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DTSTART;TZID=America/Phoenix:20220917T170000
DTEND;TZID=America/Phoenix:20220917T233000
DTSTAMP:20260507T061814
CREATED:20220905T232609Z
LAST-MODIFIED:20220905T232609Z
UID:14888-1663434000-1663457400@globalazmedia.com
SUMMARY:Damage Inc at Marquee Theatre
DESCRIPTION:For over fifteen years\, international Metallica tribute band\, Damage Inc Southern California’s Tribute to Metallica\, has performed for thousands of fans across the US\, Canada and Mexico. \nSelected by Metallica to perform at …And Tributes for All concert in San Francisco as part of Metallica’s San Francisco Weekend Takeover 2021. \nFeatured on AXS.tv’s WORLD’S GREATEST TRIBUTE BANDS – Season 1 \nFeatured on AXS.tv’s WORLD’S GREATEST TRIBUTE BANDS – Season 8 \nNamed one of LA Weekly’s top 20 tribute bands (2015)
URL:https://globalazmedia.com/event/damage-inc-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/damage-inc-at-marquee-theatre.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220916T200000
DTEND;TZID=America/Phoenix:20220916T233000
DTSTAMP:20260507T061814
CREATED:20220905T230826Z
LAST-MODIFIED:20220905T230826Z
UID:14885-1663358400-1663371000@globalazmedia.com
SUMMARY:Twenty One Pilots at Footprint Center
DESCRIPTION:Twenty One Pilots shook the world with the release of their 2015 LP BLURRYFACE\, an album that would go on to sell over 7 million copies worldwide and earn the band their first ever GRAMMY® Award as they shattered longstanding chart records\, and captivated audiences worldwide on sold-out arena runs and at international festivals. Now three years later\, the duo of Tyler Joseph and Josh Dun have returned to write the next chapter of their story with TRENCH\, the band’s highly anticipated new studio album. TRENCH finds Twenty One Pilots fearlessly reimagining the possibilities of their music through the same candid expression and genuine identity that helped to cement their place as one of the largest bands in the world.
URL:https://globalazmedia.com/event/twenty-one-pilots-at-footprint-center/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/09/twenty-one-pilots-June-2021-promo-credit-Ashley-Osborn.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220910T173000
DTEND;TZID=America/Phoenix:20220910T233000
DTSTAMP:20260507T061814
CREATED:20220901T023808Z
LAST-MODIFIED:20220901T023808Z
UID:14857-1662831000-1662852600@globalazmedia.com
SUMMARY:Alice In Chains + Breaking Benjamin + Bush at Ak-Chin Pavilion
DESCRIPTION:Alice in Chains both epitomized the solemn\, heavy Seattle sound of the 1990s and stood apart from the grunge hordes. What separated Alice in Chains from their alt-rock brethren was how their roots lay in heavy metal\, not punk. Guitarist Jerry Cantrell and vocalist Layne Staley both played in metal bands prior to the formation of Alice in Chains in 1987 and they released the band’s debut\, Facelift\, in 1990\, well before Nirvana‘s Nevermind pushed the underground into the mainstream. Despite their connections to metal\, Alice in Chains thrived in the glory days of grunge\, and it wasn’t merely a question of timing\, either. The band’s sensibility fit into the alternative rock zeitgeist of the early ’90s. Cantrell‘s gloomy\, minor-key riffs were an ideal match for Staley‘s tortured lyrics\, creating a sound that felt as heavy as their Seattle cohorts but also was slightly slicker and ready for radio. It was versatile\, too. After the group scored rock radio and MTV hits with “Man in the Box” and “Would?” in the early days of grunge\, Alice in Chains became one of the first alt-rock bands of the ’90s to delve into acoustic-based music\, scoring hits with the comparatively softer “No Excuses” and “I Stay Away.” Despite its success\, the band was plagued with internal tensions during its commercial peak\, much of it stemming from Staley‘s drug addictions. His abuse slowed the band’s upward trajectory in the back half of the ’90s\, a descent culminating in the singer’s accidental death in 2002. Four years later\, Cantrell\, drummer Sean Kinney\, and bassist Mike Inez revived Alice in Chains with singer William DuVall\, sparking an extended second life of recording and touring that has lasted longer than their original incarnation. \nThe roots of Alice in Chains lay in Sleze\, a Seattle-based hair metal band that featured Layne Staley as lead singer. Sleze switched their name to Alice N Chains in 1986\, roughly a year prior to Staley‘s introduction to Cantrell at a party at the rehearsal space called the Music Bank. The pair became friends and Staley invited Cantrell to crash with him at his rented unit at the Music Bank. Shortly afterward\, Alice N Chains broke up\, as did Cantrell‘s band\, Diamond Lie. Cantrell began auditioning players for a new band\, recruiting drummer Sean Kinney and bassist Mike Starr\, but he still needed a vocalist and held out hope for Staley to join. At the time\, Staley was singing in a funk band that also happened to need a guitarist\, so Cantrell agreed to play on the condition his friend would join the fledgling group. Staley agreed. Not long afterward\, the funk band folded and this quartet gelled under the name Alice in Chains. \nAlice in Chains started to gig regularly in the Seattle area\, often sharing bills with Mother Love Bone\, earning the attention of promoter Randy Hauser\, who bankrolled a demo. Dubbed The Treehouse Tapes\, the demo earned the attention of Soundgarden managers Kelly Curtis and Susan Silver\, who passed it along to Columbia. The label signed Alice in Chains in 1989 and made them a priority\, ushering the band into the studio with producer David Jerden\, who had recently worked with Jane’s Addiction. Early in 1990\, the label released the promo-only We Die Young EP with their eye on heavy metal audiences and its title track became a hit on rock radio\, setting the stage for the August release of the group’s debut\, Facelift\, which was quickly followed by a tour opening for Iggy Pop. “Man in the Box” became the album’s second single in January 1991\, and once its video entered heavy MTV rotation\, Facelift took off. The album entered the Billboard charts in April 1991\, Van Halen requested Alice in Chains as a tour opener in August\, and in September the album earned its first gold certification; it would later earn two platinum certifications. \nAs Facelift’s momentum grew\, Alice in Chains kept busy behind the scenes\, working on material for a second album and recording an acoustic EP called Sap. One of the first all-acoustic records from an alternative rock band\, Sap was released in February 1992. Alice in Chains also filmed a cameo in Singles\, Cameron Crowe‘s romantic comedy celebrating Seattle’s vibrant underground scene of the early ’90s. By the time the film’s soundtrack appeared in June 1992\, the Seattle scene had exploded nationally thanks to the unexpected success of Nirvana‘s second album\, Nevermind\, and Alice in Chains were in the thick of it. \n“Would?\,” a menacing grind that doubled as the first single from both the Singles soundtrack and Alice in Chains’ second album\, Dirt\, started its climb up Billboard’s mainstream rock chart in June 1992\, the same month the Singles soundtrack was released. By the point Dirt appeared in stores in September\, Alice in Chains had firmly laid stakes in the grunge camp: “Them Bones\,” the second single pulled from Dirt\, became their first song to chart on Billboard’s alternative rock chart. Arriving at the peak of 1992’s grunge explosion\, the dark and gloomy Dirt made Alice in Chains’ career. By December\, the album earned a platinum certification — it would go platinum once again in 1993 and 1995\, with a fourth and final certification arriving in 2000 — and it stayed on the charts thanks to “Angry Chair” and the Top Ten mainstream rock hits “Rooster” and “Down in a Hole.” \nDespite their success\, Alice in Chains were in turmoil behind the scenes. Mike Starr left the band in January 1993\, to be replaced by Mike Inez. The band’s initial story was that Starr wasn’t ready to gear up for an intense work schedule\, but Starr later said he was fired due to drug addiction. The specter of heavy drugs hung over the band\, thanks to lyrical allusions on Dirt and rumors alleging that Staley was addicted to heroin. Alice in Chains soldiered forth\, releasing two new songs on the soundtrack for the Arnold Schwarzenegger film Last Action Hero (including the radio hit “What the Hell Have I”) and playing a plum spot on the third Lollapalooza tour in 1993. Jar of Flies found the band retreating to softer\, moody music\, and the shift paid off commercially. Upon its January 1994 release\, it became the first EP to debut at number one on the Billboard charts and\, thanks in part to “No Excuses” — which went to number one on the mainstream rock chart and three on Billboard’s alternative chart\, the highest placing they’d have with Layne Staley in the lineup — it was certified platinum by March; it would eventually earn two additional certifications. \nAlice in Chains remained on the top of the charts\, but they also remained off the road during 1994\, fueling speculation that Staley was mired in heroin addiction. The rumors were true. Behind the scenes\, Staley went through a bout of rehab that didn’t stick\, leading the band to cancel its summer tour on a day’s notice and enter an unofficial hiatus. During this time\, “Got Me Wrong” — a song initially released on Sap — was pulled as a single from the Clerks soundtrack and wound up as a radio hit. The bigger news during the hiatus was Staley‘s busman’s holiday\, Mad Season. Originally the Gacy Bunch at their initial concerts\, Mad Season was a Seattle supergroup also featuring Pearl Jam‘s Mike McCready\, the Screaming Trees‘ Barrett Martin\, and John Saunders. The band’s lone album\, Above\, arrived in March 1995. \nAs Above was in the middle of its run on the charts — it peaked at 24 on Billboard’s album chart\, with “River of Deceit” reaching the Top Ten on Billboard’s mainstream and modern rock charts — Alice in Chains reconvened to record their third album with producer Toby Wright. Upon its November 1995 release\, the eponymous record debuted at number one on Billboard\, with the singles “Grind” and “Heaven Beside You” reaching the mainstream rock Top Ten; the latter peaked at six on the alternative rock chart. Once again\, Alice in Chains were loath to tour. Instead\, they recorded a concert — their first in nearly three years — for MTV Unplugged on April 10\, 1996. By the time the show was released as an album on July 30\, Alice in Chains’ return to the stage was already thwarted: after four supporting dates for Kiss\, Staley was found unresponsive after a heroin overdose on July 3\, 1996 following a show in Kansas City\, Missouri. \nStaley recovered from his OD but the band struggled as he battled his addiction. Following the death of his former fiancée\, Demri Parrott\, in October 1996\, Staley secluded himself from the public\, leading Jerry Cantrell to write and record a solo album called Boggy Depot; Mike Inez and Sean Kinney both appeared on Cantrell‘s solo effort. Alice in Chains completed two new songs\, including the Top Ten mainstream rock hit “Get Born Again\,” for the 1998 box set Music Bank. The box was the first of a series of archival releases in the next three years: Nothing Safe: The Best of the Box showed up in 1999\, followed by the concert compilation Live in 2000 and Greatest Hits in 2001. All the members of Alice in Chains busied themselves during this extended hiatus. Sean Kinney and Mike Inez appeared in Spys4Darwin\, Inez gigged with Zakk Wylde‘s Black Label Society during his downtime\, and Cantrell worked on a second solo album. Degradation Trip\, the guitarist’s sophomore record\, appeared in June 2002\, two months after Staley was found dead from a drug overdose at his Seattle condo. \nAlice in Chains parted ways after Staley‘s death\, with Inez becoming a member of Heart and Cantrell collaborating with a number of hard rock and metal acts\, including Heart and Ozzy Osbourne. Sony released Alice in Chains from their record contract in 2004\, and the next year the group reunited to play a benefit concert for the South Asia tsunami disaster of 2004. Pat Lachman\, the singer for Damageplan\, acted as Staley‘s replacement but other stars appeared with the band\, too\, including Ann Wilson and Maynard James Keenan. The one-off concert went well enough that Alice in Chains decided to make their reunion permanent. Hiring William DuVall\, formerly of Comes with the Fall\, as Staley‘s replacement\, Alice in Chains toured in 2006\, which led to a tour supporting Velvet Revolver in 2007. \nThe revived Alice in Chains recorded a comeback album in 2008 with co-producer Nick Raskulinecz\, which appeared in September 2009 as Black Gives Way to Blue. Debuting at five on the Billboard charts\, Black Gives Way to Blue wound up going gold while racking up two Grammy nominations\, reestablishing Alice in Chains as a force in mainstream and modern rock. The group toured into 2010 and then in 2011 set to work on another album with Raskulinecz. Entitled The Devil Put Dinosaurs Here\, the album debuted at two upon its release in May 2013. Alice in Chains toured The Devil Put Dinosaurs Here into 2014\, then spent the next two years on the road. In 2017\, the group started work on another new album with Raskulinecz. Recorded primarily in Seattle\, the resulting Rainier Fog appeared in August 2018. ~ Stephen Thomas Erlewine\, Rovi \n \n \nPennsylvania hard rock outfit Breaking Benjamin debuted with a brand of metal-tinged alternative that came to define the sound of mainstream rock in the early 2000s. Over the years\, multiple lineup changes would impact the sound of the band\, which developed into a more arena-friendly act by the late 2000s. Originally indebted to the minor-chord dirges of grunge rockers like Alice in Chains and the menacing darkness of nu-metal acts like Godsmack and Chevelle\, Breaking Benjamin became one of the most popular rock groups in the United States\, scoring a number one with the single “Breath” in 2007 and topping the Billboard 200 in 2015 with Dark Before Dawn. In addition\, three of their albums — 2004’s We Are Not Alone\, 2006’s Phobia\, and 2009’s Dear Agony — have been certified platinum in the U.S. \nIn late 2000\, after parting ways with the band Lifer\, founding guitarist Aaron Fink and bassist Mark Klepaski joined forces with singer Benjamin Burnley and drummer Jeremy Hummel to form Breaking Benjamin. When the quartet started playing around their hometown of Wilkes-Barre\, they favored a radio-friendly post-grunge approach that was informed by influences like Live\, Bush\, Pearl Jam\, Stone Temple Pilots\, and Nirvana. Later\, they would adopt the downtuned guitar sound of groups such as Korn and Tool. \nIn 2001\, Breaking Benjamin’s Wilkes-Barre gigs caught the attention of a local radio DJ named Freddie Fabbri\, who was an on-air personality at alt-rock station WBSX-FM. Fabbri put their song “Polyamorous” in rotation\, later financing the recording of their self-titled debut EP. That year\, they signed with Hollywood Records\, which connected the band with Ulrich Wild (Static-X\, Pantera\, Slipknot)\, who served as both producer and engineer on their debut full-length\, 2002’s Saturate. The David Bendeth-produced We Are Not Alone followed two years later\, complete with a few collaborations with Billy Corgan. The group landed a spot on tour with Evanescence in support of the effort\, as three of the album’s singles made their way onto the Billboard charts (“So Cold” and “Sooner or Later” both peaked at number two on the Mainstream Rock Songs list). \nBreaking Benjamin issued their third album\, Phobia\, in August 2006 before heading out on a nationwide headlining trek. The album featured new drummer Chad Szeliga and was spearheaded by the single “The Diary of Jane\,” which gained radio airplay and helped the album debut at number two on the Billboard charts. Phobia was reissued that fall with additional bonus tracks\, while the band continued touring alongside Godsmack. After the tour\, Breaking Benjamin dove back into the studio to begin work on their fourth full-length. The resulting Dear Agony\, fueled by first single “I Will Not Bow\,” arrived in the summer of 2009. More touring followed\, including legs with Three Days Grace and Nickelback\, before Burnley announced a hiatus due to persistent health issues. Ensuing legal disputes within the group led to Fink and Klepaski being fired just before a collection\, Shallow Bay: The Best of Breaking Benjamin\, was released in 2011. Szeliga exited the band in 2013. \nThe following year\, Burnley confirmed that Breaking Benjamin would continue as a quintet\, and in June of 2015 they returned with their first album of new material in six years\, Dark Before Dawn. The comeback effort featured the lineup of Burnley (who also produced)\, guitarists Jasen Rauch and Keith Wallen\, bassist Aaron Bruch\, and drummer Shaun Foist. The lead single\, “Failure\,” cracked the Billboard Hot 100 and hit number one on the Mainstream Rock Songs chart\, and the album became their first American chart-topper. While still touring behind Dark Before Dawn\, Breaking Benjamin recorded their sixth effort\, Ember\, which arrived in 2018. Debuting on the charts at number three\, the LP included the hit singles “Red Cold River\,” “Feed the Wolf\,” and “Blood.” Two years later\, Breaking Benjamin returned with Aurora\, a collection of reimagined versions of some of their best-known songs featuring a guest list that included Cold frontman Scooter Ward\, Saint Asonia vocalist Adam Gontier\, and Underøath‘s Spencer Chamberlain. ~ Neil Z. Yeung & Alex Henderson\, Rovi \n \n \nEnglish rock band Bush emerged during the grunge boom of the early ’90s\, becoming the first British band post-Nirvana to hit it big in America. Following the release of their breakthrough debut\, 1994’s Sixteen Stone\, they carried that international\, multi-platinum success to greater heights with their chart-topping follow-up\, Razorblade Suitcase. A hit on radio and MTV\, the band — fronted by guitarist/vocalist Gavin Rossdale — rounded out their peak period of popularity with 1999’s experimental The Science of Things. By 2001\, shake-ups to their founding lineup and the poor performance of Golden State led the group to disband; they would not return for almost a decade. In the meantime\, Rossdale went on to form a new band and work on solo material\, eventually kick-starting the group again in 2010. They made their big comeback the following year with The Sea of Memories\, the beginning of a new phase for Bush. Rossdale and his bandmates remained busy in the 2010s\, issuing an additional pair of efforts (2014’s Man on the Run and 2017’s Black and White Rainbows)\, while maintaining a rigorous touring schedule. \nFormed in late 1992 by Rossdale\, Bush landed an American record deal before they even had a British label. Their debut album\, Sixteen Stone\, produced by Clive Langer and Alan Winstanley (producers of early-’80s hits by Madness and Elvis Costello\, among others)\, was released in late 1994 by Interscope Records. By the end of December\, Bush’s “Everything Zen” video had landed in MTV’s Buzz Bin and the album began to take off; by spring of 1995\, the record had achieved gold certification. By that time\, the band was successful enough in the U.S. to land a British record deal\, although they weren’t able to match their American success in the U.K. \nOver the course of 1995\, Sixteen Stone became a major hit in the U.S.\, with “Little Things” reaching number four on the modern rock charts in the spring; later that year\, “Comedown” and “Glycerine” both reached number one on the modern rock charts\, as well as crossing over into the pop Top 40. Despite their mainstream success\, Bush received negative reviews from the press and attracted scorn from alternative rock insiders. To counter the criticism\, the band asked Steve Albini — notorious for his abrasive productions for not only Pixies\, Nirvana\, and PJ Harvey\, but also countless indie bands — to helm their second album. The resulting Razorblade Suitcase was released in time for the Christmas season of 1996. The record was greeted with mixed reviews that were nevertheless more positive than those surrounding Sixteen Stone\, entering the U.S. charts at number one and showing at number four in the U.K. By the spring of 1997\, the album produced the hit singles “Swallowed\,” “Greedy Fly\,” and “Cold Contagious.” Later that year\, the band recruited the likes of Goldie\, Philip Steir\, Dub Pistols\, and Tricky for the electronic remix set Deconstructed. \nIn the fall of 1999\, Bush returned with The Science of Things. Peaking at number 11\, the effort was certified platinum on the backs of singles like “The Chemicals Between Us\,” which topped the Billboard Modern Rock chart. In late 2001\, they went back to basics with the guitar-driven album Golden State. Although it didn’t storm the charts like previous albums\, fans still supported Bush\, as was evidenced by their sold-out tour across North America. During this time\, Helmet guitarist Chris Traynor was added as a touring member. Shifts within the band\, however\, took a sharp turn several months later when founding member Nigel Pulsford announced his departure in May. Pulsford\, who had started a solo career as well as a new family\, left without much drama and disapproval. Traynor stepped in to fill his shoes\, but the tour would still be the last for the original Bush lineup. They ultimately disbanded in 2002\, with Rossdale returning to music in 2004 with a new project\, Institute\, as well as a solo album\, Wanderlust\, in 2008. While a Best Of set (which included a recording of their Woodstock ’99 performance) and Zen X Four (a double-disc live album/music video collection) were issued in 2005\, Bush would not be heard from for a decade. \nIn 2011\, after years of planning\, Rossdale re-formed Bush with Traynor\, bassist Corey Britz\, and founding drummer Robin Goodridge; Pulsford and Parsons declined to rejoin the band. That year\, they released the Bob Rock-produced The Sea of Memories\, their fifth studio album and first since 2001’s Golden State. The album performed modestly well — lead single “The Sound of Winter” topped Billboard’s Alternative Songs and Rock Songs charts\, with the record peaking at 18 on the Billboard 200 — and the group toured behind the album into 2012. \nReinvigorated by being back on the scene\, Rossdale returned to the studio almost immediately after coming off tour and began writing another record. The sixth Bush album\, Man on the Run\, was recorded in 2014 with Nick Raskulinecz and Jay Baumgardner\, and released in October of the same year. They promoted the effort into 2016\, returning to the studio for a follow-up. The next year\, Bush issued their seventh album\, Black and White Rainbows. Led by the ballad “Mad Love\,” the set was promoted with a 2018 summer trek alongside Stone Temple Pilots and the Cult. In 2019\, Goodridge parted ways with the band and was replaced by Nik Hughes. \nBush ushered in the 2020s with their eighth studio full-length\, The Kingdom. In addition to lead single “Flowers on a Grave\,” the LP also included “Bullet Holes” from John Wick: Chapter 3 – Parabellum. ~ Neil Z. Yeung & Stephen Thomas Erlewine\, Rovi
URL:https://globalazmedia.com/event/alice-in-chains-breaking-benjamin-bush-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/2022/08/ALICE.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220908T190000
DTEND;TZID=America/Phoenix:20220908T233000
DTSTAMP:20260507T061814
CREATED:20220901T021334Z
LAST-MODIFIED:20220901T021334Z
UID:14854-1662663600-1662679800@globalazmedia.com
SUMMARY:Keith Urban at Footprint Center
DESCRIPTION:Keith Urban has spent the better part of his life harnessing a deep-seated passion for music. This\, when combined with his authenticity\, talent and driving musical inquisitiveness\, helps to understand why he is one of the most successful and well-respected artists in the world. He’s won four GRAMMY© Awards\, thirteen CMAs\, fifteen ACMs\, three AMAs\, two People’s Choice Awards and celebrated nine consecutive gold\, platinum or multi-platinum albums. \nHis latest studio album\, THE SPEED OF NOW Part 1\, marks the fourth in an historic streak of simultaneous #1 album debuts in the United States\, Canada and Australia. It’s produced the top 5 songs “God Whispered Your Name\,” and “We Were\,” as well as the global smash and duet with P!nk “One Too Many\,” which in its first 10 months has garnered over 100 million Spotify streams. \n2021 has seen Urban featured on two songs from Taylor Swift’s album Fearless (Taylor’s Version) including “That’s When” and “We Were Happy\,” a part of the performance of the John Lennon’s “Imagine\,” for the opening ceremonies of the Olympics\, as well as his return as host for the 56th Annual Academy of Country Music Awards with Mickey Guyton. \nTHE SPEED OF NOW WORLD TOUR will take Urban across the globe for the remainder of 2022 with dates in the US\, Canada\, and Australia. \n \n 
URL:https://globalazmedia.com/event/keith-urban-at-footprint-center/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/08/Keith-Urban-at-footprint-center.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220903T200000
