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DTSTART;TZID=America/Phoenix:20230718T193000
DTEND;TZID=America/Phoenix:20230718T233000
DTSTAMP:20260506T235303
CREATED:20230713T125741Z
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SUMMARY:3 Doors Down + Candlebox at Arizona Financial Theatre
DESCRIPTION:A subsidiary of Universal\, Republic Records signed the musicians and issued their major-label debut\, The Better Life\, in early 2000. \nThe Better Life became one of the biggest-selling albums of 2000\, going platinum four times during its first year of release and spawning several singles. The band furthered its success with 2002’s Away from the Sun\, which debuted at number eight on the Billboard Top 200 and\, like its predecessor\, climbed to multi-platinum status. 3 Doors Down toured steadily throughout 2003 and 2004 in support of Away from the Sun\, and issued the live EP Another 700 Miles in November 2003 as a holdover between studio efforts. The group returned with a heavier album\, Seventeen Days\, in early 2005. It debuted at number one on the Billboard 200 and went platinum in its first week of release. A self-titled album\, which followed in May 2008\, repeated its predecessor’s success when it too debuted at the top of the Billboard 200. \n3 Doors Down toured throughout 2009\, released a digital-only acoustic holiday album at the end of the year\, and began to work on their next album in 2010. With Howard Benson serving as producer\, the guys shuttled themselves between L.A. and Tokyo\, recording the album in both cities and eventually emerging with 2011’s Time of My Life. \n \n  \n \nMulti-platinum selling Seattle rock band Candlebox is coming to Phoenix on Tuesday\, July 18 at Arizona Financial Theatre supporting 3 Doors Down on their 46-date Away From The Sun amphitheater tour amidst Candlebox’s final tour. Celebrating 30 years of success\, Candlebox – whose power anthems “Far Behind\,” “You” and “Cover Me” off their 1993 debut\, self-titled album exploded onto the charts – recently revealed their final studio album\, titled The Long Goodbye\, will be released on Friday\, August 25th via Round Hill Records. More details on the project coming soon. \n\nCandlebox – Kevin Martin (lead vocals)\, Adam Kury (bass)\, Brian Quinn (guitar)\, Island Styles (guitar)\, BJ Kerwin (drums) – will be out on the road through early fall crossing the country with fellow rockers 3 Doors Down as well as their own headlining shows as they say their final\, and long\, goodbye. Visit https://www.candleboxrocks.com/tour for all ticket details. \n\nThe Long Goodbye follows the release of Candlebox’s live\, acoustic album\, Live at The Neptune\, set for release on June 23rd via Pavement Records. PRESS HERE more info and to pre-order. \n\nEmerging from Seattle’s burgeoning mid-90s grunge scene\, Candlebox quickly found mainstream success with their deep\, lyrically-driven melodies and big radio hooks\, as evidenced by their massive hits “Far Behind\,” “You” and “Cover Me” that propelled their self-titled debut album to sell more than 4 million copies worldwide. Their follow-up album\, Lucy\, earned a platinum certification and solidified Candlebox as a tour de force in the thriving alt-rock scene. While the commercial success of the first album played a pivotal role in the band’s trajectory to the top\, it was their raw and unapologetically honest live performances that ultimately solidified their place among Seattle’s elite. In 1998\, Candlebox released Happy Pills\, which would be their last album before going on hiatus from 2000 to 2006. In 2008\, the band reformed and released their fourth album\, Into The Sun\, and hit the road for the first time in 10 years\, touring extensively and releasing Alive In Seattle\, a live album that included tracks from every era of their career. 2016 marked the triumphant return of Candlebox with the release of Disappearing In Airports\, a more classic rock-tinged album hailed by many critics and fans as their best work in years. Singles “Vexatious” and “Supernova” drove the album to debut at #9 on the Billboard Charts and spurred multiple U.S. and international tours including major festival appearances at Carolina Rebellion\, Welcome To Rockville\, and Lollapalooza Chile. While these iconic rockers have been blazing full-steam since\, releasing their latest album\, Wolves\, in 2021\, Candlebox is now wrapping up their long and illustrious 30-year career with The Long Goodbye. \n \n 
URL:https://globalazmedia.com/event/3-doors-down-candlebox-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:20230715T190000
DTEND;TZID=America/Phoenix:20230715T233000
DTSTAMP:20260506T235303
CREATED:20230627T003131Z
LAST-MODIFIED:20230627T004325Z
UID:16972-1689447600-1689463800@globalazmedia.com
SUMMARY:Misfits + AFI at Talking Stick Resort Amphitheatre
DESCRIPTION:From the time of their first gig in 1977\, the MISFITS and their iconic imagery went on to become one of the most crucially influential\, genre-defying bands to ever emerge from North America deconstructing and redefining rock music. Immortalizing B horror films in their music\, they developed a ghoulishly unique persona and rebellion all their own. \nAfter a split with original singer Glenn Danzig in the mid 1980s\, The Misfits were resurrected in the 1990s by co-founder Jerry Only\, (the only consistent member since the band’s inception in 1977 to present)\, helming on Bass & Vocals over the course of the decades that followed. \n2016 brought The ORIGINAL MISFITS triumphant return\, reuniting Original Singer/Songwriter GLENN DANZIG and Original Bassist JERRY ONLY for the first time in over 30 years. Joined by long-time guitarist Doyle Wolfgang von Frankenstein\, the Original Misfits have played sold out arenas and stadiums and in 2019\, took the crown as the only first wave punk band to ever headline the world’s most famous arena\, Madison Square Garden—in a SOLD OUT performance no less. \nThe MISFITS with Danzig’s anthemic songs and unmistakable voice\, Only’s ferocious bass sound\, and the band’s melody-induced choruses and authentically bruising musicianship\, cemented their importance with all ensuing generations. And now legions of diehard fans from around the world have the opportunity to hear the Original Band that forges a level of intensity unprecedented in the new millennium. \n \n \nAFI are leaders\, not followers. A collective in a perpetual state of creative evolution as fluid as the evocative figures contorting on the cover of Bodies\, their newest collection of songs. The record is a snapshot of unrelenting artists in motion\, unconcerned with compromise or outside demands. \nThe band initially summoned a steady subcultural groundswell in the mid-90s\, devoid of careerist ambitions. The band first made music as teenaged misfits in an obscure Northern California town\, steadily assembling a dense catalog over the years marked by its diversity and authenticity. \nThe platinum success of Sing the Sorrow blazed a path for a generation of hardcore-punk weaned bands to similarly crossover. 2006’s Decemberunderground upended expectations again and earned AFI a second platinum plaque. Crash Love was another adventurous turn\, with expansive and almost optimistic-sounding melodies\, glistening with emotion. The haunting Burials arrived four years later\, debuting in the Top 10 of the Billboard 200. The self-titled follow-up\, commonly referred to as “the Blood Album\,” became AFI’s second-highest charting album since their inception\, debuting at No. 5 in 2017.
URL:https://globalazmedia.com/event/misfits-afi-at-talking-stick-resort-amphitheatre/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230712T183000
DTEND;TZID=America/Phoenix:20230712T233000
DTSTAMP:20260506T235303
CREATED:20230711T181340Z
LAST-MODIFIED:20230711T182712Z
UID:17132-1689186600-1689204600@globalazmedia.com
SUMMARY:Nickelback at Footprint Center
DESCRIPTION:Nickelback carried the torch for heavy post-grunge into the 2000s\, an era that otherwise didn’t favor their particular brand of pumped-up angst and loud good times. By most measures\, the Canadian group were the most popular rockers of the 2000s\, ruling rock radio from the moment “How You Remind Me” went to number one in both Canada and the U.S. after its release in 2001. Over the next decade\, the group dominated the rock charts\, balancing crossover power ballads like “Someday” and “Photograph” with salacious rockers like “Rock Star” and “Something in Your Mouth.” During the band’s reign\, Nickelback’s presence seemed outsized thanks to its gruff-voiced leader Chad Kroeger stepping outside the group to record “Hero” for the soundtrack for Sam Raimi’s 2002 theatrical adaptation of Spider-Man\, along with appearing on records by Santana and Kroeger‘s then-wife Avril Lavigne — cameos that indicate how the band’s popularity extended beyond die-hard rock audiences. Nevertheless\, those were the fans that stayed true to Nickelback\, helping the band stay successful through the 2010s and into 2022\, when the crunching “San Quentin” became the band’s first American Top Ten Rock hit in nearly a decade. \nChad Kroeger honed his frontman skills by performing with cover bands in Hanna\, a small Canadian town 215 kilometers northeast of Calgary. After growing tired of playing other people’s songs\, he borrowed money from his stepfather and relocated to Vancouver\, where he recorded his first batch of original material. Mike Kroeger\, Chad‘s bass-playing sibling\, decided to join his brother’s band\, as did fellow Vancouver transplants Ryan Peake (a guitarist who had befriended the Kroegers in middle school) and Ryan Vikedal (a drummer from Peake’s hometown of Brooks\, Alberta). Nickelback officially took shape in 1995 and quickly set to work\, releasing two albums — the Hesher EP and full-length album Curb — in 1996. By 1998\, the bandmates were managing themselves; Chad courted radio stations\, brother Mike handled distribution\, Vikedal booked shows\, and Peake maintained the band’s website. \nJanuary 2000 saw the arrival of The State\, Nickelback’s second independent release. Issued at a time in which Canadian content requirements were increased (and\, accordingly\, local radio stations had begun to desperately seek out homegrown product)\, the album fared very well on indie charts. Nickelback toured ceaselessly in support of The State\, logging approximately 200 shows while playing alongside other groups of the burgeoning post-grunge genre. Their commercial appeal wasn’t lost on the record industry\, either\, and The State’s distribution rights were quickly snapped up by Roadrunner Records in the U.S. and EMI in Canada. As the band continued to tour\, Kroeger kept writing new songs\, many of which were polished in front of live audiences. Much of that material found its way onto Silver Side Up\, which was produced by Rick Parashar (who rose to prominence in the early ’90s by helming Pearl Jam‘s Ten\, Alice in Chains‘ Sap\, and Blind Melon‘s self-titled debut) and recorded at Green House\, the same Vancouver studio used for The State’s creation. The combination of Nickelback’s growing popularity and Kroeger‘s focused songwriting propelled Silver Side Up onto album charts across the world\, spearheaded by the hit single “How You Remind Me.” Kroeger capitalized on that exposure by producing another Vancouver-based band\, Default\, and collaborating with Saliva‘s Josey Scott for the Spider-Man soundtrack. The Long Road then arrived in 2003\, featuring an increasingly polished sound and another high-charting single\, “Someday.” While some listeners criticized the apparent similarities between “Someday” and “How You Remind Me\,” The Long Road had little trouble maintaining Nickelback’s wide audience\, eventually selling over five million copies worldwide. \nIn February 2005\, Nickelback announced the departure of Vikedal. He was soon replaced by 3 Doors Down‘s former drummer Daniel Adair\, and Nickelback returned to Kroeger‘s studio in Vancouver to begin work on another album. ZZ Top‘s Billy Gibbons and Pantera‘s Dimebag Darrell (who unfortunately died before the album’s release) were guests on the chart-topping All the Right Reasons\, which arrived in October 2005. It proved to be Nickelback’s most popular effort to date\, remaining in the Billboard Top 30 for over two years and selling over seven million copies in the U.S. alone. It also spawned five Top 20 singles\, a feat that attracted the attention of veteran producer (and demonstrated hitmaker) Mutt Lange. Nickelback traveled to Lange‘s home in Switzerland to share songwriting ideas; impressed with the results\, they also enlisted him to helm their next album. Recorded in a converted Vancouver barn\, Dark Horse marked the band’s sixth studio album upon its release in November 2008. Nickelback’s seventh studio album arrived nearly three years after the multi-platinum-selling Dark Horse. The 11-track Here and Now\, which was preceded by the singles “Bottoms Up” and “When We Stand Together\,” hit the streets on November 21\, 2011. \nThe following year Kroeger began working on fellow Canadian rock star Avril Lavigne‘s eponymous fifth album. Shortly after their working partnership began\, they began dating and eventually married in early 2013. The band put together their first compilation\, The Best of Nickelback\, Vol. 1\, which appeared in November of 2013; the 19-track collection contained no new songs. In 2014\, the band’s contract with Roadrunner expired and they decided not to renew\, signing instead with Universal Republic for their eighth album\, No Fixed Address. The album included a number of departures from Nickelback’s usual fare\, including the radio-friendly “What Are You Waiting For?\,” the politicized “Edge of a Revolution\,” and “Got Me Runnin’ ‘Round\,” which featured a horn section and rapper Flo Rida. No Fixed Address appeared in November 2014\, debuting at four on Billboard’s Top 200 and generating rock radio hits in “Edge of a Revolution” and “Million Miles an Hour.” As they worked on their ninth album in 2016\, Nickelback released a cover of Don Henley‘s “Dirty Laundry” and negotiated a switch from Republic to BMG. Feed the Machine\, their first record for BMG\, was co-produced by Chris Baseford (Disturbed) and appeared in June 2017. The LP debuted at number five on the U.S. Billboard 200\, with its title track reaching 12 on Billboard’s Mainstream Rock chart. A non-LP cover of the Charlie Daniels Band‘s “The Devil Went Down to Georgia” featuring guitarist Dave Martone appeared in 2020\, as did a 15th anniversary edition of 2005’s multi-platinum-selling All the Right Reasons. Nickelback returned with new material in 2022’s “San Quentin\,” the first taste of their tenth studio album\, Get Rollin’. Another co-production with Chris Baseford\, Get Rollin’ focused on heavy riffs and good times\, a combination highlighted on the breezy single “High Time.” ~ Andrew Leahey \n \n \nWith back-to-back PLATINUM albums and a grassroots following millions strong\, Brantley Gilbert’s music has been shared\, covered and adopted as the soundtrack to Saturday night and Sunday morning by audiences around the world. The Georgia native who started as the defiant life-of-the-party can still go ‘til sunrise also emerged as something far greater: the leader of a massive tribe of hard-working\, fun-loving believers for whom electric guitar-shredding\, rapping\, and twang can go hand-in-hand-in-hand. Seven No. 1 hits punctuate his career: RIAA 6X PLATINUM-certified “Bottoms Up\,” 2X PLATINUM “Country Must Be Country Wide\,” 2X PLATINUM “You Don’t Know Her Like I Do\,” 2X PLATINUM “One Hell of An Amen\,” PLATINUM-certified collaboration with Lindsay Ell “What Happens In A Small Town\,” and two chart-toppers as a songwriter with CMA Song of the Year nominee “Dirt Road Anthem” and “My Kinda Party.” Earning praise from the New York Times\, NPR\, American Songwriter\, and more\, Gilbert has mined a rich vein of conflict between the party and the pew on all of his albums. His latest offering SO HELP ME GOD (DELUXE EDITION) is set for release April 21 via The Valory Music Co. and features chart-climbing single “Heaven By Then” with Blake Shelton featuring Vince Gill. Gilbert joins Nickelback this summer for the GET ROLLIN’ TOUR\, featuring 35+ dates across North America. \n \n \nEchoing the primary themes of country in his pop-rock-infused way\, Josh Ross’s take on love\, work\, and play is often documented through his whirlwind experiences. From moving to Nashville on the night of a tornado\, leaving only a month later when a global pandemic arrived\, to developing an ever-evolving career amidst the drawbacks of injuries\, lockdowns\, and conflicting relationships\, Josh Ross is a country artist bound by the act of forging past and overcoming restraints. Ross debuted as an artist with his independently released Top 5 chart-topping cathartic ballad on romantic losses\, “First Taste Of Gone\,” and has since pushed even further in his career with his signing to Universal Music Canada\, partnering with Universal Music Group Nashville\, and management by The Core Entertainment. Often writing from personal experiences\, Josh Ross has delivered versatile lyrics throughout his collection of songs with over 115 million global streams. His bustling catalogue includes “Tall Boys\,” his Top 5 Canadian radio hit “On A Different Night\,” the introspective “Trouble\,” and the latest too-close-to-home emotional track “Red Flags.” \n \n 
URL:https://globalazmedia.com/event/nickelback-at-footprint-center/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230702T183000
DTEND;TZID=America/Phoenix:20230702T233000
DTSTAMP:20260506T235303
CREATED:20230626T002506Z
LAST-MODIFIED:20230626T003814Z
UID:16965-1688322600-1688340600@globalazmedia.com
SUMMARY:Pierce The Veil + The Used at Arizona Financial Theatre
DESCRIPTION:Emerging as a voice for the damaged masses in the early-2000s post-hardcore scene\, Utah-bred rock group the Used connected to their audience with a potent mixture of feral rage and unabashed vulnerability. Their breakthrough platinum debut\, The Used\, gained popularity on both radio and MTV\, bolstered by hit singles like “The Taste of Ink” and “Buried Myself Alive.” As their presence on the touring circuit increased\, they hit a mainstream peak with 2004’s platinum In Love and Death and its follow-up\, 2007’s Lies for the Liars. While they remained a respected name in the scene and were a fixture in the Top 20\, latter albums were less visible outside of their devoted core fan base. With each set\, their sound evolved and bandmembers matured\, reaching creative peaks on 2017’s The Canyon\, 2020’s Heartwork\, and 2023’s Toxic Positivity. \nThe members of the Used had to overcome poverty\, homelessness\, and substance abuse\, as well as the conservative attitudes of their hometown of Orem\, Utah\, to bring their screamo-tinged brand of post-hardcore to life. But they persevered and earned a contract with Reprise Records\, releasing their self-titled debut album in June 2002. The Used proved to be their major breakthrough\, going platinum in the U.S. upon the strength of hit singles “The Taste of Ink\,” “Buried Myself Alive\,” and “Blue and Yellow.” Having only played a handful of shows around Orem prior to their record’s release\, the band — vocalist Bert McCracken\, guitarist Quinn Allman\, bassist Jeph Howard\, and drummer Branden Steineckert — began relentless nationwide touring that quickly saw their fan base multiply. Club dates soon turned into successful stints on larger-scale festival/package tours including the Warped Tour\, Ozzfest\, and Projekt Revolution alongside Linkin Park and Snoop Dogg. In the summer of 2003\, the Used issued the introspective compilation set Maybe Memories\, another platinum release that contained unreleased songs\, live material\, behind-the-scenes footage\, and more. \nThe Used’s official sophomore outing arrived in September 2004. Debuting at number six on the Billboard 200\, In Love and Death shot them even further into the public consciousness. The singles “Take It Away” and “All That I’ve Got” were Top Ten U.S. Rock chart hits\, and the set was soon certified platinum. Around that time\, they also recorded a version of the Queen classic “Under Pressure” with My Chemical Romance to benefit victims of the devastating tsunami of December 2004. Outside of the band\, McCracken has also lent his vocals to the punk rock drum troupe Street Drum Corps. As the Used readied their third album\, Steineckert parted ways with the group over creative differences in early fall 2006 (he went on to join Rancid). \nThe live CD/DVD Berth appeared in February 2007 to tide fans over a bit longer until their third proper full-length\, Lies for the Liars\, came out in May. Though he didn’t perform on the record\, drummer Dan Whitesides joined the band as an official member just in time for the supporting tour. The group’s fourth full-length album\, Artwork\, was produced by Matt Squire (Panic! At the Disco) and released on Reprise in 2009. Arriving in 2012\, Vulnerable\, the band’s fifth studio outing and first for new label Hopeless\, was preceded by the single “I Come Alive.” It was reissued the next year as Vulnerable (II)\, with a bonus disc stocked with B-sides\, remixes\, and acoustic tracks. Imaginary Enemy followed in 2014. \nAllman and the band amicably parted ways in 2015\, and Saosin guitarist Justin Shekoski was recruited as his permanent replacement just in time for a tour in celebration of the group’s 15th anniversary. On each stop of the tour\, the Used performed two shows\, one for each of their first two LPs. A live album commemorating their acoustic stint at the Palace in Los Angeles was released in April 2016. Live and Acoustic at the Palace was recorded in October 2015 and featured accompaniment by a string quartet\, harpist\, pianist\, and gospel choir. \nThe band’s seventh studio album\, The Canyon\, arrived in late 2017. The critically acclaimed set marked an evolution in both style and content\, inspired in part by the death of one of McCracken‘s close friends. When touring concluded for the album\, Shekoski parted ways with the group and they began work on a follow-up. 2020’s Heartwork\, a nostalgic callback to their first three efforts\, was another step forward for the Used. Produced by John Feldmann\, the LP was the first with guitarist Joey Bradford and featured guests Jason Aalon Butler (Fever 333)\, Mark Hoppus and Travis Barker (blink-182)\, and Caleb Shomo (Beartooth). 2022 saw the emo icons issue the combative and celebratory “Fuck You” ahead of the arrival of their ninth long-player. The angsty and anthemic “People Are Vomit” appeared in early 2023\, with Toxic Positivity arriving later that May. \n \n \nRight now\, Pierce the Veil are at their most raw\, crackling with urgency and immediacy. Never predictable\, always engaging\, Pierce the Veil continue to soar on the strength of highly potent energy\, rich musicality\, and a scrappy sense of authentic exuberant ambition that’s frankly unrivaled. Frontman Vic Fuentes\, guitarist Tony Perry\, and bassist Jaime Preciado put volatile\, angsty\, confessional emotions into the music\, which is why their songs resonate with so many. “No matter where the band performs\, fans will show up\,” wrote Loudwire. “When you see Pierce The Veil live\, you’ll understand why.” \nPTV’s evolution from album to album is nothing less than stunning. The early buzz generated by A Flair for the Dramatic (2007) made its follow-up one of the most anticipated albums of 2010. Selfish Machines shot to No.1 on Billboard’s Heatseekers chart. The Chicago Tribune saluted Collide with the Sky for its “post-hardcore punk with more than a few nods to Queen.” They became a true arena act on Misadventures\, selling out huge venues without losing the intimate connection with their fans. \nPierce the Veil have long cemented their status as one of the most exciting and relevant acts in their genre — by constantly evolving.
