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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230402T190000
DTEND;TZID=America/Phoenix:20230402T233000
DTSTAMP:20260506T214214
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
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230402T180000
DTEND;TZID=America/Phoenix:20230402T233000
DTSTAMP:20260506T214214
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:20260506T214214
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:20260506T214214
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
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230330T203000
DTEND;TZID=America/Phoenix:20230330T233000
DTSTAMP:20260506T214214
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
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230329T203000
DTEND;TZID=America/Phoenix:20230329T233000
DTSTAMP:20260506T214214
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:20260506T214214
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:20260506T214214
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230317T180000
DTEND;TZID=America/Phoenix:20230318T233000
DTSTAMP:20260506T214214
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230308T180000
DTEND;TZID=America/Phoenix:20230308T233000
DTSTAMP:20260506T214214
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
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230307T183000
DTEND;TZID=America/Phoenix:20230307T233000
DTSTAMP:20260506T214214
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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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230226T180000
DTEND;TZID=America/Phoenix:20230226T233000
DTSTAMP:20260506T214214
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
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2023/02/Steel-Panther-at-Marquee-Theatre-2023.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230209T190000
DTEND;TZID=America/Phoenix:20230209T233000
DTSTAMP:20260506T214214
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
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2023/01/Paramore-Bleachers-at-Footprint-Center.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230201T180000
DTEND;TZID=America/Phoenix:20230201T233000
DTSTAMP:20260506T214214
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
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230107T183000
DTEND;TZID=America/Phoenix:20230107T233000
DTSTAMP:20260506T214214
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:20260506T214214
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:20260506T214214
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
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20221118T183000
DTEND;TZID=America/Phoenix:20221118T233000
DTSTAMP:20260506T214214
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
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20221110T200000
DTEND;TZID=America/Phoenix:20221110T233000
DTSTAMP:20260506T214214
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
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DTSTART;TZID=America/Phoenix:20221028T183000
DTEND;TZID=America/Phoenix:20221028T233000
DTSTAMP:20260506T214214
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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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20221028T183000
DTEND;TZID=America/Phoenix:20221028T233000
DTSTAMP:20260506T214214
CREATED:20221020T191355Z
LAST-MODIFIED:20221020T191355Z
UID:15404-1666981800-1666999800@globalazmedia.com
SUMMARY:AFI at Marquee Theatre
DESCRIPTION:AFI 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. \n \n \nKnown for their androgynous image\, prominent use of reverb-laden guitar work\, and forlorn vocals akin to the style of early Killing Joke\, Drab Majesty are an alternative neo-goth project from Los Angeles\, California. Led by singer/songwriter Andrew Clinco (aka Deb DeMure)\, Drab Majesty came about after Clinco decided to focus his creative energy on his own work\, primarily geared toward particular aural and visual aesthetics. Following their emergence in 2011\, the group gained critical acclaim in 2015 with their DAIS Records debut Careless\, and 2017 follow-up The Demonstration. \nRaised in a musical household during the early 2000s\, Clinco became more interested in making music after discovering abandoned vinyl in the bins of the local thrift stores around Hollywood. He developed a taste for the culturally defining sounds of acts from previous decades such as Siouxsie and the Banshees\, Red Lorry\, Yellow Lorry\, and Felt. Clinco also found time to build up his own musical abilities by teaching himself to play his father’s guitar and attending regular church visits with his grandmother\, where the expansive range of the church choir and the naturally cavernous acoustics of the church would later influence his eclectic vocal style. \nOver time\, Clinco began to experiment with various instruments and styles\, and eventually found his first niche in handling drum duties for post-rock outfit Marriages and neo-goth darkwave band Black Mare. After having established himself on the gig circuit and extensive recordings with both bands\, Clinco felt he needed to delve deeper into his own creativity and inner consciousness by developing a multi-angled project of his own. Interested in creating something that traversed visual arts as well as aural textures in which he could become “a vessel” for outside influences flowing inwardly through him\, the idea ultimately resulted in the character of Deb DeMure and the world of Drab Majesty. Opting for a blend of ’80s-esque new wave with jangly\, reverberated guitars and ethereal synth leads\, DeMure amassed a number of songs\, and Drab Majesty put out the independent release Uranian Dances in 2012 in a limited run of 100 cassette tapes. The effort was later picked up and re-pressed by Lollipop Records. \nDrab Majesty then went on to sign with DAIS Records and release the full-length effort Careless in late 2015. The record was a success\, with many critics praising its use of nostalgic sound and its crystalline production techniques. Drab Majesty then went out on the road to promote the record\, in support of acts such as Clan of Xymox\, the Black Queen\, and DAIS labelmates King Dude and Youth Code. It was around this time that DeMure added keyboardist Alex Nicolaou (aka Mona D) to the band. These numerous live appearances\, both in the U.S. and overseas\, began to expose the project to a wider audience\, earning them an ever-increasing fan base. \nIt wasn’t long until Drab Majesty’s followers were demanding another full-length release. They got what they wanted with The Demonstration\, issued in early 2017. The effort featured the project’s signature sound alongside more prominent use of synthesizers\, effects\, and post-punk-influenced guitar work. They spent the following year writing and recording their third LP. Modern Mirror arrived in May 2019. ~ Rob Wacey\, Rovi
URL:https://globalazmedia.com/event/afi-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20221027T160000
DTEND;TZID=America/Phoenix:20221027T233000
DTSTAMP:20260506T214215
CREATED:20221020T202741Z
LAST-MODIFIED:20221020T202741Z
UID:15412-1666886400-1666913400@globalazmedia.com
SUMMARY:A Day To Remember | The Used | Movements & Magnolia Park at Mesa Amphitheatre
DESCRIPTION:Over the course of the past several years\, each of A Day To Remember’s releases have hit No. 1 on Billboard’s Rock\, Indie and/or Alternative Charts. They’ve also sold more than a million units\, racked up over 800 million Spotify streams and 500 million YouTube views\, two Gold-selling albums and singles (and one Silver album in the UK) and sold out entire continental tours (including their own curated Self Help Festival)\, amassing a global fanbase whose members number in the millions. All of which explains why Rolling Stone called them “An Artist You Need To Know.” In other words\, their creative process has worked and worked well. But for new album Bad Vibrations\, the Ocala\, Florida-based quintet switched gears and headed for uncharted territory. \n“We completely changed the way we wrote\, recorded and mixed this album\,” says vocalist Jeremy McKinnon. “It was one of the most unique recording experiences we’ve ever had. We rented a cabin in the Colorado mountains and just wrote with the five of us together in a room\, which was the polar opposite of the last three albums we’ve made. We just let things happen organically and in the moment. I think it forever changed the way we make music.” \nBad Vibrations debuted at #2 on the Billboard 200 and #1 on the Top Album Sales Chart. It was also the #1 album in Australia\, #6 in the UK and #7 in Germany. \nOn Aug 20 the band debuted their new single ‘Degenerates’. \n \n \nThe Used is an American alternative rock band from Orem\, Utah. Their sound has been classified under many