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DTSTART;TZID=America/Phoenix:20220201T190000
DTEND;TZID=America/Phoenix:20220201T233000
DTSTAMP:20260508T015329
CREATED:20220110T145941Z
LAST-MODIFIED:20220110T145941Z
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SUMMARY:Falling In Reverse - Wage War - HAWTHORNE HEIGHTS - JERIS JOHNSON at The Van Buren
DESCRIPTION:The fine line between genius and insanity\, self-seriousness and self-deprecation\, implosion and explosion: that is the phantom zone where FALLING IN REVERSE thrives. \nFalling In Reverse founder\, frontman\, and Machiavellian heroic supervillan / villainous superhero Ronnie Radke is the walking\, talking\, breathing\, spitting\, screaming\, singing\, fighting\, loving\, hyper-confident\, sensitive\, and vulnerable embodiment of a generation’s id. He’s the ego and super-ego in the classic Freudian sense\, “slipping” all over the place with vicious bite and playful innuendo. With his music\, art\, and life\, he is the living embodiment of broken homes\, the frustrated contradiction of self-destruction\, and everyday single-minded defiance against a world gone mad. \nCOMING HOME is his latest reinvention\, coming full-circle back to the start\, reinvigorated as mad scientist conductor of soaring\, transcendent\, engaging alternative pop-rock with massive radio hooks and a still-beating heavy metal hardcore heart. “Broken\,” “Loser\,” “Hanging On\,” “I Don’t Mind\,” and “Coming Home” are shocking in their epic scope\, vibrant authenticity\, and unrelenting dedication to personal truth. \nHe shoved the world of Warped Tour kicking and screaming into the vintage decadence of the hard rock scene with the band he formed with his childhood best friend in Las Vegas. Then\, even as countless bands followed in his wake\, he was on the stylistic move\, dominating the social media conversation and crowd sing-alongs with Falling In Reverse’s debut album\, The Drug in Me is You\, now based in Southern California. \nAs Revolver\, Kerrang!\, Alternative Press\, and the rest of the rock and metal press anointed him the scene’s new king on the strength of playful self-examinations-turned-anthems like “Raised by Wolves\,” “Tragic Magic\,” and “I’m Not a Vampire\,” Radke and his crew shook up conventions once again\, dropping the ironically titled Fashionably Late years before the audience at large had any suspicions about what would hit ‘em. \nWhat began as the “worst music video of all time” (according to media tastemaker VICE) turned into another 20 million YouTube views (for a band closing in on roughly 100 million views total) in “Alone.” Like many parts of the eclectic album\, it’s a rap-metal hybrid with a forward thinking step into modern electro beats. Like the best of Radke’s work\, the song serves as both hyper masculine anthem and anxiety confessional. The press and fans followed the band’s every move\, documenting each twist and turn. \nJust Like You mined similar territory with even more precision\, from the title track to undeniable metalcore bangers like “Chemical Prisoner” and “Guillotine IV (The Final Chapter)\,” to the poppy crowd-mover “Sexy Drug\,” and heartbreaking ballad\, “Brother.” \nComing Home is the most focused Falling In Reverse album\, thematically and artistically. Crafted once again with Michael “Elvis” Baskette (Alter Bridge\, Slash\, Trivium)\, who has worked on every one of Radke’s records going back to the now-classic debut album from Escape The Fate\, the record sees the group at their most atmospheric. It’s the latest bold step for a frontman who has defined himself by a mixture of courage and vulnerability\, of bravado and introspection. He’s tightened his personal inner circle and withdrawn from the antics of the past as he’s poured even more of himself into his art. \nComing Home is the album Radke dreamed about making as a kid\, teaching himself to play guitar with Blink-182 and Green Day songs\, rapping along to Dr. Dre and Eminem\, skipping school\, going to shows\, and doing whatever it took to redefine his life beyond the hardscrabble circumstances of his upbringing\, even when the obstacles were of his own design. Now it’s time to get Coming Home to as many people as possible. \nFALLING IN REVERSE continues to champion the outsider\, the cast aside\, the underestimated\, making music to empower and inspire life’s underdogs. \n \n \nThrough an unwavering dedication to progression\, Wage War sharpen their patented hybrid of heavy pit-starting technicality and hummable hypnotic melodies with each subsequent evolution. Look no further than the aptly titled third full-length from the Florida quintet\, Pressure [Fearless Records]. The band—Briton Bond [lead vocals]\, Cody Quistad [rhythm guitar\, clean vocals]\, Seth Blake [lead guitar]\, Chris Gaylord [bass]\, and Stephen Kluesener [drums]—drove themselves to fully realize their ambition by pushing harder. A whirlwind four years set the foundation for such a statement. The group’s 2015 debut\, Blueprints\, yielded multiple fan favorites with “Alive” cracking 12 million Spotify streams and “The River” exceeding 8 million to date. Meanwhile\, 2017’s Deadweight established the boys as a rising force. Totaling nearly 50 million cumulative streams in two years\, the single “Stitch” racked up 14 million streams on Spotify as Deadweight received widespread praise from MetalInjection\, New Noise\, Metal Hammer\, and Rock Sound who dubbed it\, “a relentless\, genre-evolving treat.” Meanwhile\, they toured alongside everyone from I Prevail and Of Mice & Men to Parkway Drive and A Day To Remember\, logging countless miles on the road. In order to approach their next evolution from a different angle\, Wage War enlisted the talents of producer Drew Fulk (Motionless in White\, Lil Peep\, IDKHOW)and recorded in Los Angeles for the first time\, delivering a bold body of work. \n \n \n“I couldn’t sleep at all while making this record\,” admits HAWTHORNE HEIGHTS frontman JT Woodruff of his band’s eighth full-length\, THE RAIN JUST FOLLOWS ME\, out September 10\, 2021 on Pure Noise Recs. “It was an 18-year breakdown in the making.” \nThroughout their long and storied career as one of the most iconic emo acts of the new millennium\, the quartet have overcome obstacles at every turn – but these roadblocks always seemed to come from external forces\, unscrupulous record labels & the shifting whims of fickle audiences to unimaginable personal tragedy threatening to derail them. \nDespite the odds\, Hawthorne Heights have overcome: earning two Gold albums (’04’s The Silence In Black And White and ’06’s If Only You Were Lonely)\, penning some of the genre’s most well-known songs (“Ohio Is For Lovers\,” “Saying Sorry”)\, & remaining a touring act nearly two decades after forming in Dayton\, Ohio. \n“Are we a heavy band with melodic vocals\, or are we a pop-punk band with screaming?” he asks rhetorically. “What we realized was we were separating the songs more than we realized. On one side\, we had killer pop-punk songs\, on the other there were super-heavy songs. At its core\, Hawthorne Heights is both of those things.” \nIt was this moment that cements THE RAIN JUST FOLLOWS ME as an essential entry into the band’s discography\, as the group adroitly swerve between soaring pop melodies and caustic breakdowns with little warning – keeping audiences\, & even themselves\, guessing. \n \n \nFor Jeris Johnson\, music is quite literally in his blood. Jeris’ parents are both musical\, his dad a drummer and his mom a singer\, who met while playing in bands. Jeris grew up surrounded by music\, and his parents’ unwavering support of his musical aspirations bred a lasting love and passion for music. Music was always second-nature\, and Jeris began playing the piano and the drums at the early age of two. At the age of 13\, Jeris began rock band camps where he was able to hone his skills as a vocalist and drummer. It was through this experience that he met his future bandmates and decided music was what he was going to do for the rest of his life. Jeris spent his high school years in his metal band\, Audiophobia as a vocalist and drummer. Once the band went their separate ways\, Jeris was ready to pave his own musical path. Yearning for his own license on creativity\, Jeris quickly realized he needed the skillset and software capability to create his own unique sound. It was during these formative years\, while Jeris taught himself how to produce\, that he also fell in love with the angst and aggression of ‘Soundcloud rap’. With influences stemming from Ski Mask The Slump God and XXXTentacion\, Jeris began to meld the chaotic energy of Soundcloud rap with the grit of alternative rock creating a sonic melting-pot that would become his signature sound. At 21 years old\, Jeris began traveling to LA to perfect his sound. In 2020\, Jeris released his most recent single “Damn!”.
URL:https://globalazmedia.com/event/falling-in-reverse-wage-war-hawthorne-heights-jeris-johnson-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220131T190000
DTEND;TZID=America/Phoenix:20220131T233000
DTSTAMP:20260508T015329
CREATED:20220108T201950Z
LAST-MODIFIED:20220108T201950Z
UID:12260-1643655600-1643671800@globalazmedia.com
SUMMARY:System of a Down + Korn at Footprint Center - JANUARY 2022
DESCRIPTION:Striking a balance between ’80s underground thrash metal and metallic early-’90s alternative rock\, Armenian-American quartet System of a Down effectively pushed their socially conscious\, politically charged messages into the mosh pits during the turn-of-the-century’s nu-metal wave. Their dark and wild style led them from a cult following to a full-blown movement with breakout hit Toxicity\, which debuted at number one in 2001 and planted them at the top of the charts through the early 2000s with a pair of related albums\, Mezmerize and Hypnotize. Soon afterward\, the band took an extended hiatus\, branching off into various solo projects while maintaining a cultural presence with sporadic concerts and continued efforts to spread awareness of the Armenian Genocide. They would not return until 2020 when they released their first fresh material in 15 years\, “Protect the Land” b/w “Genocidal Humanoidz\,” the proceeds of which went to the humanitarian needs of families displaced by the 2020 Nagorno-Karabakh war. \nVocalist Serj Tankian\, guitarist Daron Malakian\, bassist Shavo Odadjian\, and drummer John Dolmayan formed System of a Down in Southern California in the mid-’90s. They quickly earned a strong following in Los Angeles\, largely based on strong word of mouth. A three-song demo began circulating through metal collectors\, and their fan base soon spread throughout not only America\, but Europe and New Zealand. \nBy the end of 1997 the group had signed to American\, distributed by Columbia Records. American/Columbia released the group’s eponymous debut in the summer of 1998\, securing the band opening spots on the Slayer and Ozzfest tours. Carried by alternative radio hits “Sugar” and “Spiders\,” System eventually went platinum\, leading to the September 2001 release of the even more ambitious Toxicity. Their first chart-topper\, System’s second effort was another heavy music triumph\, shaming the majority of their nu-metal competition and running away with multi-platinum honors around the world. Featuring the singles “Chop Suey!” and “Aerials\,” the album would become a landmark release for the period and their defining statement. \nWithout losing momentum\, Malakian started the eatURmusic imprint\, and Tankian founded a label called Serjical Strike; Tankian also collaborated with Armenian avant-garde folk musician Arto Tuncboyaciyan in a project called Serart. In November 2002 System issued the bare-bones but no less powerful odds-n-ends set Steal This Album!\, culled from the Toxicity sessions. \nBy 2004\, System of a Down was back in the studio with Rick Rubin. The bold result of those sessions was a single epic album released in two parts. Mezmerize/Hypnotize kept System’s furious creativity alive\, incorporating the wild vocal melodies\, lyrical passion\, and rabid structural shifts that had become their trademark. Mezmerize (Pt. 1) appeared in May 2005\, while Hypnotize (Pt. 2) appeared later in the year\, and both hit the top of the album charts. \nThe following year\, the group went on hiatus\, with Malakian forming Scars on Broadway; Dolmayan opening an online comic book store and forming the group Indicator (he also briefly played with Scars on Broadway); Odadjian working with RZA\, AcHoZeN\, and George Clinton\, and Tankian embarking on a solo career. While they toured off-and-on throughout the 2010s\, the foursome remained split\, working on their personal musical projects while continuing to raise awareness for Armenian causes. One of those — the 2020 Nagorno-Karabakh war — prompted System to reunite for the charity single “Protect the Land” b/w “Genocidal Humanoidz\,” which raised over half-a-million dollars for families displaced by the fighting. ~ Stephen Thomas Erlewine & Neil Z. Yeung\, Rovi \n \n \nKORN changed the world with the release of their self-titled debut album. It was a record that would pioneer a genre\, while the band’s enduring success points to a larger cultural moment. The FADER notes\, “There was an unexpected opening in the pop landscape and KORN articulated a generational coming-of-angst for a claustrophobic\, self-surveilled consciousness. KORN became the soundtrack for a generation’s arrival as a snarling\, thrashing\, systemically-restrained freak show.” Since forming\, KORN has sold 40 million albums worldwide\, collected two GRAMMYS\, toured the world countless times\, and set many records in the process that will likely never be surpassed. Vocalist Jonathan Davis\, guitarists James “Munky” Shaffer and Brian “Head” Welch\, bassist Reginald “Fieldy” Arvizu\, and drummer Ray Luzier\, have continued to push the limits of the rock\, alternative and metal genres\, while remaining a pillar of influence for legions of fans and generations of artists around the globe. The level of KORN’s reach transcends accolades and platinum certifications. They are “a genuine movement in a way bands cannot be now\,” attests The Ringer. They represent a new archetype and radical innovation\, their ability to transcend genre makes barriers seem irrelevant. \n \n 