URL:https://globalazmedia.com/event/pierce-the-veil-the-used-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:20230630T183000
DTEND;TZID=America/Phoenix:20230630T233000
DTSTAMP:20260506T235303
CREATED:20230626T000542Z
LAST-MODIFIED:20230626T002014Z
UID:16960-1688149800-1688167800@globalazmedia.com
SUMMARY:Fall Out Boy + Bring Me The Horizon at Talking Stick Resort Amphitheatre
DESCRIPTION:Fall Out Boy rose to the forefront of emo pop in the mid-2000s\, blending power pop-style hooks with soulful vocals and dance-friendly grooves. Rising from the punk underground\, the band made their mainstream breakthrough in 2005 with their sophomore set\, From Under the Cork Tree\, spawning the hits “Sugar\, We’re Goin Down” and “Dance\, Dance.” Two years later\, they topped the Billboard 200 with Infinity on High. Shifting from the Warped Tour crowd to sold-out arenas by the 2010s\, they issued a string of chart-topping albums that decade — Save Rock and Roll\, American Beauty/American Psycho\, M A N I A — all of which found them embracing a wider range of styles\, including R&B and electro-pop. Along the way\, they continued to score mainstream hits that served the mosh pits as well as sports stadiums. In 2023\, they delivered their anthemic eighth album So Much (for) Stardust. \nThe group’s four members first came together in Wilmette\, a bedroom community north of Chicago\, around 2001. Vocalist/guitarist Patrick Stump\, bassist/lyricist Pete Wentz\, drummer Andrew Hurley\, and guitarist Joe Trohman had all taken part in various bands connected to Chicago’s underground hardcore scene. Most notably\, Hurley drummed for Racetraitor\, the furiously political metalcore outfit. As Fall Out Boy\, the quartet used the unbridled intensity of hardcore as a foundation for melody-drenched pop-punk\, with a heavy debt to the emo scene. They debuted with a self-released demo in 2001\, following it up in May 2002 with a split LP (issued on the Uprising label) that also featured Project Rocket\, for which Hurley also drummed. The band remained with the label for the release of a mini-LP\, Fall Out Boy’s Evening Out with Your Girl\, but a bidding war of sorts was already in full swing. \nFall Out Boy eventually signed a deal with Fueled by Ramen\, the Florida-based label co-owned by Less Than Jake drummer Vinnie Fiorello\, but also received an advance from Island Records to record a proper debut album. The advance came with a right of first refusal for Island on Fall Out Boy’s next album\, but it also financed the recording of Take This to Your Grave\, which occurred at Butch Vig‘s Smart Studios compound in Madison\, Wisconsin\, with producer Sean O’Keefe (Lucky Boys Confusion\, Motion City Soundtrack) at the helm. Take This to Your Grave appeared in May 2003 and Fall Out Boy earned positive reviews for subsequent gigs at South by Southwest and various tour appearances. Their breakout album\, the ambitious From Under the Cork Tree\, followed in spring 2005\, quickly reaching the Top Ten of Billboard’s album chart and spawning two Top Ten hits with “Sugar We’re Going Down” and the furiously upbeat “Dance\, Dance.” The album went double platinum and earned the musicians a Grammy nomination for Best New Artist. \nFall Out Boy’s underground star status — driven by the especially extroverted Wentz\, who also gained exposure with his clothing line\, his Decaydance record label (an imprint of Fueled by Ramen)\, and eventually a celebrity relationship with Ashlee Simpson — had boiled over into the mainstream. They toured extensively\, supporting the album with international tours\, arena shows\, TRL visits\, late-night television gigs\, and music award shows. Without taking a break\, the guys then hunkered down to work on their follow-up record with From Under the Cork Tree producer Neil Avron (and\, somewhat surprisingly\, Babyface). Infinity on High\, whose title was taken from a line in one of Van Gogh‘s personal letters\, appeared in early February 2007\, spearheaded by the hit single “This Ain’t a Scene\, It’s an Arms Race.” The album continued Fall Out Boy’s streak\, debuting at number one on the Billboard charts and going platinum one month later. Released in early 2008\, the CD/DVD package Live in Phoenix documented the band’s strength as a flashy live act\, while the full-length studio effort Folie à Deux followed later that year. \nRecording sessions for Folie à Deux were tough\, prompting the band to take an open-ended hiatus soon after the album’s release. Joe Trohman and Andy Hurley joined a new band\, Damned Things\, during the interim\, while Wentz teamed up with a new vocalist\, Bebe Rexha\, to form Black Cards. Stump took the opportunity to launch a solo career\, ditching his band’s emo pop music in favor of a more electronic\, R&B-influenced sound. In 2011\, he released his debut solo album\, Soul Punk\, cracking the top 50 of the Billboard 200. Despite the solo projects\, it wasn’t long before rumors of a Fall Out Boy reunion began to swirl. In February 2013\, the band confirmed that the rumors were true: they had reunited for a new album called Save Rock and Roll and an accompanying tour. Preceded by the single “My Songs Know What You Did in the Dark (Light ‘Em Up)\,” Save Rock and Roll was released in April of 2013 and promptly debuted at number one on the U.S. charts. The band stayed busy during the subsequent year as well\, creating a video for each song on the album\, recording the punk-inspired EP Pax-Am Days (with production from Ryan Adams)\, and headlining tours that reached America\, Europe\, and Australia. \nIn late 2014\, Fall Out Boy premiered a new single\, “Centuries\,” the first glimpse of their sixth album\, American Beauty/American Psycho. Produced in part by J.R. Rotem and SebastiAn\, it combined Fall Out Boy’s core punk-pop sound with elements of electronica\, R&B\, and hip-hop. The album debuted at number one when it was released the following January and it stayed on the charts thanks to the Munsters-sampling single “Uma Thurman\,” which was certified platinum. The band released a remix version of the album called Make America Psycho Again in October 2015. \nOut Boy revealed that their forthcoming seventh album\, M A N I A\, would be released later that year. The announcement was accompanied by the album’s first single\, “Young and Menace.” Although they released a second single\, “Champion\,” they felt the album needed more work and headed back into the studio to in the latter half of 2017. This version of M A N I A appeared in January 2018 and debuted at number one on the Billboard charts upon its release. In September 2019\, Fall Out Boy collaborated with Wyclef Jean on the single “Dear Future Self (Hands Up)\,” which appeared on their second anthology\, Believers Never Die: Greatest Hits\, Vol. 2. \nIn January 2023\, the group returned with the singles “Love from the Other Side” and “Heartbreak Feels So Good\,” the first tracks released off their eighth studio album\, So Much (for) Stardust. That same month\, guitarist Trohman revealed he was taking a break from the band to focus on his mental health. Released that March\, So Much (for) Stardust featured production by Neal Avron\, who had previously helmed Folie à Deux. The album also marked the band’s return to Fueled by Ramen following the end of their contract with Island Records. \n \n \nEnglish 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 four-part arc of EPs that they followed up in 2021 with DiE4u. They spent much of 2022 collaborating with artists like Ed Sheeran and Machine Gun Kelly\, and the single “Lost” appeared in 2023. \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 as a permanent member\, 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 It a Secret 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. Bring Me the Horizon’s next effort 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 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…”). Part two\, the more melodic and anthemic DiE4u\, arrived the following year. 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”). They returned with their own single\, “Strangers\,” in July of that year. Another single\, “Lost\,” arrived in May 2023. \n \n 
URL:https://globalazmedia.com/event/fall-out-boy-bring-me-the-horizon-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/2023/06/Fall-Out-Boy-Bring-Me-The-Horizon-at-Talking-Stick-Resort-Amphitheatre.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230611T190000
DTEND;TZID=America/Phoenix:20230611T233000
DTSTAMP:20260506T235303
CREATED:20230604T210535Z
LAST-MODIFIED:20230604T211257Z
UID:16899-1686510000-1686526200@globalazmedia.com
SUMMARY:Garbage & Noel Gallagher's High Flying Birds at Talking Stick Resort Amphitheatre
DESCRIPTION:Since releasing their eponymous debut album in 1995\, Garbage – composed of Shirley Manson\, Duke Erikson\, Steve Market and Butch Vig – has blazed a distinct sonic trail. With a passel of hits including “Stupid Girl\,” “Push It\,” “Only Happy When it Rains” and “I Think I’m Paranoid\,” they’ve garnered consistent critical acclaim as well as seven Grammy nominations along the way to 17 million albums sold. The band’s ferocious new album No Gods No Masters continues to expand their musical vision. The 11-track collection is by turns brutal and beautiful\, a celebration of the sonic maelstrom and a triumph of silence\, sometimes within the space of a single song. “This is our seventh record\, the significant numerology of which affected the DNA of its content: the seven virtues\, the seven sorrows\, and the seven deadly sins\,” says Manson\, the band’s iconic frontwoman. No Gods No Masters is a big\, bold and indignant record – overtly political and socially charged in a way that the band has not been before\, with songs touching on themes ranging from global unrest and encroaching climate change\, the Black Lives Matter movement\, sexism and misogyny. The result is the perfect soundtrack for a fraught moment from a band that has been making its unique mark for nearly 30 years – a record that could only have come from the intimate relationship between musicians who have matured and grown together over the course of their careers. \n \n \nNoel Gallagher’s High Flying Birds first emerged in October 2011 with their eponymous album which went double platinum in the UK selling over 2.5 million copies worldwide. In the two decades prior\, Noel Gallagher was main songwriter\, lead guitarist and occasional lead vocalist of Oasis\, one of the biggest and most loved UK bands. By the time a 2nd album was due for release\, NGHFB had already played 150 live shows in 32 countries. ‘Chasing Yesterday’ was released in March 2015\, followed by another 122 shows across 28 countries. The 3rd studio album\, ‘Who Built The Moon?’\, was recorded with renowned producer and composer David Holmes and released in November 2017. The live appearances continued throughout 2019 including tours of the USA and Australia with Smashing Pumpkins and U2 respectively. Noel once again challenged industry norms releasing a series of critically acclaimed multi-genre EP’s throughout 2019 & 2020. June 2021 saw the release of ‘Back The Way We Came: Vol 1 (2011-2021)’ – a Best Of celebrating a decade of the band\, curated by Noel. This was NGHFB’s 4th consecutive No.1 album and the 12th across Noel’s career. In Summer 2022\, Noel Gallagher’s High Flying Birds completed a nationwide tour of outdoor shows\, culminating with an epic set on Glastonbury’s Pyramid Stage to one of the weekend’s biggest crowds. NGHFB recently released new singles ‘Pretty Boy’\, ‘Easy Now’ & ‘Council Skies’ taken from the studio album ‘Council Skies’\, out June 2\, 2023. \n \n 
URL:https://globalazmedia.com/event/garbage-noel-gallaghers-high-flying-birds-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/2023/06/Garbage-Noel-Gallaghers-High-Flying-Birds-at-Talking-Stick-Resort-Amphitheatre.jpg
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DTSTART;TZID=America/Phoenix:20230607T193000
DTEND;TZID=America/Phoenix:20230607T233000
DTSTAMP:20260506T235303
CREATED:20230601T235528Z
LAST-MODIFIED:20230602T000224Z
UID:16874-1686166200-1686180600@globalazmedia.com
SUMMARY:Janet Jackson at Talking Stick Resort Amphitheatre
DESCRIPTION:Janet Jackson is one of the most influential entertainers of the modern era. Her music has won her 6 GRAMMY® Awards\, 2 Emmy Nominations\, a Golden Globe Award\, a nomination for an Academy Award along with dozens of American Music Awards\, MTV Video Music Awards and Billboard Music Awards. She has received accolades as an actress as well including the NAACP Best Supporting Actor award. Janet is a published author\, dancer\, businessperson\, philanthropist and one of the biggest-selling artists in popular music history. With sales of over 160 million records worldwide\, Janet Jackson stands as one of the best-selling artists of all time with a string of hits that have left an indelible impression on pop culture. Her music and artistry has opened doors through which other top artists have followed\, many acknowledging her impact on their musical perception. \nhttps://youtu.be/yv8LjBBb1bQ \n \nWhen rap’s Dirty South movement broke nationwide in the late ’90s and early 2000s\, Ludacris rode it to immediate widespread popularity\, becoming arguably the most commercially successful Southern rapper of the time. The entirety of the aughts found the rapper scoring hit after mainstream hit and selling platinum numbers of records like 2001’s Word of Mouf and 2003’s Chicken -N- Beer. He quickly became a multifaceted superstar\, making multiple film and television appearances while staying active in music with consistent guest features on other artists’ tracks and albums of his own like 2015’s Ludaversal. \nBorn Christopher Bridges on September 11\, 1977\, in Champaign\, Illinois\, Ludacris moved to Atlanta during his high school years and attended Banneker High School there. He then studied at Georgia State University. His entry into the rap industry came via radio; he worked as a disc jockey at Atlanta-based urban station Hot 97.5 (which later became Hot 107.9)\, where he was known as DJ Chris Lova Lova\, and this was how he became acquainted with Timbaland. The producer featured Ludacris (then billed as Ludichris) on the song “Fat Rabbit” from his album Tim’s Bio (1998)\, and with such a high-profile feature to his credit\, the groundwork was laid for the rapper. Ludacris proceeded to record an independent album\, Incognegro (1999)\, which he in turn released regionally himself\, on the label Disturbing tha Peace. Ludacris primarily worked with producer Shondrae for the album\, though also with Organized Noize\, the acclaimed production team behind the early albums of OutKast and Goodie Mob. Incognegro sold well enough to break into the Billboard 200\, and Ludacris was approached by Scarface of the Geto Boys\, who as a representative of Def Jam was interested in negotiating a recording contract. \nIn late 2000\, Def Jam repackaged Incognegro and released it as Back for the First Time\, adding a few new songs: a U.G.K. collaboration (“Stick ‘Em Up”)\, a Neptunes production (“Southern Hospitality”)\, and a remix of his previously released song with Timbaland (retitled “Phat Rabbit”). The album’s lead single\, “What’s Your Fantasy?\,” became a major hit nationally\, peaking at number 21 on the Hot 100\, and the follow-up single\, “Southern Hospitality\,” was similarly popular\, charting at number 23. This pair of hits helped drive sales of Back for the First Time\, which climbed all the way to number four on the Billboard 200. The follow-up album\, Word of Mouf (2001)\, was an even greater success for Ludacris\, charting at number three and spawning a series of hit singles that carried over well into 2002: “Area Codes\,” “Rollout (My Business)\,” “Saturday (Oooh Oooh!)\,” “Welcome to Atlanta\,” and “Move Bitch.” After these singles had run their course\, a collaborative album\, Golden Grain (2002)\, was released\, showcasing the assembly of talent signed to Ludacris’ revived Disturbing tha Peace label\, which was now in partnership with Def Jam. The following year was a busy one for Ludacris\, as he appeared in the film 2 Fast 2 Furious and released his third album\, Chicken -N- Beer\, his first to reach number one on the Billboard 200. Chicken -N- Beer brought with it another series of hits\, including the Hot 100 number one “Stand Up” and number six “Splash Waterfalls.” \nLudacris continued his output the following year\, with The Red Light District (2004)\, another number one album loaded with hit singles (“Get Back\,” “Number One Spot\,” “Pimpin’ All Over the World”). Disturbing tha Peace (2005)\, a second collaborative album featuring the label’s roster of talent\, was Ludacris’ only release for the year\, and he kept a relatively low profile until the release of Release Therapy (2006)\, an introspective album on which he vowed that he would be taken more seriously than in the past. Another chart-topper\, Release Therapy included only two Hot 100-charting singles\, yet both were smashes: “Money Maker” (number one) and “Runaway Love” (number two). In 2007\, Ludacris got a lot of airplay as the featured guest on Fergie‘s number one hit “Glamorous.” A year later a mixtape with DJ Drama called The Preview preceded the November release of Theater of the Mind. The long list of guest stars included director Spike Lee and comedian/actor Chris Rock. His 2010 effort\, Battle of the Sexes\, was originally planned as a joint release with Shawnna\, but when the female rapper left the DTP family\, it became a solo Ludacris album. In 2014\, the rapper announced his ninth album and released the EP Burning Bridges as a preview. Ludaversal followed a year later\, with Usher\, Miguel\, and Big K.R.I.T. on the guest list\, along with production from David Guetta\, Rico Love\, and Cashmere Cat. After adding more acting roles to his résumé\, Ludacris returned in 2017 with the singles “Vitamin D” with Ty Dolla $ign and “Vices.” Work toward a tenth studio album stretched out over many years\, and in September of 2020\, the new single “Found You” arrived featuring a guest spot from Chance the Rapper. ~ Jason Birchmeier & Fred Thomas\, Rovi
URL:https://globalazmedia.com/event/janet-jackson-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/2023/06/janet-jackson-at-Talking-Stick-Resort-Amphitheatre.jpg
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DTSTART;TZID=America/Phoenix:20230510T183000
DTEND;TZID=America/Phoenix:20230510T233000
DTSTAMP:20260506T235303
CREATED:20230430T222245Z
LAST-MODIFIED:20230430T222634Z
UID:16479-1683743400-1683761400@globalazmedia.com
SUMMARY:Placebo at Marquee Theatre