DTEND;TZID=America/Phoenix:20220903T233000
DTSTAMP:20260507T061814
CREATED:20220814T151914Z
LAST-MODIFIED:20220814T151914Z
UID:14818-1662235200-1662247800@globalazmedia.com
SUMMARY:Gloria Trevi at Arizona Financial Theatre
DESCRIPTION:After selling 30 million records worldwide\, recording more than 500 songs\, receiving dozens of awards\, selling out hundreds of shows\, and entertaining millions of fans for three decades\, Gloria Trevi remains one of the most influential Mexican artists of all. the times. She has built a catalog of hits “You didn’t want to hurt me” “Loose hair” “Your guardian angel” “With closed eyes” “Everyone is looking at me” “Dr. Psychiatrist”. Pollstar names her as one of the “artists with the best-selling tour of the 21st century” and “the Mexican artist with the best-selling tour in North America” in 2019 and 2020. Her successful tour La Diosa de La Noche broke attendance records until 2020 and consolidated her as the first artist to sell 14 shows at the Monterrey Arena and 5 shows at the National Auditorium. He has earned honors at the Billboard Awards\, Premios Juventud\, and the BMI Presidential Award. In 2021\, he teamed up with Guaynaa on “Nos Volvimos Locos” and was named by Billboard as “a song of urban pop fused with intelligent rhythms of EDM” and which was part of a global Zumba® and ZIN® campaign in more than 186 countries. It launched “Rehearsing how to ask for forgiveness” and was recognized for the first time at Latin GRAMMY® in the category “Best Pop Song” for “La Mujer” with Mon Lafert and. This 2022\, Trevi will release his new single “La Recaída”\, is preparing to release a new album and announce his new Isla Divina tour with three sold-out shows at the National Auditorium. \n\nDespués de vender 30 millones de discos en todo el mundo\, grabar más de 500 canciones\, recibir docenas de premios\, vender cientos de espectáculos y entretener a millones de fanáticos durante tres décadas\, Gloria Trevi sigue siendo una de las artistas mexicanas más influyentes de todos los tiempos. Ha construido un catálogo de éxitos “No querías lastimarme” “Pelo suelto” “Tu angel de la guarda” “Con los ojos cerrados” “Todos me miran” “Dr. Psiquiatra”. Pollstar la nombra como una de las “artistas con la gira más vendida del siglo 21” y “la artista mexicana con la gira más vendida en América del Norte” en 2019 y 2020. Su exitosa gira La Diosa de La Noche batió récords de asistencia hasta 2020 y la consolidó como la primera artista en vender 14 espectáculos en el Monterrey Arena y 5 espectáculos en el Auditorio Nacional. Ha obtenido honores en Premios Billboard\, Premios Juventud\, y el Premio Presidencial BMI. En 2021\, se asoció con Guaynaa en “Nos Volvimos Locos” y Billboard nombró como “una canción de pop urbano fusionada con ritmos inteligentes de EDM” y que formó parte de una campaña global de Zumba® y ZIN® en más de 186 países. Lanzó “Ensayando cómo pedirte perdón” y fue reconocida por primera vez a Latin GRAMMY® en la categoría “Mejor Canción Pop” por “La Mujer” con Mon Laferte. Este 2022\, Trevi lanzará su nuevo sencillo “La Recaída”\, se prepara para lanzar un nuevo álbum y anuncio de su nueva gira Isla Divina con tres shows totalmente vendidos en el Auditorio Nacional. \n \n \n 
URL:https://globalazmedia.com/event/gloria-trevi-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/2022/08/Gloria-Trevi-at-Arizona-Financial-Theatre.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220903T170000
DTEND;TZID=America/Phoenix:20220903T233000
DTSTAMP:20260507T061814
CREATED:20220711T000153Z
LAST-MODIFIED:20220711T000153Z
UID:14177-1662224400-1662247800@globalazmedia.com
SUMMARY:RAMMSTEIN at Soldier Field
DESCRIPTION:Rammstein are one of rock’s most individual and successful names\, a multiple award-winning outfit with a vision that continues to evolve. Since forming in 1994\, the six East Berliners have headlined the world’s major festivals and stadiums\, selling millions of albums\, and topping charts worldwide. \nFor the Rammstein kollektiv\, and it’s the same line-up now as at the start\, it’s always been a case of marching to their own beat; they sing in German\, side-step those visuals typical of the metal world\, and present an incendiary live experience that touches all of the senses – an experience underpinned by cultural and artistic weight. \nTo date\, there are seven studio albums under the Rammstein banner\, the most recent being 2019’s untitled release – a body of work that headed the charts in 14 countries and went Top 10 in the US\, breaking new ground. Produced by the band with Olsen Involtini\, this 11-tracker (double platinum in Germany) was preceded by lead single ‘Deutschland’\, a domestic No. 1 supported by a nine-minute movie – an epic\, unflinching look at German history directed by Specter Berlin. \nNot only was this album a decade in the making\, it also saw the musicians taking their legendary live show into Stadiums\, selling 800\,000 tickets immediately and eventually playing to over 1.2 million fans across 17 countries. \nThe next leg of the European Stadium Tour takes place in spring / summer 2021\, with most venues sold out. \nDante Bonutto\, 2020 \n \n \n 
URL:https://globalazmedia.com/event/rammstein-at-soldier-field/
LOCATION:Soldier Field\, 1410 S Museum Campus Dr\, Chicago\, IL\, 60605\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220826T183000
DTEND;TZID=America/Phoenix:20220826T233000
DTSTAMP:20260507T061814
CREATED:20220809T022429Z
LAST-MODIFIED:20220809T022429Z
UID:14781-1661538600-1661556600@globalazmedia.com
SUMMARY:Five Finger Death Punch + Megadeth at Ak-Chin Pavilion
DESCRIPTION:One of the most successful rock acts in modern music\, Five Finger Death Punch have been hard at work in the studio over the past year writing and recording the follow-up to their 2020 album F8. The album\, produced by Kevin Churko\, debuted at #1 on Rock charts around the world with top 10 mainstream chart debuts in the USA\, Austria\, Australia\, Canada\, Finland\, Germany\, Sweden\, Switzerland\, the UK and more. It produced four #1 hit singles with “Inside Out\,” “A Little Bit Off\,” “Living The Dream\,” and “Darkness Settles In\,” the latter of which saw the band tie the record for most consecutive #1’s on Billboard’s Mainstream Rock Airplay Chart with seven chart-toppers in-a-row with Disturbed. The band has amassed over 8 billion streams and 3 billion video views to date and have sold over one million tickets between 2018 and 2020 alone. \n5FDP is also venturing into the film space\, with their appearance in the upcoming horror-thriller film THE RETALIATORS\, a Better Noise Films production\, which is set for a fall 2022 theatrical and streaming release. The band appears both onscreen and on the film’s original soundtrack\, alongside some of the biggest names in rock: Mötley Crüe’s Tommy Lee\, Jacoby Shaddix of Papa Roach\, Spencer Charnas of Ice Nine Kills\, From Ashes to New\, The HU\, All Good Things\, and more. This past August\, the movie had its WORLD PREMIERE at Arrow Video FrightFest in London. Its North American premiere took place at the iconic TCL Chinese Theatre in Los Angeles as the OPENING NIGHT film for ScreamFest\, where the production took home an award for Best Make-Up and earned itself rave reviews\, with a rare rating of 100% on Rotten Tomatoes\, which it still maintains today. \nTwitter | Instagram | Facebook  | YouTube | Spotify | Apple Music | Website \n \nMEGADETH have taken their place as one of metal’s most influential and respected acts\, and that vitality and excitement has only grown in recent years.  Having sold over 38 million albums worldwide\, the band’s most recent album\, 2016’sDystopia\, earned MEGADETH their first GRAMMY® Award (for “Best Metal Performance” for the title track “Dystopia)\, and charted #1 on Billboard’s Top Rock and #3 on the Top 200 (beating or matching the highest chart numbers of the band’s career)\, while landing on Top Ten Metal Albums of the Year on Rolling Stone\, Revolver and many others. MEGADETH are slated to release their 16th studio album\, “The Sick\, The Dying… And The Dead” this year. \nHaving recently toured North America as co-headliners of Metal Tour of the Year\, and joined Five Finger Death Punch in a full European tour in 2020\, MEGADETH are primed and ready to crush North America alongside Five Finger Death Punch again this fall. \n \nIn 2019\, an NPR story put a spotlight on “a band from Mongolia that blends the screaming guitars of heavy metal and traditional Mongolian guttural singing\,” accurately highlighting the cultural importance and unique musical identity of The HU. Founded in 2016 in Ulaanbaatar\, Mongolia\, The HU\, comprised of producer Dashka along with members Gala\, Jaya\, Temka\, and Enkush\, are a modern rock group rooted in the tradition of their homeland. The band’s name translates to the Mongolian root word for human being\, and their unique approach blends instruments like the Morin Khuur (horsehead fiddle)\, Tovshuur (Mongolian guitar)\, Tumur Khuur (jaw harp) and throat singing with contemporary sounds\, creating a unique sonic profile that they call “Hunnu Rock.” \nTheir debut album\, 2019 ‘s The Gereg\, debuted at #1 on the World Album and Top New Artist Charts. With it\, the band have accumulated over 250 million combined streams and video views to date and have received critical acclaim from the likes of Billboard\, NPR\, GQ\, The Guardian\, The Independent\, Revolver\, and even Sir Elton John himself. \nProving their global appeal\, The HU have sold out venues across the world in North America\, Europe\, Asia\, and Australia\, with scheduled festival appearances at Coachella\, Lollapalooza\, Download Festival\, and more\, creating a community of fans from all walks of life. They quickly grabbed the attention of the industry\, leading to collaborations with Jacoby Shaddix of Papa Roach and Lzzy Hale of Halestorm. And most recently\, the band received praise from fans and critics for their Mongolian rendition of Metallica’s “Sad But True\,” which Metallica themselves acknowledged on their social media accounts\, seemingly giving the band their official seal of approval. The band has also explored eclectic ways to reach audiences with their sound\, most notably writing and recording music for EA Games’ Star Wars Jedi: Fallen Order. \nReadying their next chapter as a global force\, The HU are putting the finishing touches on their highly anticipated sophomore album\, which is due for a global release later this year from Better Noise Music. The project will include a selection of tracks that were premiered live on the band’s critically acclaimed North American tour at the end of 2021\, coinciding with their appearance on Metallica’s 2021 retrospective covers album The Metallica Blacklist\, alongside other high-profile guest artists like Miley Cyrus\, Chris Stapleton\, Phoebe Bridgers\, J Balvin\, St. Vincent\, and so many more. The HU’s forthcoming 2022 headlining tour will kick off with a special set at Coachella this April. \nWebsite | Instagram | Twitter | YouTube | TikTok \n \nFor some artists making music isn’t a choice\, it’s fueled by something larger than themselves. This is undoubtedly true of Fire From The Gods whose second full-length American Sun sees them adopting the tagline “In Us We Trust” meaning “we the people” are responsible for change; a unifying statement in order to try to prevent society from succumbing to the growing malaise brought on by soul-sucking technology\, divisive politics and environmental destruction. “With this record what we’re trying to drive home is that our differences and where we are from doesn’t need to define who we are moving forward\,” frontman AJ Channer explains. “Like [2016’s] Narrative I’m telling the story from my perspective\, but it’s a story that people from all walks of life can relate to in the sense that we all face the same challenges… and the only way to conquer them is if we face them together.” \nFire From The Gods have experienced their share of ups and downs since the Austin\, Texas-based act released their David Bendeth-produced (Breaking Benjamin\, Paramore) debut three years ago. Since then\, the band—which also features drummer Richard Wicander\, guitarists Drew Walker and Jameson Teat and bassist Bonner Baker—have toured incessantly with acts like Sevendust and Of Mice & Men\, played festivals ranging from the Vans Warped Tour to the country’s largest Rock festival\, Rock On The Range\, re-released their debut as The Narrative Untold featuring new songs produced by Jonathan Davis of Korn and spread their message to fans all over the world. However instead of resting on their laurels\, the act doubled down on their message with American Sun\, their first album after signing with juggernauts Better Noise (fka Eleven Seven Music Group). “I think this record is a lot more personal because I’ve become a lot more open about who I am and what I’ve had to deal with\,” Channer explains. Channer spent his childhood shuffling between London\, New York\, Los Angeles\, Norfolk and Ghana\, giving him a unique perspective on the world\, however the issues that he’s dealt with such as anxiety\, depression\, anger\, rejection and loss are universal. \nWebsite | Instagram | Facebook | Twitter
URL:https://globalazmedia.com/event/five-finger-death-punch-megadeth-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/2022/08/FFDP-and-Megadeth-at-Ak-Chin.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220826T180000
DTEND;TZID=America/Phoenix:20220826T233000
DTSTAMP:20260507T061814
CREATED:20220825T235138Z
LAST-MODIFIED:20220825T235138Z
UID:14846-1661536800-1661556600@globalazmedia.com
SUMMARY:Butcher Babies at Marquee Theatre
DESCRIPTION:For nearly a decade\, Butcher Babies have been crushing stages worldwide with their vicious live performance and explosive energy. Their stage presence is a hypnotic spectacle that leaves audiences hungry for more. Frontwomen Heidi Shepherd and Carla Harvey\, guitarist Henry Flury\, bassist Jason Klein and drummer Chase Brickenden juxtapose brutal\, aggressive riffs with beautiful melodies that wail with emotional redemption. Hailing from the City Of Angels\, Butcher Babies aided in the jubilant revival of the Metal scene on the Sunset Strip. While gaining attention from several record labels the band signed a worldwide deal with Century Media Records in December 2012. Less than a year later\, July 2013\, they released their debut album GOLIATH\, produced by Josh Wilbur (Gojira\, Lamb of God\, Hatebreed). Followed by their highly anticipated sophomore headbanger\, TAKE IT LIKE A MAN\, August 2015\, produced by Logan Mader (FFDP\, Gojira\, Soulfly). The evolution continues as the band is set to release their third full studio album\, October 27\, 2017\, LILITH\, produced by Steve Evetts (Suicide Silence\, Dillinger Escape Plan\, The Cure). With three albums and two EPs under their belt\, Butcher Babies have reached a new level of maturity solidifying a triumphant return after a brief creative hiatus to write and rebuild.  This album runs the gamut between exploring the dark roots of lust and the high energy thrash hijinks that Butcher Babies have become known and loved for. \n \n \n 
URL:https://globalazmedia.com/event/butcher-babies-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/08/butcher-babies-at-marquee.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220825T170000
DTEND;TZID=America/Phoenix:20220825T233000
DTSTAMP:20260507T061814
CREATED:20220811T020613Z
LAST-MODIFIED:20220811T020613Z
UID:14792-1661446800-1661470200@globalazmedia.com
SUMMARY:Def Leppard + Mötley Crüe + Poison & Joan Jett & Blackhearts at State Farm Stadium
DESCRIPTION:In many ways\, Def Leppard were the definitive hard rock band of the ’80s. There were groups that rocked harder\, but few captured the spirit of the times quite as well. Emerging in the late ’70s as part of the New Wave of British Heavy Metal\, Def Leppard gained a following outside of that scene by toning down their heavy riffs and emphasizing melody. After a couple of strong albums\, they were poised for crossover success by the time of 1983’s Pyromania\, and skillfully used the fledgling MTV network to their advantage. They reached the pinnacle of their career with 1987’s blockbuster Hysteria\, then had another big hit\, 1992’s Adrenalize\, that defied the mainstream turn toward grunge. After that\, the band settled into a pattern of touring exhaustively and releasing an album every few years\, maintaining a steady audience and occasionally surprising fans with an album\, like 2008’s Yeah!\, that harked back to the sound of their glory days\, or the oversized 2022 record Diamond Star Halos. \nDef Leppard originated in a Sheffield-based group that teenagers Rick Savage (bass) and Pete Willis (guitar) formed in 1977. Vocalist Joe Elliott\, a fanatical follower of Mott the Hoople and T. Rex\, joined the band several months later\, bringing the name Deaf Leopard with him. After a spelling change\, the trio\, augmented by a now-forgotten drummer\, began playing local Sheffield pubs\, and within a year the band had added guitarist Steve Clark to the lineup\, as well as a new drummer. Later in 1978\, they recorded their debut EP\, Getcha Rocks Off\, and released it on their own label\, Bludgeon Riffola. The EP became a word-of-mouth success\, earning airplay on the BBC. \nFollowing the release of Getcha Rocks Off\, 15-year-old Rick Allen was added as the band’s permanent drummer\, and Def Leppard quickly became the toast of the British music weeklies. They soon signed with AC/DC‘s manager\, Peter Mensch\, who helped them secure a contract with Mercury Records. On Through the Night\, the band’s full-length debut\, was released in 1980 and instantly became a hit in the U.K.\, also earning significant airplay in the U.S.\, where it reached number 51 on the charts. Over the course of the year\, Def Leppard relentlessly toured Britain and America\, playing their own shows while also opening concerts for Ozzy Osbourne\, Sammy Hagar\, and Judas Priest. High ‘n’ Dry followed in 1981 and became the group’s first platinum album in the U.S.\, thanks to MTV’s strong rotation of “Bringin’ on the Heartbreak.” \nAs the band recorded the follow-up to High ‘n’ Dry with producer Mutt Lange\, Pete Willis was fired from the group because of his alcoholism\, and Phil Collen\, a former guitarist for Girl\, was hired to replace him. The resulting album\, 1983’s Pyromania\, became an unexpected blockbuster\, due not only to Def Leppard’s skillful\, melodic metal\, but also to MTV’s repeated airing of “Photograph” and “Rock of Ages.” Pyromania went on to sell ten million copies\, establishing Def Leppard as one of the most popular bands in the world. Despite their success\, they were about to enter a trying time in their career. Following an extensive international tour\, the group reentered the studio to record the follow-up\, but producer Lange was unavailable\, so they began sessions with Jim Steinman\, the man responsible for Meat Loaf‘s Bat Out of Hell. The pairing turned out to be ill-advised\, so the bandmembers turned to their former engineer\, Nigel Green. One month into recording\, Allen lost his left arm in a New Year’s Eve car accident. The arm was reattached\, but it had to be amputated once an infection set in. \nDef Leppard’s future looked cloudy without a drummer\, but by the spring of 1985 — just a few months after his accident — Allen began learning to play a custom-made electronic kit assembled for him by Simmons. The band soon resumed recording\, and within a few months\, Lange was back on board; having judged all the existing tapes inferior\, he ordered the band to begin work all over again. Recording sessions continued throughout 1986\, and that summer\, the group returned to the stage for the European Monsters of Rock tour. Def Leppard finally completed their fourth album\, now titled Hysteria\, early in 1987. The record was released that spring to lukewarm reviews\, with many critics claiming that the album compromised Leppard’s metal roots for sweet pop flourishes. Accordingly\, Hysteria was slow out of the starting gates — “Women\,” the first single\, failed to really take hold — but the release of “Animal” helped the album gather steam. The song became Def Leppard’s first Top 40 hit in the U.K.\, but more importantly\, it launched a string of six straight Top 20 hits in the U.S.\, which also included “Hysteria\,” “Pour Some Sugar on Me\,” “Love Bites\,” “Armageddon It\,” and “Rocket\,” the latter of which arrived in 1989\, a full two years after the release of Hysteria. During those two years\, Def Leppard’s presence was unavoidable — they were the kings of high school metal\, ruling the pop charts and MTV\, and teenagers and bands alike replicated their teased hair and ripped jeans\, even when the grimy hard rock of Guns N’ Roses took hold in 1988. \nHysteria proved to be the peak of Leppard’s popularity\, yet their follow-up remained eagerly awaited in the early ’90s\, as the band took a break from the road and set to work on a new record. During the recording process\, however\, Steve Clark died from an overdose of alcohol and drugs. Clark had historically battled alcohol\, and following their Hysteria heyday\, his bandmates forced him to take a sabbatical. Although he did enter rehab\, Clark’s habits continued\, and his abuse was so crippling that Collen began recording the majority of the band’s guitar leads. Following Clark’s death\, Def Leppard resolved to finish their forthcoming album as a quartet\, releasing Adrenalize in the spring of 1992. Adrenalize was greeted with mixed reviews\, and even though the album debuted at number one and contained several successful singles\, including the Top 20 hits “Let’s Get Rocked” (notable for having one of the first ever CGI music videos) and “Have You Ever Needed Someone So Bad\,” the record was a commercial disappointment in the wake of Pyromania and Hysteria. After its release\, the group added former Whitesnake guitarist Vivian Campbell to the lineup\, thus resuming Def Leppard’s two-guitar attack. \nIn 1993\, Def Leppard issued the rarities collection Retro Active\, which yielded another Top 20 hit with the acoustic ballad “Two Steps Behind.” Two years later\, the group released the greatest-hits collection Vault while preparing for their sixth album. Slang arrived in the spring of 1996\, and while it proved more adventurous than its predecessor\, it was greeted with indifference\, indicating that Leppard’s heyday had indeed passed\, and they were now simply a very popular cult band. Undaunted\, Leppard soldiered on\, returning to their patented pop-metal sound for Euphoria\, which was released in June of 1999. Despite the success of “Promises\,” the record failed to produce any additional hits\, resulting in a return to adult pop balladry on 2002’s X. The two-disc Rock of Ages: The Definitive Collection arrived in 2005\, followed in 2006 by Yeah!\, a strong collection of covers. \nIn 2008\, the guys released their tenth studio album\, Songs from the Sparkle Lounge\, which debuted at number five and was supported by a lucrative summer tour. Material from that tour helped make up the bulk of 2011’s Mirror Ball: Live & More\, a three-disc live album containing a full concert\, three new studio recordings\, and DVD footage. Another live album followed two years later: Viva! Hysteria found Def Leppard running through their 1987 blockbuster in its entirety on the first disc\, and a collection of early\, rarely played material on the second. In 2015\, the band released Def Leppard\, their 11th studio album and first collection of original music since 2008. \nIn February 2017\, the group issued And There Will Be a Next Time\, a live album culled from the Def Leppard supporting tour. Later that year\, a Super Deluxe Edition of Hysteria came out in celebration of the record’s 30th anniversary. Further repackagings continued in 2018 with a box set of their ’80s albums titled The Collection\, Vol. 1 and The Story So Far: The Best of Def Leppard\, a multi-disc set that included the band’s first four studio albums and various rarities. The next year saw the release of The Collection\, Vol. 2\, a set of their ’90s records\, and The Story So Far\, Vol. 2: Hits & B-Sides\, which picked up where the first volume left off with material from the band’s ’90s run and beyond. Def Leppard continued to tour on a regular basis and played a Las Vegas residency\, then in 2020 issued a collection of their first two albums plus a live set and BBC sessions titled The Early Years 79-81. After this slew of live and reissued material\, the band finally released another studio album in 2022\, their 12th. Entitled Diamond Star Halos\, it was heralded by the barnstorming\, old-school promo track “Kick” and featured two collaborations with Alison Krauss. ~ Stephen Thomas Erlewine\, Rovi \n \nMÖTLEY CRÜE is The World’s Most Notorious Rock Band. Hailing from Los Angeles\, CA\, the quartet—Vince Neil (vocals)\, Mick Mars (guitars)\, Nikki Sixx (bass)\, and Tommy Lee (drums)— has commandeered the rock pantheon for 40 years. \nThey’ve accumulated worldwide album sales exceeding 100m\, 7 platinum and multi-platinum albums\, 22 Top 40 mainstream rock hits\, 6 Top 20 pop singles\, 3 GRAMMY nominations\, 4 New York Times best-sellers and even landed a star on the Hollywood Walk of Fame. \nWith utmost success from their Netflix biopic\, The Dirt and its soundtrack\, the band landed another #1 album on iTunes and Top 10 worldwide with 22 chart-topping singles and 7 albums on the charts. Its massive global success saw Mötley Crüe’s popularity soar to new highs\, catapulting the band’s music back to the top of the worldwide charts with the younger 18-44 demographic now representing 64% of the band’s fanbase. \nIn the six months following the release of THE DIRT\, Mötley Crüe has celebrated a meteoric rise of almost 350% increase in streams of their music across all streaming platforms. Known for their iconic live performances\, they’ve sold-out countless tours across the globe in front of millions of fans with groundbreaking production highlights such as Tommy Lee’s\, Crüecifly-Drum-Rollercoaster and Nikki Sixx’s Flame-Throwing-Bass. \n \nIn a decade fueled by party anthems and power ballads\, Poison enjoyed a great amount of popularity\, with only Bon Jovi and Def Leppard outselling them. While the group had a long string of pop-metal hits\, they soon became just as renowned for their stage show\, and continued to be a major attraction long after the ’80s came to a close (bringing the commercial downfall of pop-metal with it). Meanwhile\, frontman Bret Michaels reinvented himself as a reality TV star in 2007\, and his involvement in several TV shows — particularly Rock of Love\, Celebrity Apprentice\, and Life as I Know It — helped maintain the band’s popularity in concert. \nFormerly known as Paris\, Poison was formed in 1984 by Bret Michaels\, bassist Bobby Dall\, and drummer Rikki Rockett. After leaving their hometown of Harrisburg\, PA\, and resettling in L.A.