sub-genres of rock. They signed with Reprise Records in late 2001 and rose to fame in June 2002 after releasing their debut self-titled album\, The Used. Soon after a CD/DVD package named “Maybe Memories” was released containing unheard demos and a “behind the scenes” story of the band/band’s past. They followed up with their second album\, In Love And Death\, in September 2004 and their third album\, Lies For The Liars\, in May 2007. An EP\, Shallow Believer\, was released in February 2008 that featured most of the band’s B-sides to date. They spent the entire year of 2008 working on their fourth studio album\, Artwork\, which was released September 1st\, 2009. The band has achieved both Gold and Platinum statuses in over 6 countries worldwide. Speaking with Songfacts\nin a 2012 interview\, The Used bassist Jeph Howard said that “A Box Full of Sharp Objects” is probably his favorite song by the band. \nA few years ago\, while preparing to send the album art for b-side collection Shallow Believer to his record label\, Bert McCracken scrawled the word “Artwork” across its cover in silver ink. The sentiment\, which\, to Bert and his bandmates in The Used\, resonated with both extreme simplicity and indescribable complexity\, said everything without really having to say anything. Now\, the Utah band has titled their fourth full-length album with that very word: Artwork. \nThe group started writing the album after finishing the Taste of Chaos International tour in 2007\, slowly collecting and jamming out ideas with no concrete intention beyond making the songs as dirty as possible. The Used\, whose last album\, 2007’s Lies For the Liars\, debuted at No. 5 on the Billboard Top 200\, spent the first half of 2008 in LA exploring and refining these ideas\, eventually piecing tangential riffs and melodies into a scattering of songs that contained a surprisingly cohesive sensibility. The band members dubbed the music they were writing “gross pop\,” their own new genre of hook-laden numbers that pushed the boundaries of the grotesque. Tracking for the album began in June of 2008 with producer Matt Squire and eventually concluded in February of 2009\, primarily at LA studios The Lair and NRG. Between a few sporadic tours\, the band spent about three months total recording with Squire where they allowed their creativity to dictate when they worked on something. \n“I wouldn’t say it was hard to make any of the record but it definitely was time consuming\,” Bert says. “We worked on our time table. The band allowed me to create when I was able to create\, which was a good thing. I didn’t feel pressure to force things. There was no specific time I had to do anything. If we were in the studio and I’d been working on lyrics for five hours and nothing came out\, we would just try again tomorrow.” \nIn the studio Squire approached the recording process with a laid-back attitude the band both appreciated and needed. The decision to work with a new producer after establishing a longtime relationship with producer John Feldman\, who was at the helm of the band’s past three albums (Lies For the Liars\, as well as 2004’s In Love and Death and 2002’s The Used\, both of which were certified gold)\, was derived from a simple desire for change. The Used wanted to see what would happen if they entered the studio with someone different\, a process guitarist Quinn Allman compares to “breaking up with your girlfriend not because you don’t love her but because you need to try something new.” \n“It wasn’t that we absolutely didn’t want to work with Feldman or that we absolutely wanted to work with Squire\,” Bert explains. “It was more that the band needed a change. We wanted to try something different and have it sound a lot different. It took a few weeks for us to get a vibe for each\, but once we got used to it\, it was really easy. Squire brought in this willingness to try anything and an open mind and a good attitude. I feel like he was really in touch with what the band wanted to do and he was really supportive of our ideas.” \nThe result is a raw collection of twelve songs that not so delicately teeter the line between being aggressively discordant and charmingly hooky. The first single “Blood On My Hands\,” which Quinn describes as the song that “sums up everything about The Used\,” is confined chaos\, brutally thrashing one moment and proffering a pop-driven\, sing-along chorus the next. “Empty With You\,” a track Bert says is “about feeling empty and lonely but as long as you have someone who can feel lonely with you then everything’s okay\,” surges with passion and gripping honesty\, while “Cut Yourself” balances the album’s predilection for propulsive rage with its quieter\, piano-driven exploration of what it means to have someone to lean on. \n“This record is more sincere\,” Quinn says. “It’s got a sound more reminiscent of the first record. Lyrically\, it completely engulfs you and makes you feel safe but it’s all about feeling alone and empty and knowing there’s always a light. If you’re frustrated that much it means you care that much. The lyrics carry you through the record and you’re right with Bert and where he’s at. The music isn’t showing off. It’s just being what it is. I think the fans will appreciate all that.” \n“This record is about coming together\,” Bert adds. “Whether it’s through positivity or negativity\, it’s about coming together through anything.” \nArtwork encapsulates the past eight years of a band that’s played tours and festivals like Warped Tour\, Ozzfest\, Projek Revolution\, Give It a Name\, Reading and Leeds and SxSW\, and sold over two million albums in the States alone\, while simultaneously urging them forward. It’s a collaborative effort that drew The Used closer together during its creation. It’s about love and mortality and the basic human emotions we all experience every day. It’s biting and gritty\, and it’s melodic and catchy. It’s a new chapter for a band that’s constantly sought to redefine the bounds of pop music—and have always successfully done so. It’s a reminder\, as Bert says\, “we’re all artists creating our own art just by living it.” \n“I Come Alive” is the first single from The Used’s fifth album\, Vulnerable. It is the first release on the band’s own label\, Anger Music Group\, an imprint of Hopeless Records. The song was released on January 17\, 2012. (I Come Alive Songfacts). \n \n \nReflecting personal changes from a whirlwind five years\, Movements realize the full scope of their storytelling\, musicianship\, and vision on their second full-length album\, No Good Left To Give [Fearless Records]. Not only does the music address the emotional push-and-pull of relationships\, but it also explores loss\, love\, mental health\, and even intimacy through a prism of newfound clarity soundtracked by post-punk grit\, alternative expanse\, heartfelt spoken word\, expansive rock\, and subtle pop ambition. The Southern California quartet—Patrick Miranda [vocals]\, Ira George [guitar]\, Spencer York [drums]\, and Austin Cressey [bass]—quietly worked towards this moment since forming in 2015. Following the 2016 EP Outgrown Things\, the group cemented a singular sound on their 2017 full-length debut\, Feel Something. Eclipsing 40 million total streams by 2020\, it immediately connected by way of “Daylilly” [11.1 million Spotify streams]\, “Full Circle” [6.1 million Spotify streams]\, and “Colorblind” [5.5 million Spotify streams]. Along the way\, the four-piece received acclaim from Brooklyn Vegan\, AXS\, Rock Sound\, Culture Collide\, and more. In between packing shows worldwide\, they joined forces with Alzheimer’s Association for the “Deadly Dull” video and covered “Losing My Religion” by R.E.M. for the Songs that Saved My Life compilation. \n \n \nIt’s no secret that Epitaph Records has been the breeding ground for some of the most legendary punk acts in existence and Magnolia Park carry on in that tradition with their highly anticipated debut full-length\, Baku’s Revenge. Since forming in Orlando\, Florida\, in 2019\, the six-piece act—vocalist Joshua Roberts\, guitarists Tristan Torres and Freddie Criales\, bassist Jared Kay\, drummer Joe Horsham and keyboardist Vincent Ernst—have released an EP\, mixtape and handful of singles and toured with everyone from Sum 41 to Simple Plan as a way to bring their upbeat brand of pop-punk to the masses. While Magnolia Park’s music is at times lighthearted\, the ethnically diverse act are also serious about spreading a message of inclusivity and inspiring other kids like them to start bands as a form of creative expression. “Our goal when we’re together is to make sure the next generation doesn’t have to face as much racial backlash for being a rock band\,” Torres explains. “In the industry\, people look at us a certain way and try to impose things on us—and we want to make sure the next generation of rock bands don’t have to go through what we’ve been through.”