DESCRIPTION:With their androgynous aesthetic and raw attack\, Placebo caused a stir upon their debut in the 1990s\, when Brit-pop ruled the charts and grunge was on its way out. Once described as a glam version of Nirvana\, the multinational band delivered a potent blend of dark alt-rock with goth and electronic undertones\, creating a sound more aligned with Smashing Pumpkins\, Depeche Mode\, Muse\, and Silversun Pickups. Crashing onto the British scene\, the then-trio raised eyebrows with their first hit\, “Nancy Boy” from 1997’s Placebo\, providing a stark alternative to Brit-pop’s lad culture. While they continued to expand their European base\, the band had a brief moment in the sun in the United States\, scoring modest radio hits with “Pure Morning” from 1998’s Without You I’m Nothing\, “Special K” from 2000’s Black Market Music\, and “Infra-Red” from 2006’s Meds. Although their output slowed into the 2010s — they released just one official album that decade\, 2013’s Loud Like Love — they maintained a strong grip on their core audience\, issuing an MTV Unplugged set in 2015 and a series of retrospective B-sides collections from every one of their albums to date. In 2022\, nearly a decade after their previous LP was issued\, Placebo made a comeback with eighth album Never Let Me Go. \nAn early incarnation of the band was formed by singer/guitarist Brian Molko (part Scottish and American descent\, but raised in England) and Swedish bassist Stefan Olsdal. Both members had previously attended the same school in Luxembourg\, but they didn’t cross paths properly until 1994 in London. Briefly called Ashtray Heart and influenced by the likes of Sonic Youth\, Pixies\, the Smashing Pumpkins\, and Nirvana\, they began filling the vacant drum spot with percussionists like Robert Schultzberg and Steve Hewitt (the latter being the group’s only member of English origin). Although Molko and Olsdal preferred Hewitt as their main man (it was this lineup that recorded several early demos)\, Hewitt opted to return to his other band at the time\, Breed. With Schultzberg back on board instead\, Placebo signed a recording contract with Caroline Records and released their self-titled debut in 1996. Placebo was a surprise hit in the U.K.\, where singles like “Nancy Boy” and “Teenage Angst” became Top 40 hits. Meanwhile\, the bandmates themselves became the toast of the British music weeklies and supported their debut by opening for such outfits as the reunited Sex Pistols\, U2\, and Weezer. \nDespite the group’s early success\, Schultzberg wasn’t seeing eye to eye with the other bandmembers\, who by this point were able to convince Hewitt to rejoin the lineup\, prompting Schultzberg’s exit from the band in September 1996. One of Hewitt’s first performances with Placebo upon returning proved to be a big one\, as David Bowie — a fan of the band\, not to mention an influence on their sound — personally invited the trio to play his 50th birthday bash at New York’s Madison Square Garden in 1997. The following year\, Placebo switched over to the major-label division of Caroline\, Virgin Records\, and issued Without You I’m Nothing in November. The album was another big seller in England and initially appeared to be the group’s breakthrough in the U.S.\, where MTV and rock radio embraced the album’s lead-off single\, “Pure Morning.” Subsequent singles failed to match the success of that first song\, but Without You I’m Nothing remained popular in England\, where it eventually went platinum. Around the same time\, Placebo recorded a cover of T. Rex‘s “20th Century Boy” for Velvet Goldmine\, a movie in which the trio also appeared. \nThe relationship between Placebo and Bowie continued to blossom. Bowie made a special on-stage appearance with the band during a tour stop in New York\, and both parties united for a re-recording of the title track from Without You I’m Nothing\, which was issued as a single in 1999. Placebo’s third release\, Black Market Music\, added hip-hop and disco elements to the group’s tense rock sound. The album was released in Europe in 2000\, followed several months later by a resequenced American version whose track list featured several additions\, including the Bowie version of “Without You I’m Nothing” and the band’s cover of Depeche Mode‘s “I Feel You.” The recording spawned additional U.K. hits such as “Taste in Men” and “Slave to the Wage.” \nIn spring 2003\, Placebo showcased a harder edge with the release of their fourth effort\, Sleeping with Ghosts. The album cracked the Top Ten in the U.K. and sold over a million copies worldwide. Placebo’s singles collection Once More with Feeling: Singles 1996-2004 was released before the year’s end. The 19-song compilation included their biggest U.K. hits and the new track “Twenty Years.” Frenchman Dimitri Tikovoi (Goldfrapp\, the Cranes)\, who had mixed selected songs on Once More with Feeling\, also signed on to produce Placebo’s fifth effort\, 2006’s Meds. Topping charts in multiple countries\, the album generated a handful of hit singles\, including “Infra-Red\,” the band’s second charting track in the U.S. The next year\, a cover of Kate Bush‘s “Running up That Hill” from their 2003 Covers compilation became a surprise hit in the U.K.\, Australia\, and the U.S. (where it appeared on the hit teen drama The O.C.)\, and the group capitalized on the exposure by joining Linkin Park‘s Projekt Revolution tour alongside My Chemical Romance. As a primer for new fans\, Virgin released the Extended Play ’07 EP as a simple introduction to Placebo’s past decade of music. \nSteven Hewitt departed the band in the fall of 2007\, and Placebo left their longtime home of EMI/Virgin one year later. With new drummer Steve Forrest now on board\, the group recorded Battle for the Sun and released it during the summer of 2009. Produced by David Bottrill (Silverchair\, Muse)\, the effort featured the European hit “For What It’s Worth” and “Ashtray Heart\,” a winking nod to their original moniker. A box set of the band’s work for EMI\, The Hut Recordings\, was released the same day\, and an extensive tour kept them busy for another year. For fans who couldn’t make the shows\, Placebo also issued a live mini-album\, Live at La Cigale\, whose songs were taken from a 2006 performance in Paris. \nIn 2010 Molko and Olsdal announced they had been working on new material\, which culminated in the release of the mini-album B3 EP two years later. In 2013 Placebo delivered their seventh studio album\, the Adam Noble-produced Loud Like Love\, home to “Too Many Friends” and “A Million Little Pieces.” \nFor their 20th anniversary\, Placebo announced a grand two-year retrospective blitz that included the vinyl re-release of their first five albums and respective B-sides collections for each\, as well as a recording of MTV Unplugged. Recorded in front of a live audience in London\, it featured drastic reworkings of past hits and deep cuts (including the first-ever live performance of “Bosco”)\, as well as guest appearances by Majke Voss Romme (Broken Twin) and Joan as Police Woman. Forrest departed in 2015\, and the following year Placebo released a 36-track retrospective\, A Place for Us to Dream\, which featured a new single\, “Jesus’ Son.” 2017 brought an extensive tour that took in Mexico\, Australia\, and Europe\, and in 2018 they performed at the Robert Smith-curated Meltdown Festival in London. \nIn mid-2019\, the band began work on what would ultimately become their eighth album\, the much-delayed 2022 release Never Let Me Go. It was the first full-length that Placebo had recorded as a duo\, and featured the singles “Beautiful James\,” “Surrounded by Spies\,” and “Try Better Next Time.” ~ Greg Prato & Neil Z. Yeung
URL:https://globalazmedia.com/event/placebo-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2023/04/Placebo-at-Marquee-Theatre.jpg
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DTSTART;TZID=America/Phoenix:20230507T190000
DTEND;TZID=America/Phoenix:20230507T233000
DTSTAMP:20260506T235303
CREATED:20230430T210530Z
LAST-MODIFIED:20230430T215553Z
UID:16471-1683486000-1683502200@globalazmedia.com
SUMMARY:AVATAR Dance Devil Dance Tour 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 \nUnderneath a maelstrom of polyrhythmic guitars\, sweeping vocals\, and shuddering beats\, Veil of Maya encode a ponderous narrative at the core of their sixth full-length album\, False Idol [Sumerian Records]. This time around\, a captivating concept drives the quartet—Marc Okubo\, Sam Applebaum\, Danny Hauser\, and Lukas Magyar. \nThe first single “Overthrow” revs up from a crushing tidal wave of riffing into a soaring and striking clean refrain. It taps into the expansive energy of signature fan favorites\, while elevating the group to a new level. \nWhether it’s the pulverizing power of “Lull” or knockout send-off of “Tyrant” and “Livestream\,” False Idol exorcises an unforgettable narrative in the landscape of Veil of Maya’s most definitive work to date. \n \n \nORBIT CULTURE burst out of the underground scene with the release of 2020’s Nija album\, which garnered worldwide critical acclaim from critics and metal fans alike. Their latest release\, Shaman\, sees them further expand upon their dynamic sound\, developing a propulsive blend of metallic brilliance. While rooted in the classic Swedish metal genre paved by greats such as At The Gates\, In Flames\, and Meshuggah\, they creatively expand upon it to create a more evolved\, modernized sound that is simply undeniable. Shaman delivers on all fronts and showcases the band’s seamless efforts to effectively blend aggression\, melody\, and technicality. \nThe band states: “When it comes to the music\, Shaman has a bit more flow to be executed more in a live setting\, which was one of the goals creating it. We have some songs on Nija that we’d like to play live\, but some of them just don’t quite translate as well as we want them to when we play them. We want to be a band able to run around the stage and invite people to the show and connect that way\, rather than standing in one place and sweating over weird guitar patterns and whatnot. We think that’s the major difference between Nija to Shaman. We want people to be blown away live and the songs on this EP are constructed for that. Of course\, you’ll get what you expect from us\, heavy and fast guitars combined with low-tuned drops followed up by sing-along choruses with an exotic twist.” \n \n 
URL:https://globalazmedia.com/event/avatar-dance-devil-dance-tour-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/2023/04/Avatar.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230506T023000
DTEND;TZID=America/Phoenix:20230506T233000
DTSTAMP:20260506T235303
CREATED:20230421T005207Z
LAST-MODIFIED:20230421T012143Z
UID:16424-1683340200-1683415800@globalazmedia.com
SUMMARY:98KUPD PRESENTS UFEST 2023
DESCRIPTION:Godsmack has more Top 10 Rock Songs than Foo Fighters or their hometown heroes\, Aerosmith. Stretching back to their four-times platinum self-titled debut\, initially recorded in 1996 for $2500\, the veteran band’s catalog of hits is enough to fill a marathon set without running out. Songs like “I Stand Alone\,” “Awake\,” and “Voodoo” are certified anthems deeply encoded into hard rock’s DNA. \nLike the antiheroes of a heist movie planning one last score\, the Lawrence\, Massachusetts-bred quartet takes a victory lap with Lighting Up the Sky\, dropping one more classic album as they ascend into the celebratory portion of their career. Sully Erna\, Robbie Merrill\, Tony Rombola\, and Shannon Larkin climbed the creative mountain over and over. They are consummate rock fans themselves\, so they refuse to finish as one of those bands where fans hit the beer line during “the new stuff”. \nLighting Up the Sky is undoubtedly a stunning swan song\, should it truly prove to be the final studio album of new music from Godsmack. “Surrender\,” the first new song in four years\, earned well over a half million streams on Spotify alone in its first two weeks of release. Songs like “What About Me” and “Soul On Fire” stand up to anything in the band’s rich multi-platinum catalog. “Lighting Up the Sky is packed with melodies”\, assures the frontman. The band’s body of work includes eight albums\, four Grammy nominations\, two iHeartRadio Music Awards noms\, and a Billboard Music Award. (more at Godsmack.com) \n \n \nPlatinum-certified and twice GRAMMY-nominated Michigan rock powerhouse I PREVAIL — Brian Burkheiser (vocals)\, Eric Vanlerberghe (vocals)\, Steve Menoian (guitars/bass)\, Dylan Bowman (guitars)\, and Gabe Helguera (drums) — are back with TRUE POWER\, their third full-length offering on Fearless Records. The much-anticipated album arrives on August 19. \n \n \nEmploying a powerful blend of twisty progressive rock\, explosive heavy metal\, and soaring\, radio-ready alt-rock\, hard-hitting\, forward-thinking San Antonio-based quartet Nothing More invokes names like System Of A Down\, Thirty Seconds To Mars\, Incubus\, The Mars Volta\, and Killswitch Engage. Formed around the talents of longtime friends Jonny Hawkins\, Daniel Oliver\, Mark Vollelunga\, and Ben Anderson\, the band spent years honing their sound and skills\, and sharpening their worldview on the road\, adopting a strict D.I.Y. ethic and issuing their music independently. In 2013 they inked a deal with the Eleven Seven Label Group\, the home of acts like Five Finger Death Punch\, Sixx:A.M..\, Papa Roach\, and HELLYEAH\, and released their eponymous debut for the label\, along with the fiery first single “This Is the Time (Ballast)\,” the following year. It proved to be a breakout release for the veteran band\, charting well and introducing them to a much wider audience. Led by the single “Go to War\,” Nothing More returned with their follow-up\, The Stories We Tell Ourselves\, in September 2017. \n \n \nSince the beginning\, Fozzy has been about hard work\, dedication and delivering great rock n roll to their devoted fans worldwide; reminding them that music is all about invoking dirty\, sweaty\, jubilation and doing it LOUDLY! However\, calling them just “entertainers” would be abridging their talent\, as Ward is one of the most versatile riffers in rock n roll and Jericho’s vocal range and passion for music makes him a worthy partner for The Duke. Throw in the powerhouse rock solid drumming of Frank Fontsere\, the blazing leads of Billy Grey and youthful virtuosity of Randy Drake and it’s no surprise that Fozzy has skyrocketed into becoming one of the hottest rock acts in years. \nBut as much success the band had enjoyed\, nothing compared to the juggernaut known as “JUDAS”. Released in May 2017\, the song spent 6 WEEKS at NUMBER ONE on the highly influential ‘Big Uns Countdown’ on Sirius/XM’s Octane channel\, amassed over 40 MILLION views for it’s video on YouTube and cracked the TOP 5 on the US Rock Radio Charts. With that giant hit in their arsenal\, Fozzy continued their winning partnership with songwriter & producer Johnny Andrews by entering the TOP 10 twice more with “Painless” & “Nowhere To Run”\, as well as gaining another TOP 20 with “Burn Me Out.” The band then embarked on their wildly successful Judas Rising Tour. \n \n \nThe Warning infuse rock music with a much-needed shot of adrenaline. The Monterrey\, Mexico trio of sisters—Daniela “Dany” [guitar\, lead vocals]\, Paulina “Pau” [drums\, vocals\, piano]\, and Alejandra “Ale” Villarreal [bass\, piano\, backing vocals]—charge forward with head-spinning riffs\, unpredictable rhythms\, stadium-size beats\, and skyscraping vocals. They stand out as the rare presence equally at home on network television and on stage at Heaven & Hell Festival. After exploding online with one viral moment after another\, The Warning parlayed this momentum into a series of independent releases\, including Escape the Mind EP [2015]\, XXI Century Blood [2017]\, and Queen of the Murder Scene [2019]. They graced a stacked bill at Mother of All Rock Festival as the only Mexican band and opened up two sold out Monterrey shows for The Killers and for Def Leppard in Mexico City and Guadalajara. After quietly amassing over 120 million YouTube views and 30 million+ streams\, they’ve already surged to the forefront of hard rock on their LAVA Records debut album ERROR with millions of streams! Catch them LIVE on their Fall Tour 2022 with Halestorm in the US and with Three Days Grace in Canada in November! \n \n \nChester Bennington possessed one of the most inimitable\, infectious\, and instantly identifiable voices in the history of rock music. The moment he screamed\, it felt like the heavens themselves burst apart into a torrent of often violent\, undeniably vibrant\, and always vital emotions. It’s why fans worldwide hung on to every single word he uttered—and ultimately sang along with him forever. His voice lives on in Grey Daze. What started as a pledge to Chester by friends and family has crystallized into an essential extension of his storied legacy. Grey Daze introduced him to the world during a crucial run from 1993 to 1998. It’s where he honed the vocals that ultimately defined Linkin Park. Prior to his passing\, he personally broke the news of the band’s return and intention to re-record\, re-invent\, and re-ignite music they’d started twenty years prior. \nIn late 2020\, Sean Dowdell and Co. turned their attention to the remaining tracks and what would become The Phoenix. They handpicked tracks from 1994 and 1997 and entered the studio with Amends producer Esjay Jones. This time around\, she exclusively produced the entire project. They immediately locked into a groove and rallied around Chester’s spirit. \n“The Phoenix embodies what Chester was\,” he continues. “His soul is rising through our world past his death. It’s his rebirth.” \n \n \nBorn in the Arizona desert and reared on stages across North America\, The Black Moods deliver a modern update of a timeless sound\, breathing fresh life into a familiar mix of electric guitars\, anthemic hooks\, and percussive stomp. The Black Moods’ three members — frontman/guitarist Josh Kennedy\, drummer Chico Diaz and bassist Jordan Hoffman — aren’t looking to reinvent the wheel. Instead\, they’re piling into a vehicle that’s existed for decades\, souping up the engine to suit their contemporary needs\, and steering those wheels toward their own rock & roll horizon. \nThe band formed in Tempe\, Arizona. Inspired by local heroes like the Gin Blossoms and Roger Clyne & the Peacemakers — both of whom have become champions of the Black Moods\, often tapping the group as a high-profile opening act — The Black Moods began building their audience the old-school way: by hitting the road. They toured heavily\, promoting albums like their 2012 self-titled debut and 2016’s Medicine with gigs across the country. By the time “Bella Donna” hit the radio airwaves during the summer of 2018\, The Black Moods’ fanbase had grown exponentially. The song became a Top 40 hit on the Billboard Mainstream Rock chart\, paving the way for the band’s biggest shows to date. \nModern-day torchbearers of ageless rock & roll\, The Black Moods aren’t shy about nodding to their influences. “Bella Donna” was inspired by the Doors’ slinky strut\, while the chorus of “Bad News” points to rockers like the Foo Fighters.