\, the boys began holding auditions for a fourth member. Guitarist C.C. Deville got the gig\, famously beating out future Guns N’ Roses bandmate Slash in the process. With their lineup intact\, Poison embraced a glammy\, androgynous image and began playing shows in L.A.\, becoming masters of self-promotion and D.I.Y. advertising in the process. The hard work won them a contract with Enigma Records in 1986\, and they released their first album\, Look What the Cat Dragged In\, that summer. The record spawned a pair of Top 40 hits\, “Talk Dirty to Me” and “I Won’t Forget You\,” and sold over two-million copies within a year of its release. \nThe band was already quite popular by the end of 1987\, but 1988’s Open Up & Say…Ahhh! proved to be Poison’s commercial breakthrough\, due to the massive hits “Fallen Angel\,” “Nothin’ But a Good Time\,” and “Every Rose Has Its Thorn” (which became the band’s first chart-topping single). After a prosperous tour alongside David Lee Roth\, the group returned to the studio to record Flesh and Blood in 1990. The album\, which included the number three hit “Unskinny Bop” and the number four ballad “Something to Believe In\,” was another multi-platinum success\, but it also signaled the end of Poison’s glory days. While touring in support of Flesh and Blood (as documented on the double-disc concert album Swallow This Live)\, the band began falling apart\, and an infamous appearance on MTV showed Deville performing “Talk Dirty to Me” with his guitar unplugged. The band broke into a brawl backstage after the disastrous performance. \nShortly after the release of Swallow This Live\, Poison fired Deville due to his increasing addiction to drugs and alcohol. His replacement\, 21 year-old Richie Kotzen\, made his commercial debut with the band on 1993’s Native Tongue. Despite some strong reviews and a hit single\, “Stand\,” the album proved to be a commercial disappointment. Kotzen was fired during the subsequent tour\, having reportedly struck up an illicit relationship with Rikki Rockett’s fiancé\, and solo artist/session guitarist Blues Saraceno became Poison’s third guitarist. The band recorded its fifth studio album\, Crack a Smile\, for an intended release in 1996\, but the record was shelved and replaced with the Greatest Hits: 1986-1996 disc instead. Toward the end of that year\, Saraceno left and Deville returned to the band\, a move that resulted in a successful reunion tour during the summer of 1999. The Crack a Smile sessions were finally released the following spring\, followed by Power to the People\, which paired five new songs with 12 live tracks from the band’s comeback tour. However\, another tour was cut short by an accident that left Dall with serious back surgery. \nFollowing Dall’s lengthy recovery\, the band stepped into the studio and recorded Hollyweird\, which was released in the summer of 2002. The following tour was promoted as a nostalgic experience and was funded by VH1\, laying the brickwork for a lucrative relationship between the band and the television channel. Deville would later appear in the network’s sixth season of The Surreal Life\, while Michaels was awarded his own dating show\, Rock of Love with Bret Michaels. Hollyweird’s reception was lukewarm at best\, and Poison spent some time out of the spotlight while Michaels and Rockett released solo albums. They reconvened in 2006\, celebrating their 20th anniversary with a nationwide tour and another greatest-hits album. Propelled by Michaels‘ new status as a reality TV star\, The Best of Poison: 20 Years of Rock debuted inside the Billboard Top 20\, a feat the band hadn’t accomplished since Native Tongue. The following year brought similar luck\, with the band’s seventh studio effort — a covers album titled Poison’d! — moving over 20\,000 units during its first week. ~ Barry Weber & Andrew Leahey\, Rovi \n \nJoan Jett grew up during a time when rock ‘n’ roll was off limits to girls and women\, but as a teenager\, she promptly blew the door to the boys’ club off its hinges. After forming the Blackhearts in 1979\, with whom Jett has become a Rock and Roll Hall of Fame inductee\, she has had eight platinum and gold albums and nine Top 40 singles\, including “Bad Reputation\,” “I Love Rock ‘N’ Roll\,” “I Hate Myself For Loving You\,” and “Crimson and Clover.” With a career that has spanned music\, film\, television\, Broadway\, and humanitarianism\, Joan Jett remains a potent force and inspiration to generations of fans worldwide. As a producer\, she has overseen seminal albums by Bikini Kill\, and the Germs‘ LA punk masterpiece ‘GI.’ Jett and Kenny Laguna (her longtime producer and music partner) co-founded Blackheart Records from the trunk of Kenny’s Cadillac after rejections from no less than 23 labels. 40 years later\, Blackheart is a thriving entertainment company producing music\, film and television\, and continues to champion emerging bands. Joan Jett and the Blackhearts continue touring the globe with headlining shows alongside fellow rock legends like The Who\, Green Day\, Heart\, and Foo Fighters. After two COVID-19 postponements\, the group has returned to the road for The Stadium Tour with Def Leppard\, Mötley Crüe and Poison. ‘Bad Reputation\,’ a documentary about Jett’s life\, premiered to critical acclaim at the 2018 Sundance Film Festival and is now available for streaming.
URL:https://globalazmedia.com/event/def-leppard-motley-crue-poison-joan-jett-blackhearts-at-state-farm-stadium/
LOCATION:State Farm Stadium\, 1 Cardinals Dr\, Glendale\, AZ\, 85305\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/08/Def-Leppard-2022-tour.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220805T180000
DTEND;TZID=America/Phoenix:20220805T233000
DTSTAMP:20260507T061814
CREATED:20220719T005518Z
LAST-MODIFIED:20220719T005518Z
UID:14220-1659722400-1659742200@globalazmedia.com
SUMMARY:Halestorm & The Pretty Reckless at Arizona Financial Theatre
DESCRIPTION:Led by charismatic vocalist/guitarist Lzzy Hale\, Pennsylvania-based post-grunge/metal quartet Halestorm have become one of the most successful hard rock groups of the early 21st century. With an aggressive yet hook-heavy sound that has become a fixture of American rock radio\, Halestorm have toured restlessly\, playing hundreds of shows per year and sharing the stage with nearly all of the popular American hard rock acts of their era. In 2013\, the band took home a Grammy Award for Best Hard Rock/Metal Performance for the single “Love Bites (So Do I)\,” which appeared on their sophomore studio effort\, The Strange Case Of…. Subsequent efforts Into the Wild Life (2015)\, Vicious (2018)\, and Back from the Dead (2022) have shown the group to be equally adept at muscular hard rockers and piano-driven power ballads\, and their sound has branched out to include elements of dance music and pop-country. \nSiblings Elizabeth and Arejay Hale\, the core members of Halestorm\, formed the group in late 1997 near York\, Pennsylvania\, with Arejay on drums and Elizabeth on vocals and keyboard. Wanting to expand their sound\, the duo invited their father\, Roger\, to play bass with the band. Shortly after their first professional gig in 1998 at the Blue Mountain Coffee House in Hershey\, Pennsylvania\, Halestorm added various guitar players and released an EP\, 1999’s (Don’t Mess with The) Time Man. More lineup changes occurred\, but Halestorm finally solidified with Elizabeth (who was by then going by Lzzy) on vocals and guitar\, Josh Smith on bass\, Arejay on drums\, and Joe Hottinger on guitar. The band caught the attention of producer David Ivory as well as Atlantic Records — both were involved in the group’s major-label debut\, 2006’s One and Done\, a five-song EP recorded live at a show in Philadelphia. They would finally make their full-length studio debut in 2009 with the eponymous Halestorm\, all the while maintaining a rigorous touring schedule that would see them playing upwards of 250 shows a year. \nThe following year\, Halestorm released the concert recording Live in Philly 2010\, and Reanimate: The Covers EP appeared in 2011\, featuring the band’s takes on songs by Heart\, Guns N’ Roses\, and Lady Gaga. Their sophomore album\, The Strange Case Of…\, followed in 2012\, and the single “Love Bites (So Do I)” earned the group a Grammy Award for Best Hard Rock/Metal Performance. Reanimate 2.0 was released in 2013\, this time finding the band tackling Fleetwood Mac\, Daft Punk\, and Marilyn Manson. Halestorm’s eclectic third studio long-player\, the Jay Joyce-produced Into the Wild Life\, was released in April 2015\, and was preceded by the single “Apocalyptic.” The live EP Into the Wild Live: Chicago arrived in 2016\, followed in early 2017 by their third covers set\, Reanimate 3.0\, which featured songs by Whitesnake\, Metallica\, and Soundgarden. Vicious\, the band’s fourth studio long-player\, followed in July 2018 and earned the group a Best Rock Performance Grammy nomination for the single “Uncomfortable.” 2020 saw Halestorm issue Reimagined\, a six-song EP that featured stripped-down versions of five fan favorites and a cover of “I Will Always Love You.” Two years later\, they unveiled their fifth long-player\, Back from the Dead. Produced by Nick Raskulinecz with co-production by Scott Stevens\, the 11-song set included “The Steeple” and “Back from the Dead\,” the latter of which became Halestorm’s sixth single to reach number one on the Active Rock charts. ~ Marisa Brown\, Rovi \n \n \nFormed in New York City during 2008\, The Pretty Reckless and late producer Kato Khandwala initially made waves with their 2010 debut\, Light Me Up. After countless gigs\, the band returned with Going To Hell in 2014. Not only did the record crash the Top 5 of the Billboard Top 200\, but it also ignited three #1 hits—the gold-certified “Heaven Knows” (the biggest rock song of 2014)\, “Fucked Up World\,” and “Follow Me Down”—a feat that had not been accomplished by a female-fronted group since The Pretenders in 1984. Meanwhile\, their third offering\, Who You Selling For\, saw them return to #1 on the Mainstream Rock Songs Chart with “Take Me Down\,” which cemented them as “the first band to send its first four singles to #1 on the chart\,” according to Billboard. Praise followed from Vogue\, Nylon\, and more as the quartet lit up television shows such as Letterman and Conan. With over half-a-billion streams\, they headlined countless sold out shows and toured with Guns N’ Roses and many other heavy hitters. \n \n \nThe Warning infuse rock music with a much-needed shot of adrenaline. The Monterrey\, Mexico trio of sisters—Daniela “Dany” [guitar\, lead vocals]\, Paulina “Pau” [drums\, vocals\, piano]\, and Alejandra “Ale” Villarreal [bass\, piano\, backing vocals]—charge forward with head-spinning riffs\, unpredictable rhythms\, stadium-size beats\, and skyscraping vocals. They stand out as the rare presence equally at home on network television and on stage at Heaven & Hell Festival. After exploding online with one viral moment after another\, The Warning parlayed this momentum into a series of independent releases\, including Escape the Mind EP [2015]\, XXI Century Blood [2017]\, and Queen of the Murder Scene [2019]. They graced a stacked bill at Mother of All Rock Festival as the only Mexican band and opened up two sold out Monterrey shows for The Killers and for Def Leppard in Mexico City and Guadalajara. After quietly amassing over 120 million YouTube views and 10 million streams\, they’ve already surged to the forefront of hard rock on their LAVA Records debut single “CHOKE” which Right out of the gate\, “CHOKE” cracked 1 million-plus streams. \n \n \nLilith Czar arrives with the force of an otherworldly thunder\, arising in visceral rebirth from an untimely grave of surrender and sacrifice. Her voice is the sound of supernatural determination\, summoned with a confessional vulnerability and unapologetic authenticity. The girl who was Juliet Simms – her dreams discouraged and dismissed\, her identity confined and controlled – is no more. In her place stands Lilith Czar\, a new vessel forged in unbridled willpower and unashamed desire. \nHer motivation is simple: if it’s truly a man’s world? She wants to be King. \nCreated from Filth and Dust\, the debut album from Lilith Czar\, is an evocative invitation into her bold new world. It’s aggressive music with warm accessibility; huge hooks with driving hard rock—the new larger-than-life icon channels the fierce combativeness of Fiona Apple and Stevie Nicks’ seductive witchery. Lilith Czar arms herself with sonic power\, theatricality\, and confidence. It’s a sound where the pulse of Nine Inch Nails\, Halestorm’s songcraft\, and the libertine spirit of David Bowie converge\, all in service of a ritualistic ache for a more just and equitable world.
URL:https://globalazmedia.com/event/halestorm-the-pretty-reckless-at-arizona-financial-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2022/07/Halestorm-The-Pretty-Reckless-at-Arizona-Financial-Theatre.png
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220803T200000
DTEND;TZID=America/Phoenix:20220803T233000
DTSTAMP:20260507T061814
CREATED:20220711T003700Z
LAST-MODIFIED:20220711T003700Z
UID:14182-1659556800-1659569400@globalazmedia.com
SUMMARY:Simple Plan + Sum 41 at The Van Buren
DESCRIPTION:From their new millennium rise to MTV superstardom through pop-punk’s modern resurgence\, SIMPLE PLAN have been an indelible part of pop culture since forming in Montreal in 1999. They’ve sold 10 million albums worldwide\, won multiple Juno Awards\, performed at the 2010 Winter Olympics – and\, most recently\, launched the omnipresent #ImJustAKid TikTok challenge that’s spawned more than 3.4 million videos\, including clips from Hilary Duff\, Ed Sheeran\, Usher and Venus and Serena Williams. \nHARDER THAN IT LOOKS is the first self-released album from dummer Chuck Comeau\, vocalist Pierre Bouvier and guitarists Sébastien Lefebvre and Jeff Stinco. The album respects Simple Plan’s storied career while pushing forward in new ways\, with songs like “The Antidote\,” “Ruin My Life” (ft. Deryck Whibley)\, “Congratulations\,” “Wake Me Up (When This Nightmare’s Over)” and “Iconic” set to stand as fan favourites for years to come. \n“It’s amazingly complex to be in a band for 20-plus years\, to keep going\, stay relevant and manage all the challenges that come your way\,” Bouvier says. “It’s the furthest thing from a ‘simple plan’ – it’s truly a lot harder than it looks. Throughout our career\, it’s taken a while to be mature enough to understand that our sound is an asset\, not a liability. On this album we said: ‘Let’s just embrace who we are and not be afraid to do what we do best.’ Making a good Simple Plan record is just as hard as making something off the beaten path. \n \n \nCanadian rock outfit Sum 41 hit the worldwide radar in 1996 after their hometown of Ajax\, Ontario\, proved unable to fully contain the foursome’s mixture of arena-sized riffing\, hip-hop poses\, and toilet-bowl humor. Their breakthrough major-label debut\, 2001’s All Killer No Filler\, featured the chart-topping MTV hit “Fat Lip” and follow-up “In Too Deep.” From there\, the band’s mischievous pop-punk style was steadily hardened with darker\, world-weary lyrics and a heavier\, metal-inspired attack. 2002’s Does This Look Infected? veered in that hardcore direction and still managed to maintain their popularity with singles “The Hell Song” and “Still Waiting.” By the time double-platinum third effort Chuck landed in 2004\, Sum 41’s metallic tendencies were at the fore on songs such as “We’re All to Blame.” Despite achieving a chart peak with 2007’s Underclass Hero\, the band soon found themselves in decline in the mainstream during the 2010s\, due in part to lineup changes and creeping health problems. While Screaming Bloody Murder produced the Grammy-nominated single “Blood in My Eyes\,” the album was the band’s lowest-charting effort since their debut. Soon after\, frontman Deryck Whibley announced serious health issues that would sideline the band until 2016\, when they issued the successful comeback record 13 Voices. \nIn addition to vocalist/guitarist Whibley\, the band also originally included guitarist/vocalist Dave Baksh\, bassist Cone McCaslin\, and drummer Steve Jocz. Wooed by the boys’ goofy antics and incendiary live show (and excited about the prospect of promoting their very own blink-182)\, Island put Sum 41 on the payroll in 1999. The Half Hour of Power EP followed\, and Warped Tour dates put the word out. They returned in 2000 with the fun-filled full-length All Killer No Filler\, and the singles “In Too Deep” and “Fat Lip” became staples of both modern rock radio and Total Request Live. An extensive tour followed\, and Sum 41 enjoyed their success the way all near-teenage boys would\, with plenty of towel-snapping\, groupie-loving\, and self-deprecating low-ball humor. In 2002\, they returned to wax with Does This Look Infected? While the album was a bit harder-edged\, it found the band as excited as ever to mix punk-pop business with sophomoric pleasure: The video for “Hell Song” featured the guys acting out a sort of rock-star debauchery cage match with the aid of a few celebrity action figures. Metallica\, Jesus Christ\, and the Osbournes all made appearances in the hilarious clip. \nIt was not all fun and games\, however\, as Sum 41’s involvement in the charity group War Child Canada had them lending a hand in the making of a 2004 documentary covering the effects of war in the Democratic Republic of the Congo. Five days into filming\, fighting and gunfire suddenly erupted around them\, and they barely escaped unharmed — these events led to 2004’s slightly more mature and serious effort\, Chuck\, named for the UN aid worker\, Chuck Pelletier\, who was instrumental in getting them to safety. The DVD Rocked: Sum 41 in Congo was released at the end of 2005\, and the live album Go Chuck Yourself appeared the following March. \nGuitarist Dave Baksh left the band during the spring of 2006 due to creative differences\, going on to form the metal-punk outfit Brown Brigade. Sum 41 continued as a trio\, and their first album as such\, Underclass Hero\, appeared in July 2007. They eventually returned to being a quartet\, replacing Baksh with guitarist Tom Thacker\, and began to work on a new album. Screaming Bloody Murder appeared in March 2011. “Blood in My Eyes\,” a single from the album\, was nominated for a Grammy that year. However\, due to a series of back injuries for Whibley (and other issues that would soon come to light)\, Sum 41 would not return with new material for half a decade\, despite their critical success. \nDuring the break\, Jocz left the band and was replaced by Street Drum Corps‘ Frank Zummo. Baksh also returned to the fold just in time for Sum 41’s comeback in 2016. The group signed with Hopeless Records and embarked on an international tour that included stops in China and a stint on that summer’s Warped Tour. Their sixth LP\, 13 Voices\, featured the lead single “Fake My Own Death” and became their third highest-charting release in their native Canada\, peaking just outside the Top 20 in the U.S. During promotion for the album\, Whibley revealed that he had been in an alcohol-related induced coma during the band’s hiatus in 2014. While recovery included learning to walk and play guitar again\, Whibley contributed a large part of his healing to the writing process of 13 Voices. To coincide with the album’s release\, the band embarked on an international tour dubbed “Don’t Call It a Sum-Back.” \nAfter setting out on another trek to celebrate the 15th anniversary of their breakthrough\, they returned to the studio. Their seventh set\, Order in Decline\, arrived in the summer of 2019. Intensely political and pulling no punches with their message\, the album included the tracks “Out for Blood\,” “45 (A Matter of Time)\,” and “The New Sensation\,” borrowing from Linkin Park\, Bad Religion\, and even Muse on a series of rallying cries aimed at waking up a society on the brink of moral collapse. ~ Johnny Loftus & Neil Z. Yeung\, Rovi
URL:https://globalazmedia.com/event/simple-plan-sum-41-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/07/Simple-Plan-Sum-41.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220731T200000
DTEND;TZID=America/Phoenix:20220731T233000
DTSTAMP:20260507T061814
CREATED:20220719T234714Z
LAST-MODIFIED:20220719T234714Z
UID:14233-1659297600-1659310200@globalazmedia.com
SUMMARY:Avatar & Light The Torch at The Rialto Theatre
DESCRIPTION:AVATAR returns in 2020 with a bold manifesto called Hunter Gatherer . The band’s eighth album is an unflinchingly ruthless study of a clueless humankind’s ever-increasing velocity into an uncertain future\, furthering the reach of the band’s always expanding dark roots. Songs like “A Secret Door\,” “Colossus\,” and “Silence in the Age of Apes” are ready-made anthems for the modern age\, each struggling for a collective meaning amidst the savagery of technology. Hunter Gatherer shares the determined focus of the conceptually driven Feathers & Flesh and Avatar Country while decisively emphasizing the individual songs above any overarching story. At the same time\, there are thematic threads throughout the album\, reflecting the members’ shared state of mind. Hunter Gatherer is the darkest\, most sinister version of Avatar\, with deep studies of cruelty\, technology\, disdain\, and deprivation. In 2019\, Avatar reunited with producer Jay Ruston at Sphere Studios in Los Angeles\, California\, where the foundation for each song on Hunter Gatherer was laid with the band performing altogether\, as they’d done only once before\, on Hail the Apocalypse. The old-school method of playing as one in the studio\, more akin to how they are on stage\, captured the essence of Avatar. Recorded entirely to two-inch tape\, something you don’t hear about much in 2020\, Hunter Gatherer exhibits everything that makes AVATAR standouts in the vast\, rich landscape of heavy metal’s past and present. \n \n \nSince emerging in 2018\, Light The Torch have grown stronger in lockstep together as a band and as friends. Through this growth\, the Los Angeles trio—Howard Jones [vocals]\, Francesco Artusato [guitar]\, and Ryan Wombacher [bass]—only enhanced their signature sound. Upheld by head-spinning seven-string virtuosity and skyscraping melodies\, the group crafted twelve no-nonsense anthems on their 2021 second full-length album\, You Will Be The Death of Me [Nuclear Blast]. \nThe group shot out of the gate as a contender on their full-length debut\, Revival. It bowed at #4 on the Billboard US Independent Albums Chart and at #10 on the Hard Rock Albums Chart in addition to receiving acclaim from Revolver\, Outburn\, and many more. “Calm Before the Storm” racked up a staggering 14.5 million Spotify streams\, while “The Safety of Disbelief” remains one of SiriusXM Octane’s all-time most requested songs. They toured North America and Europe with the likes of Trivium\, Avatar\, In Flames\, Ice Nine Kills\, Killswitch Engage and August Burns Red to name a few. \nThe guys returned to Sparrow Sound in Glendale\, CA in late 2019 to once again work with the production team of Josh Gilbert and Joseph McQueen [Bullet for My Valentine\, As I Lay Dying\, Suicide Silence]. This time around\, they also welcomed Whitechapel’s Alex Rudinger on drums. \nIn the end\, the bond between Light The Torch burns brighter than ever in the music as they deliver a definitive statement with You Will Be The Death Of Me.