URL:https://globalazmedia.com/event/system-of-a-down-korn-at-footprint-center-january-2022/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/01/system-of-a-down-2022.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220130T200000
DTEND;TZID=America/Phoenix:20220130T233000
DTSTAMP:20260508T015329
CREATED:20220117T004802Z
LAST-MODIFIED:20220117T004802Z
UID:12285-1643572800-1643585400@globalazmedia.com
SUMMARY:Shinedown & Ayron Jones at Arizona Federal Theatre
DESCRIPTION:Over the last two decades\, multi-platinum band Shinedown – Brent Smith [vocals]\, Zach Myers [guitar]\, Eric Bass [bass\, production]\, and Barry Kerch [drums] – have cemented their status as one of the most vital and forward-thinking powerhouses in modern rock\, firmly in the pantheon of artists capable of moving the culture forward on the strength of their singular vision\, uncompromising honesty\, and fierce commitment to constant evolution. The record-breaking band have achieved astronomical success while embodying the kind of creative dynamism that defies expectation and transcends boundaries. They were recently named #1 on Billboard’s Greatest Of All Time Mainstream Rock Artists Chart\, after notching the most ever #1s in the 40-year history of the Mainstream Rock Songs Chart with a string of consecutive #1 hit singles “Atlas Falls\,” “ATTENTION ATTENTION\,” “GET UP\,” “MONSTERS\,” and “DEVIL.”  With 10 million albums sold worldwide\, 14 platinum and gold singles\, over 4.5 billion global streams\, platinum or gold certification for all their albums\, and 17 #1 Active Rock hits\, and all 27 career singles reaching the Top 5 on Billboard’s Mainstream Rock Songs Chart\, Shinedown have also become an essential cultural force as evidenced by their major media acclaim and participation in the prestigious 92Y Talks series.  Hailed for their high-octane live shows\, explosive rock ‘n’ roll spirit\, thought-provoking lyrics\, and melodic sensibility\, Shinedown continues to engender diehard love from millions of global fans and has racked up countless sold-out arena tours and festival headlining sets propelled by the undeniable power of front man Brent Smith’s voice.   \n \n \n \nGuitarist & singer Ayron Jones whose songwriting is filled with raw emotion is the new sound of Seattle. The gritty\, genre-blending artist is an amalgam of the incredibly rich history of the city from Jimi Hendrix to Nirvana. Cultivating a robust following in the Pacific Northwest his independent rise allowed him to hone his creative vision before signing with Big Machine/John Varvatos Records. His debut single “Take Me Away” cemented that vision and chart topping success\, hitting Top 5 at Rock Radio and setting the bar for singles to come\, including his latest “Mercy.” The song\, full of charged lyrics and melodies\, strongly captures a collective consciousness of the time. It is also\, though\, underscored by a vision of hope and endurance: through it all\, we persevere. His highly anticipated forthcoming album CHILD OF THE STATE is out 5/21! As Jones continues his ascent in the Rock World he also continues breaking barriers\, as he explains “being black in the rock industry\, I was forging a path into establishments and onto tours that had not previously embraced an artist like me. But the one thing that always changed minds and spoke for itself was the music.” His reach now extends well beyond Seattle\, playing alongside such acts as Run DMC\, Public Enemy\, Rahkim\, Jeff Beck\, Theory of a Deadman\, Robin Trower\, and Spearhead\, as well as opening for iconic acts such as Guns ’N’ Roses at the Gorge and B.B. King.
URL:https://globalazmedia.com/event/shinedown-ayron-jones-at-arizona-federal-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/01/Shinedown-at-Arizona-Federal-Theatre.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220121T193000
DTEND;TZID=America/Phoenix:20220121T233000
DTSTAMP:20260508T015329
CREATED:20220108T200418Z
LAST-MODIFIED:20220108T200418Z
UID:12258-1642793400-1642807800@globalazmedia.com
SUMMARY:Tool At Footprint Center - JANUARY 2022
DESCRIPTION:Tool established themselves as one of America’s most enduring and unpredictable acts with an ever-evolving brand of muscular but mind-altering sonics\, a wry sense of humor\, and a mystical aesthetic that attracted a cult-like following of devoted fans with just a handful of albums spread across decades. Their greatest breakthrough was to meld dark underground metal with the ambition of art rock\, crafting multi-sectioned\, layered songs as if they were classical composers. While embracing the artsy\, they also paid musical homage to the relentlessly bleak visions of grindcore\, death metal\, and thrash. Even with their post-punk influences\, they executed their music with the sound and feel of prog-rock\, alternating between long\, detailed instrumental interludes and lyrical rants in their songs. Debuting in the early ’90s with Undertow\, they were initially lumped in with the nu-metal contemporaries of the time\, which made them a hit on rock radio with their sophomore effort\, 1996’s Ænima. However\, they soon broke away from those associations\, evolving beyond the confines of traditional song structures and song lengths\, crafting epics that often clocked in past the ten-minute mark on LP head-trips Lateralus (2001) and 10\,000 Days (2006). After a lengthy 13-year hiatus\, they returned to the fold in 2019 with their fifth opus\, the chart-topping\, Grammy-nominated Fear Inoculum. \nFormed in Los Angeles by percussionist Danny Carey\, guitarist Adam Jones\, vocalist Maynard James Keenan\, and original bassist Paul D’Amour\, Tool had a knack for conveying the strangled\, oppressive angst that the alternative nation of the early ’90s claimed as its own\, which helped them slip into the scene during the post-Nirvana era. Buffered by a prime slot on the third Lollapalooza tour in 1993\, their debut full-length album\, Undertow (Zoo Entertainment)\, rocketed to platinum status. Fervor for the band even resurrected their first effort\, 1992’s Opiate EP\, on the Billboard charts. While they were in the studio recording a follow-up\, D’Amour amicably parted ways with Tool and his spot was filled by Justin Chancellor. By the time the fresh quartet delivered their sophomore album\, Ænima\, in late 1996\, the alternative rock mainstream was ready. The album shot to number two on the Billboard charts and was certified multi-platinum in less than a decade. Singles “Stinkfist\,” “Forty Six & 2\,” and the Grammy-winning title track were all Top Ten hits on the U.S. Rock chart\, boosted by the twisted and often disturbing music videos created by Jones. After a co-headlining slot with Korn on Lollapalooza ’97\, Tool remained on the road\, supporting Ænima into the next year. \nAs nu-metal established its mainstream dominance at the close of the decade\, Tool returned to the shadows. During their hiatus\, Keenan formed a side project with former Tool guitar tech Billy Howerdel. A Perfect Circle debuted in 2000\, and their album Mer de Noms was a surprise hit. Their ensuing tour was a sold-out success as well\, which only served to fuel Tool breakup rumors. To quell the speculation\, they issued the stopgap B-sides/DVD set Salival late the same year. Meanwhile\, in the studio\, the band continued to journey down a new path that further distanced them from the mainstream. Delving deeper into their own mythos\, songs grew longer\, lyrics more inscrutable\, and artwork increasingly psychedelic. Though they retained their pummeling\, metal-oriented base\, the quartet smashed the formula by further experimenting with complex time signatures\, expansive atmospherics\, and a classical approach to song compositions. The first taste of 21st century Tool arrived in January 2001 with the Grammy-winning single\, “Schism\,” which was also their first song to chart on the Hot 100. Lateralus (Volcano) arrived that May\, topping the Billboard 200. Subsequent singles “Parabola” and “Lateralus” were favorites on the U.S. Rock charts\, and the album soon went multi-platinum. \nAfter another several-year sabbatical — during which time Keenan bounced back to A Perfect Circle — the group returned with another chart-topper\, 2006’s 10\,000 Days. Their most esoteric statement yet\, the album spawned the singles “Vicarious\,” “Jambi\,” and U.S. Mainstream Rock number one “The Pot.” Although it was also the band’s lowest-selling effort to date\, the record still managed to win the group their third Grammy Award for Best Recording Package. At the conclusion of touring\, Tool began another extended hiatus. Although the band re-emerged for a brief summer tour in 2009\, it would be another ten years before fans could hear new music. During this period\, Keenan debuted his de facto solo project\, Puscifer\, and returned for a third album with A Perfect Circle. Behind the scenes\, the band was also bogged down by a lawsuit that wouldn’t be resolved until 2015. The next year\, shaking off the cobwebs\, Tool returned to the road for another quick jaunt in the U.S.\, kicking off another cycle of speculation from fans starved for new material. \nAfter an interminable 13-year gap between albums\, Tool returned in 2019 with their epic fifth album\, Fear Inoculum. Their third straight chart-topper\, the set also featured their second Hot 100 placement to date\, the ten-minute title track\, which became the longest song to ever appear on that chart. Meanwhile\, for the first time\, Tool made their entire discography available for streaming; this propelled all of their past albums back to the charts\, breaking records in the process. They embarked on a sold-out arena tour of the U.S. alongside Killing Joke and capped their successful comeback with a pair of Grammy nominations for “7empest” and “Fear Inoculum.” The former track scored them a Grammy in 2020 for Best Metal Performance. ~ Neil Z. Yeung & Stephen Thomas Erlewine\, Rovi
URL:https://globalazmedia.com/event/tool-at-footprint-center-january-2022/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20211214T190000
DTEND;TZID=America/Phoenix:20211214T233000
DTSTAMP:20260508T015329
CREATED:20211209T004720Z
LAST-MODIFIED:20211209T004720Z
UID:12228-1639508400-1639524600@globalazmedia.com
SUMMARY:Sebastian Bach - 30th Anniversary Tour At Marquee Theatre