URL:https://globalazmedia.com/event/98kupd-presents-ufest-2023/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2023/04/98KUPD-PRESENTS-UFEST-2023.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230402T190000
DTEND;TZID=America/Phoenix:20230402T233000
DTSTAMP:20260506T235303
CREATED:20230321T022655Z
LAST-MODIFIED:20230321T022655Z
UID:16140-1680462000-1680478200@globalazmedia.com
SUMMARY:Muse + Evanescence & Highly Suspect at Desert Diamond Arena
DESCRIPTION:Muse are Matt Bellamy\, Dominic Howard and Chris Wolstenholme. Since forming in 1994\, Muse have released nine studio albums\, selling over 30 million units worldwide. Their latest album ‘Will of the People” debuted at #1 in multiple territories including\, UK (their 7th consecutive #1) \, Austria\, France\, Finland\,  Italy and Switzerland. Their previous album\, ‘Simulation Theory’\, debuted at #1 in multiple territories and followed their 2015 album\, ‘Drones’\, which went on to win a Grammy Award for Best Rock Album\, the band’s second.   Muse have won numerous music awards including two Grammy Awards\, an American Music Award\, five MTV Europe Music Awards\, two Brit Awards\, eleven NME Awards and seven Q Awards\, amongst others. \n \n \nEvanescence will release their first album of new original music in nine years\, The Bitter Truth (BMG) over the course of this year\, beginning with the first song and video\, “Wasted on You\,” out now. The video for “Wasted on You” was shot by each band member on their iPhones while currently in isolation. As Amy explains\, “We were recording this music right up until we couldn’t go into the studio anymore\, and finished it remotely through file sharing and phone calls. Tweaking mixes\, adding background vocals\, creating the video and album art all from home has been like water in the dessert for me\, my light in a dark time. We are still writing and have a lot more work to do on this album\, but this time we wanted to release the songs individually\, as we create\, to live more in the moment with our fans and our music. Wasted On You wasn’t the song we were planning to release first\, but when the whole world went into indefinite lockdown and everything changed\, so did the feeling and meaning of what we wanted to say right now. I didn’t write these lyrics about what we’re all now going through\, but somehow that’s exactly what they are. \n \nA muscular\, hard-hitting\, and wide-ranging group in the vein of Pop Evil\, Queens of the Stone Age\, and Royal Blood\, Brooklyn’s Highly Suspect rode a series of indie EPs and years of touring to a pair of Grammy nominations for their 2015 debut. A year later\, their follow-up delivered another hit in the Grammy-nominated single “My Name Is Human\,” setting high expectations for their third outing\, 2019’s hip-hop-leaning MCID. The band continued to blur genres on 2022’s The Midnight Demon Club. \nThe band formed in Cape Cod in 2009 around the talents of Johnny Stevens (guitar\, vocals\, synths) and twin siblings Ryan (drums\, vocals) and Rich Meyer (bass\, vocals). After working regionally as a cover band\, they relocated to Brooklyn and began recording original material\, resulting in a pair of EPs\, First Offense (2009) and The Gang Lion (2010). They continued to establish themselves with one more EP\, The Worst Humans\, in 2012\, before heading into the studio with producer Joel Hamilton (Black Keys\, Elvis Costello) to record their debut long-player. The resulting Mister Asylum\, which featured the fiery single “Lydia\,” was released on 300 Entertainment in 2015. Their debut received critical praise and two unexpected Grammy nominations\, leading to an extensive supporting tour. \nOff the road by early 2016\, they immediately returned to the studio to record a second full-length\, The Boy Who Died Wolf\, which saw release in November of that year. The album’s lead single\, “My Name Is Human\,” topped Billboard’s Mainstream Rock chart and earned Highly Suspect another Grammy nomination for Best Rock Song. As early as November 2018\, they began teasing information about their next album which they later revealed would be called MCID. A pair of singles\, “Upperdrugs” and “16\,” were released in August of that year\, with the eclectic\, hip-hop-infused MCID\, which featured guest spots from Young Thug\, Gojira\, Tee Grizzley\, and Nothing But Thieves‘ Conor Mason\, arriving in November 2019. Three years later\, Highly Suspect released The Midnight Demon Club\, a kinetic and life-affirming set that paired hip-hop beats and cinematic soundscapes with blazing metal. \n \n 
URL:https://globalazmedia.com/event/muse-evanescence-highly-suspect-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/2023/03/Muse-at-Desert-Diamond-Arena.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230402T180000
DTEND;TZID=America/Phoenix:20230402T233000
DTSTAMP:20260506T235303
CREATED:20230322T022313Z
LAST-MODIFIED:20230322T022313Z
UID:16146-1680458400-1680478200@globalazmedia.com
SUMMARY:Saliva + Through Fire & Any Given Sin at Marquee Theatre
DESCRIPTION:After acquiring front man Bobby Amaru in 2011\, Saliva became infused with new blood\, energy\, and spirit. The same energy launched Saliva’s career in 2001 with the release\, _Every Six Seconds – a certified Double Platinum-selling album\, containing the hits\, “Click Click Boom” and 2002 Grammy nominated\, “Your Disease.” Saliva’s in-your-face\, anthemic writing style continued with a certified Gold-selling album *Back in to Your System_ with hits: “Always\,” “Raise Up\,” and the Nikki Sixx co-written\, “Rest In Pieces.”* \nSaliva will continue to release tracks and ultimately a full album in Spring of 2023. The new music has a contemporary feel but sticks to the blue collar roots that their fans love. \nSaliva is Brad Stewart (bass)\, Wayne Swinny (guitar)\, Sammi Jo Bishop (drums) and Bobby Amaru (vocals). \n \n \nBy disregarding rules\, we defy expectations. Rather than stick to the script or follow a template\, Through Fire consistently evolve\, reshaping hard rock with electronic flourishes and airtight songcraft. As a result\, the Omaha\, NE quartet—Justin McCain [lead guitar\, songwriter]\, Grant Joshua Kendrick [lead vocals]\, Tyler Halverson [bass]\, and Zach Halverson [drums]—haven’t just broken the mold; they’ve also broken through as a force to be reckoned with. They’ve notably racked up nearly 100 million cumulative streams and views in addition to landing massive syncs during the NHL Stanley Cup Finals and from the NBA\, NFL\, UFC\, and ESPN with standout “Stronger” even serving as the theme for WWE’s Backlash. Along the way\, they’ve notably toured with All That Remains\, Fozzy\, Seether\, and more. \nNow\, they continue to forge ahead on their third full-length offering\, Devil’s Got You Dreaming [Sumerian Records]. \n“We definitely tried to push some boundaries and venture into new territory where we haven’t gone as a band in the past\,” notes Justin. “There was a different approach\, and we tried sounds we hadn’t tapped into or utilized. We went into this with no rules\, and we had fun.” \n \n \nEvery once in a while\, a singer comes along that single-handedly resets the bar for what a rock vocalist should be. Someone with such raw emotion and power that it makes the hair on the back of your neck stand up. Maryland-based rock band ANY GIVEN SIN’s Vic Richie is that singer. ANY GIVEN SIN spent much of 2019 generating buzz with the release of their single “Dynamite\,” which quickly became the number one most spun song on SiriusXM’s Octane. The band soon solidified its position on Octane\, landing the coveted Accelerator Artist title\, and blazing past some of the biggest names in rock on the weekly BIG UNS Countdown. As the number two most requested song on the channel\, it ended up at number twenty-nine on Octane’s Top 100 year-end countdown. The success of their first single was quickly followed up with the release of their second single\, “Another Life\,” which\, in turn\, became the number one most spun song as well. Any Given Sin recently released their third single\, “Insidious.” The band has been working with some heavy-hitters in the rock world including Trevor Kustiak (Evans Blue)\, John Moyer (Disturbed)\, and most recently\, Chris Dawson (SAUL\, Seasons After)\, who produced both singles\, “Another Life” and “Insidious.” Complete with epic\, crunchy guitar riffs and put-a-hole-in-your-soul\, massive drums\, this is a true-blue American rock band with both authenticity and power. \n \n 
URL:https://globalazmedia.com/event/saliva-through-fire-any-given-sin-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2023/03/saliva-at-marquee-theatre.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230401T203000
DTEND;TZID=America/Phoenix:20230401T233000
DTSTAMP:20260506T235303
CREATED:20230305T185813Z
LAST-MODIFIED:20230305T185813Z
UID:16111-1680381000-1680391800@globalazmedia.com
SUMMARY:STAIND at Arizona Bike Week 2023
DESCRIPTION:It has been said that first impressions last a lifetime. Luckily for Staind\, some only last for about 45 minutes. After a volatile disagreement with Limp Bizkit‘s Fred Durst over some of Staind’s early cover art\, it seemed their big break had walked out the door. Fortunately\, by the time Durst had witnessed Staind’s intense live show\, he was ready to exchange phone numbers. \nStaind’s story began in the New England area when vocalist Aaron Lewis and guitarist Mike Mushok met at a Christmas party in 1993. Mushok was able to bring drummer Jon Wysocki into the fold\, and Lewis‘ connection with a bass player (who later left) completed the early lineup. Establishing themselves took time\, and extensive touring of the Northeast with other established metal acts helped them sell over 2\,000 copies of their self-released debut in just over a year. They were primed for their big break\, and on October 23\, 1997\, the hard work paid off. \nAt a show in Hartford\, Connecticut\, Staind were all set to open for Limp Bizkit when Bizkit singer Durst raised a stink over cover art on Staind’s self-released CD. After a heated conversation over whether or not Staind were Satan worshipers\, Durst forcefully returned the disc to the band\, and walked away. But 45 minutes later Durst was back\, not to further the argument\, but to make sure he kept in contact with Staind. Blown away by their live show\, Durst exchanged phone numbers\, and loved their demo tape when they gave it to him. He convinced them to travel to Jacksonville\, Florida\, to work on the new songs. \nAfter reworking the new material and a successful live show\, Durst contacted the head of Flip Records and arranged a meeting for Staind with the label. While in Los Angeles\, a three-song sampler was recorded\, and by the time February rolled around in 1998\, the band had a record deal. After playing the Vans Warped Tour\, they began work on their first album\, Dysfunction. The album was produced by Terry Date (Deftones\, Pantera\, Soundgarden) and was released April 13\, 1999. A tour with Kid Rock followed that spring and later the band reunited with good friends Limp Bizkit for a summer tour. \nTheir follow-up\, Break the Cycle\, enjoyed a prolonged visit at the number one spot on U.S. charts in 2001. Smash hits like “It’s Been a While\,” “Fade\,” “For You\,” and “Epiphany” catapulted Staind into the mainstream\, leaving their 2002 DVD MTV Unplugged to go gold. Staind released 14 Shades of Grey in spring 2003\, and after a two-year break returned with the chart-topping Chapter V\, named to include their self-released debut in the Staind canon. A Singles and Videos compilation arrived in 2006\, followed by the all-new studio album Illusion of Progress in 2008\, the latter of which debuted at number three on the U.S. Billboard 200 chart. The band’s eponymous seventh studio album\, which saw the departure of longtime drummer Jon Wysocki\, arrived on September 13\, 2011. Later that year\, the band recruited drummer Sal Giancarelli and hit the road\, documenting the tour with 2012’s Live from Mohegan Sun\, which captured the tour’s first show. ~ Chris True\, Rovi
URL:https://globalazmedia.com/event/staind-at-arizona-bike-week-2023/
LOCATION:WestWorld of Scottsdale\, 16601 North Pima Road\, Scottsdale\, AZ\, 85260\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2023/03/Staind-2023.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230331T203000
DTEND;TZID=America/Phoenix:20230331T233000
DTSTAMP:20260506T235304
CREATED:20230305T184430Z
LAST-MODIFIED:20230305T184743Z
UID:16076-1680294600-1680305400@globalazmedia.com
SUMMARY:MEGADETH at Arizona Bike Week 2023
DESCRIPTION:To be released by UMe on September 2\, 2022\, The Sick\, The Dying… And The Dead! further establishes MEGADETH as a band that has both defined and repeatedly redefined heavy metal since formation\, and which follows up 2016’s Grammy®-winning Dystopia\, which debuted at #3 on the Billboard Top 200 (MEGADETH’s highest chart position since its 1992 classic Countdown to Extinction). MEGADETH has crafted a record with a visceral energy\, heaviness\, and sometimes paranormal pace that few would expect from such a seasoned band with so little to prove. The Sick\, The Dying… And The Dead! melds the ultra-frenetic riffing\, fiercely intricate guitar solos\, and adventurous spirit of the quartet’s groundbreaking early output with the musicality and melodicism of its ‘90s songwriting\, all laced with signature virtuosity and precision – plus\, of course\, Mustaine’s singular vocal snarl and wry\, take-no-shit lyrical vitriol. \n“I don’t think we’re nearing the end\, not even remotely\,” Mustaine concludes. “I feel more energized now that I have in decades.” Appropriately\, the album closes with “We’ll Be Back” …
URL:https://globalazmedia.com/event/megadeth-at-arizona-bike-week-2023/
LOCATION:WestWorld of Scottsdale\, 16601 North Pima Road\, Scottsdale\, AZ\, 85260\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2023/03/megadeth-lineup-current.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230330T203000
DTEND;TZID=America/Phoenix:20230330T233000
DTSTAMP:20260506T235304
CREATED:20230305T181258Z
LAST-MODIFIED:20230305T181258Z
UID:16073-1680208200-1680219000@globalazmedia.com
SUMMARY:Billy Idol at Arizona Bike Week 2023
DESCRIPTION:Billy Idol was an early architect of the sound\, style\, and fury of punk rock. Billy was responsible for some of punk rock’s most memorable\, literate\, and evocative moments and created a pioneering new sound by bringing the spirit of ’77 to the dance floor\, going on to fashion an immediately identifiable musical blueprint that integrates club-land throb\, rockabilly desperation\, and rock’n’roll decadence. \nHis lip-curling sneer and fist-pumping persona vaulted him into the mainstream as one of MTV’s first megastars\, making him one of the most recognizable faces in pop music. He has sold 40 million albums while scoring numerous platinum albums worldwide\, nine top forty singles in the U.S. and 10 in the U.K. His smash singles include “Dancing With Myself\, “White Wedding\,” “Rebel Yell\,” “Eyes Without A Face\,” “Flesh For Fantasy\,” “Mony Mony” and “Cradle of Love.”
URL:https://globalazmedia.com/event/billy-idol-at-arizona-bike-week-2023/
LOCATION:WestWorld of Scottsdale\, 16601 North Pima Road\, Scottsdale\, AZ\, 85260\, United States
ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2023/03/Billy-Idol-2023.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230329T203000
DTEND;TZID=America/Phoenix:20230329T233000
DTSTAMP:20260506T235304
CREATED:20230305T180436Z
LAST-MODIFIED:20230305T180436Z
UID:16070-1680121800-1680132600@globalazmedia.com
SUMMARY:Texas Hippie Coalition at Arizona Bike Week 2023
DESCRIPTION:Backyard barbeques\, barroom brawls\, tent revivals\, and big rock festivals alike are suitable environments for the Red Dirt Metal of TEXAS HIPPIE COALITION\, a band with a sound so devilishly electrifying that they had to come up with a new genre to describe it. \nBIG DAD RITCH captains this pirate ship of bikers\, outlaws\, troubadours\, and hellraisers\, welcoming all comers to the THC party with gregarious charisma and Southern charm. Across a half dozen albums\, countless club gigs\, and show stealing performances at Rockstar Mayhem\, THC has spread the good word of big riffs\, big hooks\, and wild times. \nHigh in the Saddle is a record full of unashamed\, full-throttle ass kicking. It’s the band’s second pairing with producer Bob Marlette (Black Stone Cherry\, Rob Zombie) and sixth album over all\, on the heels of the No. 2 Billboard Heatseekers slab\, Dark Side of Black . \nRock/metal tastemaker Loudwire.com described THC’s “nonstop gritty\, grooving\, and downright party rock” as “sounding like the bastard that spawned from a threesome between Monster Magnet\, Willie Nelson\, and Pantera.” Guitarists Cord Pool and Nevada Romo\, bassist Rado Romo\, and drummer Devon Carothers build songs with traditional blue-collar and red-blooded American craftsmanship\, skillfully transforming Big Dad Ritch’s tales of recklessness and revelry into anthems for the Red Dirt Metal lifestyle.
URL:https://globalazmedia.com/event/texas-hippie-coalition-at-arizona-bike-week-2023/
LOCATION:WestWorld of Scottsdale\, 16601 North Pima Road\, Scottsdale\, AZ\, 85260\, United States
ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2023/03/Texas-Hippie-Coalition-2023.png
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230329T120000
DTEND;TZID=America/Phoenix:20230402T190000
DTSTAMP:20260506T235304
CREATED:20230217T023112Z
LAST-MODIFIED:20230217T023757Z
UID:15969-1680091200-1680462000@globalazmedia.com
SUMMARY:Arizona Bike Week 2023 at WestWorld of Scottsdale
DESCRIPTION:Are you all set for Arizona Bike Week 2023?! If you haven’t already\, make your camping or hotel reservations now! \nGet ready to be part of an incredible motorcycle rally and music festival at WestWorld of Scottsdale from March 29-April 2! \nThe RockYard concerts will be epic\, featuring Billy Idol\, Megadeth\, Staind\, and Texas Hippie Coalition! The PowerYard will offer non-stop entertainment and excitement\, including world-class vendors\, bike shows \, charity ride raffles\, live music\, our sexy rally girls\, and much more! Check our Event Schedule often. We’re adding to the list daily. \nFind Your 2022 Ride In Photo Here \n                                     \n\n\n\nArizona Bike Week® and the Arizona Bike Week logo are Registered Trademarks.\nAny Unauthorized Duplication\, Display\, or Use of Name or Logos is Strictly Prohibited by Law.\n\n\n\n\n\nFX Promotions\, Inc. dba Arizona Bike Week\nCorporate Address: 104 S. Robson\, Mesa\, AZ 85210\nVenue Address: 16601 North Pima Road\, Scottsdale\, AZ 85260\nphone: 480.644.8191 | fax: 480.733.4006\ninfo@azbikeweek.com
URL:https://globalazmedia.com/event/arizona-bike-week-2023-at-westworld-of-scottsdale/
LOCATION:WestWorld of Scottsdale\, 16601 North Pima Road\, Scottsdale\, AZ\, 85260\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2023/02/ABW2023-Menu-Header.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230322T190000
DTEND;TZID=America/Phoenix:20230322T233000
DTSTAMP:20260506T235304
CREATED:20230228T025002Z
LAST-MODIFIED:20230228T025002Z
UID:16046-1679511600-1679527800@globalazmedia.com
SUMMARY:Skillet + Theory Of A Deadman at Arizona Financial Theatre
DESCRIPTION:One of the best-selling rock bands of the 21st century\, two-time GRAMMY® Award-nominated multiplatinum Wisconsin quartet Skillet—John Cooper [lead vocals/bass]\, Korey Cooper [guitar/keys]\, Jen Ledger [drums/vocals]\, and Seth Morrison [lead guitar]—write the soundtrack to triumph. An undying spirit humbly asserted and affirmed the band as one of this generation’s most successful rock acts. However\, as all classic underdog stories do\, it happened quietly under the radar. By 2019\, they not only garnered a pair of GRAMMY® Award nods and sold over 12 million albums worldwide\, but they also took home a Billboard Music Award for the double-platinum Awake. Its breakout single “Monster” remains “one of the most-streamed rock songs of all-time” with 285 million global audio streams. 2016’s Unleashed bowed at #3 on the Billboard Top 200. Going #1 on Rock Radio\, the lead single “Feel Invincible” cracked 150 million global audio streams and went platinum. Meanwhile\, the gold-certified Unleashed became their fourth consecutive album to receive either a gold\, platinum\, or double-platinum plaque. To date\, nine original tunes earned RIAA recognition in tandem with high-profile syncs by everyone from WWE and Marvel to ESPN and NFL. Between selling out arenas on four continents\, the group performed on CONAN and graced the pages of USA Today and New York Times\, to name a few. In 2018 alone\, the band clocked 1 billion streams. This momentum continues on their 2019 tenth full-length\, Victorious. \n \n \nSongs make statements at just the right time. Born at the intersection of insurgency and inspiration\, music props up a sounding board for the people to be heard. Theory Of A Deadman amplify this voice on their seventh full-length offering\, “Say Nothing”\, releasing 1.31.20. The award-winning multiplatinum Los Angeles-based Canadian band—Tyler Connolly [lead vocals\, guitar]\, Dave Brenner [guitar\, backing vocals]\, Dean Back [bass]\, and Joey Dandeneau [drums]—flip the pulse of the world into scorching songcraft\, integrating experimental vision\, rock ‘n’ roll attitude\, and clever pop ambition. \nIn the midst of this storm\, Connolly and Co. speak up like never before. “This album allowed me to say all of the things that were on my mind earlier\, but I was too afraid to say\,” the frontman admits. “This album is about what’s going on in the world\, the state of American politics\, and everything else. It was a completely different way of writing for us.” \n“What makes this record important is the content\,” Brenner elaborates. “Tyler approaches some really tough topics like domestic violence and racism. There are real discussions happening in the tracks backed by heavy stuff to make you think.” \n“We just want to write what speaks to us\,” Connolly leaves off. “The best thing is when people sing lyrics back to you\, or if a song gets somebody through a tough time. There’s something we all might be able to dig here.” \n \n \nBy turning inward\, Saint Asonia amplify every element of their signature sound. Skyscraping hooks soar higher\, while arena-ready rhythms rattle harder. The guitars cut deeper\, and the lyrics resound louder than ever. The quartet—Adam Gontier [vocals\, guitar]\, Mike Mushok [lead guitar]\, Cale Gontier [bass]\, and Cody Watkins [drums]—find power and strength on their aptly titled 2022 EP\, Introvert [Spinefarm Records]. \nSaint Asonia initially united two hard rock luminaries under a new banner. Respectively\, Adam and Mike had each reached stratospheric heights in Three Days Grace and Staind\, toppling charts\, packing venues\, and selling millions of records. As such\, their union captivated audiences worldwide. In the wake of their 2015 self-titled debut Saint Asonia\, Loudwire christened the band its “Best New Artist” at the Loudwire Music Awards. The 2019 follow-up\, Flawed Design\, yielded the blockbuster single “The Hunted” [feat. Sully Erna of Godsmack]\, generating over 15 million Spotify streams. In a “4.5-out-of-5-star” review\, New Noise Magazine declared\, “Any fan of hard rock (whether they’ve listened in recently or not) should give Saint Asonia a spin.” Plus\, Loudwire applauded it as one of the “The 50 Best Rock Albums of the Year.” Not to mention\, they toured with everyone from Disturbed\, Breaking Benjamin\, and Seether to Alter Bridge and Mötley Crüe.