URL:https://globalazmedia.com/event/avatar-light-the-torch-at-the-rialto-theatre/
LOCATION:The Rialto Theatre\, 318 E Congress St\, Tucson\, AZ\, 85701\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/07/avatarbandoct2021_638.jpg
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DTSTART;TZID=America/Phoenix:20220726T200000
DTEND;TZID=America/Phoenix:20220726T233000
DTSTAMP:20260507T061814
CREATED:20220719T002126Z
LAST-MODIFIED:20220719T002126Z
UID:14213-1658865600-1658878200@globalazmedia.com
SUMMARY:Anthrax - Black Label Society & Hatebreed at The Van Buren
DESCRIPTION:Nearly as much as Metallica or Megadeth\, Anthrax were responsible for the emergence of speed and thrash metal. Combining the speed and fury of hardcore punk with the prominent guitars and vocals of heavy metal\, they helped create a new subgenre of heavy metal on their early albums. Original guitarists Scott Ian and Dan Spitz were a formidable pair\, spitting out lightning-fast riffs and solos that never seemed masturbatory. Unlike Metallica or Megadeth\, they had the good sense to temper their often serious music with a healthy dose of humor and realism. After their first album\, Fistful of Metal\, singer Joey Belladonna and bassist Frank Bello joined the lineup. Belladonna helped take the band farther away from conventional metal clichés\, and over the next five albums (with the exception of 1988’s State of Euphoria\, where the band sounded like it was in a creative straitjacket)\, Anthrax arguably became the leaders of speed metal. As the ’80s became the ’90s\, they also began to increase their experiments with hip-hop\, culminating in a tour with Public Enemy in 1991 and a joint re-recording of PE‘s classic “Bring the Noise.” The remainder of the decade saw the band continuing to both flex and expand its sonic muscle\, but lineup changes and label woes remained a constant stress throughout\, and by 2003 they were only playing sporadically. In 2010\, after a seven-year hiatus\, Anthrax reconvened for Worship Music\, a return to form that many called their most potent offering since 1990’s Persistence of Time. \nAfter their peak period in the late ’80s\, Anthrax kicked Belladonna out of the band in 1992 and replaced him with ex-Armored Saint vocalist John Bush — a singer who was gruffer and deeper\, fitting most metal conventions perfectly. Subsequently\, their sound became less unique and their audience shrank slightly as a consequence\, and after signing to Elektra for 1993’s Sound of White Noise\, the group left the label after just one more album\, 1995’s Stomp 442. At that point\, Anthrax — now a four-piece consisting of Ian\, Bush\, Bello\, and drummer Charlie Benante — built their own studio in Yonkers\, New York\, and after a three-year hiatus returned with their Ignition label debut\, Volume 8: The Threat Is Real. Anthrax’s very first “hits” collection was released in 1999; titled Return of the Killer A’s: The Best Of\, it was also their first release for the Beyond label. The album included a cover of “Ball of Confusion\,” which featured a duet between current frontman Bush and former vocalist Belladonna. A proposed tour that was to include both vocalists was announced\, but on the eve of its launch\, Belladonna pulled out\, reportedly for monetary reasons. The tour carried on\, as Anthrax signed on to participate in a package tour during the summer of 2000 with Mötley Crüe and Megadeth\, but left the tour after only playing a handful of dates. \nAnthrax appeared on the Twisted Sister tribute album Twisted Forever in 2001 (covering the track “Destroyer”)\, and began recording their next album the same year. In addition\, guitarist Ian found time to regularly host the metal television program Rock Show on VH1\, plus he appeared as part of the fictional metal band Titannica in the film Run\, Ronnie\, Run. VH1 programming heads eventually replaced Ian with Sebastian Bach\, but the band was ready to head back into the studio anyway. New guitarist Rob Caggiano joined in the spring of 2002\, just in time for the recording. A year later\, Anthrax made their Sanctuary debut with We’ve Come for You All. The band’s dynamic hadn’t changed\, and touring in support of that album was met with overwhelming success. The CD/DVD set Music of Mass Destruction: Live in Chicago\, which arrived in spring 2004\, celebrated Anthrax’s two decades in the business. Then\, in 2005\, Anthrax’s entire original lineup of Ian\, Spitz\, Belladonna\, Benante\, and Bello reunited for a tour and the CD/DVD retrospective Anthology: No Hit Wonders 1985-1991. Anthrax also issued Alive 2\, recorded during their summer 2005 reunion tour. \nIn 2007\, Dan Nelson\, formerly of the group Devilsize\, took over vocal duties. The band announced the return of vocalist John Bush in 2009\, though the stint was never deemed permanent. The vocal pendulum shifted again the following year with an announcement that Belladonna was returning to the fold for future shows\, and beginning work on a new Anthrax album. The resulting Worship Music\, the band’s tenth studio album\, and the first to feature original material since 2003’s We’ve Come for You All\, was released on September 13\, 2011. Worship Music was a strong comeback that earned the group a Grammy nomination\, and Anthrax followed it up with some dumb fun in the form of a 2013 EP of ’70s classic rock covers\, titled Anthems. Shortly before the EP was released\, Caggiano left the group\, and he was replaced by Shadows Fall guitarist Jonathan Donais during live dates. In August\, he officially became Anthrax’s lead guitarist. \nThe group began working on a new studio album in late 2013. A live DVD titled Chile on Hell appeared in 2014. The following year\, they toured with Volbeat\, whom Caggiano had joined after leaving Anthrax. The group’s 11th studio album\, For All Kings\, was released in February of 2016. Anthrax then toured with Iron Maiden\, opening up for the metal legends during the Latin American leg of their Book of Souls World Tour. In 2018\, the band released Kings Among Scotland\, a concert film/album recorded on February 15\, 2017 at Glasgow’s Barrowland Ballroom. To commemorate the band’s 40th anniversary\, Anthrax staged a global livestream event in 2021 at the Los Angeles soundstage/studio where they performed a two-hour set of fan favorites and deep cuts. The concert/film XL\, which included the entire performance\, as well as rehearsal footage and a Scott Ian-led walking tour of formative New York locations\, was released in 2022 by Nuclear Blast. ~ Stephen Thomas Erlewine & Greg Prato\, Rovi \nhttps://youtu.be/gAH4Wo38iQE \n \nBlack Label Society bandleader Zakk Wylde wields his guitar like a Viking weapon\, bashing out thick riffage and squeezing out expressive squeals as if the glory of his Berserker brotherhood depends upon every single note\, which of course\, it does. Charismatic beast and consummate showman\, Wylde puts his massive heart and earnest soul on display with unbridled\, unchained\, animalistic passion in Black Label Society\, whether it’s a crushingly heavy blues-rock barnstormer or a piano-driven ode to a fallen brother. Each Black Label Society album is another opportunity to top the one before it\, but like AC/DC or The Rolling Stones\, BLS isn’t here to reinvent the wheel. If it ain’t broke\, don’t fix it. It’s a brand we can trust. Mighty missives like Damn the Flood\, In This River\, Stillborn\, My Dying Time\, Queen of Sorrow and Blood Is Thicker Than Water have amassed millions of downloads and streams. They are the soundtracks to sweat soaked revelry\, jubilant evenings that descend into bewildering mornings\, and adrenaline fueled sports. Grimmest Hits\, the band’s tenth full-length studio album and follow-up to Billboard Top 5 entries Catacombs of the Black Vatican (Deluxe) and Order Of The Black\, Black Label Society submit new anthems like Room of Nightmares the bluesy Seasons Of Falter and Southern-fried The Day That Heaven Had Gone Away to the BLS faithful; 12 unstoppable tracks to add to that lifestyle soundtrack. \n \n \nWith unflinching tenacity\, the impenetrable heavy metal hardcore factory that is HATEBREED has brought forth yet another iron cast\, sonic weapon with Weight Of The False Self. It comes as no surprise that their eighth\, full length album is the result of the usual sweat and blood that have cemented HATEBREED’s unique niche in the world of music for over two decades. Renowned for their ability to provide an intense and cathartic release for their fans\, HATEBREED challenged their writing style through this album cycle in order to produce material that is exceptionally relatable in a contemporary world flooded with overstimulation\, emotional dampening\, and lack of social patience.A metaphorical weight is carried by almost every individual in regards to their emotional construct. Our experiences shape who we become and over time\, gradually produce a heavy burden that we continue to lug along. For many of us\, the weight becomes so much that we struggle to get out from underneath\, let alone move. It is these struggles that are translated throughout Weight Of The False Self. Recording the album once more with the help of ZEUSS\, the band experienced a sense of challenge and breakthrough that enabled them to obtain a new level of sound. After working with the band for several years\, and while normally spending his time with bands that have a fairly different sound\, Zeuss is able to test HATEBREED and expand their already infamous vibration.
URL:https://globalazmedia.com/event/anthrax-black-label-society-hatebreed-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/07/Anthrax-Black-Label-Society-hatebreed-at-the-van-buren.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220711T200000
DTEND;TZID=America/Phoenix:20220711T233000
DTSTAMP:20260507T061814
CREATED:20220629T005911Z
LAST-MODIFIED:20220629T005911Z
UID:13840-1657569600-1657582200@globalazmedia.com
SUMMARY:Machine Gun Kelly + Avril Lavigne at Footprint Center
DESCRIPTION:Delivering lyrics with the speed of a bullet train\, Cleveland rapper Machine Gun Kelly experienced a meteoric rise in late 2011 when he transitioned from grinding out self-released mixtapes to working with major labels. From there\, the rapper skyrocketed to superstar status\, with each of his albums charting in the Top Ten. A beef with Eminem\, a film career\, and even some reality show appearances would follow as the high-powered lyrical rap style of albums like 2019’s Hotel Diablo morphed into a driving emo-rock sound on collaborations with Travis Barker and on the Barker-produced 2020 album Tickets to My Downfall\, which topped the Billboard 200. Kelly worked alongside Barker again in 2022 on album number six\, Mainstream Sellout. \nBorn Colson Baker in Texas but raised in the Cleveland suburb of Shaker Heights\, Machine Gun Kelly began making music in his teens and made news in 2009 when he became the first rapper to win amateur night at Harlem’s Apollo Theater. A series of mixtapes\, including 100 Words and Running\, Lace Up\, and Rage Pack\, came next\, and a 2011 performance at South by Southwest was followed immediately by a meeting with Sean Combs. Kelly signed with Comb‘s Bad Boy imprint that night and released the single “Wild Boy” on the label the same year. The track featured special guest Waka Flocka Flame\, and Kelly’s debut album\, Lace Up\, landed in 2012. During this time\, he also signed a deal with Young & Restless to work on a clothing line. The Black Flag mixtape arrived in 2013\, featuring appearances by French Montana\, Pusha T\, Meek Mill\, Wiz Khalifa\, and Sleeping with Sirens‘ Kellin Quinn. \nIn 2015\, he released his sophomore effort\, General Admission\, a dark\, autobiographical LP that peaked at number four on the Billboard 200 and topped the R&B/Hip-Hop Albums chart. Kelly released the “Bad Things” single in 2016; the duet with ex-Fifth Harmony member Camila Cabello became the first Top Ten single for both artists. In 2017\, Kelly issued his third full-length\, Bloom. In addition to “Bad Things\,” the effort included collaborations with Hailee Steinfeld (“At My Best”)\, Quavo and Ty Dolla $ign (“Trap Paris”)\, James Arthur (“Go for Broke”)\, and DubXX (“Moonwalkers”). Bloom debuted in the Top Ten of the Billboard 200\, peaking at number three on the Top R&B/Hip-Hop Albums chart. \nFollowing the success of the gold-certified third album Bloom\, Kelly received an unexpected boost in 2018 from an unlikely source: major influence Eminem\, who resurrected a 2012 beef stemming from offhand comments about the Detroit rapper’s daughter. On Eminem‘s Kamikaze attack “Not Alike\,” he lobbed a direct shot at Kelly\, who quickly responded with the biting diss track “Rap Devil.” As tabloid headlines swirled\, the latter song entered the U.S. R&B/Hip-Hop chart Top Ten\, jumping to number 13 on the Hot 100. Capitalizing on the surprise boost in exposure\, Kelly issued the EP Binge\, a dark\, trap-influenced set that marked a return to form with a focused flow and sly wordplay. Unencumbered by the star-studded distractions of the pop-friendly Bloom (rapper 24hrs is the only feature)\, Binge debuted at number 24 on the Billboard 200\, also charting in Canada\, Australia\, and New Zealand. 2019 found Kelly portraying Mötley Crüe drummer Tommy Lee in The Dirt\, a stylized biopic on the rise and fall of the hair metal legends. In May of that year\, he released the single “Hollywood Whore\,” the first offering from his fourth album\, Hotel Diablo. Landing that July\, the introspective set featured additional singles “El Diablo” and “I Think I’m Okay\,” as well as guests Lil Skies\, Trippie Redd\, Yungblud\, and Travis Barker. \nAfter Hotel Diablo\, things shifted for Machine Gun Kelly\, as his focus became more split between music and acting. On the music side of things\, the rock-leaning Travis Barker collaboration “I Think I’m Okay” led to the duo working on more songs together and ultimately to Barker acting as executive producer on fifth album Tickets to My Downfall. Singles that preceded the record were a sharp turn from Machine Gun Kelly’s established rap sound. In April 2020\, he released “Bloody Valentine\,” an upbeat and melodic emo pop song dotted with synth touches. Successive singles “Concert for Aliens” and “Misery Business” followed a similar stylistic change-up. Tickets to My Downfall was released in late September 2020 and became Kelly’s first number one album. In March 2021\, he reached number eight on the Hot Rock & Alternative Songs chart with his non-album single “DayWalker” featuring Corpse Husband. Early 2022 saw the release of the grunge-tinged rocker “Papercuts\,” the lead single from his sixth full-length effort. Originally titled Born with Horns\, the album was retitled Mainstream Sellout\, and saw Kelly working once more with Barker as co-producer. The album also featured a number of guest contributors\, including two songs with Lil Wayne\, an interlude featuring comedian/actor Pete Davidson\, and appearances throughout from Willow\, blackbear\, Gunna\, Bring Me the Horizon\, and others. Mainstream Sellout was released in March of 2022. ~ Fred Thomas & Neil Z. Yeung\, Rovi \n \nhttps://youtu.be/_1kVVpfnMs8 \n \nGrammy-winning Canadian pop/rock singer/songwriter Avril Lavigne became an international star in the 2000s with her punk-influenced pop anthems and anti-starlet image. First appearing in 2002 with the spunky debut single “Complicated\,” she touted a skatepunk image that purposely clashed with the polished glamour of mainstream pop. Lavigne\, who was 17 at the time\, quickly rose to teen idol status\, selling several million copies of her debut album\, Let Go (the best-selling album by a female artist in 2002)\, while inspiring a genuine fashion craze with her penchant for tank tops and neckties. As the decade progressed\, so did Lavigne’s marketable sound\, which took a contemplative turn on the chart-topping sophomore effort Under My Skin before reaching an aggressively upbeat tone for 2007’s The Best Damn Thing. A pair of hit albums later\, she took a three-year hiatus from the spotlight to focus on health issues related to Lyme disease\, returning in 2019 with her mature sixth album\, Head Above Water. In 2021\, she made her debut for Travis Barker‘s DTA label with the pop-punk single “Bite Me” from 2022’s Love Sux. \nBorn into a devout Christian household in the small town of Napanee\, Ontario\, Lavigne sharpened her vocal talents in church choirs\, local festivals\, and county fairs. She began playing guitar and writing songs in her early teens\, focusing her early efforts on country music and contributing vocals to several albums by local folk musician Steve Medd. Arista Records caught wind of the singer and brought her aboard at the age of 16\, with CEO Antonio “L.A.” Reid personally taking Lavigne under his wing. She quit high school\, relocated to Manhattan\, and set to work with a handful of prime songwriters and producers\, but the partnerships only produced country songs\, not the rock music in which Lavigne had become increasingly interested. Arista relented and instead sent Lavigne to Los Angeles\, where she fashioned her melodic\, edgy debut alongside such writing teams as the Matrix. Released in 2002\, Let Go was the polished product\, and its four high-charting singles — “Complicated\,” “Sk8er Boi\,” “I’m with You\,” and “Losing Grip” — led the album to multi-platinum status within its second month of release. Lavigne became the youngest female musician ever to have a number one album in the U.K.\, and she supported the wildly popular LP (which eventually gained eight Grammy nominations) with a tour of Europe\, Asia\, North America\, and Australia. \nCompared with the antics of other teen idols of her day\, Lavigne was a new kind of superstar\, one whose appeal didn’t rely on sexy videos or suggestive music. She further distinguished herself by bypassing the assistance of professional writing teams during the creation of her second album\, choosing instead to collaborate with singer/songwriter Chantal Kreviazuk\, Evanescence‘s Ben Moody\, and Evan Taubenfeld (who had previously worked with Lavigne as her touring guitarist). Released in May 2004\, Under My Skin was more serious than its predecessor\, dealing with such issues as premarital sex (“Don’t Tell Me”)\, depression (“Nobody’s Home”)\, and the death of Lavigne’s grandfather (“Slipped Away”). The album debuted at number one in more than ten countries\, went platinum within one month\, and further established Lavigne as a pop icon. Incidentally\, a song that was co-written by Lavigne and ultimately cut from the final track list — “Breakaway” — was later given to Kelly Clarkson\, who used it as the title track and lead single for her Grammy-winning sophomore album. \nLavigne married her boyfriend of two years\, Sum 41‘s Deryck Whibley\, in July 2006\, just one month after the animated film Over the Hedge announced her cinematic debut (Lavigne voiced the part of Heather\, a hungry opossum). She also appeared in Richard Linklater‘s fictional adaptation of Fast Food Nation\, which was released that November. Nevertheless\, she spent most of the year working on her third album\, enlisting former blink-182 drummer Travis Barker to play drums\, and cherry-picking a variety of producers (including her husband) to helm the recording sessions. The Best Damn Thing appeared in April 2007\, and its lead single\, “Girlfriend\,” marked a return to the bratty\, spunky punk-pop of her first album. “Girlfriend” soon became the subject of controversy as the ’70s power pop band the Rubinoos sued Lavigne\, claiming that her tune reworked their 1979 song “I Wanna Be Your Boyfriend.” No amount of bad publicity could hurt the singer\, however\, as “Girlfriend” became her biggest U.S. single ever and The Best Damn Thing topped album charts worldwide. \nLavigne filed for divorce from Whibley in October of 2009. The dissolution of their union featured heavily on her next album\, 2011’s Goodbye Lullaby\, which included tracks produced by Whibley. \nLavigne returned to the studio just weeks after the release of Goodbye Lullaby and began work on her fifth album. In 2012\, she started working on material with Nickelback frontman Chad Kroeger and eventually the pair began dating; she married Kroeger on July 1\, 2013. By that point\, she had released the platinum-certified “Here’s to Never Growing Up\,” the first single from her eponymous fifth album. Released in October\, Avril Lavigne featured eight songs co-written by Kroeger\, who also duetted with her on the record’s third single\, “Let Me Go.” \nIn early 2015\, Lavigne released “Fly\,” an empowering ballad written for the Special Olympics World Summer Games. That same month\, she also revealed that she had been diagnosed with Lyme disease. Soon after\, she separated from Kroeger. For the next few years\, as she healed\, she remained out of the public spotlight. In 2018\, she returned with the single “Head Above Water\,” which was inspired by her battle with Lyme disease; it unexpectedly made the Christian radio top 10. Despite this success\, the accompanying album\, Head Above Water — which appeared in February 2019 — was a secular pop album\, albeit one with an inspirational bent. While her worst-charting long-player to that point\, it still reached Canada’s Top Five\, the U.K. Top Ten\, and number 13 on the Billboard 200. \nAfter re-recording Head Above Water‘s “Warrior” as “We Are Warriors” to raise funds for pandemic relief efforts in 2020\, Lavigne returned to the studio to record her seventh album with producers including Barker\, Machine Gun Kelly\, Mod Sun\, and Goldfinger‘s John Feldmann. In the meantime\, she was featured on the Mod Sun single “Flames” in early 2021\, and with Barker on Willow Smith‘s “Grow” mid-year before signing with Barker‘s Elektra Music Group imprint\, DTA Records. Her own single\, “Bite Me\,” appeared before the end of 2021. That punk-infused anthem landed on her seventh full-length\, 2022’s Love Sux\, which also featured “Love It When You Hate Me” with Blackbear. \n \n \n 
URL:https://globalazmedia.com/event/machine-gun-kelly-avril-lavigne-at-footprint-center/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/06/MGK-Avril-Lavigne-at-footprint-center.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220707T180000
DTEND;TZID=America/Phoenix:20220707T233000
DTSTAMP:20260507T061814
CREATED:20220629T004239Z
LAST-MODIFIED:20220629T004239Z
UID:13837-1657216800-1657236600@globalazmedia.com
SUMMARY:Great White at Marquee Theatre