DESCRIPTION:1989 Skid Row 1991 Slave To The Grind 1992 B-Side Ourselves 1995 Subhuman Race 1996 The Last Hard Men 1998 Best Of Skid Row 1999 Bring Em Bach – Live * 2002 An Absence of Empathy 2004 Battle With The Bottle 2009 Angel Down 2011 Kicking & Screaming 2013 Abachalypse Now 2014 Give ‘Em Hell 2015 Born To Rage \n \n \nAfter amassing over 2+ Billion global streams\, 60+ international certifications\, and countless sold-out headline shows spanning from London to Moscow\, Grammy-nominated Icelandic rock band\, KALEO\, has proven to be a worldwide phenomenon. Known for their electrifying live performances\, KALEO completely sold out their first U.S. headline tour and was a standout at Coachella\, Lollapalooza and Bonnaroo and were hand-picked to open stadium dates for the Rolling Stones. After wrapping up nearly 3 years of non-stop touring in support of their major label debut album “A/B” in October 2018\, frontman JJ Julius Son began working on the highly anticipated follow-up. In 2020\, KALEO unveiled the first taste of sophomore album “Surface Sounds” with the simultaneous release of “Break My Baby” and “I Want More\,” which reached #6 on Billboard’s Triple A radio chart and was performed live in studio on CBS’ “The Late Show with Stephen Colbert.” KALEO subsequently released rock heavy “Alter Ego\,” the brooding ballad “Backbone\,” powerful and thought-provoking “Skinny” and funk-forward “Hey Gringo.” All five tracks appear on the band’s forthcoming\, full length album “Surface Sounds\,” available now via Elektra/Atlantic. KALEO set out on their worldwide Fight or Flight Tour in 2022. \n \n 
URL:https://globalazmedia.com/event/sebastian-bach-30th-anniversary-tour-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2021/12/SEBASTIAN-BACH-promo.png
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20211212T180000
DTEND;TZID=America/Phoenix:20211212T233000
DTSTAMP:20260508T015329
CREATED:20211203T030142Z
LAST-MODIFIED:20211203T030142Z
UID:12198-1639332000-1639351800@globalazmedia.com
SUMMARY:Jinjer & Suicide Silence at Marquee Theatre
DESCRIPTION:A versatile\, progressive groove metal unit based out of Ukraine\, Jinjer have found success both in their Eastern European homeland and abroad with their punitive blend of post-hardcore and death/progressive/nu-metal. Drawing from a wide array of influences\, including R&B\, soul\, hip-hop\, and the full spectrum of heavy metal\, the band formed in 2009 and features a lineup consisting of Tatiana Shmailyuk (vocals)\, Roman Ibramkhalilov (guitar)\, Eugene Abdiukhanov (bass)\, and Vladislav Ulasevich (drums). Jinjer issued a pair of EPs\, 2009’s OIMACTTA and 2012’s Inhale\, Do Not Breathe\, before breaking big at home with the release of a full-length version of the latter album in 2013. The group’s sophomore long-player\, 2014’s Cloud Factory\, caught the attention of heavy metal institution Napalm\, which signed Jinjer and released their third full-length effort\, King of Everything\, in 2016. The group toured heavily in support of the LP\, hitting the European festival circuit and making their presence known overseas as well. In early 2019\, the band returned with the Micro EP\, again on Napalm. By the end of the year\, its natural counterpoint\, Macro\, arrived. ~ James Christopher Monger\, Rovi \n \n \nAn American deathcore group that draws on elements of black metal\, grindcore\, mathcore and groove metal\, Suicide Silence emerged in 2007 with the punishing full-length debut\, The Cleansing. Subsequent efforts continued to look to artists like Sepultura\, Cannibal Corpse\, Death\, and Possessed for inspiration\, while the band’s eponymous fifth studio long-player\, released in 2017\, saw Suicide Silence incorporate clean\, nu-metal style vocals into the mix. \nFormed in Riverside\, California in 2002\, the band managed to get things rolling quickly\, save for a few lineup changes\, and went from formation to a deal with Century Media in a mere two years. In the meantime\, Suicide Silence issued one pre-deal EP — the simply titled Suicide Silence — which saw the light of day on indie labels At the Deep End and SOS Records. \nThe band’s Century Media debut album\, The Cleansing\, was released in September of 2007\, and was produced by John Travis. The album was a bit of a mover and shaker in the genre\, breaking through to the Top 100 on the Billboard charts\, and became one of the label’s biggest-ever sellers. Following the release of the album\, the band toured steadily in the U.S. and Europe with Parkway Drive and Bury Your Dead. Members Mitch Lucker (vocals)\, Chris Garza (guitar)\, Mark Heylmun (guitar)\, Mike Bodkins (bass\, but later replaced by Dan Kenny)\, and Alex Lopez (drums) had more reason to celebrate in 2008\, as the band was added to the Mayhem Metal Festival\, which hit stages that summer. \nNo Time to Bleed\, released in 2009\, found the band in the Top 40 of the album charts for the first time\, accompanied by positive reviews. Third album The Black Crown switched from anti-religious topics to personal themes from lyricist Mitch Lucker\, and it became the highest-charting album of their career. Lucker\, however\, died in November 2012 from injuries sustained in a motorcycle accident. A memorial tribute show later that year featured Suicide Silence backed by different vocalists for each song\, and by the fall of 2013\, the band had found their new lead vocalist\, Hernan “Eddie” Hermida from All Shall Perish. The Lucker memorial show was released early in 2014 as Ending Is the Beginning: The Mitch Lucker Memorial Show 12.21.12. 2017 saw the release of the band’s eponymous fifth studio long-player\, which featured a shift in tone from their deathcore roots into a more melodic\, nu-metal-driven direction. For their sixth full-length effort\, 2020’s Become the Hunter\, the band enlisted producer Steve Evetts (The Dillinger Escape Plan\, Sepultura\, Hatebreed)\, and dialed back the clean singing in a return to their extreme metal roots. ~ Chris True\, Rovi \n \n 
URL:https://globalazmedia.com/event/jinjer-suicide-silence-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2021/12/jinjer-promo.png
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20211115T180000
DTEND;TZID=America/Phoenix:20211115T233000
DTSTAMP:20260508T015329
CREATED:20211102T011051Z
LAST-MODIFIED:20211102T011051Z
UID:12168-1636999200-1637019000@globalazmedia.com
SUMMARY:Evanescence + Halestorm with PLUSH at Arizona Federal Theatre
DESCRIPTION:About Evanescence \nTwo-time GRAMMY® Award-winning Evanescence has made an impact on people around the world. The group’s 2003 landmark debut album Fallen laid the foundation spending 43 weeks on the Billboard Top 10 and selling more than 17 million copies worldwide. Debut single and global hit “Bring Me to Life” reached #5 on the Billboard Hot 100 and marked their first U.K. #1 hit single. The equally popular “My Immortal” peaked at #7 in the U.S. and U.K. Following multiple worldwide tours\, The Open Door came next\, which went on to sell more than five million copies followed by the self-titled Evanescence which debuted at No. 1 on the Billboard Charts. Evanescence lead singer-songwriter and pianist Amy Lee\, bassist Tim McCord\, drummer Will Hunt\, lead guitarist Troy McLawhorn\, and guitarist and backing vocalist Jen Majura went down both very new and familiar paths for their fourth and most ambitious release to date\, Synthesis\, in 2017 via BMG. The symphonic effort scored four Billboard #1s\, debuting atop the Independent\, Alternative\, Rock\, and Classical Album Charts. Evanescence launched their worldwide “Synthesis Live” tour in October 2017 combining their intense live performances and timeless songwriting with a powerful live orchestra. The Bitter Truth\, out now on BMG\, is Evanescence’s fourth studio album. \n \nAbout Halestorm \nGrammy-Award winning band Halestorm has grown from a childhood dream of siblings Lzzy and Arejay Hale into one of the most celebrated rock bands of the last two decades. Currently at work on their follow-up to 2018’s Vicious\, Halestorm’s music has surpassed a billion streams worldwide. Called a “muscular\, adventurous\, and especially relevant rock record” by Rolling Stone\, Vicious earned the band their second Grammy nomination\, for Best Hard Rock Performance for the song “Uncomfortable\,” the band’s fourth #1 at rock radio\, and led Loudwire to name Halestorm “Rock Artist of the Decade” in 2019. Fronted by the incomparable Lzzy Hale with drummer Arejay Hale\, guitarist Joe Hottinger\, and bass player Josh Smith\, Halestorm has earned a reputation as a powerful live music force\, headlining sold-out shows and topping festival bills around the world\, and sharing the stage with icons including Heaven & Hell\, Alice Cooper\, and Joan Jett.
URL:https://globalazmedia.com/event/evanescence-halestorm-with-plush-at-arizona-federal-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2021/11/Evanescence-Halestorm.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20211102T173000
DTEND;TZID=America/Phoenix:20211102T233000
DTSTAMP:20260508T015329
CREATED:20211017T222550Z
LAST-MODIFIED:20211017T222550Z
UID:12154-1635874200-1635895800@globalazmedia.com
SUMMARY:Knotfest Roadshow: Slipknot\, Killswitch Engage\, Fever 333\, Code Orange at Ak-Chin Pavilion
DESCRIPTION:Twenty years ago\, nine inspired musicians from Des Moines\, Iowa\, shattered the scope of what was possible in rock music. From the moment Slipknot emerged in 1999 with their self-titled debut\, it was clear they were like nothing the world had seen before\, but were everything they needed. Where a similarly creative act might have burned out or lost their relevance chasing mainstream acceptance\, Slipknot has only proven that an enduring commitment to hard work\, constant evolution\, their craft\, and their fans can allow a rock band to not only continue- but to actually push the envelope on what defines heavy metal\, and rock in general. With “We are Not Your Kind\,” Slipknot’s first new album in five years\, the band deliver when they are needed most. In an increasingly claustrophobic psychic landscape\, “We Are Not Your Kind” brings back the violence\, to meet the darkness blow for blow. The band’s creative strength and vision propelled “We Are Not Your Kind” to a #1 debut on the Billboard Top 200 chart this past August. Always a global band\, the album also debuted at #1 in United Kingdom\, Australia\, Canada\, Japan\, Russia\, Mexico\, Portugal\, Ireland\, Belgium\, Finland\, Spain\, and in the Top 3 in Germany\, France\, Norway\, Italy\, Austria\, Switzerland\, the Netherlands\, and New Zealand. \n \n \nKillswitch Engage first shook the structure of heavy music upon climbing out of snowy industrialized Western Massachusetts in 2000. The band pioneered a union of thrashed-out European guitar pyrotechnics\, East Coast hardcore spirit\, on-stage hijinks\, and enlightened lyricism that set the pace for what the turn-of-the-century deemed heavy. 2002’s Alive Or Just Breathing became avowed as a definitive album\, being named among “The Top 100 Greatest Metal Albums of the Decade” by Decibel and celebrated by everyone from Metal Hammer to Revolver. They also garnered two GRAMMY® Award nominations in the category of “Best Metal Performance” in 2005 and 2014 and gold certifications for The End of Heartache [2004] and As Daylight Dies [2006]. The group landed three consecutive Top 10 debuts on the Billboard Top 200 with Killswitch Engage [2009]\, Disarm The Descent [2013]\, and their career high best bow at #6 with Incarnate [2016]. The latter two releases would also both capture #1 on the Top Rock Albums and Top Hard Rock Albums charts. Their total streams have exceeded half-a-billion to date. \n2019 represents another turning point. The quintet—Adam Dutkiewicz [lead guitar]\, Joel Stroetzel [rhythm guitar]\, Mike D’Antonio [bass]\, Justin Foley [drums]\, and Jesse Leach [vocals]—sharpen every side of this signature sound on their eighth full-length and first for Metal Blade\, Atonement. \n \n \nRebellion needed a soundtrack. It got that and a whole lot more from FEVER 333. Rallying around a mission of “art as activism” in 2017\, the group first publicly assembled with an unpermitted D333MONSTRATION in front of a South Central Los Angeles landmark—ducking out before the cops came\, but leaving a mark on the streets of their hometown. Shockwaves rippled through the culture. The title track of their MADE AN AMERICA EP scored a 2019 GRAMMY® Award nod in the category of “Best Rock Performance.” Their full-length Roadrunner Records/333 Wreckords Crew debut LP\, STRENGTH IN NUMB333RS\, toppled 60 million total streams. KERRANG! (UK) christened it\, “The best debut album of 2019\,” honored the group with “Best Song” at the 2019 KERRANG! Awards\, and included them on the magazine cover alongside Metallica\, Jimmy Page\, Ghost\, and Skunk Anansie. Not to mention\, they have collaborated with everyone from POPPY to RUN-D.M.C. and Vic Mensa. In addition to selling out headline D333MONSTRATIONS everywhere\, they ignited the stages of Lollapalooza South America\, AfroPunk\, Reading\, Download UK and more. Standing up alongside the people\, they regularly participate in activism with a focus on community\, charity\, and change. FEVER 333 vocalist Jason Aalon Butler created the Walking In My Shoes Foundation to benefit organizations that generate empathy\, understanding\, and change within the communities they serve.