URL:https://globalazmedia.com/event/skillet-theory-of-a-deadman-at-arizona-financial-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2023/02/Skillet-Theory-Of-A-Deadman-Rock-Resurrection-Tour.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230317T180000
DTEND;TZID=America/Phoenix:20230318T233000
DTSTAMP:20260506T235304
CREATED:20230313T005712Z
LAST-MODIFIED:20230313T005712Z
UID:16124-1679076000-1679182200@globalazmedia.com
SUMMARY:Taylor Swift\, Paramore & Gayle at State Farm Stadium
DESCRIPTION:Taylor Swift is that rarest of pop phenomena: a superstar who managed to completely cross over from country to the mainstream. Others have performed similar moves — notably\, Dolly Parton and Willie Nelson both became enduring pop culture icons based on their 1970s work — but Swift shed her country roots like they were a second skin; it was a necessary molting to reveal she was perhaps the sharpest\, savviest populist singer/songwriter of her generation\, one who could harness the zeitgeist\, make it personal and\, just as impressively\, perform the reverse. These skills were evident on her earliest hits\, especially the neo-tribute “Tim McGraw\,” but her second album\, 2008’s Fearless\, showcased a songwriter discovering who she was and\, in the process\, finding a mass audience. Fearless wound up having considerable legs not only in the U.S.\, where it racked up six platinum singles on the strength of the Top Ten hits “Love Story” and “You Belong with Me\,” but throughout the world\, performing particularly well in the U.K.\, Canada\, and Australia. Speak Now\, delivered almost two years later\, consolidated that success and moved Swift into the stratosphere of superstardom. Her popularity only increased over her next three albums — Red (2012)\, 1989 (2014)\, Reputation (2017) — and found her moving assuredly into a pop realm where she already belonged. Even when she scaled back her approach with 2020’s stripped-down sibling releases folklore and Evermore\, she remained atop the pop world\, a position she maintained with re-recordings of her back catalog along with Midnights\, a moody album released in 2022. \nThis sense of confidence had been apparent in Taylor Swift since the beginning. The daughter of two bankers — her father\, Scott Kingsley Swift\, worked at Merrill Lynch; her mother\, Andrea\, spent time as a mutual fund marketing executive — Swift was born in Reading\, Pennsylvania\, and raised in suburban Wyomissing. She began to show interest in music at the age of nine\, and Shania Twain wound up as her biggest formative influence. Swift started to work regularly at local talent contests\, eventually winning a chance to open for Charlie Daniels. Soon\, she learned how to play guitar and began writing songs\, signing a music management deal with Dan Dymtrow; her family relocated to Nashville with the intent of furthering her music career. She was just 14 years old but on the radar of the music industry\, signing a development deal with RCA Records in 2004. Swift sharpened her skills with a variety of professional songwriters\, forming the strongest connections with Liz Rose. Taylor’s original songs earned her a deal with Sony/ATV Music Publishing\, but not long after that 2004 deal she parted ways with Dymtrow and RCA\, all with the intent of launching her recording career now\, not later. \nThings started moving swiftly once Swift came to the attention of Scott Borchetta\, a former DreamWorks Records exec about to launch Big Machine Records. Borchetta saw Swift perform at a songwriters showcase at the Bluebird Cafe and he signed her to Big Machine in 2005; shortly afterward\, she started work on her debut with producer Nathan Chapman\, who’d previously helmed demos for Taylor. Boasting original song credits on every one of the record’s 11 songs (she penned three on her own)\, Taylor Swift appeared in October 2006 to strong reviews and Swift made sure to work the album hard\, appearing at every radio or television event offered and marshaling a burgeoning fan base through the use of MySpace. “Tim McGraw\,” the first song from the album\, did well\, but “Teardrops on My Guitar” and “Our Song” did better on both the pop and country charts\, where she racked up five consecutive Top Ten singles. Other successes followed in the wake of the debut — a Grammy nomination for Best New Artist (she lost to Amy Winehouse)\, stopgap EPs of Christmas songs — but Swift concentrated on delivering her sophomore set\, Fearless. \nAppearing in November 2008\, Fearless was certified gold by the RIAA in its first week of release\, and the record gained momentum throughout 2009\, earning several platinum certifications as “Love Story\,” “White Horse\,” “You Belong with Me\,” “Fifteen\,” and “Fearless” all scaled the upper reaches of the country charts while “You Belong with Me” nearly topped Billboard’s Hot 100. Along with the success came some headlines\, first in the form of an infamous appearance at the 2009 MTV Video Music Awards where her acceptance speech was interrupted by Kanye West\, who burst on-stage to declare that Swift’s rival Beyoncé deserved the award more\, but her romances also started gaining attention\, notably a liaison with Twilight star Taylor Lautner\, who appeared with the singer in the 2009 film Valentine’s Day. \nHer flirtation with the silver screen proved brief\, as she then poured herself into her third album\, Speak Now. Released in October 2010\, Speak Now was another massive first-week smash that refused to lose momentum. Hit singles like “Mine” and “Mean\,” which won two Grammy Awards\, played a big factor in its success not just on the country charts but on pop radio as well. Following a 2011 live album called World Tour Live: Speak Now\, Swift turned toward following a pop path on her fourth album\, hiring such mainstream musicians as Dan Wilson\, Butch Walker\, and Britney Spears producer Max Martin. This mainstream pulse was evident on “We Are Never Ever Getting Back Together\,” the first single from Red. Upon its October 2012 release\, Red shattered expectations by selling over a million copies in its first week\, a notable achievement that was doubly impressive in an era of declining sales. Once again\, Swift’s album had legs: it was certified platinum four times in the U.S. and its international sales outstripped those of Speak Now. She supported Red with an international tour in 2013 and more hits came\, including “I Knew You Were Trouble” and “22.” \nAs Swift geared up for the release of her fifth album in 2014\, she made it clear that 1989 was designed as her first “documented\, official” pop album and that there would be no country marketing push for the record. “Shake It Off\,” an ebullient dance-pop throwback\, hit number one upon its August 2014 release. When 1989 appeared in late October 2014\, it once again shot to number one and became her third straight album to sell one million copies in its first week (a new record for any artist). \nSwift gathered many awards during the subsequent year\, including Billboard’s Woman of the Year\, the Award for Excellence at the American Music Awards\, and a special 50th Anniversary Milestone Award from the CMAs. Her 1989 World Tour crossed Asia\, North America\, and Europe during the last half of 2015\, and she won three Grammy Awards at the 2016 ceremonies\, including Album of the Year\, Best Pop Vocal Album\, and Best Music Video for “Bad Blood.” At the end of 2016\, she released “I Don’t Wanna Live Forever\,” a duet with ZAYN from the soundtrack for Fifty Shades Darker. The single reached the Top Five across the world. Swift returned with her sixth album\, Reputation\, in November 2017. Preceded by the number one hit single “Look What You Made Me Do\,” Reputation debuted at number one\, and while it didn’t replicate the success of 1989\, the album did help underscore her popularity while also pushing her toward mature musicality. \nReputation was Swift’s final record for Big Machine. In November 2018\, she signed with Universal Music Group\, which distributed her new albums under its Republic Records banner. The first album in this contract was Lover. Released in August 2019\, Lover was preceded by two singles\, “Me!” and “You Need to Calm Down\,” which both reached number two on the Hot 100 and helped push the album to number one. The acclaimed LP and two of its singles received a total of three nominations at the 62nd Grammy Awards. \nSwift’s plans to support Lover with a tour in 2020 were scrapped due to the COVID-19 pandemic. With some unexpected time on her hands\, she wrote and recorded a new set of songs\, many in collaboration with Aaron Dessner of the National; Bon Iver and longtime Swift associate Jack Antonoff also contributed. The resulting album\, folklore\, was released on July 24\, 2020\, and went straight to the top of the Billboard 200. Less than five months later\, Swift released a companion album to folklore called Evermore. Featuring many of the same collaborators as its predecessor\, the Grammy-nominated Evermore debuted at number one upon its December 11\, 2020 release. Altogether\, the sibling LPs planted Swift atop the U.S. charts for a combined 11 weeks\, and folklore became the best-selling album of 2020. \nIn 2021\, she began the process of re-recording her back catalog after her Big Machine masters were sold off in 2019\, starting with 2008’s Fearless. The first of these tracks — “Love Story (Taylor’s Version)” — arrived that February\, with Fearless [Taylor’s Version] arriving in April. The new version of Fearless contained cameos from Colbie Caillat\, Keith Urban\, and Maren Morris\, along with several previously unheard tunes originally written during the same time period; it debuted at number one on Billboard upon its release. Swift next revisited Red\, releasing Red [Taylor’s Version] in November 2021. This revamp of the 2012 album featured new duets with Phoebe Bridgers\, Chris Stapleton\, and Ed Sheeran\, along with a ten-minute version of the ballad “All Too Well.” Another re-recording\, “This Love (Taylor’s Version)” (originally off 1989)\, arrived in May 2022 and was included in the soundtrack to the coming-of-age drama The Summer I Turned Pretty. \nSwift opened up another chapter in her career with the October 2022 release of Midnights\, an album co-produced by Jack Antonoff and featuring a duet with Lana Del Rey on “Snow on the Beach.” ~ Stephen Thomas Erlewine \n \n \nWhen Paramore revealed they were recording together in January 2022 the response from music fans around the world was immediate and celebratory. In the time since the Grammy-winning\, RIAA-certified multi-Platinum band released their last album\, After Laughter – and Hayley Williams unveiled two lauded solo albums – Paramore have become more popular than ever. Over the last few years Paramore’s influence and popularity has snowballed\, as the age of streaming organically propelled them into a position as one of the world’s biggest\, most culturally compelling rock bands. For the band\, who formed as teenagers in Tennessee\, their 20 year trajectory has seen them grow from youthful outsiders to bonafide pop culture icons\, permeating the musical landscape by inspiring a new generation of musical talent. \n \n \nhi i’m GAYLE and liking the color orange is a personality trait so is being indecisive and having a split dye. i hope my music can help u be more confident and comfortable inside ur emotions because writing and singing about them helps me. maybe if u like my music i’ll be able to meet u at a show or in my dms soon <3 \n \n 
URL:https://globalazmedia.com/event/taylor-swift-paramore-gayle-at-state-farm-stadium/
LOCATION:State Farm Stadium\, 1 Cardinals Dr\, Glendale\, AZ\, 85305\, United States
ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2023/03/taylor-swift-at-State-Farm-Stadium.png
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230308T180000
DTEND;TZID=America/Phoenix:20230308T233000
DTSTAMP:20260506T235304
CREATED:20230301T022346Z
LAST-MODIFIED:20230301T022346Z
UID:16054-1678298400-1678318200@globalazmedia.com
SUMMARY:Cradle Of Filth & DevilDriver at Marquee Theatre
DESCRIPTION:A British extreme metal institution\, Cradle of Filth emerged in 1991 with a style that leaned heavily toward black metal. As the years progressed\, their sound evolved as well\, with elements of gothic and symphonic metal taking over\, resulting in a more commercial approach that yielded internationally charting efforts like Damnation and a Day (2003)\, Thornography (2006)\, Hammer of the Witches (2015)\, and Existence Is Futile (2021). \nCradle of Filth formed in 1991\, originally comprised of vocalist Dani Filth (born Daniel Lloyd Davey)\, guitarist Paul Ryan\, his keyboardist brother Benjamin\, bassist John Richard\, and drummer Darren. After recording a demo dubbed Invoking the Unclean a year later\, the group recruited guitarist Robin Eaglestone\, who quit soon after recording a second demo\, Orgiastic Pleasures; however\, when Richard exited the band a short time later\, Eaglestone stepped back in to assume bass duties\, opening the door for guitarist Paul Allender. Following a third demo\, Total Fucking Darkness\, Cradle of Filth — with new drummer Nicholas Barker — signed with the Cacophonous label\, issuing their proper debut\, The Principle of Evil Made Flesh\, in mid-1994. \nThe lineup changes continued when the Ryan brothers both departed to form the Blood Divine (and Allender left as well)\, making room for guitarists Stuart Antsis and Jared Demeter and keyboardist Damien Gregori to debut on the 1996 mini-LP Vempire or Dark Faerytales in Phallustein. For the full-length Dusk and Her Embrace later that same year\, Gian Pyres took Demeter’s spot\, and afterward\, Gregori was replaced by keyboardist Les Smith; at any rate\, the album substantially expanded the group’s growing cult following. COF’s next effort\, Cruelty and the Beast\, appeared in 1998\, amid the band’s steadily growing reputation for elaborate Alice Cooper/Marilyn Manson-style concert theatrics. Two years later\, they returned with From the Cradle to Enslave\, an EP that featured new drummer Adrian Erlandsson (formerly of Sweden’s At the Gates and the Haunted)\, as Barker had departed to join Dimmu Borgir. \nThe band’s dizzying lineup changes continued apace as Paul Allender rejoined the group and Martin Powell (ex-Anathema and My Dying Bride) replaced Smith on keyboards for the full-length Midian\, which was appropriately released on Halloween in 2000. Bitter Suites to Succubi was issued on Spitfire in summer 2001. The group added a choir and orchestra to the lineup for 2003’s Damnation and a Day on Red Ink\, and moved to Roadrunner for 2004’s Nymphetamine. Thornography followed on Roadrunner in 2006\, a year that also saw the release of The Cradle of Filth Box Set. Eleven Burial Masses\, a collection of live material\, arrived in 2007\, followed by the concept album Godspeed on the Devil’s Thunder in 2008\, which saw Erlandsson replaced by new drummer Martin “Marthus” Škaroupka. \nIn 2010\, the band left Roadrunner\, signing to Peaceville in Europe and Nuclear Blast in the U.S. for the release of their ninth studio LP\, Darkly\, Darkly\, Venus Aversa\, a concept album that focused on the myth of the demon Lilith\, the alleged first wife of the biblical Adam. It was the first Cradle record not to contain any instrumental tracks\, and also featured the sole appearance with the band of keyboardist Ashley Ellyllon\, formerly of Abigail Williams. In 2012\, reduced to the trio of Filth\, Allender\, and Škaroupka\, the group released The Manticore and Other Horrors\, on which they did a bit of a turnabout\, returning female vocals and hardcore punk riffs to the fore. A deluxe remastered and expanded edition of their early demo\, Total Fucking Darkness\, was released in May 2014; featuring additional\, previously unreleased tracks\, it proved a stopgap. \nCradle of Filth’s Hammer of the Witches was announced in May 2015\, marking the first new music from the group in three years — the longest gap in their career. It featured a new lineup that included guitarists Marek Ashok Šmerda and Richard Shaw (marking a return to twin-guitar harmonies) and new keyboardist/female vocalist Lindsay Schoolcraft. The video for “Right Wing of the Garden Triptych” was released in May\, followed by online streams of “Deflowering the Maidenhead\, Displeasuring the Goddess\,” and “Enshrined in Crematoria” in late June. The album arrived in mid-July. \nCradle of Filth announced their 12th album\, Cryptoriana: The Seductiveness of Decay\, in June 2017. Produced by longtime collaborator Scott Atkins in Suffolk\, the set was inspired by the Victorian obsession with death and the supernatural\, and was issued in September while the band were already promoting it on tour. It would be five more years before fans saw another record from the group. Entitled Existence Is Futile and concerned with existential dread\, their 13th album was released in October 2021. The preceding year’s COVID-19 lockdown postponed its release\, allowing them longer to work on it\, rewriting and restructuring their demos to produce the best work possible. Recorded once again with Atkins\, it was their first to feature new keyboardist/backing vocalist Anabelle Iratni. Guitarist Stuart Antsis\, who played with Cradle of Filth from 1995 to 1999\, died on August 21\, 2022\, at the age of 48. \n \n \nA punishing groove and melodic death metal unit based out of Santa Barbara\, California\, DevilDriver originally operated under the moniker Deathride before a copyright issue forced them to adopt a new name. Co-founded by Coal Chamber vocalist Dez Fafara\, who remains the group’s lone original member\, the band debuted in 2002\, but didn’t truly catch fire until the release of 2007’s Last Kind Words\, which heralded a string of high-charting albums like Pray for Villains (2009)\, Winter Kills (2013)\, Trust No One (2016)\, and the concept double album Dealing with Demons (2020 and 2021). Despite enduring numerous personnel shifts\, the band has maintained a lean\, loud\, and punitive sonic attack that has established them as one of the more reliable heavy music purveyors of the early 21st century. \nFollowing the dissolution of his Marilyn Manson/Korn-influenced nu-metal band Coal Chamber\, vocalist Dez Fafara hooked up with guitarists Evans Pitts and Jeffrey Kendrick\, bassist Jon Miller\, and drummer John Boecklin to form DevilDriver — a rather more extreme band dedicated to the subsequent hardcore-meets-death-metal trends. Signed to Roadrunner like Fafara’s previous group\, DevilDriver released their eponymous debut in 2003\, followed a sophomore effort\, The Fury of Our Maker’s Hand (where Pitts was replaced by Mike Spreitzer)\, a couple years later. 2007’s Last Kind Words was the group’s first outing to crack the Billboard 200\, but they got their day in the sun when their 2009 album\, Pray for Villains\, debuted at number 35 and found success in Europe as well. After touring with groups like Behemoth and Slipknot\, DevilDriver went back into the studio to begin work on their fifth album. the resulting Beast\, produced by Mark Lewis\, was released in 2011\, and would be their last album to feature longtime bassist Jon Miller. The band would team up with Lewis again for its next album\, Winter Kills\, their highest-charting LP to date\, which arrived in the summer of 2013 via Napalm Records. 2014 saw the departures of drummer John Boecklin and guitarist Jeff Kendrick\, which prompted Fafara to put the band on hiatus until 2016. The group did indeed resurface that year\, releasing its seventh studio album\, Trust No One\, which would be the first DevilDriver outing for three new members\, ex-Chimaira drummer Austin D’Amond\, guitarist Neal Tiemann\, and ex-Static-X bassist Diego Ibarra. In 2018\, Fafara\, a longtime fan of outlaw country\, fulfilled his ambition to unite the genre with metal on DevilDriver’s eighth album\, Outlaws ’til the End\, Vol. 1. A collection of covers of classics of the genre refashioned in the band’s inimitable powerhouse style\, it featured guest vocals from several metal and country artists including Randy Blythe\, Brock Lindow\, Burton C. Bell\, John Carter Cash\, and Hank Williams III. Prior to that album’s release\, Fafara mentioned to the press that the band had written 48 songs that were ready to record. The first fruits of those sessions appeared in 2020 as Dealing with Demons I\, the initial part of a double album which included the COVID-19-themed single “Keep Away from Me” and a collaboration with Fafara’s son Simon Blade on “You Give Me a Reason to Drink.” Early 2021 saw the band part ways with guitarist Neal Tiemann\, who was replaced by Cody Haglund. The second installment of the concept LP\, Dealing with Demons II\, arrived later that year. \n \n \nBlack Satellite is a rock duo from NYC comprised of Larissa Vale and Kyle Hawken. Having been writing music together for several years\, Black Satellite is the culmination of a deep-rooted partnership contributing to their unified writing style. 
 Shortly after launching their first single Valkyrie from their full-length album Endless\, Black Satellite was requested as support for Starset at NYC’s Gramercy Theatre on the strength of their debut. Their follow up single Blind premiered on ibobi Radio and was subsequently featured on Alternative Press via their discover playlist. Black Satellite was also named one of Alternative Press’ “12 Bands You Need To Know” in a print issue of the magazine. 
 Billboard describes the album as “the end point one might arrive at after listening to all of Muse’s catalog and deciding they just weren’t epic enough.” 
 Black Satellite subsequently released two cover songs paying tribute to Type O Negative\, which charted on metal radio. 
 The band has recently concluded writing and recording their sophomore record\, Aftermath\, mixed by veteran producer Ben Grosse (Marilyn Manson\, Breaking Benjamin\, Filter). Release date to be announced. Their new single “Void” is the first taste of the brand new album. Knotfest commenting on the track: “the first single offers a glimpse into the bold\, stylishly dark sound that has made the duo of Larissa Vale and Kyle Hawken such a promising prospect.” 