DESCRIPTION:Great White emerged in the early 1980s with a sound rooted in the bluesy hard rock esthetic of classic rock radio behemoths like Led Zeppelin\, AC/DC\, and Mott the Hoople. They found success in 1987 with the release of their sophomore long-player\, Once Bitten\, and dove headfirst into the mainstream in 1989 with the arrival of …Twice Shy\, which went double-platinum thanks to a punchy\, radio-ready cover of Ian Hunter‘s “Once Bitten\, Twice Shy.” Great White’s popularity waned as grunge\, and alternative rock took over the airwaves in the early ’90s\, and they officially disbanded in 2001. They reunited in 2003 and made headlines when pyrotechnics used by the band sparked a fire in a Rhode Island nightclub\, killing 100 people\, including guitarist Ty Longley. They re-formed around the classic lineup in 2007 and released Back to the Rhythm\, with Rising appearing two years later\, but they soon splintered into two groups\, with Russell leading Jack Russell’s Great White and guitarist and co-founder Mark Kendall fronting Great White proper. \nFormed in the early ’80s by vocalist Jack Russell and guitarist Mark Kendall\, Great White were regulars of the L.A. club scene\, playing their Led Zeppelin– and AC/DC-influenced metal to a quickly growing fan base. Local radio play and more gigging helped sell 20\,000 copies of their independent releases\, the Out of the Night EP and the full-length Shot in the Dark\, both released in 1983. \nThe EMI label took notice\, signed the band\, and released their self-titled\, major-label debut a year later. Shot in the Dark would be reissued by the label in 1987\, the same year as the new album Once Bitten… appeared with the hit single “Rock Me.” The release went platinum\, but 1989’s …Twice Shy took things even further thanks in no small part to the massive success of the single “Once Bitten Twice Shy\,” a cover of a Mott the Hoople song written by Mott member Ian Hunter. \nLong tours with Ratt and a co-headlined tour with Tesla kept Great White out of the studio until 1991\, when the polished Hooked appeared with two different album covers\, one a provocative side shot of a mermaid hanging off an anchor in midair and one less scandalous with the mermaid still submerged. Hooked went gold\, while their 1992 follow-up\, Psycho City\, sold less\, leading to EMI saying goodbye to the band with the 1993 compilation The Best of Great White. \nSail Away from 1994 found the group on Zoo\, while 1996’s Let It Rock was released by Imago. A live set of cover tunes featuring the work of their favorite band appeared as Great Zeppelin: A Tribute to Led Zeppelin\, released by Cleopatra in 1999. That same year\, Can’t Get There from Here on the Portrait label gave fans their first taste of Russell‘s new writing partnership with longtime friend and former Night Ranger member Jack Blades. Another set of covers formed the 2002 Cleopatra album Recover\, but this time the choices were surprising\, with the Cult‘s “Love Removal Machine” and X‘s “Burning House of Love” getting the Great White treatment. \nForgotten by the mainstream\, Great White were brought back into the limelight when pyrotechnics used by the band sparked a fire in a Rhode Island nightclub on February 20\, 2003\, killing 100 people\, including the group’s guitarist\, Ty Longley. The 2004 reissue of Recover drew some media attention\, since the Horizon label had given it a new and now morbid title\, Burning House of Love. Trials concerning the fire continued on into 2006 as questions about who authorized the pyrotechnics were being investigated. The band spent the rest of the year touring and playing some benefit concerts for victims of the fire. In early 2007\, they began celebrating their 25th anniversary with some West Coast shows that were tied to the release of VH1 Classic Presents: Metal Mania – Stripped\, Vol. 3\, and in the summer they released a new studio album\, Back to the Rhythm\, with the original core lineup. 2009 saw the release of Rising\, which would be the last Great White outing to include Russell\, who elected to start up his own version of the group under the moniker Jack Russell’s Great White. \nVocalist Terry Ilous was brought in to replace Russell shortly thereafter\, and he made his studio debut on 2012’s generally well-received Elation. In 2017\, the band issued the aptly named Full Circle\, which saw them reuniting with producer Michael Wagener (Metallica\, Ozzy Osbourne\, Alice Cooper)\, who helmed their 1984 debut. That same year\, Jack Russell’s Great White released their debut album\, He Saw It Comin’\, which was followed by the stripped-down Once Bitten Acoustic Bytes in 2020. ~ James Christopher Monger & David Jeffries\, Rovi \n \n 
URL:https://globalazmedia.com/event/great-white-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/06/Great-White-at-Marquee-Theatre.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220608T180000
DTEND;TZID=America/Phoenix:20220608T233000
DTSTAMP:20260507T061814
CREATED:20220605T223302Z
LAST-MODIFIED:20220605T223302Z
UID:13756-1654711200-1654731000@globalazmedia.com
SUMMARY:Starset + Red at Marquee Theatre
DESCRIPTION:Visionary media collective STARSET have carved out a unique path as part cinematic rock band\, part conceptual storytellers\, weaving an intricate narrative through multimedia and redefining the concept of a truly immersive entertainment experience. Led by enigmatic front man and PhD candidate Dustin Bates\, the band have made a mission to take fans on a journey through music\, video\, AR-integrated performances\, a Marvel graphic novel\, and online experiences\, blurring the lines of science\, fact\, and fiction. \n \n  \nSince bursting on the scene with breakout single ‘Breathe Into Me’ and album ‘End Of Silence’ (2006)\, both certified gold\, GRAMMY ® nominated band RED have built a career on more than music. Blending Nu-metal and Alternative hard rock with elements of classical and orchestral\, the RED sound begs for a visual representation of matching scope\, something the band has never failed to deliver. From cross-album narrative weaving music videos to pyrotechnic infused graphic-novel-come-to-life arena tours\, the band delivers spectacle for multiple senses. The result is an intense\, emotional connection with a global audience\, now spanning 20+ #1 radio singles and 3M albums sold/streamed worldwide. Now fully independent\, the band is partnered directly with fans to bring a series of new music\, beginning with “The Evening Hate” single (June 2019) compete with and 13+ minute short film music video directed entirely by the band\, and culminating with the full length album DECLARATION (April 2020). 
 www.thebandred.com\n \n \nFame on Fire is not a cover band. \nFame on Fire is genre-defying and pushing the boundaries of rock\, hip hop\, and heavy music\, by unapologetically being themselves. Unpretentious\, honest\, and boldly brash\, Fame on Fire has delivered a diverse\, energetic\, and emotionally-wrenching collection of songs for their debut album\, LEVELS. Holding multiple meanings\, LEVELS\, is both about going through the motions of life\, the various levels\, ups and downs that all people can relate to\, and about the quest to level-up and continue to progress and move forward. This dichotomy defines a band that is not willing to stand still or be complacent\, but one that continuously tries to evolve their sound and craft. \n \n \nLATEST NEWS; Heathens out now! THIS IS SMASH; With 6 released albums\, 300+ million streams on Spotify and 150+ million views on YouTube – Smash Into Pieces have evolved into one of the fastest rising Scandinavian alternative-rock bands to this date. It all started back in 2009 when the very different but unique personalities found each-other for the first time. Benjamin “Banjo” Jennebo (guitar): Born to entertain and easy to like. Per Bergquist (guitar): The mastermind with a fetish for details. Chris Adam Hedman Sörbye (vocals): The man with titanium vocal cords. APOC (drums): Having the skills of a superhero\, DJ and drummer combined\, he is the leader of Smash! These 4 unique characters together creates the SmashSound that is best being described as a mix between raw rock\, electro and pop. Lets call it Electro Rock! In 2020 Smash released an important concept album\, the beginning of a story that is best described through a series of music videos that would reveal a world\, a digital world – the world of Arcadia! In 2021 Smash Into Pieces released their sixth studio album A New Horizon and with it they closed the Arcadia story. The latest singles Deadman\, Vanguard\, A Shot in the Dark and Heathens marks the beginning of a new era and later this year Smash is joining forces with Within Temptation & Evanescence in Europe during the “Worlds Collide Tour”. Nothing can stop the Smash-train! \n \n 
URL:https://globalazmedia.com/event/starset-red-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2022/06/starset-at-marquee-theatre.png
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220605T200000
DTEND;TZID=America/Phoenix:20220605T233000
DTSTAMP:20260507T061814
CREATED:20220601T011437Z
LAST-MODIFIED:20220601T011437Z
UID:13722-1654459200-1654471800@globalazmedia.com
SUMMARY:Failure at The Crescent Ballroom
DESCRIPTION:As otherworldly as Failure may often sound\, the Los Angeles band is anchored by the distinctly terrestrial union of a long friendship between three musical allies. The band hinges on the interplay between Ken Andrews [vocals\, guitar\, bass\, programming]\, Greg Edwards [vocals\, guitar\, bass\, keys]\, and Kellii Scott [drums\, percussion]. That bond fuels an ongoing artistic conversation\, and it drives their new full-length offering\, Wild Type Droid.
URL:https://globalazmedia.com/event/failure-at-the-crescent-ballroom/
LOCATION:Crescent Ballroom\, 308 N 2nd Ave\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/05/Failure-band.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220527T183000
DTEND;TZID=America/Phoenix:20220527T233000
DTSTAMP:20260507T061814
CREATED:20220523T013532Z
LAST-MODIFIED:20220523T013532Z
UID:13714-1653676200-1653694200@globalazmedia.com
SUMMARY:Bauhaus at Marquee Theatre
DESCRIPTION:Bauhaus are the founding fathers of goth rock\, creating a minimalistic\, overbearingly gloomy style of post-punk rock driven by jagged guitar chords and cold\, distant synthesizers. Throughout their brief career\, the band explored all the variations on their bleak musical ideas\, adding elements of glam rock\, experimental electronic rock\, funk\, and heavy metal. While their following has never expanded beyond a cult\, they kept their cult alive well into the ’90s\, a full decade after they disbanded. \nThe group formed in 1978 in Northampton\, England. Guitarist/vocalist Daniel Ash\, bassist/vocalist David J (born David Jay Haskins)\, and drummer Kevin Haskins had played together as a trio called the Craze before forming Bauhaus with vocalist Peter Murphy. Originally\, the band was called Bauhaus 1919 after the German art movement; by 1979\, they had dropped the 1919 from their name. \nIn August of 1979\, the group released their debut single\, “Bela Lugosi’s Dead\,” on the independent record label Small Wonder Records. Although it did not make the pop charts\, it became the de facto goth rock anthem\, staying in the U.K. independent charts for years. Three months later\, the group signed with Beggars Banquet’s subsidiary label\, 4AD. The group’s second single\, “Dark Entries\,” was released in January 1980. Following their first European tour\, Bauhaus released their third single\, “Terror Couple Kill Colonel\,” in the summer of that year\, which became a hit on the indie charts. \nAfter touring America for the first time in September\, the group released a version of T. Rex‘s “Telegram Sam.” In October\, they released their debut album\, In the Flat Field\, which reached number one on the independent charts and number 72 on the pop charts. The success of the album led to their first hits on the pop charts; both “Kick in the Eye” and “The Passion of Lovers” made the U.K. Top 60 in 1981. In October\, they released their second album\, Mask\, which revealed a more ambitious musical direction; the new direction\, which featured elements of metal and electronic sonic textures\, made the music more accessible without abandoning the dark\, foreboding core of their music. Mask was a commercial success\, peaking at number 30 on the U.K. charts. \nIn March of 1982\, Bauhaus released the EP Searching for Satori\, which reached number 45 on the U.K. charts; another successful single\, “Spirit\,” followed in the summer. That fall\, the group had a number 15 hit with their version of David Bowie‘s “Ziggy Stardust.” The success of the single propelled their third album\, The Sky’s Gone Out\, to number four on the album charts. \nMurphy contracted pneumonia at the beginning of 1983\, which prevented him from participating in the recording sessions for Bauhaus’ fourth album\, Burning From the Inside. Consequently\, the record featured substantial contributions from Ash and J\, who both pursued more personal and atmospheric directions. After Murphy recovered\, the band toured Japan and then returned to the U.K. to promote the summer release of Burning From the Inside. The album was another hit\, peaking at number 13. In July\, Bauhaus split up. \nAfter Bauhaus’ breakup\, Murphy formed Dali’s Car with Japan‘s Mick Karn and then pursued a solo career. Ash continued with Tones on Tail\, a project he began in 1981; Kevin Haskins also joined the band after Bauhaus’ split. J made some solo records and joined the Jazz Butcher briefly. Ash\, Haskins\, and J formed Love and Rockets in 1985 after a proposed Bauhaus reunion fell apart because Peter Murphy wasn’t interested in the project. More than a decade later\, however\, with the careers of both Love and Rockets and Peter Murphy at a standstill\, Bauhaus re-formed for several live dates in Los Angeles\, mounting a full-blown tour in 1998; the two-disc Gotham documented the reunited group’s performance at New York’s Hammerstein Ballroom. In 2008\, the band resurfaced again with Go Away White\, a studio album they promised as their last statement. ~ Stephen Thomas Erlewine\, Rovi
URL:https://globalazmedia.com/event/bauhaus-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/05/Bauhaus-at-Marquee-Theatre.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220525T193000
DTEND;TZID=America/Phoenix:20220525T233000
DTSTAMP:20260507T061814
CREATED:20220516T010233Z
LAST-MODIFIED:20220516T010233Z
UID:13678-1653507000-1653521400@globalazmedia.com
SUMMARY:New Kids On The Block at Footprint Center
DESCRIPTION:NEW KIDS ON THE BLOCK have sold more than 80 million albums worldwide — including back-to-back international #1 songs\, 1988’s Hangin’ Tough and 1990’s Step By Step — and a series of crossover smash R&B\, pop hits like “You Got It (The Right Stuff)” “Cover Girl\,” “Didn’t I (Blow Your Mind This Time)” “Hangin’ Tough” “I’ll Be Loving You (Forever) \,” “Step by Step” and “Tonight.” The group shattered concert box office records playing an estimated 200 concerts a year\, in sold out stadiums throughout the world. Following 2013’s hugely-successful Package Tour\, the group performed alongside Paula Abdul and Boyz II Men on the aptly-titled TOTAL PACKAGE TOUR\, which made its debut on the very same day as their latest release\, Thankful. Thankful features five tracks of all-new music and the first from the group since 2013’s 10. As part of the 40+ date trek\, the Boston natives made their return to Fenway Park for the first time in 5 years\, since they visited the Green Monster on their acclaimed NKOTBSB Tour with the Backstreet Boys. The trek also included the group’s debut performance at the famed Hollywood Bowl in Los Angeles as well as additional stops in Brooklyn\, Chicago\, Atlanta\, Dallas and more. \n \nBy the late ’80s\, hip-hop was on its way to becoming a male-dominated art form\, which is what made the emergence of Salt-n-Pepa so significant. As the first all-female rap crew (even their DJs were women) of importance\, the group broke down a number of doors for women in hip-hop. They were also one of the first rap artists to cross over into the pop mainstream\, laying the groundwork for the music’s widespread acceptance in the early ’90s. Salt-n-Pepa were more pop-oriented than many of their contemporaries\, since their songs were primarily party and love anthems\, driven by big beats and interlaced with vaguely pro-feminist lyrics that seemed more powerful when delivered by the charismatic and sexy trio. While songs like “Push It” and “Shake Your Thang” made the group appear to be a one-hit pop group during the late ’80s\, Salt-n-Pepa defied expectations and became one of the few hip-hop artists to develop a long-term career. Along with LL Cool J\, the trio had major hits in both the ’80s and ’90s\, and\, if anything\, they hit the height of their popularity in 1994\, when “Shoop” and “Whatta Man” drove their third album\, Very Necessary\, into the Top Ten. \nCheryl “Salt” James and Sandy “Pepa” Denton were working at a Sears store in Queens\, New York\, when their co-worker\, and Salt‘s boyfriend\, Hurby “Luv Bug” Azor asked the duo to rap on a song he was producing for his audio production class at New York City’s Center for Media Arts. The trio wrote an answer to Doug E. Fresh and Slick Rick‘s “The Show\,” entitling it “The Show Stopper.” The song was released as a single under the name Super Nature in the summer of 1985\, and it became an underground hit\, peaking at number 46 on the national R&B charts. Based on its success\, the duo\, who were now named Salt-n-Pepa after a line in “The Show Stopper\,” signed with the national indie label Next Plateau. Azor\, who had become their manager\, produced their 1986 debut Hot\, Cool & Vicious\, which also featured DJ Pamela Green. He also took songwriting credit for the album\, despite the duo’s claims that they wrote many of its lyrics. \nThree singles from Hot\, Cool & Vicious — “My Mike Sounds Nice\,” “Tramp\,” “Chick on the Side” — became moderate hits in 1987 before Cameron Paul\, a DJ at a San Francisco radio station\, remixed “Push It\,” the B-side of “Tramp\,” and it became a local hit. “Push It” was soon released nationally and it became a massive hit\, climbing to number 19 on the pop charts; the single became one of the first rap records to be nominated for a Grammy. Salt-n-Pepa jettisoned Greene and added rapper and DJ Spinderella (born Deidre “Dee Dee” Roper) before recording their second album\, A Salt With a Deadly Pepa. Though the album featured the Top Ten R&B hit “Shake Your Thang\,” which was recorded with the go-go band E.U.\, it received mixed reviews and was only a minor hit. \nThe remix album A Blitz of Salt-n-Pepa Hits was released in 1989 as the group prepared their third album\, Blacks’ Magic. Upon its spring release\, Blacks’ Magic was greeted with strong reviews and sales. The album was embraced strongly by the hip-hop community\, whose more strident members accused the band of trying too hard to crossover to the pop market. “Expression” spent eight weeks at the top of the rap charts and went gold before it was even cracked the pop charts\, where it would later peak at 26. Another single from the album\, “Let’s Talk About Sex\,” became their biggest pop hit to date\, climbing to number 13. They later re-recorded the song as a safe-sex rap\, “Let’s Talk About AIDS.” \nBefore they recorded their fourth album\, Salt-n-Pepa separated from Azor\, who had already stopped seeing Salt several years ago. Signing with London/Polygram\, the group released Very Necessary in 1993. The album was catchy and sexy without being a sellout\, and the group’s new\, sophisticated sound quickly became a monster hit. “Shoop” reached number four on the pop charts\, which led the album to the same position as well. “Whatta Man\,” a duet with the vocal group En Vogue\, reached number three on both the pop and R&B charts in 1994. A final single from the album\, “None of Your Business\,” was a lesser hit\, but it won the Grammy for Best Rap Performance in 1995. Since the release of Very Necessary\, Salt-n-Pepa have been quiet\, spending some time on beginning acting careers. Both had already appeared in the 1993 comedy Who’s the Man? ~ Stephen Thomas Erlewine \n \nWhen En Vogue debuted to dazzling\, chart-topping effect in 1990\, the vocal R&B group attracted comparisons to the Supremes\, even though Terry Ellis\, Cindy Herron\, Maxine Jones\, and Dawn Robinson shared lead vocals and intentionally designated no particular singer the group’s Diana Ross. The quartet had more in common with fellow Oakland natives the Pointer Sisters\, as they drew from all eras of R&B with convincing stylistic diversions and a knack for recalling the past and sounding current at once. After three consecutive platinum albums and six Top Ten pop hits during the ’90s alone\, En Vogue had set a standard by which all subsequent female vocal groups were judged. Lineup changes\, lawsuits\, and infrequent recordings during the ensuing decades did not diminish the impact of their impeccable harmonies. \nEn Vogue were conceived and put together by producers Denzil Foster and Thomas McElroy\, former members of Club Nouveau. Foster and McElroy wanted a vocal group who could exude sultriness and intelligence in addition to technical proficiency\, and as producers\, they wanted material that would fuse R&B and girl group traditions with contemporary new jack swing rhythms. The two held auditions and settled on a membership of Herron (a former Miss Black California)\, Jones\, and Robinson. Ellis auditioned later and made the group a quartet. Originally called 4-U\, they first appeared on Foster and McElroy’s 1989 album FM2 as Vogue\, and then switched to En Vogue after learning of another group with the same name. \nBorn to Sing\, En Vogue’s debut album\, appeared in 1990 and was the source of four major hit singles. “Hold On\,” “Lies\,” and “You Don’t Have to Worry” all topped the Billboard R&B chart\, while “Don’t Go” reached number three. “Hold On” also crossed over and narrowly missed the top of the Billboard Hot 100. The parent release was eventually certified platinum. In between albums\, Herron appeared in the film Juice. When En Vogue returned in 1992 with Funky Divas\, critical and commercial response was overwhelming. The album’s wide array of styles\, from pop and R&B to rap\, rock\, and reggae\, was lauded in print. “My Lovin’ (You’re Never Gonna Get It)\,” “Giving Him Something He Can Feel” (written by Curtis Mayfield and originally performed by Aretha Franklin)\, and “Free Your Mind” (the chorus of which quoted George Clinton) all went Top Ten pop\, sending the album to multi-platinum status. En Vogue were in the Top Ten again in 1993\, backing Salt-N-Pepa on their hit “Whatta Man.” \nThe group’s third album took a few more years to materialize. In the meantime\, they took part in the recording of “Freedom” for the Panther soundtrack and appeared in Batman Forever. Ellis released the solo album Southern Gal. “Don’t Let Go (Love)\,” a song they contributed to the Set It Off soundtrack\, became a number two single in early 1997. That June\, the group released EV3\, titled in reference to its place in their discography and the absence of Robinson\, who left during the album sessions and went on to join Lucy Pearl. Like Funky Divas\, EV3 peaked at number eight on the Billboard 200. “Whatever” and “Too Long\, Too Gone” gave them their tenth and 11th Top 40 pop hits. The Best of En Vogue closed out the decade in 1999. \nAlbum four\, Masterpiece Theater\, was released in 2000. Only one single\, “Riddle\,” was out before the plug was pulled on its promotion. En Vogue were informed after an interview that they had been dropped by their label. Jones departed to take care of her family and was replaced in 2001 by Amanda Cole. Another anthology\, The Very Best of En Vogue\, was out by the end of the year. In 2002\, En Vogue returned with a contribution to the Deliver Us from Eva soundtrack and their first Christmas album\, The Gift of Christmas\, released quietly on an independent label. Cole left the group in the middle of 2003 for a solo career. That September\, the group reappeared for a small European tour with Jones temporarily in place of Herron (who had just given birth) and Rhona Bennett as a new member. Bennett\, Ellis\, and Herron released Soul Flower in 2004. The next several years were marked by numerous lineup changes\, false starts\, occasional performances\, and legal battles over contractual obligations and the group’s name. The lineup that made Soul Flower returned in 2018 with Electric Café. Foster and McElroy\, Raphael Saadiq\, and Ne-Yo were among the collaborators. ~ Andy Kellman & Steve Huey\, Rovi \n \nIt’s one of contemporary music’s most unlikely tales. At the age of 21\, Rick Astley emerged from the shadows of the Stock\, Aitken and Waterman production house as their former tea boy became one of the biggest stars on the planet. His era-defining classic ‘Never Gonna Give You Up’ topped charts the world over and catapulted the young Lancastrian on a journey that would encompass 8 consecutive UK Top 10 hits and 40 million sales. \nIn 2016\, Rick celebrated his half-century by releasing ‘50’ – an album title that put a cheeky\, middle-aged twist on Adele’s ‘19’\, ‘21’ and ‘25’. Having written and produced the album as well as playing all of the instruments himself\, suddenly it was like he’d never been away. It raced to the top of the charts and began a seven-week run in the Top 10. In the months that followed\, he sold 400\,000 albums and 100\,000 tickets to his headline shows. \nHe cemented that comeback with 2018’s ‘Beautiful Life’. It was an emotionally-charged collection with songs that celebrated his love for his wife\, his daughter and music as a whole. His commitment was rewarded with a #6 chart position – his fifth Top 10 album. \nNow Rick celebrates his extraordinary story with the release of the new career-spanning compilation ‘The Best of Me’. It charts that initial run of hits alongside recent fan favourites such as ‘Keep Singing’\, ‘Angels On My Side’ and ‘Beautiful Life’. It also digs into some deep cuts too\, such as ‘Lights Out’ from 2010.