URL:https://globalazmedia.com/event/a-day-to-remember-the-used-movements-magnolia-park-at-mesa-amphitheatre/
LOCATION:Mesa Amphitheatre\, 263 N. Center St\, Mesa\, 85201\, United States
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DTSTART;TZID=America/Phoenix:20221014T170000
DTEND;TZID=America/Phoenix:20221014T233000
DTSTAMP:20260506T214215
CREATED:20220918T230304Z
LAST-MODIFIED:20221007T000032Z
UID:14940-1665766800-1665790200@globalazmedia.com
SUMMARY:In This Moment + NOTHING MORE + Sleep Token & Cherry Bombs at House of Blues Las Vegas
DESCRIPTION:Initially conceived as a metalcore counterpart to Evanescence\, In This Moment moved into more melodic territory with its fantastical 2008 breakthrough album The Dream. Though capable of throat-scraping screams\, vocalist Maria Brink shone brightest on mature and atmospheric material\, putting In This Moment in the running as a promising goth rock band. The Los Angeles-based act also widened its exposure by touring with the like-minded Lacuna Coil as well as metal veterans Megadeth and Ozzy Osbourne. \nBorn of a chance meeting and the innate musical rapport established between vocalist Maria Brink and lead guitarist Chris Howorth\, In This Moment quickly grew from local cult favorites performing in Los Angeles clubs to a MySpace phenomenon before landing a deal with Century Media. Along the way\, the group was fleshed out by rhythm guitarist Blake Bunzel\, bassist Jesse Landry\, and drummer Jeff Fabb. In This Moment embarked on several U.S. tours with the likes of Diecast and 36 Crazyfists and gradually honed its melodic metalcore songwriting for their 2007 debut album\, Beautiful Tragedy. The band supported it on the Hot Chicks of Metal Tour\, featuring Lacuna Coil and Within Temptation\, among others. The Dream arrived in 2008 and became their breakthrough as well as their first on the album charts. It was followed by the Top 40 A Star-Crossed Wasteland in 2010. \nMultiple changes to the band’s original line-up took place in their earliest years\, with Landry leaving the band in 2009\, replaced by new bassist Kyle Konkiel. Konkiel only lasted a year before he too left the band and was replaced by Travis Johnson in 2010. One of the largest line-up shifts occurred when founding members Jeff Fabb and Blake Bunzel left in 2011. Their replacements — drummer Tom Hane and guitarist Randy Weitzel — stepped in to complete the recording of electro-charged fourth album Blood in 2012. The album was a Top 20 hit. \nThe group moved to a major label\, Atlantic\, for their fifth studio long-player\, 2014’s Black Widow\, and were rewarded with placement inside the Top 10. In 2016\, Hane left the band and former 3 by Design drummer Kent Diimmel took over. In June 2017\, the band dropped the single “Roots” in anticipation of the release of sixth full-length Ritual\, which arrived in July and hit number 23 on the chart. The following year\, recording for their seventh album coincided with a tour\, teasing the theme of “mother” in its stage show. The band pushed their sound into heavier territory\, including on the single “The In-Between” and the album Mother\, which appeared in March 2020. \n \n \nRock audiences count NOTHING MORE among the most cherished acts\, the kind of band who straddle the line between populism and intimacy with every performance. The San Antonio\, Texas-born quartet builds unapologetically massive anthems from catchy hooks. Crowd-pleasers clear a path for heady\, confessional\, thought-provoking emotionalism. Fresh rewards reveal themselves with repeat listens\, welcoming like-minded seekers with rich melodicism\, like the best of Deftones or Tool. \nThose who saw the band on tour with hard rock heavyweights like Shinedown\, Five Finger Death Punch\,Breaking Benjamin\, Papa Roach\, and Disturbed will attest to what The Guardian observed: “There’s a sophistication to NOTHING MORE’s angst that raises them above the tumult-tossed pit. \n”Kerrang! named NOTHING MORE one of 22 Artists Shaping the Future of Rock\, alongside Nine Inch Nails\, Twenty One Pilots\, and Bring Me The Horizon. And frontman Jonny Hawkins\, who met guitarist Mark Vollelunga before they were old enough to drive\, appeared with Billie Joe Armstrong\, Dave Grohl\, and Hayley Williams in the English tastemaker’s Top 50 Greatest Rockstars in the World. \nHawkins and Vollelunga started the band in 2003 and were quickly joined by bassist Daniel Oliver and later by drummer Ben Anderson. The band’s blend of explosive bombast and nuanced storytelling resulted in a half dozen Top 10 singles at Mainstream Rock Radio\, including the No.1 hit “Go to War” and the Sirius XM Octane song of the decade and Active Rock chart-topper “This is the Time (Ballast).”The Stories We Tell Ourselves earned a head-turning three Grammy nominations. They’re set to follow it up with a new albumin 2022\, which is filled with their most philosophical and primal music to date. The first offering\, “TURN ITUP LIKE\,” released in March 2022\, is a fitting first taste of what’s to come. \nNOTHING MORE appeals to fans of Linkin Park\, Incubus\, Rage Against The Machine\, and all crucial acts that stoke relatable passion with authenticity and integrity. Memorize the arena-ready hooks. Get mesmerized by the intimate\, communal live show. Dig deeper down the rabbit hole into the work of philosophers and artists like Eckhart Tolle\, Carl Jung\, and Alan Watts\, who inspire the band. \nThere’s a place for every type of rock fan with NOTHING MORE. Built to last\, here to stay. \n \n \nSleep Token are a masked\, anonymous collective of musicians; united by their worship of an ancient deity crudely dubbed “Sleep”\, since no modern tongue can properly express its name. \nThis being once held great power\, bestowing ancient civilizations with the gift of dreams\, and the curse of nightmares. \nEven today\, though faded from prominence\, ‘Sleep’ yet lurks in the subconscious minds of man\, woman\, and child alike. Fragments of beauty\, horror\, anguish\, pain\, happiness\, joy\, anger\, disgust\, and fear coalesce to create expansive\, emotionally textured music that simultaneously embodies the darkest\, and the brightest abstract thoughts. He has seen them. He has felt them. He is everywhere. \nSleep Token\, led by the perpetually tormented Vessel\, creates music that brings to the fore our most submerged thoughts and feelings\, coaxing them from the desolate\, terrifying caves of our subconscious mind. \n \n \nCherry Bombs bring an entire new way to experience rock and roll music – combining daredevil arts with