 Black Satellite is scheduled to tour with Fozzy Fall 2021. \n \n 
URL:https://globalazmedia.com/event/cradle-of-filth-devildriver-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2023/02/Cradle-Of-Filth-DevilDriver-at-Marquee-Theatre.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230307T183000
DTEND;TZID=America/Phoenix:20230307T233000
DTSTAMP:20260506T235304
CREATED:20230226T230533Z
LAST-MODIFIED:20230226T230533Z
UID:16034-1678213800-1678231800@globalazmedia.com
SUMMARY:Static-X - Rise of The Machine Tour 2023 at The Van Buren
DESCRIPTION:American metal crew Static-X emerged at the tail end of the ’90s\, pushing an aggressive thrash metal blend with industrial overtones and a techno pulse. Their breakthrough debut\, 1998’s cult classic Wisconsin Death Trip\, rocketed them to stardom in the heavy music world\, their image boosted by frontman Wayne Static‘s distinctive hair and vocal delivery. While maintaining momentum into the 2000s with additional efforts like Machine and Shadow Zone\, Static‘s passing in 2014 effectively halted the group in their tracks. However\, at the close of the decade\, the original lineup made a comeback with the help of previously recorded Static vocals\, issuing Project Regeneration in 2020. \nStatic-X’s roots trace to the Midwest\, where vocalist/guitarist Wayne Static grew up in Michigan and drummer Ken Jay in Illinois. They ended up in Chicago separately and met at the record store where Jay worked\, introduced to one another by future Smashing Pumpkins vocalist Billy Corgan (who was in the band Deep Blue Dream with Static). Static and Jay decided to head west to California and start up a new band. Shortly after their arrival\, Osaka native Koichi Fukada responded to the duo’s ad and became their new guitarist\, as well as programmer. Bassist Tony Campos\, the only true Californian\, was the final piece of the puzzle. Signed to Warner Brothers in February 1998\, Static-X debuted with Wisconsin Death Trip a year later. The album was a hit and eventually certified platinum\, bolstered by the strength of the singles “Push It” and “Bled for Days.” Despite the success\, founding guitarist Fukada briefly left the group in 2000\, replaced by Tripp Eisen (ex-Dope) for 2001’s gold-certified Machine\, their highest-charting effort to date. Further lineup changes followed\, as drummer Jay left after the 2003 album Shadow Zone. Soon after\, misdemeanor charges forced Eisen to leave the band in 2004 (he was later convicted and spent a year in prison). Still\, Static-X was undeterred. Static tapped Fukada to rejoin on guitar and programming in 2005\, while touring drummer Nick Oshiro took over full-time. \nIn June 2005\, a rejuvenated Static-X returned to recording with Start a War\, home to the single “I’m the One.” Fifth album Cannibal arrived in 2007\, charting inside Billboard’s Top 40. The band toured and released a CD/DVD document\, Cannibal Killers Live\, then settled into the recording of their sixth studio album\, Cult of Static. Released in March 2009\, it debuted inside the Top 20\, their second highest showing to date. The group went on hiatus not long after finishing a lengthy tour\, with Wayne Static announcing a renewed focus on his Pighammer side project\, with contributions from his wife\, Tera Wray. In 2011\, Pighammer appeared as a solo album under his own name. A year later\, he re-formed Static-X — minus any of the original members. The lineup\, which consisted of his solo backing band\, mounted a tour but broke up by 2013\, and a year later\, Wayne Static was dead of a drug overdose at the age of 48. Just over a year after that\, his widow Tera Wray took her own life. \nThis tragedy seemed to spell the end of Static-X\, but a few years later\, the remaining bandmembers patched up their differences and decided to see if they could salvage anything from past recordings. Starting from a slew of unreleased demos\, the group went into the studio\, once again with Ulrich Wild\, where they stripped Wayne‘s vocals from the demos and composed entirely new tunes around them. The resultant album\, Project Regeneration\, was released in two volumes\, with Vol. 1 arriving in the summer of 2020. To support the release\, the band embarked on tour with a new\, masked frontman named Xer0\, rumored to be Edsel Dope of Dope. Lead single “Hollow” crashed the U.S. Dance/Electronic chart\, peaking in the Top 15. ~ Neil Z. Yeung & Josh Loehr\, Rovi \n \n \nOne can’t overstate the size of the Fear Factory boot print on the neck of heavy metal. Unleashing influential albums with devastating anthems for over 30 years\, Fear Factory is widely recognized as both crucial and innovative in extreme metal circles. Fear Factory manufactured\, demanufactured\, and remanufactured a sound that reverberates across several subgenres. They perfected an explosive blend of staccato paint-stripping riffs\, industrial-tinged drums\, electronic flourishes\, and a scream/sing dichotomy\, all of which became staples in heavy music\, ever since the group first emerged in L.A. \nFear Factory records are cinematic in scope; sonic landscapes\, echoing the dystopian post-apocalyptic futures found in classic sci-fi literature and films\, from Ray Bradbury to Blade Runner. Aggression Continuum\, the tenth studio album\, is the culmination of three decades of unforgettable songs\, performances\, and forward-thinking storytelling concepts\, while simultaneously rebooting Fear Factory onto a brilliant and excitingly unpredictable new path. \nAggression Continuum boasts the definitive attack of songs like “Recode\,” “Distruptor\,” and “Purity.” The riffs\, concepts\, and passion remain strong\, as Fear Factory celebrates its past\, present\, and future. Whatever may come\, Fear Factory will be there\, a soundtrack to humankind’s uncertain times ahead. \n \n \nAn uncompromising New York City-based outfit that draws from both heavy metal and industrial music\, Dope’s confrontational emissions evoke Ministry\, Skinny Puppy\, and White Zombie. Emerging in 1999 with the hard-hitting Felons and Revolutionaries\, the group continued to beat the post-industrial drum on 2005’s American Apathy and 2018’s Blood Money\, Part 1\, while managing to weave in elements of speed\, alternative\, rap\, and nu-metal. \nThe quintet was formed in the Chicago area by brothers Edsel Dope (lead vocals\, rhythm guitar) and Simon Dope (keyboards). Simon studied chemistry at the University of Florida\, then received a scholarship to Polytechnic in Brooklyn. There he was joined by his brother\, with the two claiming to have financed their demos by selling drugs. The initial incarnation of the band included lead guitarist Tripp Eisen\, bass player Acey Slade\, and drummer Preston Nash. They began a selective series of gigs in late 1997. In October 1998\, they were signed to Flip Records\, which made a production deal with Epic. \nDope’s debut album and best-selling release to date\, Felons and Revolutionaries\, was released in September 1999. The Dope brothers gutted their lineup after the ensuing tour\, switching Slade to guitar and bringing in original bassist Sloane Jentry\, guitarist Virus\, and drummer Sketchy Shay. In the fall of 2001\, they released their second album\, Life. Two years later\, the band inked a deal with Artemis and issued the nu-metal-leaning Group Therapy. The punitive American Apathy arrived in summer 2005\, featuring covers of Depeche Mode‘s “People Are People” and N.W.A‘s “Fuck tha Police.” It topped the Billboard Heatseekers chart upon release. No Regrets was issued four years later\, and featured a guest appearance by Zakk Wylde. After an extended hiatus\, Dope’s classic lineup returned with a new album and coinciding tour. The band — Edsel Dope\, Acey Slade\, Virus\, and Racci Shay — released Blood Money\, Pt. 1 in late 2016\, with a sequel\, the aptly-named Blood Money\, Pt. 2\, arriving in 2019. \n \n \nKnown for their theatrical live show and the black masks that most of their members wear on-stage\, Mushroomhead are one of the more unique and adventurous alternative metal outfits that emerged in the 1990s. The band’s forceful yet melodic alternative metal incorporates elements of hip-hop\, punk\, and goth rock as well as industrial and techno. Since releasing their eponymous debut in 1995\, Mushroomhead have sold over two million albums worldwide\, with highlights arriving via 2003’s XIII\, 2006’s Savior Sorrow\, and 2014’s The Righteous & the Butterfly. \nThe members of Mushroomhead have been performing incognito since 1993\, when drummer Skinny founded the band. At first\, Mushroomhead were only meant to be a side project. Their members were playing in various local bands at the time\, and they wore the blacks masks (which look like a cross between S&M/bondage masks and World War I gas masks) so that people wouldn’t recognize them. The only Mushroomhead member who doesn’t wear a black mask opts for Kiss-like clown makeup instead. After a few years\, the group became one of Cleveland’s top local attractions — and the bandmembers kept wearing the masks when they saw how intriguing people found them to be. \nMushroomhead’s self-titled debut album was released independently in 1995\, followed by Superbuick in 1996 and M3 in 1999. The Midwesterners signed with Eclipse in 2000\, and their next record\, XX\, came out the following year. In 2001\, Mushroomhead’s members included drummer/founder Skinny\, lead vocalists J-Mann and Jeffrey Nothing\, guitarists Bronson and Gravy\, keyboardist Shmotz\, bassist Pig Benis\, and sample provider Stitch when they signed to Universal Records to re-release XX. Their first proper effort for the label was 2003’s dynamic XIII\, but the band soon parted ways with not only Universal but also vocalist J-Mann during a subsequent tour. Undeterred\, Mushroomhead pressed on with their D.I.Y. ethos intact and welcomed new frontman Waylon\, formerly of 3 Quarters Dead\, into the fray. \nThe concert film Mushroomhead\, Vol. 1 followed in mid-2005 before the group returned in September 2006 with the critically acclaimed Savior Sorrow\, released through New York-based indie Megaforce Records. Beautiful Stories for Ugly Children\, the band’s seventh studio album\, arrived in 2010\, followed in 2014 by The Righteous & the Butterfly\, the latter of which became the group’s first album to crack the Top 20 of the Billboard Top 200. 2020’s A Wonderful Life introduced new members Steve Rauckhorst and Jackie LaPonza (vocals)\, and Tom Shaffner (guitar)\, who replaced longtime vocalist Jeffrey Nothing and guitar player Tommy Church. It was Mushroomhead’s eighth studio LP and first outing for Napalm Records
URL:https://globalazmedia.com/event/static-x-rise-of-the-machine-tour-2023-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
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DTSTART;TZID=America/Phoenix:20230226T180000
DTEND;TZID=America/Phoenix:20230226T233000
DTSTAMP:20260506T235304
CREATED:20230221T021426Z
LAST-MODIFIED:20230221T021426Z
UID:16015-1677434400-1677454200@globalazmedia.com
SUMMARY:Steel Panther at Marquee Theatre
DESCRIPTION:Satirically pretending to be a hair metal band that missed its big break in the ’80s\, singer Ralph Saenz (“Michael Starr”)\, drummer Darren Leader (“Stix Zadinia”)\, bassist Travis Haley (“Lexxi Foxxx”)\, and guitarist Russ Parrish (“Satchel”) hit the club circuit on the Sunset Strip around the turn of the millennium under the name Metal Shop (later changed to Metal Skool\, and then to Steel Panther). With big\, spiky wigs\, leather jackets\, zebra-striped spandex\, chops earned from playing in a Van Halen tribute band\, and lots and lots of machismo\, their comic take on sex\, drugs\, and rock & roll to the extreme caught on quickly\, leading to sold-out shows and some unexpected brushes with mainstream success. As their popularity increased\, the Hollywood crowd started frequenting their sets\, often making appearances on-stage. This led to some opportunities: the band fittingly played the role of a metal band as “Danger Kitty” in a Discover Card commercial; they appeared on The Drew Carey Show as themselves; and their song “FF” was used as the theme for MTV’s Fantasy Factory. \nIn 2008\, the band signed to Universal Republic. After releasing the singles “Death for All But Metal” and “Community Property\,” Steel Panther’s full-length Feel the Steel was released in October of 2009. The album broke the band onto the Billboard chart\, netting them a spot at number 98 on the U.S. charts (and 48 on the rock chart). Not wanting the fun to stop\, the band got back to it quickly and in 2011 followed up with Balls Out\, which featured guest appearances from comedian Dane Cook and Nickelback‘s Chad Kroeger\, among others. 2014’s All You Can Eat featured the single “Party Like Tomorrow Is the End of the World\,” and featured cover art parodying Leonardo da Vinci’s Last Supper. In 2016\, the band issued their first concert LP\, Live from Lexxi’s Mom’s Garage\, which was released in conjunction with their first full-length feature film\, which blended comedic vignettes and other assorted antics with the aforementioned glam-folk garage show. \nAt the end of 2016\, Steel Panther released a cover of Cheap Trick‘s “She’s Tight” in advance of their fourth studio album Lower the Bar\, which arrived in March 2017. The group headed out on tour in support of the album\, playing dates across the world before embarking on their Sunset Strip Live tour\, which saw the band playing a mix of original material and classic metal covers. Tapping producer Jay Ashton for their fifth album\, the band dropped the unabashed Heavy Metal Rules in late 2019\, preceded by the single “All I Wanna Do Is Fuck (Myself Tonight).” \nFollowing a brief spell of absence from touring Lexxi Foxx announced his departure from the band in 2021\, with the group holding open auditions for a new bassist. The group eventually settled on Joe “Spyder” Lester\, whom had played live with the band in Foxx’s absence. Steel Panther returned to the studio to record their sixth album\, On the Prowl. Producing it themselves\, the album continued with their tongue-in-cheek hair metal\, with the tracks “Never Too Late (To Get Some Pussy Tonight)” and “Friends with Benefits” preceding its release in early 2023. \n \nRiff-monsters Crobot conjures up the kind of rock ‘n’ roll that has grooves so powerful they throw you around the room and hooks high enough to shake the heavens. They take the sweet-sounding nectar of the gods and pour it down your throat until you’re wailing along like a banshee. With tens of millions of streams\, countless shows and acclaim from the likes of Metal Hammer\, Classic Rock\, Kerrang\, BBC Radio\, SiriusXM Octane\, Loudwire\, Guitar World and more\, Brandon Yeagley [vocals]\, Chris Bishop [guitar]\, Tim Peugh [bass]\, and Dan Ryan [drums] realize their vision like never before on their fifth full-length\, Feel This [Released June 3 via Mascot Records]. Feel This is the follow-up to 2019s Top 10 Heatseekers album Motherbrain – whose cumulative streams have surpassed 30 million. 20 million of which were for the goliath single “Low Life” – a US Top 10 at active rock radio on the Billboard Mainstream with a 29-week run.
URL:https://globalazmedia.com/event/steel-panther-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
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DTSTART;TZID=America/Phoenix:20230209T190000
DTEND;TZID=America/Phoenix:20230209T233000
DTSTAMP:20260506T235304
CREATED:20230129T233024Z
LAST-MODIFIED:20230129T233024Z
UID:15894-1675969200-1675985400@globalazmedia.com
SUMMARY:Paramore + Bleachers at Footprint Center
DESCRIPTION:Paramore is a band that formed in 2003 in a quiet town that is now known as Nashville\, TN. Still in junior high\, music made up 100% of their extracurricular time. Until eventually\, they all left for tour in the middle of a school year and thank heaven music would eventually work out for them. No one understood how a band so un-country could be from this strange little town called Nashville\, nor how a bunch of kids so small could play their angst-filled songs so proudly. \nMuch time has passed since those innocent days. \nLife has worn its grooves into the record that is Paramore’s collective life. If you look closely\, you can see that the members of Paramore all have very sexy dark circles under their eyes now… and surprisingly\, haven’t all quit music after years of sexism in the media\, soap opera-worthy drama\, and nearly 15 years inside the brutal beast that is the music industry. \nParamore still reside in their beloved home of Nashville\, TN\, which these days looks a lot more like a construction site than a well-kept secret. They spend most their days and nights sitting on the porch together laughing or crying… reminiscing\, daydreaming\, or trying desperately to just stay present. \nThe band recently wrote and recorded their 5th album in their hometown of Nashville. It’s called After Laughter\, and it’s available everywhere now. \n \n \nBleachers is an American rock band from New Jersey and the official stage name of songwriter and record producer Jack Antonoff. Antonoff has been nominated for a Golden Globe Award and won six Grammy Awards\, including the 2022 Grammy for Producer of the Year. Bleachers’ rock music is heavily influenced by the late ’80s\, early ’90s\, and the high school-based films of John Hughes while still using modern production techniques. Their debut single “I Wanna Get Better” was released in February 2014\, followed by three studio albums: Strange Desire (2014)\, Gone Now (2017)\, and Take the Sadness Out of Saturday Night (2021).