URL:https://globalazmedia.com/event/new-kids-on-the-block-at-footprint-center/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/05/New-Kids-On-The-Block-mixtap-tour-2022.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220424T143000
DTEND;TZID=America/Phoenix:20220424T233000
DTSTAMP:20260507T061814
CREATED:20220414T020939Z
LAST-MODIFIED:20220414T020939Z
UID:13481-1650810600-1650843000@globalazmedia.com
SUMMARY:98KUPD Presents UFEST 2022
DESCRIPTION:If ever there was a perfect time for a new album from the outspoken\, socially-conscious\, multi-Gold and Platinum punk rock band Rise Against\, it’s right now. Nowhere Generation\, due out June 4 on Loma Vista Recordings\, is blazing and aggressive\, fusing old-school punk attitude with post-hardcore fury. Lyrically\, the eleven songs were influenced by input from the band’s vocalist/lyricist Tim McIlrath’s two young daughters\, and the band’s community of fans\, and point an enormous spotlight at the social and economic deck that has been stacked against younger generation’s pursuit of The American Dream. Today\, there is the promise of The American Dream\, and then there is the reality of The American Dream. America’s “historical norm” that “the next generation will be better off than the one that came before” has been diminished by an era of mass social\, economic\, and political instability\, and a sell-out of the Middle Class. The brass ring that was promised by hard work and dedication no longer exists for everyone\, and as was the case with the counterculture of the 1960s\, disruption becomes the only answer for the Nowhere Generation. Nowhere Generation was recorded at The Blasting Room in Fort Collins\, CO under the tutelage of Jason Livermore\, Andrew Berlin\, Chris Beeble and long-time producer/engineer Bill Stevenson who has worked with the band on nearly all of their acclaimed releases since their sophomore effort\, 2003’s Revolutions Per Minute. \n \n \nIt’s been over two years since Coheed and Cambria’s 2015 album\, The Color Before the Sun\, was released as the band’s first “non-concept” album over the span of their 15-year career. The album left the sci-fi universe of “The Amory Wars” and instead focused on frontman Claudio Sanchez’s personal life\, including the birth of his first child. With 2018 upon us\, and a major summer tour now announced\, the volume of fans’ chatter for a new album and whether or not it will return to the band’s fictional concept arc will surely reach new heights. \nCoheed and Cambria is a rare band whose music is able to transcend “scenes” and effortlessly cross genres of rock – from indie to progressive\, to metal and pop-punk to classic rock. The band is frequently compared to progressive\, operatic rock bands of the ‘70s\, ala Queen\, Supertramp or Rush due to their thrilling concept albums that take you on a grand journey of sounds and often clock-in around 10 mins\, but still somehow include sugary pop-laden hooks. \nThe group’s following has grown steadily every album\, partly due to their ferocious live show that brings fans to their knees with an equally expansive light show. This summer\, the band will be performing songs from their expansive catalog\, and we can only imagine they’ll pull a few new tricks from up their sleeves. \n \n \nFew bands have endured with as much demonstrably California-encompassing vibrancy as the Hermosa Beach\, CA institution that is Pennywise. They reign unchallenged\, outside the margins of the mainstream\, a staple on the SoCal radio airwaves and worldwide festival circuit revered and championed by generations of fans filling theaters and clubs. \nPennywise possess the power to merge the subversive with the celebratory. Each Pennywise record is chock full of fast-paced anthems expertly engineered to inspire radical change\, personal empowerment\, relentless hijinks\, and reckless fast times. On paper it may read like a mess of contradictions\, but on record\, it sounds like California. \nAt this point\, three decades since the band’s DIY beginnings\, Pennywise classics like “Same Old Story\,” “Fuck Authority\,” “Alien\,” “Homesick\,” and “Bro Hymn” are as fundamental to punk rock and hardcore as stage dives and guitars. \nThe defiantly titled Never Gonna Die is the first full album of brand new songs with singer Jim Lindberg\, guitarist Fletcher Dragge\, drummer Byron McMackin\, and bassist Randy Bradbury in over ten years. It’s as timely as it is timeless\, charging head first into the chaos of the current climate of the world with the tried-and-true determined sound the Pennywise faithful demand. Never Gonna Die was forged in the same space where the band penned classic songs with late bassist Jason Thirsk and produced once again by rock producer and close collaborator Cameron Webb. \n \n \nA muscular\, hard-hitting power rock outfit in the vein of Queens of the Stone Age\, Band of Skulls\, 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 genre-hopping MCID. \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 (bass\, vocals) Meyer. 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 via 300 Entertainment in 2015. Their debut received critical praise and two unexpected Grammy nominations\, leading to an extensive supporting tour. Off 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. ~ James Christopher Monger\, Rovi \n \n \nEmerging from Southern California during the rap-metal explosion around the turn of the century\, Atreyu crafted a hardcore sound much closer to Agnostic Front or Hatebreed. Their warped\, detuned guitars were matched by pounding drums and acidic vocals\, which gave the material a distinct metalcore edge. Originally operating under the moniker Retribution\, the band eventually changed their name to Atreyu\, after a character from the Michael Ende-penned fantasy book The Neverending Story\, and released their debut album\, Suicide Notes and Butterfly Kisses\, in 2002 on Victory Records. They continued to refine their punitive but melodic post-hardcore sound on career best-of offerings like Lead Sails Paper Anchor (2007) and Congregation of the Damned (2009)\, before going on hiatus in 2011. They reconvened four years later and released their sixth studio effort\, Long Live\, with In Our Wake following in 2018. After a change in vocalists\, the band reintroduced themselves with 2021’s Baptize. \nThe quintet was formed in Orange County by Brandon Saller (drums/vocals)\, Dan Jacobs (guitar)\, Chris Thomson (bass)\, Travis Miguel (guitar)\, and Alex Varkatzas (vocals). Atreyu released various demos\, including the seven-song EP Visions\, in the late ’90s before commercially debuting with the Fractures in the Facade of Your Porcelain Beauty EP on Tribunal in late 2001; the full-length Suicide Notes and Butterfly Kisses appeared the next year on Victory. Touring almost nonstop in support of the record\, the group faced lineup changes as bassist Marc McKnight replaced Thomson before the recording of their follow-up. Atreyu’s second full-length\, The Curse\, surfaced in June 2004 and went on to sell over 300\,000 copies; it was re-released with an accompanying DVD a year later. The band hit the road hard\, playing 2004’s Ozzfest and 2005’s Warped Tour\, in addition to headlining their own successful world tour. They contributed a track to 2006’s soundtrack to Underworld: Evolution and were near the top of the billing for the year’s Taste of Chaos tour alongside the Deftones and Thrice. Their next effort\, A Death Grip on Yesterday\, was issued in late March 2006 and hit number nine on the Billboard charts. Following a summer spent headlining the second stage at the year’s Ozzfest\, Atreyu jumped into the major-label waters over at Hollywood Records\, leaving an early 2007 best-of collection as their Victory farewell. Their Hollywood debut\, Lead Sails Paper Anchor\, followed later in the year. In 2008 the album was re-released with bonus materials\, including a concert film. Atreyu didn’t waste any time\, and in late 2009 they released their fifth studio album\, the critically acclaimed Congregation of the Damned. The album would be their last for some time\, as the band went on hiatus the following year to focus on family matters and various other musical pursuits. They reconvened in 2015 with the Destroy/Spinefarm Records-issued Long Live\, which featured 12 new hard-hitting tracks\, including the blistering title cut and first single. In September 2018\, the band issued a trio of singles ahead of the release of their eighth studio long-player\, In Our Wake\, which arrived later that October. Once promotion for that album concluded\, the band hit the road to celebrate two decades on the scene. \nIn 2020\, Atreyu announced the departure of founding vocalist Varkatzas. Brandon Saller stepped up to take on clean vocals while McKnight handled the dirty. They also recruited drummer Kyle Rosa. The new unit issued “Save Us” later that year; the track would appear on their eighth set\, 2021’s Baptize. The single “Warrior” with Travis Barker was also featured on the album. ~ Bradley Torreano\, Rovi \n \n \nDED has been turning heads as one of rock’s most promising newcomers since the release of their 2017 debut album Mis-An-Thrope.Originating from Phoenix\, AZ\, DED embodies elements of rock\, alternative and metal\, with pop melodies\, hooks and choruses\, cloaked in some of the densest\, most histrionic\, headbanging music on the planet. But when you dig beneath the aggressive surface\, DED’s unexpectedly soulful music is about bringing hope\, relief and self-awareness of the things we consume and the way we act so that we can strive to be the best we can be for ourselves and others. Helmed by powerhouse rock producer Kevin Churko (Five Finger Death Punch\, Ozzy Osbourne\, Disturbed)\, the new music takes on the fury of their debut and deepens the emotions with a compassion for humanity and a thought-provoking consciousness. DED is building a community by offering comfort in times of despair\, positivity by exposing negativity\, and clarity through suffering. DED\, who are quickly becoming one of rock’s most exciting torchbearers\, blaze their own trail as they cathartically stare down various beasts – both existential and innate – proving that there’s a way to live through the struggle and come out stronger\, happier\, and more aware of how we look after ourselves and each other. \n \n \nPLUSH is composed of four talented women\, under 21\, whose accomplishments and talent eclipse their age. This female rock force is fronted by singer\, songwriter and guitarist Moriah Formica. Drummer Brooke Colucci\, guitarist Bella Perron and bassist Ashley Suppa round out the lineup. The mission of PLUSH is to bring the heart of rock back to the mainstream with a new fresh spin on the sounds you already love. PLUSH hopes to inspire young women everywhere to follow their dreams\, regardless of whatever challenges may lie in the way. \n \n \nDropout Kings are a generational evolution of rap infused rock bands such as Linkin Park\, fusing together heavy metal sounds with the progressive rhythms of hip hop and trap music. Dubbing it as ‘Trap Metal’\, DOK prides themselves on pioneering and molding the genre\, crafting unique soundscapes that feel familiar yet fresh and innovative. Songs like ‘Scratch & Claw’ feature impactful and introspective rap lyrics and haunting yet passionate vocals over polished\, metal inspired\, instrumentation\, while ‘Going Rogue’ pushes the creative threshold of what a band can excel to be. Dropout Kings\, formed in 2016\, have already garnered millions of streams from their debut album\, AudioDope\, which was released August 10th\, 2018 through Napalm Records. The group signed to the label before they even performed their first concert\, confirming the band’s raw talent and creative fortitude. AudioDope went on to receive rave reviews\, being herald for it’s refreshing yet nostalgic sound while blurring the lines between rock and hip hop. In 2019\, Dropout Kings signed to Stay Sick Recordings and released the GlitchGang EP. In 2021\, DOK signed with Suburban Noize Records and re-released the GlitchGang EP\, only further cementing them as a force to be reckoned with. Dropout Kings are on a quest to make the world hear their story.
 (US) ashley@mac.agency (EUR) thorsten.harm@napalm-events.com (MGMT) larry@regimemusicgroup.com \n \n 
URL:https://globalazmedia.com/event/98kupd-presents-ufest-2022/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220422T183000
DTEND;TZID=America/Phoenix:20220422T233000
DTSTAMP:20260507T061815
CREATED:20220414T014416Z
LAST-MODIFIED:20220414T014416Z
UID:13476-1650652200-1650670200@globalazmedia.com
SUMMARY:All That Remains & Miss May I at Encore
DESCRIPTION:Formed by guitarist Oli Herbert and ex-Shadows Fall vocalist Phil Labonte in 1998\, Massachusetts’ All That Remains debuted in 2002 with Behind Silence and Solitude on Metal Blade. Rounded out by drummer Michael Bartlett\, guitarist Chris Bartlett\, and bassist Danny Egan\, the record first showcased the band’s blistering and heavy take on melodically infused hardcore death metal. All That Remains went through some lineup changes\, and guitarist Mike Martin was added for their 2004 breakthrough on Prosthetic Records\, This Darkened Heart. Produced by Killswitch Engage‘s Adam Dutkiewicz and released to rave reviews\, the record landed All That Remains on various shows and tours with the likes of GWAR\, the Crown\, Arch Enemy\, Darkest Hour\, and more. They continued touring nonstop behind Heart\, taking a break only in late 2005 to begin writing new material for their third full-length. Working again with Dutkiewicz and Prosthetic\, the band recorded The Fall of Ideals\, which appeared in July 2006. By this time\, the group comprised Labonte\, Herbert\, Martin\, drummer Shannon Lucas\, and bassist Jeanne Sagan. All That Remains hit the road once again\, spending time on the European leg of the Sounds of the Underground tour and that summer’s Ozzfest; nationwide headlining dates were completed that fall. \nOvercome followed in 2008\, and included two singles (“Chiron\,” “Two Weeks”) that also appeared in the video game franchise Rock Band. Their fifth album\, For We Are Many\, was produced by Dutkiewicz and appeared in 2010. The album shot to the tenth spot on the Billboard 200 while the band set out on tour with Hatebreed and Five Finger Death Punch. All That Remains’ eclectic sixth album\, A War You Cannot Win\, arrived in 2012; it was almost\, though not quite\, as successful as its predecessor\, going to number 13 on the Billboard chart. It was three years before the band dropped another record. For 2015’s The Order of Things\, produced by Josh Wilbur\, they upped the ante\, making it faster\, heavier\, and more melodic than ever before. The album was preceded by the brutal single “No Knock.” In 2017\, All That Remains issued their eighth studio long-player\, the Howard Benson-produced Madness\, via Razor & Tie. Channeling the sonic heft of 2010’s For We Are Many\, the band issued the punishing Victim of the New Disease in 2018\, this time via Fearless Records. ~ Corey Apar\, Rovi \n \n \nThe sound and fury of MISS MAY I is deeply embedded in the hearts and minds of a legion of fans. These are people from different backgrounds\, of different ages\, with diverse life experience\, who all come together and connect with MISS MAY I’s combination of brutal proficiency and impassioned delivery. The five-piece powerhouse\, from the fertile metalcore grounds of America’s heartland\, have become an integral part of the worldwide heavy music community\, transcending boundaries and limitations\, galvanizing crowds\, and energizing each person they encounter. \nMiss May I celebrates a decade of savage metalcore and soaring melodic refrains\, newly revitalized\, and poised for an insurgent career renaissance; armed with unmistakable power\, road hardened experience\, a steadily building catalog\, and unrelenting spirit\, supported by a diehard community. \n \n 
URL:https://globalazmedia.com/event/all-that-remains-miss-may-i-at-encore/
LOCATION:Encore\, 5851 E Speedway Blvd\, Tucson\, AZ\, 85713\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220421T200000
DTEND;TZID=America/Phoenix:20220421T233000
DTSTAMP:20260507T061815
CREATED:20220414T012955Z
LAST-MODIFIED:20220414T012955Z
UID:13471-1650571200-1650583800@globalazmedia.com
SUMMARY:The Hu & The Haunt at The Van Buren
DESCRIPTION:Founded in 2016 in Ulaanbaatar\, Mongolia\, The HU\, comprised of producer Dashka along with members Gala\, Jaya\, Temka\, and Enkush\, are a modern rock group rooted in the tradition of their homeland. The band’s name translates to the Mongolian root word for human being\, and their unique approach blends instruments like the Morin Khuur (horsehead fiddle)\, Tovshuur (Mongolian guitar)\, Tumur Khuur (jaw harp) and throat singing with contemporary sounds\, creating a unique sonic profile that they call Hunnu Rock. Their debut album\, The Gereg\, debuted at #1 on the World Album and Top New Artist Charts. They have accumulated over 250 million combined streams and video views and have received critical acclaim from the likes of Billboard\, NPR\, Revolver\, Vice\, GQ\, and even Sir Elton John himself. Proving their global appeal\, the HU have sold out venues across the world in North America\, Europe\, Asia\, and Australia\, with scheduled festival appearances at Coachella\, Lollapalooza\, Download Festival\, and more\, creating a community of fans from all walks of life. They’ve quickly grabbed the attention of the industry\, leading to collaborations with Jacoby Shaddix of Papa Roach\, Lzzy Hale of Halestorm\, and Metallica\, who most recently gave the band’s Mongolian rendition of their hit\, “Sad But True\,” the official seal of approval. The band has also explored eclectic ways to reach audiences with their sound\, most notably writing and recording music for EA Games’ Star Wars Jedi: Fallen Order. \n \n \nThe Haunt conjures a wild\, youthful and stylish indifference that reflects an era when rock n’ roll was ‘by and for’ the beautiful outcasts. Led by siblings Anastasia (18) & Maxamillion (22)\, the group creates a strong bond with fans through their live shows and online\, by encouraging confidence and authenticity. 
 Their Alt-Rock-Pop sound elicits a feeling of both classic and contemporary rock/pop icons who have influenced their music\, and denies any claim to chasing trends. 
 The band released their self-titled debut EP in 2018\, produced by Josh Diaz\, and Maxamillion Haunt. After touring with Palaye Royale throughout late 2018 and early 2019\, the band spent time recording their sophomore EP “Social Intercourse” produced by Matt Good. 