feminine power\, fearless and dynamic performances feature dance\, fire\, aerial\, grinding\, stilt walking\, and so much more. \nCutting their teeth in the world of motorcycle rallies\, they soon climbed the ranks of live entertainment by being the first group of its kind to bag a national tour with Buckcherry and Black Stone Cherry in 2016. Since then\, Cherry Bombs have appeared in performances and tours nationally and internationally (Stone Sour/Steel Panther\, Corey Taylor\, KnotFest Mexico\, ForceFest Mexico\, KnotFest Colombia)\, on television (AEW)\, and in numerous music videos (Corey Taylor\, 21 Savage\, Fozzy\, Moonshine Bandits). \n2019 saw the premiere of the YouTube docu-series titled\, “Girl Gang”\, which pulled the curtain back to reveal what it takes to put on such a unique show. The series has been met with overwhelmingly positive reception for its raw storytelling and willingness of the performers to show vulnerability. Episodes focus on the inner-workings of Cherry Bombs\, including the adventures\, challenges\, and triumphs they experience. With four seasons of “Girl Gang” out\, fans anxiously await the next one with each passing year. \nLike many in the industry\, the pandemic of 2020 forced Cherry Bombs to cancel their tour. However\, they adapted quickly\, and filmed their headlining show\, “Macabarét” – a story of karma wrapped in temptation\, action\, and danger around every corner. This “eyegasm” of a movie was streamed worldwide and met with rave reviews\, cementing it to become an annual event every October. \nFor 2022\, Cherry Bombs will be hitting the road nationally\, and\, for the first time- reaching their fans across the pond as they travel to select cities in the UK. \n \n 
URL:https://globalazmedia.com/event/in-this-moment-nothing-more-sleep-token-cherry-bombs-at-house-of-blues-las-vegas/
LOCATION:House of Blues Las Vegas\, 3950 Las Vegas Blvd\, Las Vegas\, NV\, 89119\, United States
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DTSTART;TZID=America/Phoenix:20221007T190000
DTEND;TZID=America/Phoenix:20221007T233000
DTSTAMP:20260506T214215
CREATED:20221002T230950Z
LAST-MODIFIED:20221002T230950Z
UID:15078-1665169200-1665185400@globalazmedia.com
SUMMARY:Shinedown at Ak-Chin Pavilion
DESCRIPTION:Multi-platinum\, record-breaking band Shinedown\, Brent Smith [vocals]\, Zach Myers [guitar]\, Eric Bass [bass\, production]\, and Barry Kerch [drums] has sold more than 10 million albums worldwide\, earned 11 platinum and gold singles and four platinum and gold albums\, and amassed more than 1.5 billion total overall streams to date. Each of Shinedown’s singles released throughout their career have reached Top 5 on Billboard’s Mainstream Rock Songs Chart\, an unparalleled feat. The band’s latest album yet\, ATTENTION ATTENTION (Atlantic Records) uproots convention and delivers a personal\, poignant\, and powerful body of work that evolves from ruin to reclamation to revelation. An enduring statement about the resolve of the human spirit emerges\, as seen on tracks like the #1 rock radio hits “GET UP” and “DEVIL.” With a distinct mix of explosive rock n roll spirit\, thought-provoking lyrics\, melodic sensibility and cinematic colors\, ATTENTION ATTENTION\, simultaneously hit #1 on Billboard’s Alternative\, Top Rock and Hard Rock Albums Charts and debuted Top 5 on the Billboard 200. The uplifting anthem “GET UP\,” has been galvanizing listeners around the globe with its offer of hope\, empathy\, and encouragement in the face of personal struggles\, whatever they may be. Hailed for their high-octane live shows\, Shinedown continues to engender diehard love from millions of global fans and has racked up countless sold-out tours and festival headlining sets. \n \n \nBorn and raised in Nashville\, Tennessee\, Jason DeFord\, professionally known as Jelly Roll\, cut his teeth selling mixtapes hand to hand and touring the United States in a Chevrolet conversion van. From run-down dive bars to sold-out music halls\, Jelly Roll’s passionate performance conveys a therapeutic message infused with a wide array of influence spanning from southern rock to dirty south rap. His journey is the epitome of unfiltered authenticity and unrivaled persistence\, and you’ll likely never meet a more charismatic outlaw in your life. \n \n 
URL:https://globalazmedia.com/event/shinedown-at-ak-chin-pavilion/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
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DTSTART;TZID=America/Phoenix:20221007T183000
DTEND;TZID=America/Phoenix:20221007T233000
DTSTAMP:20260506T214215
CREATED:20220927T024445Z
LAST-MODIFIED:20220927T024445Z
UID:15056-1665167400-1665185400@globalazmedia.com
SUMMARY:Bring Me The Horizon + Knocked Loose & grandson at Arizona Financial Theatre
DESCRIPTION:BRIT and Grammy-nominated\, multi-platinum-selling quintet Bring Me The Horizon is one of the most electrifying and successful rock bands to emerge from the UK. The group released their gold-certified sixth studio album\, amo\, in 2019\, which debuted at Number 1 in 17 markets and was named “one of the most anticipated albums of 2019” by Billboard\, with NME describing it as “bold\, brilliant and boundary-pushing.” amo garnered the band their second Grammy nomination for ‘Best Rock Album’ after the LP’s first single\, “MANTRA\,” earned them a nod for ‘Best Rock Song’ in 2018. The Sheffield 5-piece also received their first BRIT Award nomination for ‘Best Group’ this year. Bring Me The Horizon has sold over 4 million albums globally to date\, played sold-out shows in over 40 countries\, including two sold out nights at London’s O2 and one night at The Forum in Los Angeles\, wowed a traditionally non-rock crowd at Glastonbury Festival in 2016 and 2018\, and stole the show at high profile festivals across Europe all summer 2019. amo followed 2016’s critically acclaimed\, Platinum-certified That’s The Spirit\, which entered the UK charts and the US Billboard album chart at Number Two. They have now also amassed over 1 billion video views on YouTube.  Bring Me The Horizon are vocalist Oli Sykes\, guitarist Lee Malia\, bassist Matt Kean\, drummer Mat Nicholls\, and keyboardist Jordan Fish. \n \n \nFor A Tear in the Fabric of Life\, Knocked Loose wanted to do something different. Or they may have been forced to. With quarantine upending their extensive touring schedule — “we’ve kind of been consistently on the road since 2014\,” says vocalist Bryan Garris — the group found themselves in early 2020 sequestered near Louisville\, in Oldham County\, Ky.