URL:https://globalazmedia.com/event/paramore-bleachers-at-footprint-center/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
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DTSTART;TZID=America/Phoenix:20230201T180000
DTEND;TZID=America/Phoenix:20230201T233000
DTSTAMP:20260506T235304
CREATED:20230118T000352Z
LAST-MODIFIED:20230118T000352Z
UID:15836-1675274400-1675294200@globalazmedia.com
SUMMARY:Parkway Drive at Marquee Theatre
DESCRIPTION:In the kitchen of the Byron Bay home of Winston McCall stands a refrigerator\, adorned on one side by a quote from Tom Waits: “I want beautiful melodies telling me terrible things.” \nThis\, the Parkway Drive vocalist says\, is a pretty good summation of himself. It holds true\, too\, as one of the guiding principles behind Darker Still\, the seventh full-length album to be born of this picturesque and serene corner of north-eastern NSW\, Australia\, and the defining musical statement to date from one of modern metal’s most revered bands. \nDarker Still\, McCall says\, is the vision he and his bandmates – guitarists Jeff Ling and Luke Kilpatrick\, bassist Jia O’Connor and drummer Ben Gordon – have held in their mind’s eye since a misfit group of friends first convened in their parents’ basements and backyards in 2003. The journey to reach this moment has seen Parkway evolve from metal underdogs to festival-headlining behemoth\, off the back of close to 20 gruelling years\, six critically and commercially acclaimed studio albums (all of which achieving Gold status in their home nation)\, three documentaries\, one live album\, and many\, many thousands of shows. \n“When Parkway originally started out\, we all were trying to push ourselves to do more than we possibly could\,” is how McCall explains it. “The better we got at it\, the more comfortable we got\, to the point where it became all comfortable. That is when we chose to acknowledge that just being comfortable was not necessarily doing justice to the skills and the creativity that you have grown over the years. What you hear on Darker Still is the final fulfilment of our ability to learn and grow catching up with the imagination that we have always had. These are the kinds of sounds we always had in mind. This is the way we always dreamed.” \nTo understand that growth is to understand Darker Still\, both musically and thematically. Those who thought they had Parkway Drive figured out – the unrivalled energy\, the high-octane breakdowns\, McCall’s trademark bark – need reconsider everything they know about Australia’s masters of heavy. Not that anyone truly paying to their recent evolution should be surprised\, though. “This is a journey we began with Ire\, and which grew further still on Reverence\,” McCall says\, referencing the band’s preceding 2015 and 2018 works\, respectively. In that context\, it is easy to view Darker Still as the curtain-closer on a transformative trilogy that has seen Parkway reach new heights of creativity and success by eschewing the restrictive\, safe conventions of genre and abandoning their own self-imposed rules in favour of a wide-eyed appreciation of bold new horizons. “There are compositions and songs that we’d never attempted before – or\, to be more accurate\, which we have attempted in the past\, but not had the courage\, time or understanding to pull off\,” McCall reveals. \nThe vocalist would be the first to tell you that in order to grow\, you have to let go of the past; a mantra Parkway embraced tighter than ever before when it came to blueprinting Darker Still. McCall describes how “we wanted to make a record that stood alone from the records we hear at this point in time”; one that delivers on “a more expansive sound\, which allows a new weight to fall into the music.” Gordon\, meanwhile\, says it features “some of the heaviest moments we have ever created\, but it is a different kind of heavy: an emotional catharsis that you can feel in every cell in your body.” The drummer is brutally honest in his reflection that\, between “the ever-changing COVID lockdowns\, government mandates\, travels restrictions and tense personal relationships within the band”\, Darker Still was the most challenging moment of the band’s career. Ling offers agreement\, admitting that the three-year journey of writing and recording – which commenced as far back as April 2019 and would conclude in February 2022 following three months in the studio with producer and engineer pairing George and Dean Hadjichristou – “broke me by the end” as he juggled lockdown family life with the “daunting task of trying to stick everyone’s ideas together” in his downstairs home studio. \n“When writing songs\, we have a few questions that we ask ourselves that helps define our creative path\,” he explains of the gruelling process. “‘What will this song achieve?’ ‘Why does this song deserve to be on this album?’ ‘What emotional response will this song provoke in the listener?’ If all these points check out\, we know we are on the right path.” \n“We are very much a collaborative band when it comes to song writing\,” says Gordon. “Each song goes through several layers of scrutiny and refinements before the final version emerges. Some songs are completely unrecognisable from the first rendition to what ends up on the record.” \nAnd so while Darker Still remains irrefutably Parkway Drive\, it finds the band sonically standing shoulder to shoulder with rock and metal’s greats – Metallica\, Pantera\, Machine Head\, Guns N’ Roses – as much as it does their metalcore contemporaries. “I wanted a classic guitar tone for this record\,” explains Ling\, who credits much of his inspiration to the connection his riffs have with a crowd in a live setting. “I’ve always been drawn to early ‘90s metal\, so something along these lines with a modern edge was my jive. Creatively my goal was to write intricate and intriguing music that is also simple enough for everyone to understand and enjoy. We made a conscious decision to not go overboard with layering and soundscaping. This move would help reinforce our raw and classic album vision.” \n“Production wise\, we wanted to have a slight throwback to the ‘90s\, leaning into some more real and natural sounding tones\, which gives the record more character\,” nods Gordon\, whose work behind the kit on Darker Still – “Less about how much I could show off\, and more about what will best compliment the song\,” is his simple assessment – is emblematic of the record at large. “It took us a long time to learn about the importance of dynamics\,” he says. “We now pick our moments much more and let the song breathe when it needs to.” \nIt is a revivified sound that provides the backdrop for some of McCall’s most personal and introspective songs yet. Exploring the concept of the ‘dark night of the soul’ – “The idea of reaching a point in your life where you are faced with a reckoning of your structure of beliefs\, your sense of self and your place in the world\, to a point where it’s irreconcilable with the way that you are as a person\,” as McCall describes – Darker Still unfurls like the great rock concept albums\, from Pink Floyd to\, most comparably\, Nine Inch Nails’ The Downward Spiral. \nAmongst ruminations on society’s fear of death\, societal isolation and a loss of humanity\, its 11 tracks play out in a classic three-act structure. Ground Zero opens its ‘setup’; a “reckoning with your own internal monologue\, says McCall\, which ominously speaks to “the fights\, the falls\, the scars and broken bones” and how “beneath it all\, the cracks begin to show…” Its second act – its ‘confrontation’ – frames the album’s title track at its core: a classic rock epic about “love and time” that spans a near seven-minutes and which evokes Metallica’s Nothing Else Matters. The album’s ‘resolution’\, meanwhile\, concludes with From The Heart Of Darkness: a brooding monster that opens with McCall’s contemplative searching (“There’s a war going on inside\, nobody’s safe from / You can run\, but you can’t hide / When it’s your soul you must confront”) before exploding with its mosh-call of “Fury be my victory!” \n“I wanted the end of the record to mirror my experience to a degree of what this journey has been like for me\,” McCall reveals. “I found that I was always afraid of showing defiance to be honest and true to myself\, even if that meant sacrificing who I was to become a better version of who I could be. That has to be ripped from the darkest part of you\, because the darkest part of you is what you are always afraid of in the first place. It’s the thing that you don’t want to shine the light on. It’s the element that you don’t want to show people\, which you shy away from\, which you’re too scared to embody.” \nIt is a closing statement that truly defines Darker Still. This is the Parkway Drive the band have been striving to be for two decades. Ling says it best: “I’m really proud of what we have achieved together\, and feel that as musicians\, we have really ascended to new realms of class and ability.” Emerging from the darkness of the past few years\, this is the true face of Parkway: redefined and resolute\, focused in mind and defiant in spirit. \n \n \nOver the course of their career\, Memphis May Fire have channeled a generation’s worth of angst\, frustration\, and pain\, with a focused blend of gigantic melodic hooks and crushing aggression. Even after topping Billboard’s Hard Music Albums chart\, having an album debut at No. 4 on the Billboard Top 200\, and breaking into radio’s Active Rock Top 20\, Memphis May Fire refuse to sacrifice who they are or the people who made them. \nA new season unfolds for the band\, and it’s filled with revitalization and renewal. Stripping things down to their core elements\, hearkening back to the days when they created the music their fans most cherish\, Memphis May Fire rekindled the spark within to build an inferno of riffs and inspirational words. They have returned to their roots with the seasoned polish earned through years of touring and making music together. “Blood & Water” is proof positive of this fact. \nMemphis May Fire have toured with a vast list of important rock and metal acts that include Killswitch Engage\, Sleeping With Sirens\, Black Veil Brides\, Sevendust\, and Atreyu. They’ve co-headlined with Yellowcard and The Devil Wears Prada\, regularly appeared on Warped Tour\, and at major rock festivals. The band’s previous six albums’ continued relevance is a testament to the energized connectivity between the band and their audience. Songs like “Miles Away\,” “No Ordinary Love\,” “Beneath the Skin\,” and “Carry On” account for 100 million views and millions of streams. \nExpect more anthems for the broken and beyond from Memphis May Fire in due course. \n \n \nCURRENTS is the new standard for death-infused metalcore. This is emotionally fraught and impossibly angry music soaked in cold\, depressive atmosphere. CURRENTS explore the forbidden realms of a tortured psyche\, searching for meaning amidst uncertain chaos and venom. \nHeartache\, physical abuse\, abandonment\, trauma – no dark emotion is spared examination. CURRENTS also turn their gaze outward\, offering no mercy to man-made catastrophes like climate change and animal abuse. An exploitative system that inflicts such harm upon humanity and the entire world will not be spared the wrath within this explosive\, weaponized bombast. \nImmediately upon the arrival of the first taste of the band’s second album\, the comments section lost its collective mind. Shockingly devoid of the genre’s penchant for hateful trolling\, the music video for “Poverty of Self” (a scathing indictment of the predatory industries taking advantage of the sick and broken) was met with an avalanche of praise. “These guys are breakdown scientists\,” declared one commenter. “That intro wastes no time to smash you right in the face\,” wrote another. \nThe best gem? “I would donate my organs to this band just to watch them live again.” \nThe Way It Ends\, the second full-length from the Connecticut bruisers\, is a thematic and spiritual successor to their dense\, bludgeoning\, and smartly constructed full-length debut\, The Place I Feel Safest (2017)\, and a direct follow-up to the blistering and diverse EP\, I Let The Devil In (2018). \nThose well-versed in Meshuggah\, Humanity’s Last Breath\, Vildhjarta\, and Architects have embraced CURRENTS with full-throated passion. A combination of their contemporaries and influences\, channeled through unique perspective and personal experience\, resulted in something revolutionary. It’s why they were handpicked for tours with August Burns Red\, As I Lay Dying\, We Came As Romans\, Fit For A King\, Born Of Osiris\, and the Impericon Never Say Die! Tour. \nCURRENTS is comprised of singer Brian Wille; guitarists Chris Wiseman and Ryan Castaldi; bassist Chris Pulgarin; and drummer Matt Young. A winding road through earlier incarnations culminated in a series of self-released EPs\, leading to the band’s partnership with SharpTone. \nKerrang! put “Silence” from The Place I Feel Safest on a list of the 15 Greatest Mosh-Calls in Heavy Music\, alongside bangers by genre leaders like Parkway Drive and Code Orange. Calling the song an “exploration of emotional torment\, all blunt force riffage\, wiry guitars\, and spat vocals\,” the rock mag summarized the track as “a narcotic blend of melodrama and madness.” \nAlbum number two was produced by ex-For Today guitarist Ryan Leitru (Sleeping Giant\, Your Memorial) and Wiseman\, generating the kind of expansive and expressive performances best captured by producer/engineers who are also passionate musicians. Mixing duties were handled by ex-Periphery multi-instrumentalist Adam “Nolly” Getgood (Devin Townsend\, Animals As Leaders). The Way It Ends was mastered by Kris Crummett (Dance Gavin Dance\, Issues). \nCURRENTS take special care to ensure each release serves a purpose\, with a cohesive journey from start to finish\, more in line with classic metal albums than today’s mere collections of songs. The lyrics are thoughtful yet accessible\, skipping easy t-shirt ready sloganeering for actual depth. Blast beats\, breakdowns\, and a driving onslaught of riffs are tempered by stripped back\, tranquil\, ambient moments. There’s post-hardcore\, punk rock dissonance\, and even black metal esotericism. \n“A Flag to Wave” is a CURRENTS anthem\, a mission statement kicking The Way It Ends off after a moody intro\, cascading with devilishly dynamic riffing and intense\, rapid fire rhythm. By contrast\, album tracks like “Kill the Ache\,” “Split” and “Origin” introduce slight electronic elements\, keys and synths\, that actively drive the songs forward. A significant portion of The Place I Feel Safest was about abandonment. Building to a crescendo\, “Let Me Leave” serves as a narrative mirror image\, from the opposite perspective\, a first-person account of the one who walks away. \nThe raw emotion on display in CURRENTS is the key to the deep connection the band has made with its ever-widening audience. They’ve proven themselves a consistent\, determined\, and reliable entity that will always challenge themselves and move forward\, without compromising their core.
URL:https://globalazmedia.com/event/parkway-drive-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2023/01/Parkway-Drive-at-Marquee-Theatre.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230107T183000
DTEND;TZID=America/Phoenix:20230107T233000
DTSTAMP:20260506T235304
CREATED:20230104T005046Z
LAST-MODIFIED:20230104T005046Z
UID:15818-1673116200-1673134200@globalazmedia.com
SUMMARY:The Iron Maidens at Marquee Theatre
DESCRIPTION:Formed in 2001\, The Iron Maidens have quickly established themselves as one of southern California’s most popular tribute acts and are rapidly gaining international recognition. The band boasts beauty as well as excellent musicianship\, lively stage presence\, and a remarkable stage show with theatrical scenes interspersed throughout. \nFirst and foremost on the agenda of The Iron Maidens is talent. These women are highly trained professionals with diversified musical backgrounds ranging from orchestral and musical theater to blues and rock. The band and its members have been the recipients of many awards including best tribute band\, and best in category (guitar\, bass\, drums\, voice) at events such as The Rock City News Awards\, The LA Music Awards\, and The All Access Magazine Award Show to name a few. The line-up is Kirsten “Bruce Chickinson” Rosenberg on vocals\, Linda “Nikki McBURRain” McDonald on drums\, Courtney “Adriana Smith” Cox and Nikki “Davina Murray” Stringfield on guitars\, and Wanda “Steph Harris” Ortiz on bass. \nThe Iron Maidens cover Iron Maiden material from all eras of the band’s career\, encompassing the band’s biggest hits as well as fan favorites. The stage show includes appearances by Maiden mascot Eddie\, the grimreaper\, the devil and more. \nThe Iron Maidens have packed houses everywhere they have played. \n \n \nEmpire of Dezire is an all original metal group consisting of 6 members:   Guitarist Ken Howey and vocalist Tulin Howey who joined forces in Toledo\, Ohio\, then brought their music to Phoenix\, AZ along with original member and bassist Kyle Beaver in the early 90’s. They had been very successful but ran into the most common reasons musicians usually fall off the radar..addiction as well as financial demands and a drop off in what once was a flourishing metal scene.  After a long hiatus mixed with smaller projects in between\, their passion for music and a resurgence in Arizona based metal once again ignited a desire to create new songs that have been inspired by world events\, mysticism\, and the human condition. Empire of Dezire currently has four albums: Chrome which was released in 2013\, Paradigm in 2014\, Prime in 2016\, and most recently their 3 song E.P. Entitled A.I. In 2018. Ken Howey: founding member\, guitarist and “Riffmaster” Endorsed and plays Bad Boy Guitars.. His own series..The Viking by Bad Boy will be released in 2021. Amplification is Mesa Boogie Triple Rectifier. His influences are Tony Iommi\, Micheal Schenker\, Glenn Tipton\, Zakk Wylde\, and Roy Clark.    Tulin Howey: Founding member and vocalist\,  uses Shure SM58 wireless mic system and Boss effects pedal.  Her Influences are Ronnie James Dio\, Ann Wilson\, Pat Benatar\, Geddy Lee\, and Bruce Dickinson. The most recent additions to EOD have been (in no particular order):    Keyboardist Jim Starke: coming soon   Drummer Duncan Campbell:”Big Daddy Sug” Campbell: early influences include Ginger Baker\, Bill Ward and many others. After relocating to Phoenix from New York in 1990\, he began playing the local music scene shortly after. Previous bands include St. Madness\, Mersa\, Kill em All. He currently plays PDP Concept Maple drums\, Zildjian cymbals\, Tama snares and pedals\, Humes & Berg and SKB cases.  Guitarist Jeremy Dasher: Greatest Influences in the beginning were Eddie Van Halen\, and Angus Young\, then as his music style progressed it became Dave Mustaine\, Rhandy Rhoads\, Jimi Hendrix. He is the current also a member of Latency and Viertel and plays Jackson guitars\, Mesa Boogie amplification\, and MXR effects. Bassist Neal Harris: Also a member of Dream Chemistry\, Greatest Influences are  Greg Chaisson\, Kenny Chaisson\, Todd Chaisson\, Steve Harris\, Tony Levin and Chris Squire.  He plays Fender and Jackson basses Ashdown amplification and Peave cabinets. \n \n 
URL:https://globalazmedia.com/event/the-iron-maidens-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2023/01/The-Iron-Maidens-at-Marquee-Theatre.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20221222T193000
DTEND;TZID=America/Phoenix:20221222T233000
DTSTAMP:20260506T235304
CREATED:20221129T223126Z
LAST-MODIFIED:20221129T223126Z
UID:15665-1671737400-1671751800@globalazmedia.com
SUMMARY:LINDSEY STIRLING at Mesa Arts Center
DESCRIPTION:Lindsey Stirling remains fearless enough to always dream big. In the near decade since the release of her 2012 self-titled debut\, the electronic violinist\, dancer\, and artist has quietly and humbly become one of the 21st century’s most innovative stars. Her groundbreaking vision of cinematic violin-driven electronic music has gained her millions of adoring fans worldwide\, four Billboard chart topping albums\, a RIAA Gold certification for her sophomore opus Shatter Me \, and two Billboard music awards. Having amassed over 12.5 million subscribers and 3 billion views on YouTube\, Forbes placed her at #4 on its 2015 World’s Top-Earning YouTube Stars list\, making her the highest-ranked female. The multi-hyphenate was also runner-up on the 25th season of ABC’s Dancing with the Stars. Stirling’s first holiday collection\, Warmer In The Winter (Deluxe Edition)\, closed out 2017 as the best-selling holiday album of the year. In addition\, her single “Carol of the Bells” is still the only instrumental song to ever reach the Top 10 at AC Radio. Her highly anticipated fifth-studio album\, Artemis\, released in 2019 to critical acclaim and debuted at #1 on the Dance/Electronic Album Chart. In the wake of the cancellation of her 2020 tours due to COVID-19\, Lindsey funded and directed a virtual livestream concert that received over 100\,00 unique viewers. She started the 2021 year with the release of Lose You Now\, a single featuring Artist/Producer Mako that reflects on loss. \n \n \n \n 
URL:https://globalazmedia.com/event/lindsey-stirling-at-mesa-arts-center/
LOCATION:Mesa Arts Center\, 1 East Main St.\, Mesa\, AZ\, 85201\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/11/lindsey-stirling-at-mesa-arts-center.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20221220T190000
DTEND;TZID=America/Phoenix:20221220T233000
DTSTAMP:20260506T235304
CREATED:20221208T233904Z
LAST-MODIFIED:20221208T233904Z
UID:15767-1671562800-1671579000@globalazmedia.com
SUMMARY:JINJER & POD at The Van Buren
DESCRIPTION:A versatile\, progressive groove metal unit based out of Ukraine\, Jinjer have found success both in their Eastern European homeland and abroad with their punitive blend of post-hardcore and death/progressive/nu-metal. Drawing from a wide array of influences\, including R&B\, soul\, hip-hop\, and the full spectrum of heavy metal\, the band formed in 2009 and features a lineup consisting of Tatiana Shmailyuk (vocals)\, Roman Ibramkhalilov (guitar)\, Eugene Abdiukhanov (bass)\, and Vladislav Ulasevich (drums). Jinjer issued a pair of EPs\, 2009’s OIMACTTA and 2012’s Inhale\, Do Not Breathe\, before breaking big at home with the release of a full-length version of the latter album in 2013. The group’s sophomore long-player\, 2014’s Cloud Factory\, caught the attention of heavy metal institution Napalm\, which signed Jinjer and released their third full-length effort\, King of Everything\, in 2016. The group toured heavily in support of the LP\, hitting the European festival circuit and making their presence known overseas as well. In early 2019\, the band returned with the Micro EP\, again on Napalm. By the end of the year\, its natural counterpoint\, Macro\, arrived. ~ James Christopher Monger\, Rovi \n \n \nSince 1992\, P.O.D. have globally rallied audiences around a hypnotic hybrid of hard rock\, hip-hop\, reggae\, and alternative punctuated by a message of unification and a powerful pledge to persevere. Sonny Sandoval [vocals]\, Marcos Curiel [guitar]\, Traa Daniels [bass]\, and Wuv Bernardo [drums]—rose up from a tough neighborhood just four exists north of the Mexican border into a three-time GRAMMY® Award-nominated multiplatinum mainstay. Moving 10 million-plus records\, selling out gigs on multiple continents\, logging four Top 10 debuts on the Billboard Top 200\, and collaborating with everyone from Rock and Roll Hall of Fame® inductee Carlos Santana to Katy Perry\, the group continue to bring people together everywhere. \nAfter countless sweaty basement shows coast-to-coast\, the grind continued on 1999’s platinum The Fundamental Elements of Southtown. It set the stage for Satellite in 2001. Not only did Satellite bow at #6 on the Billboard Top 200 and go triple-platinum\, but it also yielded four signature singles “Alive\,” “Youth of the Nation\,” “Boom\,” and “Satellite” and the band garnered three GRAMMY® nods. Three top 10 albums followed with the gold Payable on Death\, Testify\, and When Angels & Serpents Dance. 2012’s Murdered Love logged a Top 20 debut. After 2015’s conceptual The Awakening\, Circles earmarked a new chapter in 2018. Billboard claimed\, “P.O.D. takes a leap forward with ‘Circles’\,” as “Listening For The Silence” and “Always Southern California” lit up DSPs.