 “MAKE ME KING” the first single off of the band’s debut full-length album\, out now!!! \n \n 
URL:https://globalazmedia.com/event/the-hu-the-haunt-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:20220416T173000
DTEND;TZID=America/Phoenix:20220416T233000
DTSTAMP:20260507T061815
CREATED:20220414T010600Z
LAST-MODIFIED:20220414T010600Z
UID:13464-1650130200-1650151800@globalazmedia.com
SUMMARY:Behemoth & Arch Enemy at Marquee Theatre
DESCRIPTION:“It doesn’t get more blasphemous than this.” \nThat’s Behemoth mastermind Nergal talking about the title of the band’s 11th and latest album\, I Loved You At Your Darkest. While it certainly seems an unlikely title for a black metal band—especially one that called their last album The Satanist—its origin might surprise you even more than the words themselves. “It’s a verse from the Bible\,” Nergal reveals. “It’s actually a quote from Jesus Christ himself. For Behemoth to use it as the basis of our record\, it’s sacrilege to the extreme.” \nNergal and his bandmates—Orion (bass) and Inferno (drums)—have channeled that passion into I Loved You At Your Darkest. A crushing salvo of black metal majesty replete with hellish riffs\, thundering drum cannonades and soaring liturgical choirs reminiscent of classic horror cinema\, the album is also bejeweled with nimble-fingered rock guitar solos on songs like “God=Dog\,” “Ecclesia Diabolica Catholica” and “Sabbath Mater.”<br> \n \n \n\n\nTime passes\, the world changes\, but some things remain constant and unassailable. Heavy metal has endured for more than four decades because its spirit is eternal\, and few bands embody the intensity\, integrity and lofty artistic ambitions of the genre with more dazzling aplomb than Arch Enemy. Formed in Sweden in the mid-90s by former Carcass/Carnage guitarist Michael Amott\, this most explosive and proficient of modern metal bands have spent the last 20 years propagating an unerring creed of technical excellence\, songwriting genius and thunderous\, irresistible live performance\, accruing a huge global fan base along the way. \n\n\n\n\nWhen Arch Enemy released their debut album Black Earth in 1996\, death metal was stagnating and in desperate need of a kick up the ass. Amott’s blueprint for the purest of metal strains proved an instant underground hit\, both in Europe and Japan\, and almost single-handedly resurrected death metal as a viable art form with mainstream potential. Signed to Century Media Records for 1998’s sophomore effort Stigmata\, Arch Enemy marched purposefully towards a new millennium with a rapidly growing reputation. 1999’s Burning Bridges added to the band’s momentum\, their razor-sharp blend of brutality and epic melody becoming more refined with each creative step. But it was in 2001\, when original vocalist Johan Liiva stood aside and mercurial frontwoman Angela Gossow stepped in\, that Arch Enemy truly took off. \nReleased in 2001 in Japan and nearly a year later in Europe\, Wages Of Sin showcased a revitalised line-up and newfound gift for immortal anthems\, Gossow’s feral roar adding many layers of charisma and power to Arch Enemy’s already monstrous sound. Swiftly dedicating themselves to a relentless touring schedule\, the band’s upward trajectory continued throughout the first decade of the 21st century\, with each successive album enhancing the band’s reputation and bringing legions of new fans to this resolute heavy metal campaign. \n \n \nHi Napalm heads ! Shane bouncing in here late Sunday night ! 49 mins left before we face another Monday Morning .. i am gonna chip in frequently now on this Spotify page as regular as i can with new playlists – Stuff i or members of Napalm are into musically – and playlists of stuff we are liking – bands that have influenced etc !! meanwhile check out the latest @Venomous Concept album Politics Versus the Erection.. cheers and good night \n \n 
URL:https://globalazmedia.com/event/behemoth-arch-enemy-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/04/Behemoth-Arch-Enemy-at-Marquee-Theatre.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220415T200000
DTEND;TZID=America/Phoenix:20220415T233000
DTSTAMP:20260507T061815
CREATED:20220411T024501Z
LAST-MODIFIED:20220411T024501Z
UID:13440-1650052800-1650065400@globalazmedia.com
SUMMARY:Apocalyptica & Lacuna Coil at The Van Buren
DESCRIPTION:“Cell-0 represents the core of everything. For us it is a particle that symbolizes the essence of all. That is to say\, where everything comes from and where everything ends up…” Apocalyptica are true explorers\, always seeking new frontiers and uncharted territories in which to express themselves. With Cell-0\, their 9th studio album\, the ambitious and electric quartet have not simply returned to their non-vocal roots\, they have traveled deeper and further into the universe of instrumental music than ever before. That first love and passion which fueled Apocalyptica to form during 1993 in Helsinki now carries richer layers of knowledge and experience\, which in turn have led to the band to a fundamental realization and creative path. \n \n \nFormed in 1994\, Lacuna Coil quickly became one of Century Media’s biggest selling bands. From Comalies (2002) and Karmacode (2004) to Shallow Life (2009) and Broken Crown Halo (2014)\, the high-flying Italian act demonstrated an uncanny ability to pull in rock\, gothic\, and metal audiences. The band’s spirited and lauded live performances have also earned them a solid reputation for a band that not only delivers night in/night out\, but also a band whose stage performance reverberates long after the show is over. Indeed\, Lacuna Coil’s heartfelt\, heavy\, melodic\, and rhythmic metal—a hybrid of gothic\, groove\, and alternative—has created a rabid worldwide following. Whether it’s “Our Truth” and “Delirium” or “Nothing Stands in Our Way” and “Trip the Darkness\,” Lacuna Coil’s dual-vocalist assault is immediately identifiable. New album\, Black Anima\, continues the Italian’s reign atop the metal stack. BLACK ANIMA line up Cristina Scabbia – Vocals Andrea Ferro – Vocals Marco ‘Maki’ Coti Zelati – Bass Guitar\, Keys & Synth Diego ‘DD’ Cavallotti – Guitars Richard Meiz – Drums \n \n 
URL:https://globalazmedia.com/event/apocalyptica-lacuna-coil-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2022/04/Apocalyptica-and-Lacuna-Coil-at-The-Van-Buren.png
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220413T200000
DTEND;TZID=America/Phoenix:20220413T233000
DTSTAMP:20260507T061815
CREATED:20220403T195549Z
LAST-MODIFIED:20220403T195549Z
UID:13348-1649880000-1649892600@globalazmedia.com
SUMMARY:Poppy - Never Find My Place Tour at Marquee Theatre
DESCRIPTION:Runeterra has no shortage of valiant champions\, but few are as tenacious as Poppy. Bearing a hammer twice the length of her body\, this determined yordle has spent untold years searching for the “Hero of Demacia\,” a fabled warrior said to be the rightful wielder of her weapon. \nAs legend describes it\, this hero is the only person who can unlock the full power of the hammer and lead Demacia to true greatness. Though Poppy has searched the furthest corners of the kingdom for this legendary fighter\, her quest has proven fruitless. Each time she has attempted to pass the hammer on to a potential hero\, the results have been disastrous\, often ending in the warrior’s death. Most people would have abandoned the task long ago\, but most people do not possess the pluck and resolve of this indomitable heroine. \nPoppy was once a very different yordle. For as long as she could remember\, she had been in search of a purpose. Feeling alienated by the chaotic whimsy of other yordles\, she preferred to soak up stability and structure where she could find it. This drive brought her to the human settlements of western Valoran\, where she gazed in wonder at the caravans striping the countryside in an endless file. Many of the people there looked tattered and weary\, but they stumbled on in pursuit of some ephemeral better life that might lie just beyond the horizon. \nOne day\, however\, a different sort of caravan passed through. Unlike the other travelers\, these people seemed to move with purpose. They all awoke at the exact same time each morning\, roused by the sound of a watchman’s horn. They took their meals together every day at the same hour\, always finishing within a few minutes. They set up their camps and took them down with remarkable efficiency. \nWhile yordles used their innate magic to fashion extraordinary things\, these humans achieved equally astounding feats through coordination and discipline. They acted in concert like the cogs of a gear\, becoming something much larger and stronger than any single person could ever be. To Poppy\, that was more marvelous than all the magic in the world. \nAs Poppy watched the camp from the safety of her hiding place\, her eyes caught the gleam of armor emerging from a tent. It was the group’s commanding officer\, wearing a brigandine of gleaming steel plates\, each piece overlapping\, each an integral part of the whole. The man’s name was Orlon\, and his presence seemed to stir the souls of everyone there. If someone became discouraged\, he was there to remind them of why they pressed on. If someone collapsed from exhaustion\, he inspired them to get up. It reminded Poppy of certain yordle charms\, though again\, without magic. \nPoppy crept in for a closer look. She found herself following this shining commander\, as if drawn to him by fate itself. She observed Orlon as he led his soldiers in training exercises. He was not a large fellow\, yet he swung his massive battle hammer with surprising alacrity. At night\, Poppy listened intently to his hushed discussions with the elders of the camp. She heard them making plans to pull up stakes and head west to build a permanent settlement. \nPoppy’s mind was overwhelmed with questions. Where was Orlon going? Where did he come from? How did he assemble this meticulous band of travelers\, and was there a place for a yordle in it? At that moment\, she made the most important decision in her life: For the first time ever\, she would reveal herself to a human\, as this was the first time she’d ever felt a connection with one. \nThe introduction was a jarring one\, with Orlon having just as many questions for Poppy as she had for him\, but the two soon became inseparable. He became a mentor to her\, and she a devotee to his cause. In the training grounds\, Poppy was an invaluable sparring partner–the only member of Orlon’s battalion who was unafraid to strike him. She was never obsequious\, questioning his decisions with an almost childlike innocence\, as though she didn’t know she was supposed to meekly follow orders. She accompanied him to the site of the new settlement–an ambitious new nation called Demacia\, where all were welcome\, regardless of station or background\, so long as they contributed to the good of the whole. \nOrlon became a beloved figure throughout the kingdom. Though few had actually seen him wield his hammer\, he always bore it on his back\, and the weapon quickly became a revered icon for the fledgling nation. People whispered that it had the power to level mountains and tear the earth itself asunder. \nOrlon passed the hammer to Poppy on his deathbed\, and with it\, his hope of an enduring kingdom. It was only then that Orlon told her the story of his weapon’s creation\, and how it was never truly intended for his hands. He explained to Poppy that the hammer was meant to go to the Hero of Demacia–the only one who could keep Demacia whole. As her friend drew his last breath\, Poppy swore to him that she would find this hero and place the weapon in his hands. \nBut what Poppy possesses in resolve\, she lacks in ego\, as it never even occurred to her that she might be the hero Orlon described. \n \n 
URL:https://globalazmedia.com/event/poppy-never-find-my-place-tour-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/04/poppy-at-marquee-theatre.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220412T190000
DTEND;TZID=America/Phoenix:20220412T233000
DTSTAMP:20260507T061815
CREATED:20220403T193941Z
LAST-MODIFIED:20220403T193941Z
UID:13337-1649790000-1649806200@globalazmedia.com
SUMMARY:Ministry with Melvins and Corrosion of Conformity at The Van Buren
DESCRIPTION:Born in 1981 in Chicago\, Ministry has been the lifetime passion project of founder Al Jourgensen\, considered to be the pioneer of industrial music. In its early days\, Ministry was identifiable by its heavy synth-pop material in line with the new sounds and technology that were being developed in the ‘80s. Ministry’s output began with four 12” singles on Wax Trax! Records in 1981 before the first LP With Sympathy in 1983 via Arista Records. As time progressed however\, so did Ministry\, quickly developing a harsher\, and more stylized sound that the band soon became infamous for on seminal albums Twitch (1986)\, The Land of Rape and Honey (1988)\, and The Mind Is A Terrible Thing To Taste (1989). With the release of Psalm 69: The Way to Succeed and The Way to Suck Eggs (1992)\, Ministry hit an all time high in the mainstream musical realm and received its first Grammy nomination. In total\, Ministry has been nominated for a Grammy award six times. After an indefinite hiatus in 2013\, Ministry’s 2018 album\, AmeriKKKant\, continued to reflect Jourgensen’s views on the frightening state of society and politics. Ministry’s newest album MORAL HYGIENE is set to be released on October 1st\, 2021 via Nuclear Blast Records. \n \n \nThe Melvins weren’t the first band to acknowledge the heavy metal influences that most left-of-center bands had been trying to shake off since punk rock broke in 1977 (that honor would go to Black Flag on their polarizing 1984 album My War). But no other band to emerge from the punk/alternative underground would mine Black Sabbath‘s slow\, monolithic roar with greater effect than the Melvins\, and they would prove to be wildly influential despite barely breaking out of cult status. The drop-D tunings and brontosaurus stomp of grunge icons such as Tad\, Mudhoney\, and Soundgarden would be unthinkable without the trails the Melvins blazed\, and Kurt Cobain often sang their praises\, helping them land their first major-label recording deal in 1993. They became a bridge between the edges of the punk and metal communities\, who would find greater common ground from the ’90s onward. (Their debut EP\, 1986’s 6 Songs\, found them wavering between speedier punk-oriented numbers and full-on heaviness\, but by 1991’s Bullhead\, the Melvins’ trademark gargantuan sound was firmly in place.) And while the Melvins were as recognizable as any band of their day\, they also proved to be more creatively flexible than nearly all their peers\, willing to experiment with different styles (the massive suite on 1992’s Melvins [aka Lysol]\, the ambitious studio experimentation of 1996’s Stag\, the noisy soundscapes in 2017’s A Walk with Love and Death) and a variety of musical configurations (bringing in multiple guest vocalists on 2000’s The Crybaby\, using two drummers on 2006’s A Senile Animal\, working with a rotating team of bassists on 2016’s Basses Loaded\, recording with two bassists at once on 2018’s Pinkus Abortion Technician\, and recording an epic-scale acoustic set for 2021’s Five Legged Dog)\, all of which helped the band remain productive and prolific more than three decades after they launched. \nThe band formed in Aberdeen\, Washington\, the same town that produced Nirvana‘s Cobain and Krist Novoselic. For Nirvana and many other Seattle-area bands\, the Melvins’ sludge was inspirational; the younger bands took the Sabbath-styled heaviness of the Melvins and added an equally important pop song structure\, which the group tended to lack. While all of their disciples became famous after Nirvana broke big in 1991 (including Mudhoney\, which featured former Melvins bassist Matt Lukin)\, the Melvins only expanded their cult slightly. They did earn a major-label contract with Atlantic\, but after releasing three records for the label\, they were dropped in late 1996 and the group returned to indie status\, landing with Amphetamine Reptile for 1998’s Alive at the F*cker Club. The late ’90s and early 2000s saw a flurry of releases by the band: The Maggot\, The Bootlicker\, The Crybaby\, Electroretard\, The Colossus of Destiny\, Hostile Ambient Takeover\, Pigs of the Roman Empire\, and Houdini Live 2005: A Live History of Gluttony and Lust\, all of which (except for the fourth one) were issued on Mike Patton‘s Ipecac label. \nIn addition to their Melvins activities\, singer/guitarist Buzz Osborne joined Patton (and former Slayer drummer Dave Lombardo and Mr. Bungle bassist Trevor Dunn) for the experimental outfit Fantômas\, resulting in a number of releases (1999’s self-titled debut\, 2001’s The Director’s Cut\, 2002’s Millennium Monsterwork by “the Fantômas Melvins Big Band” (recorded live in San Francisco on New Year’s Eve 2000 but not released until two years later)\, 2004’s Delirium Cordia\, and 2005’s Suspended Animation)\, while the Melvins’ latest bassist\, Kevin Rutmanis\, joined Patton in another side project\, Tomahawk. In 2006\, Big Business bassist Jared Warren and drummer Coady Willis joined the Melvins\, appearing on that year’s Senile Animal album. The follow-ups\, 2008’s Nude with Boots\, 2010’s The Bride Screamed Murder\, and a live album titled Sugar Daddy Live\, were recorded with the same lineup and released by Ipecac. \nThe band returned in 2012 with a stripped-down lineup\, dubbed Melvins Lite\, for Freak Puke\, which found Crover and Osborne recording without the boys from Big Business and instead adding standup bassist Dunn to their roster to round out the band’s already formidable bottom-end sound. Mixing things up even further\, the band invited a host of guests\, including the likes of Jello Biafra and J.G. Thirlwell\, for Everybody Loves Sausages\, an album of covers that arrived in 2013. Another new album\, Tres Cabrones\, released in November of that same year\, saw them reunited with original drummer Mike Dillard — who had previously appeared only on their early demo tapes — while usual drummer Dale Crover took over on bass duties. Another odd combination occurred in 2014\, as Crover and Osborne joined the Butthole Surfers‘ Jeff “J.D.” Pinkus and Paul Leary on the eclectic Hold It In. \nTwo unusual releases from the Melvins arrived in 2016. An album the group began recording in 1999 with Mike Kunka of Godheadsilo was finally completed and released as Three Men and a Baby\, credited to Mike & the Melvins. And in the middle of 2016 they issued Basses Loaded\, where the group recruited a handful of favorite bass players to collaborate on songs. The guest artists included Krist Novoselic of Nirvana\, Steve McDonald of Redd Kross and OFF!\, J.D. Pinkus\, Trevor Dunn\, and Jared Warren. One of the few things the Melvins hadn’t done was release a double album\, but they were finally able to cross that off their list in 2017 with A Walk with Love and Death. The 23-track release included material written and recorded as the score to a film by Jesse Nieminen. In 2018\, the Melvins broke ground with a lineup featuring two bassists on the album Pinkus Abortion Technician. The sessions found J.D. Pinkus (returning from his previous appearances on Hold It In and Basses Loaded) handling the bottom end along with Steve McDonald (also heard on Basses Loaded)\, while King Buzzo and Dale Crover took their usual places on guitar and drums. The band reunited several times with first drummer Dillard\, releasing several EP-length or stand-alone recordings under the sub-moniker Melvins 1983. In 2021\, this formation of the band released a full-length titled Working with God. With touring off the table during the COVID-19 pandemic\, the hard-working Melvins played a series of live streamed concerts under the banner Melvins TV\, and set to work on an unusual project. Five Legged Dog\, released in October 2021 and featuring the Osborne/ Crover/McDonald lineup\, was the group’s first all-acoustic album\, running nearly two-and-a-half hours\, and featuring new interpretations of songs spanning their recording career\, as well as covers of songs that influenced them. ~ Stephen Thomas Erlewine & Greg Prato\, Rovi \n \n \nOne of the first punk-metal fusion bands\, Corrosion of Conformity were formed in North Carolina by guitarist Woody Weatherman during the early ’80s. In their early years\, C.O.C. became known for their aggressive sound\, intelligent political lyrics\, and willingness to break away from both hardcore and metal conventions. In the ’90s\, their shift to a more stripped-down\, deliberate sound — sort of Black Sabbath filtered through the Deep South — brought them enough in line with the alt-metal Zeitgeist to bring them a measure of mainstream popularity. \nC.O.C. debuted in 1983 with the thrashy\, Black Flag-influenced Eye for an Eye\, featuring a lineup of Weatherman\, drummer Reed Mullin\, vocalist Eric Eycke\, and bassist Mike Dean. They began to build up a cult following with 1985’s Animosity\, but their label at the time\, Death\, grew tired of their internal instability — lineup changes found Eycke replaced by vocalist Simon Bob — and dropped them following 1987’s Technocracy. It took several years for a new lineup to come together — featuring Weatherman\, guitarist Pepper Keenan\, Mullin\, vocalist Karl Agell\, and bassist Phil Swisher — but when it did\, the result was 1991’s Blind\, a powerful\, focused\, more metallic record that increased their audience by leaps and bounds. Agell was fired following its success\, and he and Swisher went on to form Leadfoot; meanwhile\, Keenan became the full-time lead vocalist on 1994’s even more Sabbath-esque Deliverance\, which also featured the return of original bassist Mike Dean. During 1995\, Keenan took a short detour into the Southern metal supergroup Down (which also featured Pantera‘s Phil Anselmo and members of Crowbar). \nThanks to a shift in popular taste in favor of the ultra-heavy brand of alternative metal\, the group had helped pioneer\, C.O.C. found themselves with a larger audience than ever before when they released 1996’s Wiseblood\, which continued and expanded their rock radio success. After a lengthy break from recording and a world tour with Metallica\, C.O.C. returned with a new album in the fall of 2000\, titled America’s Volume Dealer. Another break ensued\, resulting in the release of the live recording Live Volume in 2001. It wasn’t until April of 2005 that the band regrouped for the hard-hitting and complex In the Arms of God. C.O.C. went on hiatus\, with the members working on various side projects until 2010\, when drummer Reed Mullin rejoined the band\, reuniting the Animosity lineup while Pepper Keenan continued working with his other band\, Down. The remaining trio began work on new material\, and in 2012 released their eighth album\, the eponymous Corrosion of Conformity\, on Candlelight Records. Their ninth album\, aptly titled IX\, arrived in 2014. Shortly after the latter LP’s release\, C.O.C. reunited with Keenan and began work on their tenth studio long-player\, No Cross No Crown\, which dropped in January 2018. The band announced the death of Reed Mullin on January 27\, 2020. ~ Steve Huey\, Rovi \n \n 
URL:https://globalazmedia.com/event/ministry-with-melvins-and-corrosion-of-conformity-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/04/1A0A1284.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220409T193000
DTEND;TZID=America/Phoenix:20220409T233000
DTSTAMP:20260507T061815
CREATED:20220403T192054Z
LAST-MODIFIED:20220403T192054Z
UID:13333-1649532600-1649547000@globalazmedia.com
SUMMARY:Journey & ToTo at Gila River Arena