\, where they’re from. By June\, they were hunkered down in a cabin in Pigeon Forge\, Tenn.\, focused on writing a concept album. By the end of September they had finished recording. \nWhat they came up with is a six song-EP that expands on the narratives hinted at on A Different Shade of Blue\, their 2019 full length\, and grows beyond them sonically. It’s the band’s most dynamic and contained offering to date\, and a balancing act: a mid-length EP with grand ambitions and scope\, one full of new sonic elements and a cohesive aesthetic that hangs onto Knocked Loose’s trademark anthemic delivery. \n \n \nGrandson is the pseudonym of Canadian/American alternative artist Jordan Benjamin. He takes elements of his rock and roll\, hip hop and electronic music roots and combines them to tell stories of reclaiming power over one’s life\, confronting social issues facing his generation\, and opening up about struggles with addiction and mental health. Since releasing his Modern Tragedy EP series\, grandson has toured extensively across North America\, Russia\, and Europe\, accumulated hundreds of millions of streams online\, and received co-signs from the biggest names in rock and roll and progressive politics\, from Tom Morello to Bernie Sanders. Now\, grandson has released his debut album\, Death Of An Optimist. This body of work conflates personal anxieties with political realities. As the protagonist\, grandson simultaneously explores the dark underbelly of his unrelenting optimism for change\, by creating an antagonist\, X. An ambitious project\, grandson delivers a subtle A-side/B-side structure totaling twelve tracks\, following grandson and X’s dueling world views. Through DOAO\, grandson delivers an overwhelming urgency to do something\, “After the hardest year of our lives\, it’s time to confront the reflection staring back at you\, because only in doing so can you know who you truly are\,” he says. Showcasing a conflicted soul for intense scrutiny has the benefit of not dictating what is right or wrong. It just shows that we’re in this together.”
URL:https://globalazmedia.com/event/bring-me-the-horizon-knocked-loose-grandson-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:20221006T200000
DTEND;TZID=America/Phoenix:20221006T233000
DTSTAMP:20260506T214215
CREATED:20220927T020548Z
LAST-MODIFIED:20220927T020548Z
UID:15052-1665086400-1665099000@globalazmedia.com
SUMMARY:Stevie Nicks + Vanessa Carlton at Ak-Chin Pavilion
DESCRIPTION:Famed for her mystical chanteuse image\, singer/songwriter Stevie Nicks enjoyed phenomenal success not only as a solo artist but also as a key member of Fleetwood Mac. Possessed of a raspy croon\, Nicks had a duo with Lindsey Buckingham in the early ’70s\, releasing an excellent folk-pop album as Buckingham Nicks before the pair were absorbed into veteran U.K. group Fleetwood Mac. Nicks’ and Buckingham‘s talents helped steer the band to superstardom with the enormous hit albums Fleetwood Mac and Rumours. In the ’80s\, Nicks ventured out on her own\, scoring numerous hit singles and ultimately leaving the band. In the late ’90s\, however\, she reunited with her Fleetwood friends\, who began performing and recording with renewed vigor. \nStephanie Lynn Nicks was born May 26\, 1948\, in Phoenix\, Arizona; the granddaughter of a frustrated country singer\, she began performing at the age of four\, and occasionally sang at the tavern owned by her parents. Nicks started writing songs in her midteens\, and joined her first group\, the Changing Times\, while attending high school in California. \nDuring her senior year\, Nicks met fellow student Lindsey Buckingham\, with whom she formed the band Fritz along with friends Javier Pacheco and Calvin Roper. Between 1968 and 1971\, the group became a popular attraction on the West Coast music scene\, opening for Jimi Hendrix\, Janis Joplin\, and Creedence Clearwater Revival. Ultimately\, tensions arose over the amount of attention paid by fans to Nicks’ pouty allure\, and after three years Fritz disbanded; Buckingham remained her partner\, however\, and they soon became a romantic couple. \nAfter moving to Los Angeles\, the duo recorded its 1973 debut LP\, Buckingham Nicks. Despite a cover that featured the couple nude\, the album flopped\, but it caught the attention of the members of Fleetwood Mac\, who invited Buckingham and Nicks to join their ranks in 1974. In quick time\, the revitalized group achieved unparalleled success: after the LP Fleetwood Mac topped the charts in 1975\, the band recorded 1977’s Rumours\, which sold over 17 million copies and stood for several years as the best-selling album of all time. \nMajor hit singles like “Dreams” and “Rhiannon” made Nicks a focal point of Fleetwood Mac\, and in 1981 she took time off from the group to record her solo debut\, Bella Donna\, which hit number one on the strength of the Top 20 hits “Stop Draggin’ My Heart Around” (a duet with Tom Petty & the Heartbreakers)\, “Leather and Lace” (a duet with Don Henley)\, and “Edge of Seventeen (Just Like the White Winged Dove).” After a return to Fleetwood Mac for the 1982 album Mirage (which featured her hit “Gypsy”)\, Nicks released her second solo effort\, The Wild Heart\, highlighted by the Top Five smash “Stand Back.” Rock a Little\, which featured the single “Talk to Me\,” followed in 1985. \nAfter a long hiatus (during which time Nicks was treated for a chemical dependency problem)\, Fleetwood Mac reunited for the album Tango in the Night; The Other Side of the Mirror\, Nicks’ first solo record in four years\, followed in 1989. After a series of lineup changes and dropping sales figures\, she left Fleetwood Mac in 1993 and issued Street Angel a year later. In 1997\, she rejoined the reunited Fleetwood Mac on tour and on the album The Dance. In 1998 Nicks\, along with her Fleetwood Mac bandmates\, was inducted into the Rock and Roll Hall of Fame\, the same year that her three-disc Enchanted box set landed in stores. \nNicks returned to the studio in 2001 with friends Macy Gray\, Sarah McLachlan\, Sheryl Crow\, and Dixie Chick Natalie Maines for the solo album Trouble in Shangri-La\, and again in 2003 for the Fleetwood Mac reunion album Say You Will. Reprise released the CD/DVD Crystal Visions: The Very Best of Stevie Nicks in 2007\, but it wasn’t until 2011 — almost a decade to the day after Trouble in Shangri-La’s release — that Nicks returned with a new solo album. Produced by Dave Stewart and Glen Ballard\, In Your Dreams found her singing a mix of Bob Dylan-inspired folk songs\, Italian love ballads\, and rock anthems. In Your Dreams debuted at