URL:https://globalazmedia.com/event/jinjer-pod-at-the-van-buren/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/12/jinjer-and-pod-at-the-van-buren.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20221118T183000
DTEND;TZID=America/Phoenix:20221118T233000
DTSTAMP:20260506T235304
CREATED:20221107T024151Z
LAST-MODIFIED:20221107T024151Z
UID:15565-1668796200-1668814200@globalazmedia.com
SUMMARY:The Smashing Pumpkins + Jane's Addiction at Footprint Center
DESCRIPTION:Alt-rock icons the Smashing Pumpkins are recognized for their amalgam of progressive rock\, heavy metal\, goth\, psychedelia\, and dream pop; a layered\, powerful style driven by swirling\, distorted guitars that churned beneath lead singer/songwriter Billy Corgan‘s angst-ridden lyrics. One of the most visible bands of ’90s\, alongside grunge acts like Nirvana and Pearl Jam\, the Smashing Pumpkins achieved mainstream success over the decade with classic releases Siamese Dream and Mellon Collie and the Infinite Sadness. After a foray into electronic rock on Adore\, Corgan issued a final pair of efforts before putting the group to sleep for an extended early-2000s hiatus that ended with 2007’s Zeitgeist. Along with an ever-changing lineup\, he continued to record under the Pumpkins moniker before reconvening most of the original lineup for a 2018 reunion tour and albums such as 2020’s synth-heavy Cyr and 2023’s Atum: A Rock Opera in Three Acts. \nThe son of a jazz guitarist\, William Patrick Corgan grew up in a Chicago suburb\, leaving home at the age of 19 to move to Florida with his fledgling goth metal band\, the Marked. After the band failed down South he returned to Chicago around 1988\, where he began working at a used-record store. At the shop he met James Iha (guitar)\, a graphic arts student at Loyola University\, and the two began collaborating\, performing\, and recording songs with a drum machine. Corgan met D’Arcy Wretzky at a club show; after arguing about the merits of the Dan Reed Network\, the two became friends and she joined the group as a bassist. Soon\, the bandmembers\, who named themselves the Smashing Pumpkins\, had gained a dedicated local following\, which included the head of a local club who booked them to open for Jane’s Addiction. Before the pivotal concert\, the band hired Jimmy Chamberlin\, a former jazz musician\, as their full-time drummer. \nIn 1990\, the Smashing Pumpkins released their debut single\, “I Am One\,” on the local Chicago label Limited Potential. The single quickly sold out\, and in December the band released “Tristessa” on Sub Pop. By this point\, the Smashing Pumpkins had become the subject of a hot bidding war\, and the group latched onto a clever way to move to a major label without losing indie credibility. They signed to Virgin Records\, yet it was decided that the group’s debut would be released on the Virgin subsidiary Caroline\, and then the band would move to the majors. The strategy worked; Gish\, a majestic mix of Black Sabbath and dream pop produced by Butch Vig\, became a huge college and modern rock hit upon its spring 1991 release. The Pumpkins embarked on an extensive supporting tour for Gish\, which lasted over a year and included opening slots for Red Hot Chili Peppers and Pearl Jam. During the Gish tour\, tensions between bandmembers began to escalate\, as former couple Iha and Wretzky went through a messy breakup\, Chamberlin became addicted to drugs and alcohol\, and Corgan entered a heavy depression. These tensions weren’t resolved by the time the group entered the studio with Vig to record their second album. \nToward the beginning of the sessions\, the Pumpkins were given significant exposure through the inclusion of “Drown” on the Singles soundtrack in the summer of 1992. As the sessions progressed\, Corgan relieved himself of his depression by working heavily — not only did he write a surplus of songs\, he played nearly all of the guitars and bass on each recording\, which meant that its release was delayed several times. The resulting album\, Siamese Dream\, was an immaculate production and was embraced by critics upon its July 1993 release. It was their first blockbuster\, debuting at number ten on the charts and establishing the Smashing Pumpkins as stars. “Cherub Rock\,” the first single\, was a modern rock hit\, yet it was “Today” and the acoustic “Disarm” that sent the album into the stratosphere. The Smashing Pumpkins became the headliners of Lollapalooza 1994\, and following the tour’s completion\, the band went back into the studio to record a new album that Corgan had already claimed would be a double-disc set. To tide fans over until then\, the Pumpkins released the B-sides and rarities album Pisces Iscariot in October 1994. \nWorking with producers Flood and Alan Moulder\, the Smashing Pumpkins recorded as a full band for their third album\, the double-disc set Mellon Collie and the Infinite Sadness\, which became an even bigger hit than Siamese Dream\, debuting at number one on the charts. On the strength of the singles “Bullet with Butterfly Wings\,” “1979\,” “Zero\,” and “Tonight\, Tonight\,” it sold over four million copies in the U.S.\, eventually being certified platinum over eight times. The Pumpkins had graduated to stadium shows for the Mellon Collie tour\, and the band was at the peak of its popularity when things began to spiral. On July 12\, prior to two shows at Madison Square Garden\, the group’s touring keyboardist\, Jonathan Melvoin\, died from a heroin overdose; he was with Chamberlin\, who survived his own overdose. In the wake of the tragedy\, the remaining Pumpkins fired Chamberlin and spent two months on hiatus as they recovered and searched for a new drummer. Early in August\, they announced that Filter member Matt Walker would be their touring drummer and Dennis Flemion\, a member of the Frogs\, would be their touring keyboardist for the remainder of the year. They returned to the stage at the end of August and spent the next five months on tour. \nIn spring\, the Smashing Pumpkins recorded two songs for the soundtracks for Batman & Robin (the Grammy-winning “The End Is the Beginning Is the End”) and Lost Highway (“Eye”). The latter track hinted at the direction of their next album\, which took a surprise turn into subdued electronics. Shrouded by the death of Corgan‘s mother and a divorce\, Adore followed a few months later. Despite topping international charts and peaking at number two on the Billboard 200\, the effort’s sales and reviews were disappointing\, with many critics confused by their new direction. The band embarked on a tour\, contributing 100-percent of the earnings to charity\, and returned to the studio. \nPrior to the release of their fifth album\, Chamberlin returned to the group and Wretzky made her exit\, replaced by Hole bassist Melissa Auf der Maur. Bringing the band back to its early rock roots\, MACHINA: The Machines of God landed in early 2000. Peaking at number three\, MACHINA included the singles “Stand Inside Your Love” and “The Everlasting Gaze.” In the midst of album promotion\, Corgan announced his intention to dissolve the band that year with a farewell tour. Fans received one last treat when Corgan and company finished tracks that were left over from the MACHINA sessions. Surprisingly\, Virgin Records balked at the idea of releasing the 25-track set so close to the release of their previous album\, so the band put the entire album (going by the official title of Machina II: The Friends and Enemies of Modern Music) on the Internet for fans to download for free. On December 2\, 2000\, the Pumpkins played a mammoth show at Chicago’s Metro (also the venue at which the group played its first show back in 1988). Booked as a final farewell\, it would actually just be their first official hiatus\, the start of an uneven period for Corgan when the Pumpkins would become known as much for lineup and status changes as the music itself. \nDuring the break\, former members of the band didn’t wait long before carrying on with other projects. Corgan spent the summer of 2001 playing guitar with New Order on select concert dates\, and later in the year unveiled his new band\, Zwan\, which included Chamberlin on drums (as well as former Chavez guitarist Matt Sweeney and bassist David “Skullfisher” Pajo). He also released a book of poetry. The other two former Pumpkins\, Iha and Auf der Maur\, began putting together an alt-rock supergroup dubbed the Virgins. Iha also began playing with A Perfect Circle. A pair of postmortem Pumpkins collections were also issued as a double-disc/DVD\, both called Greatest Hits (aka Rotten Apples). Corgan released his first solo album\, The Future Embrace\, in 2005\, and on the day it came out\, he took out a full-page ad in The Chicago Tribune to announce that the Smashing Pumpkins were reuniting just five years after splitting. However\, he hadn’t informed any of his past bandmates\, and only Chamberlin joined for the ride. The resulting album\, Zeitgeist (Reprise Records)\, was issued in 2007. Although it peaked at number two\, the effort continued the band’s late-era decline in sales and critical acclaim. The new lineup — which added guitarist Jeff Schroeder\, bassist Ginger Reyes\, and keyboardist Lisa Harriton — embarked on a successful international tour\, despite lukewarm reception to Zeitgeist. \nCorgan and Chamberlin released an EP\, American Gothic\, at the start of 2008\, before Corgan shook things up once again by announcing that the group would no longer record albums and would instead only issue singles. Chamberlin parted ways with the band once again in March 2009 and Corgan was joined by Schroeder\, bassist Nicole Fiorentino\, and drummer Mike Byrne. Once the dust settled\, Corgan followed through on his promise to issue only short-form releases\, putting out the track “A Song for a Son” in December of 2009. Scattered songs from the band’s Teargarden by Kaleidyscope concept were released over the next two years as free downloads\, with physical collections of the tracks released in 2010 by way of the EP box sets Songs for a Sailor and The Solstice Bare. \nIn 2012\, Corgan decided to take a break from the single-centric concept and released Oceania\, the Smashing Pumpkins’ official eighth studio album. A live companion\, Oceania: Live in NYC\, was released the following year. In 2014\, Corgan announced that he would be releasing two albums the following year under a new deal with BMG\, which would tie up the Teargarden concept; these would be titled Monuments to an Elegy and Day for Night. By this point\, Fiorentino and Byrne had left the band\, and drums on Monuments to an Elegy were played by Tommy Lee of Mötley Crüe. Monuments was released on December 9\, 2014 and debuted in the Top 40 of the Billboard 200\, making it their lowest-charting effort since their debut. Chamberlin returned to the band for a 2015 tour\, although the promised Day for Night failed to materialize on schedule. \nIn early 2016\, Iha reunited with Corgan and Chamberlin for a performance in Los Angeles\, their first show together in almost two decades. Subsequent live shows followed\, leading to an eventual reunion of the original lineup (sans Wretzky) for a 2018 tour. The Shiny and Oh So Bright Tour featured the three founding members and bassist Jack Bates (son of Peter Hook). To coincide with the summertime trek\, the Pumpkins released “Solara\,” the first single from their reunion album Shiny and Oh So Bright\, Vol. 1/LP: No Past. No Future. No Sun. Produced by Rick Rubin\, Shiny and Oh So Bright appeared in November 2018. \nIha and Chamberlin were also on board for the group’s 11th studio album\, 2020’s Cyr. Produced by Corgan in Chicago\, the double LP also featured contributions by longtime guitarist Schroeder and included the songs “Cyr” and “The Colour of Love.” Released in November of 2020\, the album hit number ten on Billboard’s Top Rock Albums chart. It was also released in conjunction with a five-part animated sci-fi series\, In Ashes. \nA single\, “Beguiled\,” arrived in September 2022 as the first track released off 2023’s Atum: A Rock Opera in Three Acts. Along with being the Pumpkins 12th studio album\, Atum was the group’s third concept album\, a spiritual sequel to both 1995’s Mellon Collie and the Infinite Sadness and 2000’s MACHINA:The Machines of God. ~ Stephen Thomas Erlewine & Neil Z. Yeung\, Rovi \n \n \nLos Angeles quartet Jane’s Addiction were one of the most influential and iconic alternative rock bands of the late ’80s and early ’90s. Hotly pursued when they first debuted in the mid-’80s\, they released a pair of landmark albums before dissolving in 1991. Subsequent reunions yielded additional efforts while they maintained their cult status into the 2000s. Flamboyant frontman Perry Farrell\, formerly of the band Psi Com\, had an undeniable charisma and an interest in provocative art (he designed the band’s album covers)\, and Jane’s Addiction played a hybrid of rock music: metal with strains of punk\, folk\, and jazz. The quartet\, comprised of Farrell\, bassist Eric Avery\, drummer Stephen Perkins\, and guitarist Dave Navarro\, had already released its debut album as well\, in the form of a live recording from the Roxy in Hollywood. Finally\, Warner Bros. won the bidding war and released Nothing’s Shocking in 1988. The band’s abrasive sound and aggressive attitude (typified by the nude sculpture on the cover) led to some resistance\, but Jane’s Addiction began to break through to an audience — the album spent 35 weeks on the charts. \nRitual de lo Habitual followed in 1990 and was the band’s commercial breakthrough\, reaching the Top 20 and going gold. Farrell designed the traveling rock festival Lollapalooza as a farewell tour for Jane’s Addiction. After the tour was completed at the end of the summer of 1991\, the group split. Farrell would continue to be involved with the organization of the annual Lollapalooza festival for the next several years; he also formed Porno for Pyros with Perkins in 1992\, releasing their debut record the following year. After a couple of quiet years — which included forming Deconstruction\, a band that didn’t release any records until 1994\, with Avery — Navarro joined Red Hot Chili Peppers at the end of 1993. \nBy 1997\, Perkins and Farrell had dissolved Porno for Pyros\, while Navarro was about to resign from Red Hot Chili Peppers. After Navarro began playing with his two former bandmates again during Porno for Pyros‘ final tour\, a Jane’s Addiction reunion tour was announced for the fall of the same year. The only catch was that Chili Peppers bassist Flea replaced Avery (Avery refused to participate\, as he concentrated on his new band\, Polar Bear). To coincide with the short tour\, the newly reunited Jane’s Addiction issued the album Kettle Whistle\, which compiled classic live performances and demos alongside a few newly recorded tracks. The album didn’t fare well on the charts\, but the reunion tour was a rousing success. It didn’t lead to a permanent re-formation\, however\, as members went their separate ways once more after its completion. A planned film documentary of the reunion tour failed to materialize\, as a best-of compilation that chronicled Farrell‘s work (with Jane’s\, Porno\, and a few new solo tracks) was issued in 1999\, titled Rev. His first solo full-length\, Song Yet to Be Sung\, saw the light of day in 2001. Navarro‘s debut solo effort\, Trust No One\, was issued a month earlier than Farrell‘s\, as another Jane’s Addiction reunion was announced the same year. Avery again refused to participate\, with his spot being filled by former Porno for Pyros bassist Martyn Lenoble. \nSeveral years later\, Jane’s Addiction readied themselves to do it again. In mid-2002\, Farrell\, Navarro\, and Perkins headed back into the studio for their first album of new material in over a decade. Bass player Chris Chaney (Tommy Lee\, Alanis Morissette) was added to the group and Bob Ezrin (Pink Floyd\, Kiss\, Aerosmith) signed on to produce the new record. Capitol prepped for the release of Strays in July 2003 while Farrell resurrected Lollapalooza after a six-year break. \nAround 2004\, Jane’s Addiction announced they had broken up yet again and the members began work on several other music projects. Navarro\, Perkins\, Chaney\, and vocalist Steve Isaacs formed the band the Panic Channel\, and released the album (One) in 2006. Also in 2006\, Navarro co-hosted the CBS reality music competition Rock Star: Supernova\, in which contestants vied to become the lead singer for a supergroup featuring drummer Tommy Lee\, bassist Jason Newsted\, and guitarist Gilby Clarke. In early 2007\, the Panic Channel and Supernova toured together. Meanwhile\, Farrell and his wife Etty Lau Farrell\, along with former Extreme guitarist Nuno Bettencourt\, formed the band the Satellite Party and released the album Ultra Payloaded in 2007. \nIn 2008\, Jane’s Addiction reunited\, this time featuring the original lineup including bassist Avery\, who had not performed with the band since 1991. The band quickly re-recorded two tracks\, “Whores” and “Chip Away” — which had never officially been recorded in a studio — and joined Trent Reznor and Nine Inch Nails on tour. The lavish box set A Cabinet of Curiosities appeared in 2009. In 2010\, Avery announced he was leaving the band and was replaced by former Guns N’ Roses bassist Duff McKagan. Originally added as a temporary member\, McKagan ultimately signed on full-time and the band began working on new material. In May of 2010\, the new-look Jane’s Addiction with McKagan on bass premiered the song “Soulmate” during a Cinco de Mayo concert in Hollywood. McKagan left the group the following year\, and was replaced by TV on the Radio multi-instrumentalist Dave Sitek\, who also appeared on the band’s fourth proper studio album\, 2011’s The Great Escape Artist. For the supporting tour for The Great Escape Artist\, Chris Chaney joined Jane’s Addiction and stayed with the band for the next few years\, a time which was marked by semi-regular concerts and festival appearances. In 2016\, Jane’s Addiction launched the Sterling Spoon Anniversary Tour which celebrated the anniversaries of Lollapalooza and Ritual de lo Habitual. To accompany the tour\, the group released a vinyl box set called Sterling Spoon. ~ William Ruhlmann & Greg Prato\, Rovi \n \n 
URL:https://globalazmedia.com/event/the-smashing-pumpkins-janes-addiction-at-footprint-center/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/11/The-Smashing-Pumpkins-Janes-Addiction-at-Footprint-Center.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20221110T200000
DTEND;TZID=America/Phoenix:20221110T233000
DTSTAMP:20260506T235304
CREATED:20221103T020332Z
LAST-MODIFIED:20221103T020332Z
UID:15558-1668110400-1668123000@globalazmedia.com
SUMMARY:ATEEZ at Desert Diamond Arena
DESCRIPTION:On October 24 th 2018 the world of K-pop was introduced to its most exciting new boyband act named ‘ATEEZ’. This introduction happened through the release of the ‘TREASURE EP.1: All To Zero’\, an EP that signifies the first chapter of an exciting and interactive adventure in which fans are invited to strap in and join the band on the start of their musical career. \nATEEZ consists of 8 members who both individually and collectively connect with fans on a multitude of levels. The band is made up of Hong Joong\, team leader\, rapper and composer; Seong Hwa\, vocals; Yun Ho\, vocals and choreographer; Yeo Sang\, vocals and choreographer; San\, main vocals; Min Gi\, rapper and choreographer; Woo Young\, vocals and choreographer; and Jong Ho\, main vocals. \nA variety of performance videos have already garnered the attention of fans across the world\, leading to ATEEZ hosting their very first fan event before any official music release. Furthermore\, the Mnet reality show ‘Code Name is ATEEZ’ gave fans a glimpse of the band’s debut story and what goes on behind the scenes of their quest to become the perfect boyband. \nThe world of ATEEZ is made up of incredible performances\, fantastic music productions and truly unique and engaging personalities. So sit back and join ATEEZ on what is going to be a truly epic voyage.
URL:https://globalazmedia.com/event/ateez-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/2022/11/299895434_5462852243753074_543678409644626151_n.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20221028T183000
DTEND;TZID=America/Phoenix:20221028T233000
DTSTAMP:20260506T235304
CREATED:20221026T021726Z
LAST-MODIFIED:20221026T021726Z
UID:15423-1666981800-1666999800@globalazmedia.com
SUMMARY:I Prevail | Pierce The Veil & Fit For A King at The Van Buren
DESCRIPTION:Platinum-certified and twice GRAMMY-nominated Michigan rock powerhouse I PREVAIL — Brian Burkheiser (vocals)\, Eric Vanlerberghe (vocals)\, Steve Menoian (guitars/bass)\, Dylan Bowman (guitars)\, and Gabe Helguera (drums) — have announced their first North American headline tour in support of their new album TRUE POWER. Their much-anticipated album was just released via Fearless Records on August 19. You can check out the video for “Body Bag” here. Also\, the band shows off its dynamic chops with “Self-Destruction” here. \n  \nI Prevail have established themselves as the forerunners of the genre in the 21st century. TRUE POWER\, once again produced by Tyler Smith\, features the sort of stadium-sized riffs that will rattle your teeth loose from your gums and unforgettable\, supremely catchy melodies that will camp out in your brain for weeks at a time. The band also alternately mixes screamed vocals that sound as though they crawled from the depths of hell with soaring\, emotional vocals and heartfelt\, intimate lyrics that go so deep\, they hit marrow. The end result is an album that resonates with the listener in the most personal way. Rising to an arena level and receiving two Grammy nominations\, I Prevail proved that they were built to last. \n \n \nRight now\, Pierce the Veil are at their most raw\, crackling with urgency and immediacy. Never predictable\, always engaging\, Pierce the Veil continue to soar on the strength of highly potent energy\, rich musicality\, and a scrappy sense of authentic exuberant ambition that’s frankly unrivaled. Frontman Vic Fuentes\, guitarist Tony Perry\, and bassist Jaime Preciado put volatile\, angsty\, confessional emotions into the music\, which is why their songs resonate with so many. “No matter where the band performs\, fans will show up\,” wrote Loudwire. “When you see Pierce The Veil live\, you’ll understand why.” \nPTV’s evolution from album to album is nothing less than stunning. The early buzz generated by A Flair for the Dramatic (2007) made its follow-up one of the most anticipated albums of 2010. Selfish Machines shot to No.1 on Billboard’s Heatseekers chart. The Chicago Tribune saluted Collide with the Sky for its “post-hardcore punk with more than a few nods to Queen.” They became a true arena act on Misadventures\, selling out huge venues without losing the intimate connection with their fans. \nPierce the Veil have long cemented their status as one of the most exciting and relevant acts in their genre — by constantly evolving. \n \n \nTrauma and tragedy transfer from one generation to the next. As difficult as it may be\, we still possess the power to break the cycle and start anew. Fit For A King ponder the pain of these cycles and the possibility to end them on their seventh full-length offering\, The Hell We Create [Solid State]. The Texas quintet—Ryan Kirby [vocals]\, Bobby Lynge [guitar]\, Daniel Gailey [guitar]\, Ryan “Tuck” O’Leary [bass]\, and Trey Celaya [drums]—explore this ebb and flow with a deft\, yet delicate balance of sharp metallic intensity and soaring melodic energy. “The album is a reflection of the events that happened throughout the pandemic\,” recalls Ryan. “In short\, my wife and I adopted children and had to homeschool them. She almost died from a stroke. The Hell We Create is by far the deepest and most personal record we’ve ever written.” In 2011\, Fit For A King emerged out of Texas with a searing signature style rooted in metal and hardcore and uplifted by hypnotic hooks. Following the breakout LP Creation/Destruction [2013]\, they earned four consecutive Top 5 debuts on both the Billboard Top Christian Albums Chart and the Top Hard Rock Albums Chart with Slave to Nothing [2014]\, Deathgrip [2016]\, Dark Skies [2018]\, and The Path [2020]. The latter marked their first #1 on the Top Christian Albums Chart and Top 10 on the Billboard Top Album Sales Chart. Plus\, the band collaborated with fellow heavy-hitters such as August Burns Red and We Came As Romans. \n \n 
URL:https://globalazmedia.com/event/i-prevail-pierce-the-veil-fit-for-a-king-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
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