URL:https://globalazmedia.com/event/knotfest-roadshow-slipknot-killswitch-engage-fever-333-code-orange-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/2021/10/Slipknot-10.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20211015T180000
DTEND;TZID=America/Phoenix:20211015T233000
DTSTAMP:20260508T015329
CREATED:20211012T004143Z
LAST-MODIFIED:20211012T004143Z
UID:12149-1634320800-1634340600@globalazmedia.com
SUMMARY:SKILLET & ADELITAS WAY at Marquee Theatre
DESCRIPTION:One of the best-selling rock bands of the 21st century\, two-time GRAMMY® Award-nominated multiplatinum Wisconsin quartet Skillet—John Cooper [lead vocals/bass]\, Korey Cooper [guitar/keys]\, Jen Ledger [drums/vocals]\, and Seth Morrison [lead guitar]—write the soundtrack to triumph. An undying spirit humbly asserted and affirmed the band as one of this generation’s most successful rock acts. However\, as all classic underdog stories do\, it happened quietly under the radar. By 2019\, they not only garnered a pair of GRAMMY® Award nods and sold over 12 million albums worldwide\, but they also took home a Billboard Music Award for the double-platinum Awake. Its breakout single “Monster” remains “one of the most-streamed rock songs of all-time” with 285 million global audio streams. 2016’s Unleashed bowed at #3 on the Billboard Top 200. Going #1 on Rock Radio\, the lead single “Feel Invincible” cracked 150 million global audio streams and went platinum. Meanwhile\, the gold-certified Unleashed became their fourth consecutive album to receive either a gold\, platinum\, or double-platinum plaque. To date\, nine original tunes earned RIAA recognition in tandem with high-profile syncs by everyone from WWE and Marvel to ESPN and NFL. Between selling out arenas on four continents\, the group performed on CONAN and graced the pages of USA Today and New York Times\, to name a few. In 2018 alone\, the band clocked 1 billion streams. This momentum continues on their 2019 tenth full-length\, Victorious. \n \n \nEdgy Las Vegas-based Adelitas Way broke into the mainstream in 2009 with the song “Invincible\,” which appeared on numerous television spots for CSI Miami and served as the theme song for the weekly WWE Superstars show\, Raw vs Smackdown Video game\, appeared on FAW \,served as The legacy Theme song\, and performed at numerous Large WWE events. A Blue collar grass roots work ethic has the band touring the world for over a decade\, building one of the strongest fan bases in Music today. Independently AW has over 180 Million Streams on their strong Catalog of songs. Formed in the mid 2000s by vocalist/songwriter Rick DeJesus\, the band (includes drummer Trevor Stafford\, Bassist Andrew Cushing\, Guitarist Tavis Stanley) released its debut in July 2009. AW sophomore effort\, the acclaimed Home School Valedictorian was a massive success. In July 2013 the group entered the studio to record Stuck\, which featured the hit single “Dog on a Leash\,” which peaked at number Five on the U.S. Mainstream Rock Chart. 2016\, the band issued their fourth studio album\, Getaway Independently\, and featured the Top 10 Rock radio hit “Bad Reputation”. 2017’s Notorious album included hit singles “Ready for War (Pray for Peace)\,” which served as the theme song to TLC: a WWE PPV event. The hit single “Notorious” was released In the fall Of 2017 and is one of the bands Most successful songs to date with over 40 Million streams. Adelitas way is a fan Favorite for their songwriting\, Live shows\, and Fan Experiences \n \n 
URL:https://globalazmedia.com/event/skillet-adelitas-way-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2021/10/Skillet-4.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20211008T160000
DTEND;TZID=America/Phoenix:20211008T230000
DTSTAMP:20260508T015329
CREATED:20211006T023328Z
LAST-MODIFIED:20211006T023328Z
UID:12107-1633708800-1633734000@globalazmedia.com
SUMMARY:Flogging Molly & Violent Femmes at Mesa Amphitheatre
DESCRIPTION:Los Angeles-based seven-piece Flogging Molly are an interesting mix of traditional Irish music and spunky punk rock. Former Fastway acoustic guitarist/frontman and Dublin native Dave King formed the band with fiddle player Bridget Regan\, guitarist Dennis Casey\, accordion player (and former pro skateboarder) Matt Hensley\, bassist Nathen Maxwell\, drummer George Schwindt\, and mandolinist Bob Schmidt. Getting their start playing regularly at the L.A. bar Molly Malones\, Flogging Molly eventually took their music to the road; their explosive and passionate live show was the heart of the band\, after all\, and they toured relentlessly around the world throughout their career. Their rowdy folk-rock punk revival sound has been compared to the likes of other Irish bands such as the Pogues and Black 47\, but the raucous septet opted for its own unique brashness that defied genre lines. \nFlogging Molly released their debut\, Swagger\, in March 2000 on Side One Dummy and followed up two years later with Drunken Lullabies. Crafting exuberant anthems to raise up a full Guinness to\, King often used personal touchstones — such as his childhood in a war-torn Ireland\, his father’s premature death\, and an eight-year exile in the United States — for the band’s compelling lyrical content. Within a Mile of Home appeared in September 2004\, and the band continued to hit the road hard in support. The DVD documentary Whiskey on a Sunday was issued in July 2006; it was a candid look at Flogging Molly as both a band and seven individuals\, and came with a ten-song CD of acoustic and live tracks. In early 2007\, as the group geared up for a U.S. headlining run\, Hensley amicably departed to spend more time with his family. \nIn March 2007\, Flogging Molly released the Complete Control Sessions EP. Their fourth studio album\, Float\, followed a year later. The band then hit the road\, documenting the tour in 2010 with the release of Live at the Greek Theatre. Eventually they settled back into the studio with producer Ryan Hewitt\, and the following year released their fifth album\, Speed of Darkness. Prior to the recording\, original drummer Schwindt was replaced by Mike Alonso\, who had formerly played with King in the hard rock band Katmandu. Flogging Molly continued to tour over the next several years\, and began curating their annual Salty Dog Cruise\, which set sail each year over St. Patrick’s Day. They eventually returned to the studio\, heading to Dublin to record their sixth album\, Life Is Good\, which was released in early 2017. ~ MacKenzie Wilson\, Rovi \n \n \nThe textbook American cult band of the 1980s\, the Violent Femmes captured the essence of teen angst with remarkable precision; raw and jittery\, the trio’s music found little commercial success but nonetheless emerged as the soundtrack for the lives of troubled adolescents the world over. Their self-titled 1983 debut was a blueprint for legions of sardonic alternative rockers that would follow\, and they continued their blend of searing\, darkly humorous lyrics and sharp-edged folk-rock on other standout albums like 1991’s Why Do Birds Sing? \nThe Violent Femmes formed in Milwaukee\, Wisconsin\, in the early ’80s\, made up of singer/guitarist Gordon Gano\, bassist Brian Ritchie\, and percussionist Victor DeLorenzo. After being discovered by the Pretenders‘ James Honeyman-Scott while they were busking on the street\, the band signed to Slash and issued their self-titled debut\, a melodic folk-punk collection which struck an obvious chord with young listeners who felt a strong connection to bitter\, frustrated songs like “Blister in the Sun\,” “Kiss Off\,” and “Add It Up.” Though never a chart hit\, the album remained a rite of passage for succeeding generations of teen outsiders\, and after close to a decade in release\, it finally achieved platinum status. \nWith 1984’s Hallowed Ground\, Gano‘s lyrics began to reflect his devout Baptist upbringing\, while the Femmes’ music approached more traditional folk and country structures. Produced by Talking Heads‘ Jerry Harrison\, 1986’s The Blind Leading the Naked advanced toward a more mainstream sound; a cover of the T. Rex chestnut “Children of the Revolution” even became a minor hit. After the record’s release\, the Femmes temporarily disbanded: Gano recorded a self-titled 1987 album with his gospel side project the Mercy Seat\, while Ritchie issued a series of solo LPs including 1987’s The Blend and 1989’s Sonic Temple & Court of Babylon for SST. (I See a Noise appeared on Dali Records in 1990.) In 1989\, the group resurfaced with 3\, followed by 1991’s Why Do Birds Sing?\, which featured the Femmes’ deconstructionist cover of Culture Club‘s “Do You Really Want to Hurt Me?” \nFollowing the release of the 1993 compilation Add It Up (1981-1993)\, DeLorenzo exited the Violent Femmes to resume the solo career he began two years prior with the release of Peter Corey Sent Me; his sophomore effort\, Pancake Day\, appeared in 1996. Former Oil Tasters and BoDeans drummer Guy Hoffman was tapped as DeLorenzo’s replacement in time to record 1994’s New Times for Elektra Records\, which proved their sole release for the label. Rock!!!!! was released in 1995 on Mushroom Records only in Australia; the live Viva Wisconsin followed on the American indie label Beyond in 1999\, trailed early the next year by a new studio effort\, Freak Magnet. In the spring of 2001\, the Femmes released their first MP3-only album\, Something’s Wrong\, through the website EMusic.com; it collected an assortment of rarities\, including covers\, acoustic live tracks\, alternate versions\, demos\, and the like. In 2002\, Rhino/Slash reissued their debut as a two-disc deluxe edition that featured 22 previously unreleased tracks\, followed by Permanent Record: The Very Best Of in 2005. \nThe Violent Femmes closed out 2005 with a New Year’s Eve show featuring all three original members and Guy Hoffman. This union was punctured in 2007 when Ritchie filed a lawsuit against Gano\, seeking proper accounting of royalties while also claiming he was denied credit for songwriting; additionally\, he stated Gano licensed “Blister in the Sun” for use in a Wendy’s commercial without permission. During the lawsuit\, the Violent Femmes managed to release a single — a cover of Gnarls Barkley‘s “Crazy\,” appearing in June of 2008 — but the tensions caused the group to split in 2009. Ritchie and Gano settled out of court in 2012 and the Violent Femmes reunited in 2013\, playing a number of shows\, including a slot at that year’s Coachella festival\, in celebration of the 30th anniversary of their landmark debut. Following these shows\, drummer Victor DeLorenzo departed acrimoniously — in a statement\, he claimed “In regards to my history with the Violent Femmes\, the dream never quite got there” — and was swiftly replaced by Brian Viglione\, a drummer with the Dresden Dolls. Over the next couple of years\, this lineup played frequently and released a four-song EP for Record Store Day in 2015\, a teaser for the full-length We Can Do Anything in 2016. By the time that album appeared in March 2016\, Viglione had resigned from the band. John Sparrow signed on as the Femmes’ drummer in time for the tour supporting We Can Do Anything; recordings from the tour were compiled into a 2017 live album\, 2 Mics & the Truth. In 2019 the band returned with their tenth studio album Hotel Last Resort. The album’s punchy sound and direct songwriting was reminiscent of their earliest work\, but they expanded their palette to include multi-instrumentalist Blaise Garza as well as opening up a few songs for guest spots by both skateboarding celebrity Stefan Janoski and guitar legend Tom Verlaine. ~ Jason Ankeny\, Rovi
URL:https://globalazmedia.com/event/flogging-molly-violent-femmes-at-mesa-amphitheatre/
LOCATION:Mesa Amphitheatre\, 263 N. Center St\, Mesa\, 85201\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2021/10/flogging-molly.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20210926T173000
DTEND;TZID=America/Phoenix:20210926T233000
DTSTAMP:20260508T015330
CREATED:20210917T005106Z
LAST-MODIFIED:20210917T005106Z
UID:12056-1632677400-1632699000@globalazmedia.com
SUMMARY:KISS at Ak-Chin Pavilion