six on Billboard’s Top 200 and generated an adult contemporary hit in “Secret Love.” Nicks rejoined Fleetwood Mac in 2013 for the Extended Play release and a reunion tour that eventually blossomed into a full reunion with Christine McVie. In 2014\, Nicks released 24 Karat Gold: Songs from the Vault\, a collection of newly recorded versions of old songs; it debuted at seven on the Billboard charts. In 2015\, she continued to tour with the reunited Fleetwood Mac and the following year her first two albums\, Bella Donna and The Wild Heart\, were given deluxe reissues. \nIn 2016 and 2017\, Nicks toured with the Pretenders. As Fleetwood Mac was gearing up for a 50th Anniversary tour in 2018\, the group parted ways with Lindsey Buckingham\, replacing him with Neil Finn and Mike Campbell. Nicks was inducted into the Rock & Roll Hall of Fame as a solo act in 2019\, making her the first woman to be inducted twice. To accompany her induction\, Rhino/WMG released the anthology Stand Back: 1981-2017. In October 2020\, she released the song “Show Them the Way\,” which featured contributions from Dave Grohl and Dave Stewart. ~ Jason Ankeny\, Rovi \n \n \n“Always building up\, falling apart. Love is an art\,” sings Vanessa Carlton on the title track of her sixth album\, Love Is An Art. Like the record itself\, the song is a meditation on the eternal seesaw that is human connection: the push\, the pull\, the balance\, the bottoming out. It’s that constantly evolving nature of love\, expectations and compassion that Carlton analyzes from all angles on Love Is An Art\, from romantic\, to parental\, to the friends that hold us up and the leaders that repeatedly let us down. And on tracks like the album’s opener\, “I Can’t Stay the Same\,” that also includes the relationship with the person staring back at us in the mirror\, each and every morning. \nProduced by Dave Fridmann (MGMT\, Flaming Lips)\, Love Is An Art finds Carlton reckoning with toxic relationships (the confessional “Miner’s Canary”)\, eternal partnership (“Companion Star”) and the children who fill the world with love and grace while politicians fill their pockets (the passionate “Die\, Dinosaur\,” written after the shootings in Parkland\, Florida). And true to Carlton’s skill as both a lyricist and an instrumentalist\, the arrangements on Love Is An Art tell these tales as vibrantly as the words themselves: piano parts that speak of rage and tenderness\, synths that burst and glow like dawn.
URL:https://globalazmedia.com/event/stevie-nicks-vanessa-carlton-at-ak-chin-pavilion/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/09/stevie-nicks-ak-chin-pavilion.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20221002T183000
DTEND;TZID=America/Phoenix:20221002T233000
DTSTAMP:20260506T214215
CREATED:20220916T201314Z
LAST-MODIFIED:20220916T201314Z
UID:14921-1664735400-1664753400@globalazmedia.com
SUMMARY:Knotfest Roadshow at Ak-Chin Pavilion
DESCRIPTION:There was never a band like SLIPKNOT\, and there will never be another. Like a spore out of the Midwest\, they’ve quietly bloomed into the most uncompromising\, undeniable\, and unique presence on the planet whose influence transcends genres and generations. Since sowing the seeds for revolution in Iowa during 1999\, these musical outliers have captured a GRAMMY Award alongside 10 nominations\, scored 12 Platinum / 41 Gold album certifications around the world\, and logged over 8.5 billion global streams and 3.5 billion video views to date – unprecedented for a rock act in this generation or any other. Rolling Stone cited the seminal platinum-selling 2001 album Iowa among “The 100 Greatest Metal Albums of All Time\,” while The Ringer attested\, “They’re the most important heavy band of their era.” In addition to marking the group’s third consecutive #1 debut on the Billboard Top 200\, their sixth full-length album\, WE ARE NOT YOUR KIND\, bowed at #1 in twelve countries worldwide in 2019. Selling out shows on multiple continents\, they deliver an irreplicable multi-sensory experience on tour and through their own festival KNOTFEST. With their seventh album THE END\, SO FAR\, SLIPKNOT are back\, and nothing will be the same again. \n \n \nLike the undead slashers celebrated in their songs\, Ice Nine Kills return with The Silver Scream 2: Welcome To Horrorwood\, a sequel of gruesome movie-sized proportion to The Silver Scream. The new album carves out a fresh\, bloody homage to the VHS celluloid classics that possessed singer Spencer Charnas at an early age\, with a devilish new twist. \nIce Nine Kills make music both timeless and timely\, mixing metal\, hardcore\, and punk\, with accessible power. New anthems like “Rainy Day” and “Hip To Be Scared” demonstrate Spencer’s fascination with fright\, pop culture obsession\, and his expertise with inescapably wicked melodic hooks and clever twists of phrase. Producer Drew Fulk returned for Welcome To Horrorwood which includes cameos from members of Papa Roach\, Cannibal Corpse\, Atreyu\, Fit For A King\, and Senses Fail. \nDecadent\, devious\, and fiercely insane\, Ice Nine Kills celebrate pop culture’s darkest edges\, mining a cinephile library’s worth of iconic horror on The Silver Scream and its sequel. The creative marriage made in hell of music and fiction began in earnest with the Every Trick In The Book\, which brought the previous three records’ themes to new levels. \nThe band’s synergy of music and lifestyle draws favorable comparisons to Slipknot and Rob Zombie. Visionary trailblazers and multimedia raconteurs\, INK built a thrilling world for a growing legion of devoted true believers\, with theatrical shows\, high-concept videos\, and inventive band-to-fan communion. \n \n \nA sweeping self-awareness and expansive creativity are at the heart of CROWN THE EMPIRE\, the modern post-metalcore anthem makers who embrace their dirty rock roots and stadium-ready melodies with bold courage. 
 What began as high-school pals posting clips on YouTube has grown to over 60 million views on the platform alone; endless streams of songs like “Machines\,” “Hologram\,” and “Voices”; and several Billboard 200 accomplishments\, including a Number 1 debut on the Top Rock Charts. Alternative Press anointed them as Best Breakthrough Band and with good reason. Praised enthusiastically as “thrilling\,” “progressive\,” and “dynamic\,” by tastemaker genre publications like Rock Sound\, Kerrang! and Outburn (who\, like AltPress\, put the band on their cover)\, Crown The Empire climbed to the top of an emergent style by jettisoning the scene’s most formulaic traits. 