DESCRIPTION:JOURNEY is one of the most popular American rock bands of all time\, creating some of the best-known songs in modern music. Since the group’s formation in 1973\, the band has earned 19 top 40 singles and 25 Gold and Platinum albums and has sold nearly 100 million albums globally. Their Greatest Hits album is certified 15 times-Platinum\, bringing Journey into the elite club of Diamond-certified award holders. The band continues to tour and record into the 21st century\, performing concerts for millions of fans worldwide\, and received the prestigious Billboard “Legends of Live” touring award. 2018’s massive co-headlining tour with Def Leppard was the band’s most successful tour to date\, landing them in the Top 10 year-end touring chart with more than 1 million tickets sold. In 2017\, Journey was inducted into the Rock and Roll Hall of Fame. In March 2019\, Journey released a live DVD/CD set from their concert at the Budokan in Tokyo\, featuring the first-ever performances of the band’s “Escape” and “Frontiers” albums in their entireties. Journey received a star on the Hollywood Walk of Fame\, was inducted into the Hollywood Bowl Hall of Fame\, and is the subject of the award-winning documentary\, “Don’t Stop Believin’: Everyman’s Journey.” \n \n \nFew ensembles in the history of recorded music have individually or collectively had a larger imprint on pop culture than the members of TOTO.&nbsp; As individuals\, the band members can be heard on an astonishing 5000 albums that together amass a sales history of a half a billion albums.&nbsp; Amongst these recordings\, NARAS applauded the performances with more than 200 Grammy nominations. Toto has over 400 million streams on Spotify alone along while views on YouTube far exceed over a half billion. \nWith close to 40 years together and literally thousands of credits\, including the biggest selling album of all time: Michael Jackson’s Thriller\, and accolades to their names\, TOTO remains one of the top selling touring and recording acts in the world. They are the benchmark by which many artists base their sound and production\, and they continue to transcend the standards set by the entire music community\, being simply synonymous with musical credibility. Their repertoire continues to be current via high profile usage on broadcast television. They are pop culture\, and are one of the few 70’s bands that have endured the changing trends and styles to a career enjoy a multi-generational worldwide fan base. \nOn February 9\, 2018\, TOTO will release their brand new Greatest Hits package 40 Trips Around The Sun featuring three new tracks. \n \n 
URL:https://globalazmedia.com/event/journey-toto-at-gila-river-arena/
LOCATION:Desert Diamond Arena\, 9400 W Maryland Ave\, Glendale\, AZ\, 85305\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/04/Journey-and-toto-at-Gila-River-Arena.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220406T183000
DTEND;TZID=America/Phoenix:20220406T233000
DTSTAMP:20260507T061815
CREATED:20220403T185353Z
LAST-MODIFIED:20220403T185353Z
UID:13327-1649269800-1649287800@globalazmedia.com
SUMMARY:10 Years\, Black Map & Vrsty at Crescent Ballroom
DESCRIPTION:For nearly two decades\, 10 Years have quietly pushed themselves and modern rock towards evolution. Building a formidable catalog\, the group’s gold-selling 2005 breakthrough The Autumn Effect yielded the hit “Wasteland\,” which went gold\, infiltrated the Billboard Hot 100\, and clinched #1 at Active Rock Radio and #1 on the Billboard Alternative Songs Chart. They landed three Top 30 entries on the Billboard Top 200 with Division [2008]\, Feeding the Wolves [2010]\, and Minus the Machine [2012]. Most recently\, 2017’s (How to Live) As Ghosts marked a reunion between Jesse\, Brian\, and Matt and achieved marked success. Not only did the album bow in the Top 5 of the US Top Hard Rock Albums Chart\, but it also yielded the hit “Novacaine.” The single ascended to the Top 5 of the Billboard US Mainstream Rock Songs Chart and tallied 16 million Spotify streams\, alongside 29 million streams across all dsp’s. The cumulative total for all track streams from repertoire on How To Live (As Ghosts) exceeds 51 million plays. Along the way\, they sold out countless headline shows and toured with everyone from Korn\, Deftones\, and Stone Sour to Chris Cornell and Linkin Park. The new album\, Violent Allies\, is a collaboration with GRAMMY® Award-winning producer and Feeding the Wolves collaborator Howard Benson [My Chemical Romance\, Halestorm\, Papa Roach\, Three Days Grace]. \n \n \nA muscular American prog metal/hard rock trio with an impressive pedigree\, San Francisco’s Black Map is the creation of Dredg guitarist Mark Engles\, Far drummer Chris Robyn\, and Trophy Fire vocalist/guitarist Ben Flanagan. While Driver\, their 2014 debut EP\, offered gritty vocals and overblown distorted guitars\, by the time they issued their first full-length album\, …And We Explode\, they had begun crafting more deliberate hooks and prog riffs. On 2017’s In Droves\, their sound showcased clean\, melodic vocals with detuned\, multi-pedaled\, hook-laden guitar riffs and syncopated prog drumming. They dug into harder-edged prog and alternative metal for 2022’s Melodoria. \nBlack Map was formed in 2014 in San Francisco. They came together as the trio’s respective primary bands were on hiatus and discovered a solid penchant for writing together. The group issued their debut EP\, Driver\, shortly after forming\, with their full-length debut\, …And We Explode\, appearing from Minus Head Records just eight months later. It drew favorable reviews from critics\, who made comparisons to bands like A Perfect Circle\, Deftones\, and Chevelle. \nThe trio moved to eOne for their Aaron Hellam-produced sophomore long-player\, In Droves\, which arrived in 2017. Garnering an even larger array of positive reviews\, Black Map hit the road and played the American music festival circuit for the lion’s share of the next 12 months\, racking up more than 150 gigs in the process. Between festival dates\, they booked studio time with producer Mike Watts in Long Island\, New York\, and cut three songs. They recorded a fourth with Hallam upon returning home\, and the tracks were all released as the prog metal-oriented Trace the Path EP later that year. The band toured across 2019 before being sidelined by the COVID-19 pandemic in 2020. \nBlack Map reunited in 2021 and spent many hours writing at home in San Francisco. They booked time in several studios across the Bay Area. Deciding to produce themselves\, they enlisted Zach Ohren (Machine Head\, the Ghost Inside\, Set Your Goals) as a guiding light and co-producer. That September\, they issued the pre-release single “Chasms” on Minus Head; it served as the opening track for 2022’s ten-song Melodoria. ~ James Christopher Monger\, Rovi \n \n \nNew album WELCOME HOME out 1/21 on Spinefarm Records. Learn more @ www.vrsty.nyc. \nSure\, it’s easy to believe everything has been done before. VRSTY (Var-Si-Ty) prove it hasn’t. The New York City quartet—Joey Varela [vocals]\, Javy Dorrejo [bass]\, Chris Cody [drums]\, and Paul Gregory [guitar]—layer R&B vocal styles over heavy metallic grooves and chugging riffage. After posting up over 2 million streams and charting Billboard with their independent releases\, the group crafted a unique and unexpected hybrid on their 2020 debut EP for Spinefarm Records\, Cloud City. \nFueled by the success of Cloud City – which saw hit singles Massive & Shameless rack up over a million streams each in under a year – VRSTY will release their label debut full-length WELCOME HOME on January 21\, 2022. \n“When people ask me what we sound like\, I say\, ‘We’re whatever you want us to be’\,” states Joey. “I can’t put a genre on us\, because I’m a pop and R&B singer who loves metal. There are pop tracks\, metal tracks\, and R&B tracks. It’s super different heavy music with pop-inspired vocals. The genre has enough bands who sound similar. If you spend time trying to do what’s popular\, you fall into a mode. That’s not something we’re interested in. The music has to be fun for us and the people listening to it.” \nIn the end\, VRSTY break all of the rules and ultimately break ground. \n \n 
URL:https://globalazmedia.com/event/10-years-black-map-vrsty-at-crescent-ballroom/
LOCATION:Crescent Ballroom\, 308 N 2nd Ave\, Phoenix\, AZ\, 85003\, United States
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DTSTART;TZID=America/Phoenix:20220317T190000
DTEND;TZID=America/Phoenix:20220317T233000
DTSTAMP:20260507T061815
CREATED:20220310T014809Z
LAST-MODIFIED:20220310T014809Z
UID:12716-1647543600-1647559800@globalazmedia.com
SUMMARY:Motionless In White + Ice Nine Kills + Black Veil Brides at Mesa Amphitheatre
DESCRIPTION:While their hometown of Scranton\, Pennsylvania is mostly known in popular culture for being perfectly mundane\, gothic metalcore band Motionless in White make music that’s anything but tame. Blending the raw fury of metalcore with the dramatic atmospherics of goth-metal and industrial\, the band has cultivated a dark and moody sound that owes as much to Type O Negative as it does to Slayer. Emerging in 2010\, the group entered the mainstream four years later with the release of their third studio LP Reincarnate\, which debuted at number nine the Billboard Top 200. \nFormed in 2005 while members Chris Cerulli (vocals)\, Angelo Parente (drums)\, Mike Costanza (guitar)\, and Frank Polumbo (bass) were still in high school\, they become a quintet after the addition of keyboard player Josh Balz in 2007\, the same year the band would release their debut EP\, The Whorror\, on Masquerade. In the years following that release\, Polumbo and Costanza parted ways with Motionless in White\, with Ryan Sitkowski and Ricky Olson coming on board to fill in the gaps\, allowing the band to forge ahead after the release of their second EP\, When Love Met Destruction\, on Tragic Hero in 2009. The group signed to Fearless Records in 2010\, and their first full-length album\, Creatures\, arrived that year\, followed by their sophomore effort\, Infamous\, in 2012. A third album\, Reincarnate\, arrived in the summer of 2014. In June 2016\, the band announced their signing to Roadrunner Records. They released the single “570” the same day. \nAt the beginning of 2017\, Balz announced his departure from the band. His synth duties were taken over by Marie Christine-Allard for the recording of the band’s fourth set\, Graveyard Shift. Issued in May 2017\, the album featured the singles “Rats” and “Loud (Fuck It)\,” as well as an appearance by Korn‘s Jonathan Davis. The group headed back into the studio the following year\, returning in 2019 with their fifth studio long-player Disguise. ~ Gregory Heaney\, Rovi \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 \nIn an era when rock music is regularly declared “dead\,” Black Veil Brides music videos have been viewed over a half a billion times. The band (and its members) Instagram and Twitter accounts command close to 10 million followers between them. Vale\, the group’s most re- cent full-length album\, went to No. 1 on Billboard’s Top Hard Rock Albums chart. \nWith a rightful reverence for the pop cultural icons of the past\, the young outfit has never- theless fashioned their own collective future\, with relentless fury. In the hearts and minds of their fans\, Black Veil Brides represents an unwillingness to compromise and a resistance to critics (personal and professional)\, fueled by the same fire as the group’s own heroes\, the iconoclasts whose creative output\, once dismissed\, is now canonized. \n \n \nLilith Czar arrives with the force of an otherworldly thunder\, arising in visceral rebirth from an untimely grave of surrender and sacrifice. Her voice is the sound of supernatural determination\, summoned with a confessional vulnerability and unapologetic authenticity. The girl who was Juliet Simms – her dreams discouraged and dismissed\, her identity confined and controlled – is no more. In her place stands Lilith Czar\, a new vessel forged in unbridled willpower and unashamed desire. \nHer motivation is simple: if it’s truly a man’s world? She wants to be King. \nCreated from Filth and Dust\, the debut album from Lilith Czar\, is an evocative invitation into her bold new world. It’s aggressive music with warm accessibility; huge hooks with driving hard rock—the new larger-than-life icon channels the fierce combativeness of Fiona Apple and Stevie Nicks’ seductive witchery. Lilith Czar arms herself with sonic power\, theatricality\, and confidence. It’s a sound where the pulse of Nine Inch Nails\, Halestorm’s songcraft\, and the libertine spirit of David Bowie converge\, all in service of a ritualistic ache for a more just and equitable world. \n \n 
URL:https://globalazmedia.com/event/motionless-in-white-ice-nine-kills-black-veil-brides-at-mesa-amphitheatre/
LOCATION:Mesa Amphitheatre\, 263 N. Center St\, Mesa\, 85201\, United States
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DTSTART;TZID=America/Phoenix:20220316T190000
DTEND;TZID=America/Phoenix:20220316T233000
DTSTAMP:20260507T061815
CREATED:20220309T223135Z
LAST-MODIFIED:20220309T223135Z
UID:12710-1647457200-1647473400@globalazmedia.com
SUMMARY:Judas Priest and Queensrÿche at Arizona Federal Theatre
DESCRIPTION:One of the most influential heavy metal groups of all time\, Judas Priest emerged at the dawn of the New Wave of British Heavy Metal. Decked out in leather and chains\, the band combined the gothic doom of Black Sabbath and blazing speed of Led Zeppelin with the inventive art rock of Queen\, powered by the dynamic banshee wail of Rob Halford and the vicious dual lead guitar attack of Glenn Tipton and K.K. Downing. Judas Priest set the pace for the genre from 1975 until 1985 with iconic albums like British Steel (1980)\, Screaming for Vengeance (1982)\, and Defenders of the Faith (1984) and helped lay the groundwork for speed and death metal. The group struggled after Halford‘s departure in the early ’90s but were restored to prominence in the 2000s upon his return\, issuing a string of acclaimed efforts — Angel of Retribution (2005)\, Nostradamus (2010)\, Redeemer of Souls (2014)\, and Firepower (2018) — that skillfully married melody\, pageantry\, and muscle. \nFormed in Birmingham\, England\, in 1970\, the group’s core members were guitarist K.K. Downing and bassist Ian Hill. Joined by Alan Atkins and drummer John Ellis\, the band played their first concert in 1971. Atkins’ previous group was called Judas Priest\, yet the members decided it was the best name for the new group. The band played numerous shows throughout 1971. During the year\, Ellis was replaced by Alan Moore; by the end of the year\, Chris Campbell replaced Moore. After a solid year of touring the U.K.\, Atkins and Campbell left the band in 1973 and were replaced by vocalist Rob Halford and drummer John Hinch. They continued touring\, including a visit to Germany and the Netherlands in 1974. By the time the tour was completed\, they had secured a record contract with Gull\, an independent U.K. label. Before recording their debut album\, Judas Priest added guitarist Glenn Tipton. \nRocka Rolla was released in September 1974 to almost no attention. The following year\, they gave a well-received performance at the Reading Festival and Hinch departed the band; he was replaced by Alan Moore. Later that year\, the group released Sad Wings of Destiny\, which earned some positive reviews. However\, the lack of sales was putting the band in a dire financial situation\, which was remedied by an international contract with CBS Records. Sin After Sin (1977) was the first album released under that contract; it was recorded with Simon Phillips\, who replaced Moore. The record received positive reviews and the band departed for their first American tour\, with Les Binks on drums. \nWhen they returned to England\, Judas Priest recorded 1978’s Stained Class\, the record that established them as an international force in metal. Along with 1979’s Hell Bent for Leather (Killing Machine in the U.K.)\, Stained Class defined the nascent New Wave of British Heavy Metal movement. A significant number of bands adopted Priest’s leather-clad image and hard\, driving sound\, making their music harder\, faster\, and louder. After releasing Hell Bent for Leather\, the band recorded the live album Unleashed in the East (1979) in Japan; it became their first platinum album in America. Les Binks left the band in 1979; he was replaced by former Trapeze drummer Dave Holland. Their next album\, 1980’s British Steel\, entered the British charts at number three\, launched the hit singles “Breaking the Law” and “Living After Midnight\,” and was their second American platinum record; Point of Entry\, released the following year\, was nearly as successful. \nAt the beginning of the ’80s\, Judas Priest was a top concert attraction around the world\, in addition to being a best-selling recording artist. Featuring the hit single “You’ve Got Another Thing Comin’\,” 1982’s Screaming for Vengeance marked the height of their popularity\, peaking at number 17 in America and selling over a million copies. Two years later\, Defenders of the Faith nearly matched its predecessor’s performance\, yet metal tastes were beginning to change\, as Metallica and other speed/thrash metal groups started to grow in popularity. That shift was evident on 1986’s Turbo\, where Judas Priest seemed out of touch with current trends; nevertheless\, the record sold over a million copies in America on the basis of name recognition alone. However\, 1987’s Priest…Live! was their first album since Stained Class not to go gold. Ram It Down (1988) was a return to raw metal and returned the group to gold status. Dave Holland left after this record and was replaced by Scott Travis for 1990’s Painkiller. Like Ram It Down\, Painkiller didn’t make an impact outside the band’s die-hard fans\, yet the group were still a popular concert act. \nIn the early ’90s\, Rob Halford began his own thrash band\, Fight\, and soon left Judas Priest. In 1996\, following a solo album by Glenn Tipton\, the band rebounded with a new young singer\, Tim “Ripper” Owens (formerly a member of a Priest tribute band and of Winter’s Bane). They spent the next year recording Jugulator amidst much self-perpetuated hype concerning Priest’s return to their roots. The album debuted at number 82 on the Billboard album charts upon its release in late 1997. Halford had by then disbanded Fight following a decrease in interest and signed with Trent Reznor‘s Nothing label with a new project\, Two. In the meantime\, the remaining members of Judas Priest forged on with ’98 Live Meltdown\, a live set recorded during their inaugural tour with Ripper on the mike. Around the same time\, a movie was readying production to be based on Ripper‘s rags-to-riches story of how he got to front his all-time favorite band. Although Priest was originally supposed to be involved with the film\, they ultimately pulled out\, but production went on anyway without the band’s blessing (the movie\, Rock Star\, was eventually released in the summer of 2001\, starring Mark Wahlberg in the lead role). Rob Halford in the meantime disbanded Two after just a single album\, 1997’s Voyeurs\, and returned back to his metal roots with a quintet simply named Halford. The group issued their debut in 2000\, Resurrection\, following it with a worldwide tour that saw the new group open up Iron Maiden‘s Brave New World U.S. tour and issue a live set one year later (which included a healthy helping of Priest classics) — Live Insurrection. \nIn 2001 the Ripper-led Priest released a new album\, Demolition\, and Priest’s entire back catalog for Columbia was reissued with remastered sound and bonus tracks. In 2003 the band — including Halford — collaborated on the liner notes and song selections for their mammoth career-encompassing box Metalogy\, a collaboration that brought Halford back into the fold. Owens split from the group amicably in 2003\, allowing the newly reunited heavy metal legends to plan their global live concert tour in 2004\, with their 16th studio album\, Angel of Retribution\, to be released the following year. In 2008 the band released Nostradamus\, a sprawling\, two-disc conceptual piece that charted the life and times of the famous French seer. On December 7\, 2010\, Priest broke the news that their upcoming Epitaph world tour would be their last. The following month\, however\, they clarified that they were not disbanding\, announcing that they were working on new material. Before the tour began\, founding member Downing left the band over differences with the other members and their management; he was replaced by Richie Faulkner. \nPriest worked on their new album during the tour\, which ran until 2012. The record’s release was delayed several times\, but it was eventually announced that it would see the light of day in July 2014. Entitled Redeemer of Souls\, it was described by Priest as a traditional\, crowd-pleasing return to their roots\, and went on to become the group’s first Top Ten album in the U.S.\, landing at the number six slot on the Billboard 200 chart. A lengthy tour followed\, and in early 2016 Priest issued the concert album Battle Cry\, which featured highlights from their August 1\, 2015 performance at Germany’s Wacken Festival. \nJudas Priest began loosely demoing ideas for a studio album in 2016\, but they didn’t enter the studio as a band until a year later. It wasn’t until January 2018 that they announced to the press and social media that they’d completed Firepower\, their 18th studio album. They revisited their original\, organic way of recording\, with the entire band playing together at the same time in the studio. They underscored this by enlisting producers Tom Allom — who worked on all of the band’s records from 1979 through 1988 — and Grammy-winning veteran Andy Sneap. In a press release\, Halford explained\, “Tom Allom has got this classic metal thing\, and Andy is a bit more of a ‘modern metal producer’\,” adding\, “I think to get this balance between that classic old-school metal to what Andy’s world is was just a remarkable coalescence.” \nIn January 2018\, the band announced the March release of Firepower with a teaser video for the single “Lightning Strikes” and news of a forthcoming world tour. In February\, guitarist Tipton — diagnosed with Parkinson’s disease a decade earlier — announced that it had progressed to the point where he had to retire from touring. Sneap would fill his slot on the road. Former guitarist K.K. Downing\, who claimed he was shocked that he wasn’t asked to replace Tipton on tour\, asserted in public that “Sneap’s role was actually much more than as a producer on Firepower” — i.e.\, he actually played Tipton‘s parts on the album. Halford took to the media to respond\, saying that “everything that you hear from Glenn on Firepower is the amazing Glenn Tipton.” He called Downing’s accusation “completely superfluous” and “a thousand percent false.” On March 2\, Judas Priest released the lyric video for second single “Never the Heroes.” Firepower was issued on March 9 and soared to number five in the U.K.\, making it their first Top Ten album there since British Steel. ~ Stephen Thomas Erlewine & Greg Prato\, Rovi \n \n \nOne of rock’s most respected names who have weathered the storm and emerged in 2019 with ‘The Verdict’. It’s an album that echoes Queensryche’s three decades of career high-points while pushing ahead with the confidence and urgency of a band just now coming into its own. \nWith a legacy behind them that’s shifted over 30 million records and built a dedicated legion of fans while touring the globe alongside giants including Metallica\, Def Leppard and The Scorpions\, Queensryche have exceeded themselves once again. If Queensryche’s 15th studio album sounds like a young\, hungry band just hitting its stride\, it’s because that is precisely the case. Produced and mixed by Chris “Zeuss” Harris (Hatebreed\, Rob Zombie)\, who helmed 2015’s Condition Human\, it’s also Queensryche’s third album with frontman Todd La Torre\, who joined the veteran band in 2012\, taking the reins from erstwhile voice\, Geoff Tate. \nQueensryche’s impact on other bands and musicians is undeniable. While they dominated rock radio in the 90’s with a string of hits including “Jet City Woman” and “Silent Lucidity”\, their influence on rock and progressive bands including the likes Dream Theater or the late\, lamented Nevermore has been undeniable. \nThe Verdict is in and it’s testament to not merely Queensryche’s staying power as a force in rock in a turbulent new world\, but a band without boundaries who continue to prove how timeless they truly are. \n \n 
URL:https://globalazmedia.com/event/judas-priest-and-queensryche-at-arizona-federal-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85003\, United States
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