DESCRIPTION:Rooted in the campy theatrics of Alice Cooper and the sleazy hard rock of glam rockers the New York Dolls\, Kiss became a favorite of American teenagers in the ’70s. Most kids were infatuated with the look of Kiss\, not their music. Decked out in outrageously flamboyant costumes and makeup\, the band fashioned a captivating stage show featuring dry ice\, smoke bombs\, elaborate lighting\, blood spitting\, and fire breathing that captured the imaginations of thousands of kids. But Kiss’ music shouldn’t be dismissed — it was a commercially potent mix of anthemic\, fist-pounding hard rock driven by sleek hooks and ballads powered by loud guitars\, cloying melodies\, and sweeping strings. It was a sound that laid the groundwork for both arena rock and the pop-metal that dominated rock in the late ’80s. \nKiss was the brainchild of Gene Simmons (bass\, vocals) and Paul Stanley (rhythm guitar\, vocals)\, former members of the New York-based hard rock band Wicked Lester; the duo brought in drummer Peter Criss through his ad in Rolling Stone\, while guitarist Ace Frehley responded to an advertisement in The Village Voice. Even at their first Manhattan concert in 1973\, the group’s approach was theatrical\, and Flipside producer Bill Aucoin offered the band a management deal after the show. Two weeks later\, the band was signed to Neil Bogart’s fledgling record label\, Casablanca. Kiss released their self-titled debut in February of 1974; it peaked at number 87 on the U.S. charts. By April of 1975\, the group had released three albums and had been touring America constantly\, building up a sizable fan base. \nCulled from those numerous concerts\, Alive! (released in the fall of 1975) made the band rock & roll superstars; it climbed into the Top Ten and its accompanying single\, “Rock ‘N’ Roll All Nite\,” made it to number 12. Their follow-up\, Destroyer\, was released in March of 1976 and became the group’s first platinum album; it also featured their first Top Ten single\, Peter Criss‘ power ballad “Beth.” Kiss mania was in full swing; thousands of pieces of merchandise hit the marketplace (including pinball machines\, makeup and masks\, and board games)\, and the group had two comic books released by Marvel as well as a live-action TV movie\, Kiss Meet the Phantom of the Park. A 1977 Gallup poll named Kiss the most popular band in America. The group was never seen in public without wearing their makeup\, and their popularity was growing by leaps and bounds; the membership of the Kiss Army\, the band’s fan club\, was in the six figures. \nEven such enormous popularity had its limits\, though\, and the band reached them in 1978\, when all four members released solo albums on the same day in October. Simmons‘ record was the most successful\, reaching number 22 on the charts\, yet all of them made it into the Top 50. Dynasty\, released in 1979\, continued their streak of platinum albums\, yet it was their last record with the original lineup — Criss left in 1980. Kiss Unmasked\, released in the summer of 1980\, was recorded with session drummer Anton Fig; Criss‘ true replacement\, Eric Carr\, joined the band in time for their 1980 world tour. Kiss Unmasked was their first record since Destroyer to fail to go platinum\, and 1981’s Music from the Elder\, their first album recorded with Carr\, didn’t even go gold — it couldn’t even climb past number 75 on the charts. Ace Frehley left the band after its release; he was replaced by Vinnie Vincent in 1982. Vincent‘s first album with the group\, 1982’s Creatures of the Night\, fared better than Music from the Elder\, yet it couldn’t make it past number 45 on the charts. \nSensing it was time for a change\, Kiss dispensed with their makeup for 1983’s Lick It Up. The publicity worked\, as the album became their first platinum record in four years. Animalize\, released the following year\, was just as successful\, and the group essentially recaptured their niche. Vincent left after Animalize and was replaced by Mark St. John\, although St. John was soon taken ill with Reiter’s Syndrome and left the band. Bruce Kulick became Kiss’ new lead guitarist in 1984. For the rest of the decade\, Kiss turned out a series of best-selling albums\, culminating in the early 1990 hit ballad “Forever\,” which was their biggest single since “Beth.” Kiss was scheduled to record a new album with their old producer\, Bob Ezrin\, in 1990 when Eric Carr became severely ill with cancer; he died in November of 1991 at the age of 41. Kiss replaced him with Eric Singer and recorded Revenge (1992)\, their first album since 1989; it was a Top Ten hit and went gold. Kiss followed it with the release of Alive III the following year; it performed respectably\, but was not up to the standards of their two previous live records. \nIn 1996\, the original lineup of Kiss — featuring Simmons\, Stanley\, Frehley\, and Criss — reunited to perform an international tour\, complete with their notorious makeup and special effects. The tour was one of the most successful of 1996\, and in 1998 the reunited group issued Psycho Circus. While the ensuing tour in support of Psycho Circus was a success\, sales of Kiss’ reunion album weren’t as stellar as anticipated. Reminiscent of the band’s unfocused late-’70s period\, few tracks on Psycho Circus featured all four members playing together (most tracks were supplemented with session musicians)\, as the band seemed more interested in flooding the marketplace with merchandise yet again instead of making the music their top priority. With rumors running rampant that the Psycho Circus Tour would be their last\, the quartet announced in the spring of 2000 that they would be launching a U.S. farewell tour in the summer\, which became one of the year’s top concert draws. But on the eve of a Japanese and Australian tour in early 2001\, Peter Criss suddenly left the band once again\, supposedly discontent with his salary. Taking his place was previous Kiss drummer Eric Singer\, who in a controversial move for some longtime fans\, donned Criss‘ cat-man makeup (since Simmons and Stanley own both Frehley and Criss‘ makeup designs\, there was no threat of a lawsuit) as the farewell tour continued. \nWith the band scheduled to call it a day (supposedly) by late 2001\, a mammoth career-encompassing box set was set for later in the year\, while the summer saw perhaps the most over-the-top piece of Kiss merchandise yet — the “Kiss Kasket.” The group was relatively quiet throughout the rest of the year\, but 2002 started with a bang as Gene Simmons turned in an entertaining and controversial interview on NPR where he criticized the organization and berated host Terry Gross with sexual comments and condescending answers. He was promoting his autobiography at the time\, which also caused dissent in the Kiss camp because of inflammatory remarks made toward Ace Frehley. Frehley subsequently declined to appear at an American Bandstand anniversary show; his place was taken by a wig-wearing Tommy Thayer\, and Simmons was quick to dismiss the performance as another in a long series of money-oriented decisions. The band kept touring the globe with no new album in stores\, but in 2008 they returned to the studio\, re-recorded their hits\, and released Jigoku-Retsuden aka KISSology or Kiss Klassics (the release was initially exclusive to Japan). \nIn spring of 2009\, the band began recording their first studio album in 11 years\, and released the results in October with the title Sonic Boom. Produced by Paul Stanley and Greg Collins\, the album was exclusively distributed in North America by Wal-Mart. In 2012\, the band’s 20th studio album\, Monster\, surfaced\, rewriting the cowbell-heavy party rock of their ’70s heyday and adding some nods to the sinister metal of 1992’s Revenge. In 2014\, after 15 years of eligibility\, Kiss was inducted into the Rock & Roll Hall of Fame. The following year they released a collaborative single with the Japanese idol group Momoiro Clover Z. In 2017\, a career-spanning single-disc best-of\, Kissworld\, was released to coincide with a massive world tour of the same name. ~ Stephen Thomas Erlewine & Greg Prato\, Rovi
URL:https://globalazmedia.com/event/kiss-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/2021/09/kiss-band.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20210913T183000
DTEND;TZID=America/Phoenix:20210913T233000
DTSTAMP:20260508T015330
CREATED:20210908T002511Z
LAST-MODIFIED:20210908T002511Z
UID:12032-1631557800-1631575800@globalazmedia.com
SUMMARY:KORN & STAIND at Ak-Chin Pavilion
DESCRIPTION:Grammy® Award-winning\, multi-platinum band Korn have announced an epic U.S  summer tour featuring very special guests Staind on all dates. The tour will see both bands traversing the country this summer and will give fans the chance to see two of the biggest forces in rock perform on the same stage each night\, including a stop at Ak-Chin Pavilion\, September 13\, 2021 at 6:30 p.m. \nTickets (starting at $29.50 on the lawn) go on sale Friday\, May 14 at 12 p.m. at LiveNation.com or Ticketmaster.com. \nProduced by Live Nation\, the coast-to-coast 28-city outing will kick off August 5 in West Palm Beach\, FL and make stops in Long Island\, Detroit\, Irvine\, Phoenix\, Austin and more\, before wrapping up with a performance at Dallas’ Dos Equis Pavilion on September 21. Furthermore\, both bands will perform at Louisville\, Kentucky’s Louder Than Life Festival on September 23. \nA stunning paean to loss and darkness\, Korn’s 2019 album The Nothing proved to be another historic release for the band.  It marked their 14th Top 10 entry on the Billboard 200 and lifted them into rarified air giving them the fifth-most Top 10 debuts of any rock band in the history of the chart. Led by singles “You’ll Never Find Me\,” “Can You Hear Me\,” and “Cold\,” Noisey declared The Nothing “continues Korn’s mission of probing the hidden corners and harsh realities of life within a shroud discordant darkness.”  Revolver crowned The Nothing “Korn’s best album in over 10 years\,” while Metal Hammer affirmed the album “recaptures the genuine darkness of their earlier works” in a glowing 4.5-out-of-5 star review. The Fader added\, “Korn have never shied away from innovation… the icons have always looked forward\,” and Los Angeles Times applauded the “…deep and potent performances from the band\, evoking their ever-present rage but also feelings of loss and isolation.” NME affirmed\, “This urgent and important record will ensure the veterans don’t get lost in the shuffle.” Once again\, Korn redefine\, revitalize\, and reimagine the scope of rock music as perennial outliers and enduring iconoclasts. \nFormed in 1995\, Staind has released seven studio albums and eight Top 10 singles\, selling over 15 million records worldwide. The album Break The Cycle\, released in 2001 and RIAA certified 5x platinum\, featured the smash single “It’s Been Awhile\,” one of the most played songs in modern rock history\, spending 20 weeks at #1. In 2019 after a five-year hiatus\, Staind reunited for some unforgettable festival performances\, and a hometown reunion show at Foxwoods Casino in Mashantucket\, CT where their new album\, Live: It’s Been Awhile was recorded. \n \n \nIt has been said that first impressions last a lifetime. Luckily for Staind\, some only last for about 45 minutes. After a volatile disagreement with Limp Bizkit‘s Fred Durst over some of Staind‘s early cover art\, it seemed their big break had walked out the door. Fortunately\, by the time Durst had witnessed Staind‘s intense live show\, he was ready to exchange phone numbers. \nStaind‘s story began in the New England area when vocalist Aaron Lewis and guitarist Mike Mushok met at a Christmas party in 1993. Mushok was able to bring drummer Jon Wysocki into the fold\, and Lewis‘ connection with a bass player (who later left) completed the early lineup. Establishing themselves took time\, and extensive touring of the Northeast with other established metal acts helped them sell over 2\,000 copies of their self-released debut in just over a year. They were primed for their big break\, and on October 23\, 1997\, the hard work paid off. \nAt a show in Hartford\, Connecticut\, Staind were all set to open for Limp Bizkit when Bizkit singer Durst raised a stink over cover art on Staind‘s self-released CD. After a heated conversation over whether or not Staind were Satan worshipers\, Durst forcefully returned the disc to the band\, and walked away. But 45 minutes later Durst was back\, not to further the argument\, but to make sure he kept in contact with Staind. Blown away by their live show\, Durst exchanged phone numbers\, and loved their demo tape when they gave it to him. He convinced them to travel to Jacksonville\, Florida\, to work on the new songs. \nAfter reworking the new material and a successful live show\, Durst contacted the head of Flip Records and arranged a meeting for Staind with the label. While in Los Angeles\, a three-song sampler was recorded\, and by the time February rolled around in 1998\, the band had a record deal. After playing the Vans Warped Tour\, they began work on their first album\, Dysfunction. The album was produced by Terry Date (Deftones\, Pantera\, Soundgarden) and was released April 13\, 1999. A tour with Kid Rock followed that spring and later the band reunited with good friends Limp Bizkit for a summer tour. \nTheir follow-up\, Break the Cycle\, enjoyed a prolonged visit at the number one spot on U.S. charts in 2001. Smash hits like “It’s Been a While\,” “Fade\,” “For You\,” and “Epiphany” catapulted Staind into the mainstream\, leaving their 2002 DVD MTV Unplugged to go gold. Staind released 14 Shades of Grey in spring 2003\, and after a two-year break returned with the chart-topping Chapter V\, named to include their self-released debut in the Staind canon. A Singles and Videos compilation arrived in 2006\, followed by the all-new studio album Illusion of Progress in 2008\, the latter of which debuted at number three on the U.S. Billboard 200 chart. The band’s eponymous seventh studio album\, which saw the departure of longtime drummer Jon Wysocki\, arrived on September 13\, 2011. Later that year\, the band recruited drummer Sal Giancarelli and hit the road\, documenting the tour with 2012’s Live from Mohegan Sun\, which captured the tour’s first show.