 A cinematic sensibility permeates each chapter in the band’s story\, from the epic thematic darkness of their earlier work to the sci-fi dystopian ambience of new songs like “20/20.” Super-intense and high-energy songs will always remain a part of the Crown The Empire mission statement. It’s a journey that’s been marked by growth at every turn\, coalescing into the modern incarnation of Crown The Empire\, a band that’s built to last. \n \n 
URL:https://globalazmedia.com/event/knotfest-roadshow-at-ak-chin-pavilion/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2022/09/Knotfest-Roadshow-2022-Phoenix.png
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DTSTART;TZID=America/Phoenix:20220928T180000
DTEND;TZID=America/Phoenix:20220928T233000
DTSTAMP:20260506T214215
CREATED:20220906T002512Z
LAST-MODIFIED:20220906T002512Z
UID:14899-1664388000-1664407800@globalazmedia.com
SUMMARY:Bad Bunny at Chase Field
DESCRIPTION:Bad Bunny is a young urban music singer\, rapper and producer originally from Puerto Rico. This talented artist has demonstrated his already overwhelming power\, influence and demand with completely sold-out concerts all over Europe\, Latin America and the U.S. 
 Some of his most recognized singles include “Soy Peor\,” “Diles\,” “Tu No Metes Cabra\,” “Chambea” and Mia thats out with Drake. Bad Bunny has had a short but stunning career with colossal amounts of success \n \n \nAlesso\, a DJ and dance music producer from Stockholm\, Sweden\, has achieved cross-genre success\, blending progressive house with pop and scoring worldwide hits in collaboration with a wide range of artists. His earliest pop hits included 2012’s “Calling (Lose My Mind)” (with Sebastian Ingrosso and Ryan Tedder) and 2013’s “Under Control” (with Calvin Harris and Hurts)\, the latter of which reached number one in the U.K. He opened for Madonna during several British and Russian dates on her 2012 MDNA Tour\, and performed at major festivals such as Coachella\, Creamfields\, and Electric Daisy Carnival. “Heroes (We Could Be)\,” a 2014 single featuring Tove Lo\, became his first U.S. Top 40 hit\, preceding his 2015 debut full-length\, Forever. His next major international hit\, 2017’s “Let Me Go\,” was a collaboration with actress Hailee Steinfeld and country duo Florida Georgia Line. He also released two mixtapes\, Progresso\, Vol. 1 and Vol. 2. \nAlessandro Lindblad\, more commonly known as Alesso\, is a DJ and dance music producer from Stockholm. His career quickly gained mainstream recognition for his remixes of Tiësto\, Swedish House Mafia\, and Avicii\, as well as his own productions. His first major achievement came in 2011\, when his remix of Nadia Ali‘s track “Pressure” was one of the most successful EDM efforts of the year. Later in 2011\, he placed in DJ Mag’s Top 100 list\, debuting at number 70. Early 2012 started well for him when he was named an MTV “one to watch\,” made his first BBC Radio 1 essential mix\, and earned the Track of the Year award on Zane Lowe‘s prime-time Radio 1 slot for the single “Calling (Lose My Mind).” Alesso also managed to move up many notches in DJ Mag’s DJ of the Year listings to number 20. He leaped to major success when he had a U.K. chart number one with his collaborative single “Under Control” alongside Calvin Harris and Hurts. \nIn 2014\, Alesso inked a deal with Def Jam Recordings\, and in 2015 he issued his debut album\, Forever\, which included the singles “Tear the Roof Up\,” “Cool\,” and “Heroes (We Could Be)\,” the latter of which featured Swedish pop star Tove Lo. The following year\, he released a pair of collaborations with prominent Asian pop stars. A version of “I Wanna Know” featuring Taiwanese singer Jolin Tsai on vocals was promoted in Ibiza and Shanghai\, while “Years” received a K-pop revamp with EXO‘s Chen. In 2017\, Alesso scored a modest hit on the all-star collaboration “Let Me Go\,” which featured Hailee Steinfeld\, Andrew Watt\, and Florida Georgia Line. The track hit the Top 40 across the globe\, rising to number six on the Billboard Dance/Electronic chart. After closing out that year with the Anitta collaboration “Is That for Me\,” he returned in 2018 with the solo singles “Remedy” and “Tilted Towers.” \nIn early 2019\, Alesso released the mixtape Progresso\, Vol. 1. Several non-album tracks arrived in 2020\, including “In the Middle” with Sumr Camp\, “Midnight” featuring Liam Payne\, and “The End” featuring Charlotte Lawrence. Progresso\, Vol. 2 arrived in June 2021 and was followed by more non-album tracks\, including “Leave a Little Love” with Armin van Buuren\, “Going Dumb” with Corsak and Stray Kids\, and “Chasing Stars” with Marshmello and James Bay. ~ James Pearce\, Rovi \n \n 
URL:https://globalazmedia.com/event/bad-bunny-at-chase-field/
LOCATION:Chase Field\, 401 E Jefferson St\, Phoenix\, AZ\, 85004\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/09/Bad-Bunny-at-Chase-Field.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220924T200000
DTEND;TZID=America/Phoenix:20220924T233000
DTSTAMP:20260506T214215
CREATED:20220906T000622Z
LAST-MODIFIED:20220906T000707Z
UID:14894-1664049600-1664062200@globalazmedia.com
SUMMARY:SABATON + EPICA at Arizona Financial Theatre
DESCRIPTION:In over two decades since their launch\, Swedish metallers Sabaton have carved out a reputation as one of the hardest working bands in the business – gaining a legion of loyal fans across the globe\, delivering ten highly-rated studio albums (including two certified platinum-sellers)\, and scoring multiple industry award wins and nominations… not to mention launching their own annual festival and cruise. \nCombining soaring power riffs with vocalist Joakim Brodén’s instantly-recognisable gruff baritone\, the band refuses to be simply slotted into a genre. Fans need only know them as Sabaton: the heavy metal band that sings of real life wars and the people who played a part in them – of gruelling campaigns and dazzling acts of bravery\, of magnificent victories and touching personal struggles – true stories more fantastic than any fiction. \nSabaton are perhaps best known for their electrifying live shows\, combining accomplished musical performances and a finely-crafted stage show – including their full-sized tank drum-riser – with energy and laughter. The band has headlined as far afield as North America\, Australia and Japan\, and regularly fills arenas and takes top-billed slots at festivals across Europe. They are also a favourite support act for metal titans Iron Maiden and Scorpions. Sabaton’s live show has won top industry accolades in Germany (Metal Hammer Award)\, Sweden (Bandit Rock Award)\, as well as being nominated for two Metal Hammer Golden Gods awards in the UK. \n \n \nFormed by composer Mark Jansen after leaving @AfterForever back in 2002\, Epica quickly gained attention outside their home country\, taking big steps towards becoming the leading symphonic metal superpower they have long proven to be. On their past seven records so far\, they soared from gothic undertones to a broad\, epic and triumphant amalgamation of all things monolithic\, establishing their unique brand of Simone Simons’ unparalleled vocal excellence with a band both ready to tear down venues around the globe while at the same time installing orchestral splendour\, progressive elegance\, oriental enchantment\, cinematic soundscapes and colossal fury into their trailblazing bombshell sound. \nFor the first time in years\, they congregated in a villa in the pastoral beauty of rural Holland\, setting up their temporary studio in several rooms. Thus\, “Omega” is an album of unity\, of friendship\, of the close bond the members share. And in the middle of a world in turmoil\, of a cataclysmic change in society\, Epica somehow managed to create their most spectacular album yet. An album that is seamlessly bringing together metal and orchestra\, choir and oriental instruments to a perfect storm constantly emitting goose bumps. Add to that specifically written suites for orchestra and choir\, a wide range of ethnic instruments recorded around the world by some of the best native musicians out there and you get something like the ultimate Epica album you never dared dream of.
