned with “Feels Like Summer\,” the first single from their 11th LP\, Pacific Daydream. Released in October 2017\, Pacific Daydream boasted a more modern sound than its predecessor and rose into the Top Four of the Billboard Alternative and Rock charts. Months later in 2018\, the group placated social media fan demand by delivering a faithful cover of Toto‘s classic “Africa\,” but not before they first issued a cover of that band’s “Rosanna.” “Africa” became Weezer’s first Hot 100 hit since 2009’s “(If You’re Wondering If I Want You To) I Want You To\,” entering the chart at number 89. Toto returned the favor by covering “Hash Pipe” in August 2018. \n“Africa” turned out to be the cornerstone of the surprise January 2019 release Weezer (The Teal Album)\, a collection of covers. Two months after The Teal Album\, Weezer finally delivered Weezer (The Black Album)\, a record Cuomo began teasing during the promo cycle for Weezer (The White Album). Produced by Dave Sitek of TV on the Radio\, The Black Album appeared in March 2019. In 2020\, the band issued the singles “Hero” and “The End of the Game\,” both of which were slated to appear on their forthcoming album and return to huge\, Van Halen-inspired guitars\, Van Weezer. After multiple setbacks related to the COVID-19 pandemic disrupted the completion of Van Weezer\, the band returned to material they’d first conceptualized and started work on several years earlier. A collection of songs inspired by Harry Nilsson and the Beach Boys\, complete with string parts played by a 38-piece orchestra\, OK Human was released in January 2021 as Weezer’s 14th full-length album\, with Van Weezer pushed back for a release later that year when touring could resume. Van Weezer wound up appearing in May 2021\, just prior to their summer tour. \nWeezer quickly followed their twin albums of 2021 with a four-EP project called SZNZ. A mock abbreviation for “Seasons\,” each of the four EPs is pegged to a different season in the calendar; the intent is for the music to match its respective season. SZNZ: Spring arrived in March of 2022\, followed by SZNZ: Summer in June\, SZNZ: Autumn in September\, and SZNZ: Winter in December. Each EP consists of seven new songs. The band toured behind the releases\, then headed back out on the road in late 2024 in conjunction with a deluxe reissue of their debut album. Sessions for their next album kicked off with the four members of the band holed up in a practice space working on tracks together\, then moved to the studio with co-producers Klas Ahlund and Kenny Beats at the helm. The latter pledged to make the most violent Weezer album yet\, and 2026’s Gold Album leans heavily into grungier guitars and thundering drums. The uncompromising sound is paired with Cuomo‘s usual bag of lyrical tricks\, this time with many songs that revolve around the band’s career\, both past and present. It was the group’s first album to be released under their new deal with Reprise Records. \n \n \nThe Shins are a GRAMMY nominated American band formed by James Mercer in Albuquerque\, NM in 1996. Their debut full length\, Oh\, Inverted World caused a seismic shift in the indie rock world upon its release in 2001\, singlehandedly ushering in the modern era of the genre. With six full length albums released to date\, including The Worm’s Heart which is comprised of “flipped” or alternate/opposite versions of each of the original songs on Heartworms\, the band continues to redefine and push the boundaries of indie and alternative music. \n \n \nA sense of urgency drives Silversun Pickups. The GRAMMY® Award-nominated L.A. quartet create & perform with eloquence & intensity all at once. Guitars may restlessly roar and rumble\, only to be reined in by the spell of a saccharine melody or a honeyed hook. This push-and-pull has catapulted the group—Brian Aubert [vocals\, guitar]\, Nikki Monninger [bass\, vocals]\, Chris Guanlao [drums]\, & Joe Lester [keys]—out of a crowded and competitive local scene & into the wide open space of some of the world’s biggest stages. Their full-length debut\, Carnavas [2006]\, went Gold & spawned the Platinum staple “Lazy Eye.” On its heels\, they logged two back-to-back Top 10 entries on the Billboard 200 with Swoon [2009]—featuring the Gold-certified “Panic Switch”—and Neck of the Woods [2012]. Coursing through culture\, they have landed dozens of film & TV placements\, ranging from the cult classic Jennifer’s Body to NETFLIX’s The Lincoln Lawyer. They’ve held their own on tours with the likes of Foo Fighters & Muse\, sold out successive headline jaunts\, & performed on late-night TV shows such as Jimmy Kimmel LIVE! Beyond praise from NPR\, Consequence\, and more\, Pitchfork hailed 2022’s Physical Thrills as “their most varied and carefree songs in over a decade.” Now\, SSPU meet the moment with their seventh full-length LP\, Tenterhooks. It’s an anxious\, emotionally charged\, and unapologetic collection of ten tracks appropriate for the times\, yet as timeless as anything they’ve done.
URL:https://globalazmedia.com/event/weezer-at-mortgage-matchup-center/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
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