URL:https://globalazmedia.com/event/korn-staind-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/2021/09/KORN-Staind_FB-NEWSFEED_1200x628_1-65ebe82b2c.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20210901T190000
DTEND;TZID=America/Phoenix:20210901T233000
DTSTAMP:20260508T015330
CREATED:20210823T021810Z
LAST-MODIFIED:20210823T021810Z
UID:12011-1630522800-1630539000@globalazmedia.com
SUMMARY:Lindsey Stirling + Kiesza & Mako at Arizona Federal Theatre
DESCRIPTION:Platinum-selling electronic artist\, violinist\, and multi-talented entertainer Lindsey Stirling\, known all over the world for her unique\, futuristic violin-driven electronic music and exquisite live show\, is bringing her 2021 Artemis U.S. Tour to Phoenix on Wednesday\, September 1st at Arizona Federal Theatre. The 35-date cross-country outing supports Stirling’s latest chart-topping studio album Artemis as well as her current single “Lose You Now.” PRESS HERE to watch Stirling’s official announcement video “First Tour In Forever.” \n  \n“Not only am I over the moon about finally bringing my Artemis tour to the U.S. but I’m excited to be a part of the first wave of tours going out post lockdown\,” shares Stirling. “People are craving connection so so badly\, so as the world reopens\, I know this is going to be a magical time we all remember for the rest of our lives. There is nowhere I’d rather experience it than on stage with my fans.” \n  \n“Lose You Now\,” Stirling’s emotive pop hit about loss and grief with artist\, producer\, and songwriter Mako\, stems from the instrumental-only track “Guardian” off her album Artemis. Since its release earlier this year\, “Lose You Now” (BMG) has amassed over 6 million global streams\, including nearly 4 million views on the song’s beautifully moving music video\, as well as featured placements on American Idol and “Train Tracks” on SiriusXM The Pulse. PRESS HERE to watch the official music video for “Lose You Now.” The duo also issued an acoustic version of the song\, stripping it down to just piano and a full string accompaniment – PRESS HERE to listen to “Lose You Now (Acoustic).” \n  \nArtemis\, Stirling’s fifth studio album released September 2019 via BMG\, debuted at #1 on Billboard’s Dance/Electronic Albums Chart and remained on the chart for 15 combined weeks. The 13-track album\, which has racked up over 100 million total streams\, features the singles “Underground\,” “Artemis\,” “Sleepwalking\,” “Between Twilight” and “The Upside” featuring Elle King along with “Love Goes On and On” featuring Amy Lee. Stirling recently released the official music video for the album track “Masquerade\,” which was filmed at The Orpheum Theatre in downtown LA – PRESS HERE to watch. Artemis has also been turned into a successful comic book series\, with the sixth edition coming this summer. PRESS HERE to listen to Artemis and PRESS HERE for info on the comic books.
URL:https://globalazmedia.com/event/lindsey-stirling-kiesza-mako-at-arizona-federal-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2021/05/Lindsey-Stirling-8-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20210830T190000
DTEND;TZID=America/Phoenix:20210830T233000
DTSTAMP:20260508T015330
CREATED:20210823T014721Z
LAST-MODIFIED:20210823T014721Z
UID:12001-1630350000-1630366200@globalazmedia.com
SUMMARY:Guns N' Roses at Footprint Center
DESCRIPTION:TICKETS ON SALE STARTING FRIDAY\, JUNE 4TH AT 12PM LOCAL TIME AT GUNSNROSES.COM\nWHO: Guns N’ Roses with special guest Mammoth WVH \nWHAT: Produced by Live Nation\, iconic rock legends Guns N’ Roses announce the return of their tour with rescheduled dates and FOURTEEN additional new shows at stadiums & arenas across the U.S this summer and fall. \nThe massive touring production will kick off on July 31st at the Hersheypark Stadium in Hershey\, PA with stops in Detroit\, Los Angeles\, Dallas\, Chicago\, and more before wrapping up with two shows in Hollywood\, FL at the Hard Rock Live Arena on October 2nd & 3rd. \nWolfgang Van Halen’s Mammoth WVH will make their touring debut on the GNR trek\, and will perform songs from their self-titled LP (due 6/11) including single “Distance” which has peaked at #1 on six Billboard charts. \nTICKETS:\nNEW DATES – Tickets for new dates are on sale beginning Friday\, June 4th at 12pm local time at GunsNRoses.com. \nRESCHEDULED DATES – Tickets for the rescheduled dates below are on sale now at GunsNRoses.com. \nGUNS N’ ROSES 2021 TOUR DATES: \n*New Tour Dates \n^ Festival Date/Mammoth WVH Not Performing \nSat Jul 31 – Hershey\, PA – Hersheypark Stadium* \nTue Aug 03 – Boston\, MA – Fenway Park \nThu Aug 05 – East Rutherford\, NJ – MetLife Stadium \nSun Aug 08 – Detroit\, MI – Comerica Park \nWed Aug 11 – Fargo\, ND – FargoDome \nFri Aug 13 – Missoula\, MT – Washington-Grizzly Stadium \nMon Aug 16 – Commerce City\, CO – DICK’S Sporting Goods Park \nThu Aug 19 – Los Angeles\, CA – Banc of California Stadium \nSun Aug 22 – Portland\, OR – Moda Center* \nWed Aug 25 – San Jose\, CA – SAP Center at San Jose* \nFri Aug 27 – Las Vegas\, NV – Venue to be announced* \nMon Aug 30 – Phoenix\, AZ – Phoenix Suns Arena* \nWed Sep 01 – Dallas\, TX – American Airlines Center* \nSat Sep 04 – Napa\, CA – BottleRock Napa Valley^ \nWed Sep 08 – Indianapolis\, IN – Lucas Oil Stadium \nSat Sep 11 – Atlantic City\, NJ – Hard Rock Live at Etess Arena* \nSun Sep 12 – Atlantic City\, NJ – Hard Rock Live at Etess Arena* \nThu Sep 16 – Chicago\, IL – Wrigley Field \nSat Sep 18 – Milwaukee\, WI – American Family Insurance Amphitheater | Summerfest \nTue Sep 21 – St. Paul\, MN – Xcel Energy Center* \nThu Sep 23 – Columbus\, OH – Schottenstein Center* \nSun Sep 26 – Baltimore\, MD – Royal Farms Arena* \nWed Sep 29 – Raleigh\, NC – PNC Arena* \nSat Oct 02 – Hollywood\, FL – Hard Rock Live Arena* \nSun Oct 03 – Hollywood\, FL – Hard Rock Live Arena* \nhttps://www.facebook.com/gunsnroses/posts/391339205688175
URL:https://globalazmedia.com/event/guns-n-roses-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/2021/08/guns-n-roses-tour-2021.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20210829T180000
DTEND;TZID=America/Phoenix:20210829T233000
DTSTAMP:20260508T015330
CREATED:20210824T024704Z
LAST-MODIFIED:20210824T024704Z
UID:12016-1630260000-1630279800@globalazmedia.com
SUMMARY:Megadeth + Lamb of God at Arizona Federal Theatre
DESCRIPTION:Metal Tour Of The Year co-headlined by MEGADETH and LAMB OF GOD will lay waste to cities across North America as the highly anticipated trek finally hits the road. Joining them as previously planned will be special guests TRIVIUM\, however it has been announced today that due to international visa issues\, special guests IN FLAMES will not be able to join the tour. Fans should not fear\, joining the tour in their place will be none other than HATEBREED. Tickets and VIP packages for this most epic metal extravaganza are on-sale now from LiveNation.com.\n\nMEGADETH\, fueled by Dave Mustaine’s triumphant return to the stage following his diagnosis and recovery of throat cancer\, will finally embark on their first North American tour since 2017. Speaking on the long-awaited announcement of the rescheduled run\, MEGADETH’s leader and frontman\, Dave Mustaine says\,\n\n“Can you hear that sound of armies on the march – of destruction on the horizon? That’s this tour\, coming for you. We cannot wait to return to the stage and I promise you you do NOT want to miss these shows. You’re not going to know what hit you!”\n\nLAMB OF GOD pressed ahead with the release of their crushing self-titled album\, Lamb of God\, which was one of the best- selling metal albums of 2020. The band now looks to take the show on the road as they return to the stage for the first time since the release of the record. Randy Blythe\, inimitable frontman of LAMB OF GOD\, adds\,\n\n“It’s been far too long since we got together to do our thing— by ‘we’ I mean bands\, road crew\, bus drivers\, truck drivers\, local venue staff\, vendors\, audience\, parking lot attendants\, the freaking janitors- the whole damn enchilada. ALL OF US. TOGETHER. Everyone has been waiting\, but the time has come to put the puzzle back together— I honestly don’t think I’ve ever been more ready to hit the road with lamb of god. See y’all in a few months with Megadeth\, Trivium\, & now Hatebreed. Over a year with no live music? These shows are gonna be INSANE…”\n\n\n\nIt was over 30 years ago that Dave Mustaine founded MEGADETH\, in the process pioneering the sound that would become known the world over as thrash metal. And from the very beginning\, the band proved to be the most lethal and audacious unit on the heavy music scene\, pushing thrash to the limits of musical ferocity and instrumental virtuosity on early efforts like their 1985 debut\, Killing Is My Business…And Business Is Good! and 1986’s seminal Peace Sells…But Who’s Buying?.\n\nMEGADETH have taken their place as one of metal’s most influential and respected acts—not to mention among its most successful. They have gone on to sell more than 38 million albums worldwide\, earning numerous accolades including a 2017 GRAMMY® Award for “Best Metal Performance” for the title track “Dystopia\,” 12 GRAMMY® nominations\, and scoring five consecutive platinum albums. With sheer determination and a relentless recording and touring schedule\, MEGADETH worked their way up from headlining clubs to headlining arenas\, festival and stadiums\, cementing a legacy that continues to grow and spread throughout the world. MEGADETH are slated to release their 16th studio album later this year.\n\n\n\n\nLAMB OF GOD propelled heavy metal into the new millennium two decades ago with the prophetically titled New American Gospel. They followed with 2003’s As the Palaces Burn\, which made the Rolling Stone list of the Top 100 Greatest Metal Albums of All Time. Ashes of the Wake\, released in 2004\, was the first LAMB OF GOD album to be certified gold by the RIAA\, as was 2006’s Sacrament\, which also made a Top 10 Billboard 200 chart debut. In 2009\, LAMB OF GOD released Wrath\, their first with Josh Wilbur as producer\, and earned the number one album spot on Billboard’s Hard Rock\, Rock\, and Tastemaker charts\, with a number two position on the Billboard 200.\n\nThose number one positions were repeated with 2012’s Resolution\, which swung effortlessly between thrash\, traditional metal\, sludgy doom\, with flashes of crust punk swagger and bravado. LAMB OF GOD’s last album\, VII: Sturm und Drang (2015) made its debut on the Billboard 200 at number three and finished number 2 in the world charts\, reaching Top 5 in five countries and six additional Top 15 positions.\n\nIn 2020 LAMB OF GOD released their critically acclaimed self-titled opus\, the band’s best work to date\, featuring new drummer Art Cruz\, LAMB OF GOD is re-energized and unrelenting\, ready to lay claim to the metal throne.