URL:https://globalazmedia.com/event/sabaton-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/2022/09/sabaton-at-Arizona-Financial-Theatre.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220924T190000
DTEND;TZID=America/Phoenix:20220924T233000
DTSTAMP:20260506T214215
CREATED:20220905T234816Z
LAST-MODIFIED:20220905T234816Z
UID:14891-1664046000-1664062200@globalazmedia.com
SUMMARY:CHVRCHES at Marquee Theatre
DESCRIPTION:Crafting songs with big synths and bigger melodies\, Chvrches combine their indie roots with their love of chart-friendly pop. The mix of Lauren Mayberry’s crystalline\, emotive vocals and the sweeping synths of Iain Cook and Martin Doherty on 2013’s bittersweet yet anthemic debut album The Bones of What You Believe bridged the gap between the classic synth pop of Depeche Mode and New Order and the brash\, EDM-influenced sounds of the early 2010s\, influencing countless contemporaries along the way. Later\, Chvrches brought an extra sheen to their music without sacrificing any of its depth. They went all in on their pop leanings on 2018’s Love Is Dead\, where their collaborators ranged from pop producer Greg Kurstin to the National‘s Matt Berninger. On 2021’s Screen Violence\, Chvrches sharpened the edges and hooks of their songs as they reaffirmed their place as synth pop standard-bearers. \nBefore Chvrches formed\, keyboardist/vocalist Iain Cook and keyboardist/vocalist Martin Doherty became friends in 2003 while studying at Glasgow’s University of Strathclyde. The pair forged their musical partnership when Doherty asked Cook to produce his band Julia Thirteen. Though little came of the sessions\, they continued to work together\, and became members of the band Aereogramme. By 2007\, they had left that group\, with Doherty joining the Twilight Sad as a touring member and Cook becoming a composer for film and television. Seeking a change from alternative rock\, they founded their own experimental synth project. In September 2011\, the pair invited vocalist Lauren Mayberry\, who’d previously played with the band Blue Sky Archives and holds a law degree as well as a Master’s degree in journalism\, to sing on some demos. The sessions went so well that the trio christened itself Chvrches — spelling it with a “v” instead of a “u” to differentiate themselves in internet searches — and began writing songs inspired by Prince\, Depeche Mode\, and Kate Bush. \nIn May 2012\, Chvrches posted their first song “Lies” online. It quickly became a viral hit and received airplay on BBC Radio 1. The band’s official debut single\, “The Mother We Share\,” appeared in November 2012 and was also an online hit. Late that year\, Chvrches were among the acts selected for the BBC’s Sound of 2013\, ultimately finishing fifth. In January 2013\, the band signed with Glassnote and soon embarked on an international tour that included a performance at that year’s South by Southwest Festival in Austin\, Texas. That March saw the release of the Recover EP\, and Chvrches’ debut album The Bones of What You Believe appeared that September. Recorded in Glasgow’s Alucard Studio with a handful synths including a Minimoog Voyager\, the album debuted at number nine on the U.K. albums chart and was later certified gold in the U.K. It also entered the Top 20 on the charts in Canada\, Australia\, and the United States\, among other countries. “The Mother We Share” also charted in the U.S.\, Japan\, Belgium\, and the U.K.\, where it was a Top 40 hit; in July 2014\, the song was featured in the opening ceremony for the Commonwealth Games in Glasgow. Later in the year\, the band contributed the track “Get Away” to the re-scored soundtrack to Nicolas Winding Refn’s influential 2011 film Drive\, and covered Bauhaus‘ “Bela Lugosi’s Dead” for the movie Vampire Academy: Blood Sisters. \nIn January 2015\, Chvrches began working on new material at Alucard Studios\, which they were able to upgrade thanks to the success of The Bones of What You Believe. Taking inspiration from Quincy Jones‘ lean yet massive-sounding production style\, their second album\, Every Open Eye\, appeared in September 2015. The album debuted at number four in the U.K.\, reached number eight on the Billboard 200 Albums chart in the U.S.\, and also became a Top Ten hit in Australia\, Ireland\, Scotland\, and New Zealand. Every Open Eye’s singles included a version of “Bury It” that featured Paramore‘s Hayley Williams. \nIn 2016\, Chvrches performed at Royal Albert Hall for the first time and collaborated with Solar Fields on “Warning Call\,” which appeared in the video game Mirror’s Edge Catalyst. The following year\, the band contributed a cover of Tegan and Sara‘s “Call It Off” to the tenth anniversary edition of the duo’s album The Con\, and went into the studio with producer Greg Kurstin and collaborator Dave Stewart to work on their third album. Boasting a bigger\, more straightforward sound than their previous releases\, 2018’s Love Is Dead included the singles “Get Out” and “My Enemy\,” a duet with the National‘s Matt Berninger. The album debuted at number seven in the U.K. and topped Billboard’s Top Rock Albums and Alternative Albums charts in the States. Late that year\, Chvrches released the Hansa Session EP. Named after the Berlin studio where it was recorded (and which also hosted David Bowie and Nick Cave\, among other artists)\, it featured acoustic and string-driven arrangements of several of Love Is Dead songs. In 2019\, the band performed with the BBC Scottish Symphony Orchestra to commemorate the launch of the BBC Scotland television channel; they appeared on Marshmello‘s “Here with Me” and contributed the single “Death Stranding” to the album Death Stranding: Timefall\, a set of songs inspired by the action video game of the same name. Early in 2020\, Chvrches started recording album number four\, with Doherty and Mayberry in Los Angeles and Cook in Glasgow. Featuring a darker sound as well as a collaboration with the Cure‘s Robert Smith\, Screen Violence appeared in August 2021
URL:https://globalazmedia.com/event/chvrches-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/09/CHVRCHES-at-Marquee-theatre.jpg
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