URL:https://globalazmedia.com/event/megadeth-lamb-of-god-at-arizona-federal-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2021/08/megadeth-lamb-of-god.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20210828T180000
DTEND;TZID=America/Phoenix:20210828T233000
DTSTAMP:20260508T015330
CREATED:20210827T030034Z
LAST-MODIFIED:20210827T030034Z
UID:12025-1630173600-1630193400@globalazmedia.com
SUMMARY:Coheed And Cambria & The Used at Mesa Amphitheatre
DESCRIPTION:Celebrated American rock bands Coheed and Cambria and The Used today announced their upcoming summer outdoor co-headlining amphitheater tour. The 18-city U.S. tour\, produced by Live Nation\, will begin on Friday\, Aug 27 in Irvine\, CA and make stops in Phoenix\, Dallas\, Cleveland\, New Jersey\, Worcester\, and more. The late summer journey will feature special guests Meet Me @ The Altar and carolesdaughter on select dates and will culminate with performance at Daily’s Place in Jacksonville\, FL on Sept 24th. \n  \nMost tickets for the tour will go on sale to the general public beginning this Friday\, June 18th at 10AM local time at LiveNation.com. Artist pre-sales start tomorrow\, Wednesday\, February 21st at 10AM local time and will end at 10PM local time on Thursday\, June 17th. A full listing of dates can be found below along with additional information on both CoheedAndCambria.com and TheUsed.net. \n  \nIt’s been over two years since Coheed and Cambria’s 2018 album\, “Vaxis I: The Unheavenly Creatures\,” was released as the band’s “Return to concept” album. After stepping away with a more introspective album in 2015\, frontman Claudio Sanchez and the band returned to the sci-fi universe of “The Amory Wars” in what was said to be the first of a 5-part series of albums. With 2021 upon us\, and a major summer tour now announced\, the volume of fans’ chatter for “Vaxis 2” and what and when that will entail are loading up the band’s social media pages. \n  \nCoheed and Cambria is a rare band whose music can 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 110 mins\, but still somehow include sugary pop-laden hooks. \n  \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  \nBoth bands began their careers 20 years ago this year and last toured together in 2003. \n  \nPainful and perverse\, intimate\, and obnoxious\, aggressively heavy and irresistibly catchy\, confusingly profound and primitively pedestrian – The Used transform songs into anthems. \n  \nThe reckless honesty and unrelenting dedication that saw The Used kick down doors at radio and MTV\, for a generation of disenfranchised post-hardcore provocateurs\, persists today. It’s newly remade with a sly shimmer that never sacrifices the band’s enchanting anarchy or restless soul. \n  \nHeartwork\, the band’s eighth studio album (2020)\, arrives with the unbound spirit of the pair of platinum albums that first introduced The Used to the world\, mixed with the dramatic flair of their gold-certified third. The emotion\, sincerity\, and vulnerability found on The Used (2002) and In Love and Death (2004) is more urgent and insistent than ever on Heartwork\, a diverse 16-song offering filled with double entendre upon triple entendre. It traverses a thematic gamut of self-examination\, hyper-literate exploration\, political pyromania\, and keenly self-aware yet unrestrained whimsy. \n \n \nEstablished in 2000\, The Used was brought to life and have since released a collection of albums that pioneered the scene of emo rock. High energy live shows\, gut wrenching relatable lyrics\, and melodies that blended pop sensibility and hard rock was the perfect combination to make an everlasting impression on fans globally. \nThe rock icons released their eighth studio album\, Heartwork\, in 2020 via Big Noise. It arrived with the unbounded spirit of the pair of platinum albums that first introduced The Used to the world\, mixed with the dramatic air of their gold-certified third. The emotion\, sincerity\, and vulnerability found on The Used (2002) and In Love and Death (2004) is more urgent and insistent than ever on Heartwork\, a diverse 16-song offering filled of self-examination\, hyper-literate exploration\, political pyromania\, and keenly self-aware yet unrestrained whimsy. The band celebrated a strong first week\, locking in #2 spots on both the Current Alternative and Record Label Independent Album charts\, #3 on both Current Rock and Top Current Album charts as well as landing in the Billboard Top 200 at the #87 spot. \nFans can stream Heartwork and purchase exclusive merch bundles today at https://theused.ffm.to/heartwork. \nThe Used is Bert McCracken (Vocals)\, Jepha (Bass)\, Dan Whitesides (Drums) and Joey Bradford (Guitar).
URL:https://globalazmedia.com/event/coheed-and-cambria-the-used-at-mesa-amphitheatre/
LOCATION:Mesa Amphitheatre\, 263 N. Center St\, Mesa\, 85201\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2021/08/coheed-and-the-used.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20210723T183000
DTEND;TZID=America/Phoenix:20210723T233000
DTSTAMP:20260508T015330
CREATED:20210719T020736Z
LAST-MODIFIED:20210719T020736Z
UID:11897-1627065000-1627083000@globalazmedia.com
SUMMARY:KATASTRO "Sucker" album release show at Marquee Theatre
DESCRIPTION:Emerging alt-rock/hip-hop hybrid Katastro\, who has independently amassed over 80 million career streams\, will be celebrating the release of their new album Sucker with a hometown show on Friday\, July 23rd at the Marquee Theatre in Tempe. Sucker\, due out Friday\, July 16th via Controlled Substance Sound Labs\, features the band’s new single “The Way I Feel\,” an upbeat ode to getting over a bad breakup. PRESS HERE to listen and PRESS HERE to watch a live studio performance. Tickets for the Tempe show\, featuring support from Kash’d Out and Barefoot\, go on sale this Friday\, May 21; PRESS HERE for more info. \n  \nSucker represents a notably more mature sound for Katastro – Andy Chaves [vocals]\, Andrew Stravers [drums]\, Tanner Riccio [guitar] and Ryan Weddle [bass] – while showcasing their unique melting pot stew of rock\, hip-hop\, funk\, blues\, pop\, and reggae. The band’s fully collaborative creative approach\, and unexpected time off in 2020\, allowed for limitless possibilities. The result is a 12-song collection\, produced by Matt Keller (Lydia\, Anarbor\, Redlands)\, about the constant loop of life\, love\, hate and wanting to break the pattern. Sucker brings its listeners along on a ride\, providing a summery soundtrack and something a little more positive to look forward to when everything feels off. \n  \nKatastro first introduced this new era in their growing career with the fall 2020 release of “Way Too High\,” which pays homage to their desert roots with its unique Western vibe and accompanying music video (PRESS HERE to watch). “100 Rips\,” released in March\, truly sets the tone and direction for Sucker. The catchy cruisin’ down the highway escapade features psychedelic guitar solos pumping through a mix of hip-hop and reggae set against an intoxicating chorus – PRESS HERE to watch the official music video for “100 Rips.” Katastro’s irrepressible brand of timely\, good-time music is on full display throughout Sucker as evidenced by “One Day\,” a feel-good track about coming to terms with a broken relationship\, and the positive\, floaty vibe of “Droptop\,” which features background vocals from longtime friend Micah Brown of Iration. Sucker is available for pre-order now at all DSPs and each digital pre-save will include an instant download of “The Way I Feel\,” “100 Rips” and “Way Too High” – PRESS HERE. \n  \nFormed nearly a decade and a half ago\, Katastro\, who cite Eminem and Red Hot Chili Peppers as early influences\, dropped their first EP\, The Wonderful Daze\, in 2008 and quickly followed with their debut full-length album\, Poking Holes In A Pattern\, the following year. The quartet issued a steady stream of releases over the next ten years\, mostly all independently\, alternating full-lengths with EPs and acoustic Bones sessions. 2011’s Gentle Predator marked a live album zenith for the band and\, in 2016\, they garnered a national hit with the Strange Nights record. Katastro’s youthful party vibe started to dim as personal growth and change crept into their songwriting. Internal challenges influenced the band’s output as it turned conspicuously darker and more revealing; first with Washed [2018]\, then with the follow-up\, Tropical Heartbreak [2019]. Along the way\, Katastro has racked up tens of millions of streams from fans worldwide as well as media support from Alternative Press\, The Noise\, Substream Magazine\, Phoenix New Times and more. The four-piece has also been making an impact as a powerful live act\, headlining national tours and supporting the likes of Dirty Heads\, Sublime With Rome\, Iration\, 311\, Pepper\, The Expendables and gracing festival stages such as the One Love Cali Reggae Fest and Reggae Rise Up Festival. \n \n \nStraight out of Orlando\, FL\, Kash’d Out hits the Reggae/Rock scene with plenty of experience. The band was formed by guitarist Jackson Hauserman and producers Greg Shields & Josh Saldate of Sound Lounge Studios\, where bands such as Ballyhoo!\, Tribal Seeds and many more have recorded. Once the self-titled debut EP was complete\, they recruited Joey Brohawn on Bass and Marshall Hearne on drums\, and Nick Gudzan on Keys. Kash’d Out released their first full-length album 5/26/17 entitled “The Hookup” via LAW Records. The record reached #2 on both the Billboard and iTunes Reggae Charts and the band began touring nationally\, sharing the stage with bands like Pepper\, Less Than Jake\, The Expendables and many more. Come catch a show near you! \n \n 
URL:https://globalazmedia.com/event/katastro-sucker-album-release-show-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2021/07/KATASTRO-cover.png
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20210518T180000
DTEND;TZID=America/Phoenix:20210518T230000
DTSTAMP:20260508T015330
CREATED:20210317T155440Z
LAST-MODIFIED:20210317T160616Z
UID:11340-1621360800-1621378800@globalazmedia.com
SUMMARY:Corey Taylor & The Cherry Bombs at Marquee Theatre
DESCRIPTION:On Wednesday morning\, Tempe\, AZ Marquee Theatre announced that Corey Taylor from Slipknot and Stone Sour fame\, along with special guest Cherry Bombs\, will play here May 18th\, which is a Tuesday. Tickets go on sale at 10 a.m. today for artist pre-sale and at 10 a.m. for the general public on March 19th. \n\n\nCorey Taylor has 3.2 million fans on Facebook\, and he’s best known for being lead vocalist and lyricist for Slipknot and Stone Sour. \n\n  \nTHIS EVENT IS OUTDOORS IN THE MARQUEE LOT\nIT IS A RAIN OR SHINE EVENT\n \nNotice To All Patrons:\nPlease use common sense & follow these rules so we can experience a safe environment for all attendees. \nAcknowledge notice of and agree to:\n-Follow all CDC\, city\, and state health guidelines with respect to mitigating the spread of Coronavirus/Covid-19\n-Follow all venue facility rules\, posted instructions\, and protocols\n-Assumption of risk and waiver of liability relating to Coronavirus/Covid-19\n-We encourage all patrons attending the event with others ONLY if they are in your immediate quarantine community.\n-The venue reserves the right to refuse entry to any individual or group if they display any symptoms associated with Covid-19 or influenza.\n-Reserved pods follow social distancing guidelines with 6′ in between each pod.\n-All pods are SRO (standing room only with no seating available)\n-ADA tickets are available for sale. Buy a pod then contact tom@luckymanonline.com for further information\n-All patrons within a group must enter venue at same time\n-Masks are mandatory\n-Patrons will have their temperature taken prior to entry by a 3rd party medical staff. Anyone over 100.4F will be denied entrance and contract tracing of all individuals in your pod and asked if they still wish to attend or receive a refund.\n-Sanitation stations provided throughout venue.\n-All ticket purchases include (1 mask\, 1 pair of latex gloves\, 1 oz. bottle of hand sanitizer)\, upon request.\n-Practice social distancing. Social distancing shall be enforced at all areas of the venue (the entrance\, main backyard area\, Marquee lobby and bathroom areas)\n-Patrons must remain in their reserved pods during the performance\n-All events are cashless.\nSet up your “tab” by getting QR code on your table. Order food\, drinks\, merch and have items delivered to your pod.\n-Free water will NOT be available at event. Patrons are allowed (1) liter bottle of water (factory sealed)\n-Bag policy limits patron bags to one (1) large clear bag – a one-gallon Ziploc style bag or a clear plastic\, vinyl or PVC bag that does not exceed 12″ x 6″ x 12″. No purses\, backpacks\, clutches allowed. \nThe venue is taking extra precautions with our staff and all service areas:\n-All staff will have daily wellness checks prior to starting shifts\n-All staff shall wear masks/gloves at all times\n-All staff shall use hand sanitizer routinely throughout event\n-Additional cleaning personnel will be on-site to clean high traffic areas during events \n  \n \n  \n \n  \n 
URL:https://globalazmedia.com/event/corey-taylor-the-cherry-bombs-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2021/03/corey-taylor-tour-2021.png
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20210401T173000
DTEND;TZID=America/Phoenix:20210401T233000
DTSTAMP:20260508T015330
CREATED:20210316T020802Z
LAST-MODIFIED:20210316T020802Z
UID:11336-1617298200-1617319800@globalazmedia.com
SUMMARY:Steel Panther at Marquee Theatre - April 2021
DESCRIPTION:This is not fake news. Right now\, somewhere\, some girl is taking her top off to the most anticipated album of 2017\, Steel Panther’s fourth full-length studio album Lower the Bar. \nSteel Panther has established themselves as the world’s premier party band\, melding hard rock virtuosity with parody and criminally good looks. Made up of Michael Starr (lead singer)\, Satchel (guitarist)\, Lexxi Foxx (bass)\, and Stix Zadinia (drums)\, the Los Angeles hair metal group does it again. They look good\, they sound good and they’re in it for the pussy. \nThe title Lower the Bar was the brainchild of Satchel. “Satchel suggested that I should lower the bar if I wanted to get laid more often\,” says Michael. Lexxi disagrees\, thinking Lower the Bar was so short people could also drink at bars. And Steel Panther hands it to them\, alcoholic midgets\, because they can’t reach over the counter. \n“It has so many meanings\,” the band admits. “There’s really no situation you can’t apply Lower the Bar to.” It can be applied to life aspirations. “You walk down the street and see people who are homeless\, sleeping in puddles of their own urine and eating pieces of cardboard and sometimes they seem perfectly happy. And sometimes I ask myself why can’t I do that. I need to set the bar as low as this person has.” \nIt can even be applied to girls. “Sometimes you get a hot girl you would’ve never expected to\, but it’s still a good idea to lower the bar. You should expect the sex to be terrible\, because a lot of hot girls are bad in bed. They just lay there. Go in knowing she’s going to be horrible and if she does anything like lick your balls and swallows that’s a win.” Everything you hear on a Steel Panther record is taken from real life. “It really is just a life story put to music.” Satchel goes on\, “We all got high and naked and drunk and then Lexxi had sex with these three girls and the rest of us watched them. That’s what we do for every record.” \nMichael values the importance of relaxing during the writing process\, “I went to the beach and wrote a song called “I love the beach.” Lexxi also wrote a song that didn’t make the cut\, “I wrote a song about the dog. It’s called “I sucked a dog’s dick\,” but I didn’t think people would like it.” \n“The name is different and we picked different songs. I think that’s something everyone can expect with this one\,” says Stix. The band has broadened their horizons topically and lyrically\, going places they haven’t gone before. Satchel adds\, “It’s not just sex\, drugs and love of rock and roll. This time it’s sex\, drug and love of rock and roll\, and partying and heavy metal.” Also\, the hair is a bit different. “I’m using different hairspray” says Lexxi. \nSteel Panther has no intention of changing their style: hair is down\, spandex is on and tits are out. They’re on a greater mission and one might want to leave their morals behind. One listen to the twisted single titled “Anything Goes” and one could not agree more. Indeed\, anything goes. More than in airport bars\, international waters\, the Wild Wild West or Steel Panther’s sex lives\, anything goes. It’s an unpredictable no holes barred fuck fest that doesn’t have to answer to anyone’s rules. \nThe music video for the first single “She’s Tight” is a sexified version of the Cheap Trick song “She’s Tight.” It delivers more pussy and partying and skin than the 1982 hit. Cameos in the video include Cheap Trick’s Rob Zander\, Bobbie Brown\, Paris Michael Jackson and Tony Palermo (Papa Roach). Guests on the record don’t end there. Rudy Sarzo\, heavy metal legend and bassist for Whitesnake and Quietriot\, slays on one of the songs. “That’s very exciting as he’s always been a rock and roll hero for us and he likes to party.” \nSteel Panther is now known as the greatest neo-metal\, glam throwback parody band\, have four full length albums\, platinum level YouTube status\, high profile television appearances\, tour across the world and are notorious. Ultimately though\, this fearsome four just hopes heavy metal can bring about world peace. “In a world of hate and despair right now it’s important to bring in the heavy metal community around the world. We hope our record will bring world peace and happiness to everyone that listens to it”\, concludes Michael. Lexxi adds\, “And maybe a few more people will try to fuck a hot midget at Niagara falls.” \n \n  \nTwo great shows in one night.. You get to choose the early show or the late.. \nEARLY SHOW TICKETS\nLATE SHOW TICKETS
URL:https://globalazmedia.com/event/steel-panther-at-marquee-theatre-april-2021/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2021/03/Steel-panther-at-Marquee-Theatre.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20210212T100000
DTEND;TZID=America/Phoenix:20210214T230000
DTSTAMP:20260508T015330
CREATED:20210120T012248Z
LAST-MODIFIED:20210120T013012Z
UID:10596-1613124000-1613343600@globalazmedia.com
SUMMARY:Body Art Expo at WestWorld of Scottsdale
DESCRIPTION:Arizona’s biggest tattoo and body art expo is coming back to the valley and with a new location. \nThis year we will be at our new home out at WestWorld of Scottsdale. \nOver 250+ tattoo artists on site\, and 20 tattoo contests to choose from. Spectacular side shows and more. \nCLICK HERE TO BOOK A BOOTH\nTICKETS\nTICKET INFO\n1 DAY TICKET: Proceed to the main entrance area and submit your 1-day ticket. If you need to leave the event/venue for whatever reason please get your hand stamped on the way out in order to be let back in.\n( CUT OR ALTERED WRISTBANDS ARE NOT ACCEPTABLE)\nAll Ticket Sales Are FINAL. There will be no refunds issued.\nAll ticket sales are made in U.S. Dollars. $\n\n  \nSAFETY GUIDELINES\nThis is a clean\, safe\, family oriented tattoo convention & party. You’ll have fun and be able to see the best tattooers & piercers from all over the country. We provide a well ventilated & secured venue along with entertainment & you bring your great attitude\, friends & energy!\n• NO COLORS/NO PATCHES  •  NO OUTSIDE ALCOHOL  •   NO OUTSIDE PROMOTERS\n• NO FLYERING FOR OTHER SHOWS  •  NO PETS  •  NO KNIVES/WEAPONS  •   NO DRUGS & DRUG PARAPHERNALIA\n• NO MARKERS/SPRAY PAINT\n  \nEVERYONE IS SUBJECT TO SEARCH\nPlease read the list of what is not allowed into the event. If there’s something missing from the list that you\nhave a question on please email us directly at\n  \nALREADY HAVE AN APPOINTMENT?\nArrive early to purchase your ticket to ensure that you can get into the show on time. Have your artist submit your name(s) and appointment time to Management prior to your arrival. If there is a line\, you & 1 other person will be allowed into the event if a line is present. Management will not take any responsibility regarding your appointment or your admission to the show.\n  \nAGE CONCERNS\nON ADMISSION: There is NO RESTRICTION on admission as far as age is concerned. Children under 10 will be admitted free of charge with an accompanied paid adult. Children always have a great time at our shows but please be advised that some things may not be suitable for all in attendance.\n  \nNO SOLICITATION\nNo solicitation is allowed. No cross-promotion of any kind. No announcement of other events or shows. No handling-out bills\, fliers or postcards anywhere inside the show\, outside the exhibit hall\, parking lot or anywhere within the convention facility. Violators will be escorted out by security guards or police officers without a refund and may be cited for trespassing.\nhttps://www.facebook.com/212948305410939/videos/1059381587861130 \n  \n\n\n\n\nTattoo Contest Schedule\n \nEXHIBITORS INFO\nTICKET INFO\nIn order to reserve a booth Mega Productions requires a deposit & signed contract prior to the event.\nFull payment is preferred in order to secure a booth.\nFull payment must reach our office no later than 60 days prior to the show.\nA late fee of $100 will be added to each booth for late payment.\nNo booth assignment will be made until full payment is received. Booth assignment information will not be available until the day of the show. We do not give deals or discounts. Rates will only go up since we sell out our shows 4 – 6 weeks prior to each show.\n\nFORMS OF PAYMENT\nWe Accept:\n1. Cash\n2. Cashier’s Check / Money Order\n3. All Major Credit Cards\n4. Company or Personal Checks (up to 2 weeks prior to the show only)\nNO PAYMENT AT THE DOOR We DO NOT allow payment at the door. All booth payments must be fully paid prior to the event.\nNote: We do not give last minute deals or discounts. Reserve early to avoid rate increases.\n\nEXHIBITORS MOVE IN / MOVE OUT TIMES\nMOVE-IN TIME (All Other Shows)\n1. FRIDAY…………..8:30A – 1:00P \nMOVE-OUT TIME (All Shows)\n1. SUNDAY………….8:00P – 9:30P (No Exceptions) \nSHOW HOURS (ALL SHOWS)\n1. FRIDAY 2PM – 11PM\n2. SATURDAY 11AM – 11PM\n3. SUNDAY 11AM – 7PM \nSATURDAY & SUNDAY DOOR OPENING TIME FOR EXHIBITORS:\n1. SATURDAY 10AM\n2. SUNDAY 10AM \nGUIDELINES:\n1. No alcoholic beverages\, glass bottles\, cans\, or stickers on show grounds and buildings\n2. All participants of the event are subject to search\n3. Any re-entry from the parking area will be subject to security personnel approval and parking fee
URL:https://globalazmedia.com/event/body-art-expo-at-westworld-of-scottsdale/
LOCATION:WestWorld of Scottsdale\, 16601 North Pima Road\, Scottsdale\, AZ\, 85260\, United States
ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2021/01/body-art-expo-2021.png
ORGANIZER;CN="Mega Show":MAILTO:bodyartexpo@gmail.com
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20201030T190000
DTEND;TZID=America/Phoenix:20201030T223000
DTSTAMP:20260508T015330
CREATED:20200914T182942Z
LAST-MODIFIED:20200914T182942Z
UID:10032-1604084400-1604097000@globalazmedia.com
SUMMARY:Aaron Lewis & Sully Erna Drive-In Tour at Arizona State Fairgrounds
DESCRIPTION:The coronavirus pandemic has forced bands to get creative when it comes to live shows. Virtual performances have been quite popular with the drive-in concert becoming another go-to. Staind’s Aaron Lewis and Godsmack’s Sully Erna are taking it a bit further and have just announced a social-distanced drive-in tour across the U.S. with both singers performing onstage together at the same time. \n“Me and Aaron Lewis? Onstage together…acoustic? Do I need to say more? Just don’t miss it! It may never happen again\,” exclaimed Erna. Lewis added\, “Sully and I have been friends for 25 years. We’ve been talking about doing something for the last 10 years. The time has finally come. I couldn’t be more excited to be bringing this to you in such strange times.” \n\n\n\n\n\n\n\n\nThe tour\, which was produced by festival promoter Danny Wimmer Presents (DWP)\, will kick off on Oct. 1 and is comprised of 13 events\, almost all of which will take place on either a Friday\, Saturday or Sunday. The tour poster also notes that more dates will be announced. A press release vows these unique shows will be a “special evening of hits\, covers and conversation.” \nTickets go on sale tomorrow (Sept. 15) at noon local time at this location and the full list of tour dates can be seen further down the page. \nEach event will have its own specific guidelines pertaining to social distancing\, so check listings carefully to be aware of what health and safety measures will be taken at your chosen night. \n“We’re eager to get back to what we love\, and we’re determined to keep the music alive and keep the rock community strong during these times\,” boasted DWP President Joe Litvag. “Aaron and Sully on stage together like this is something that none of us have seen before but have always hoped would happen one day. We’re thrilled to be a part of it.”
URL:https://globalazmedia.com/event/aaron-lewis-sully-erna-drive-in-tour-at-arizona-state-fairgrounds/
LOCATION:Arizona State Fairgrounds\, 1826 W McDowell Rd\,\, Phoenix\, AZ\, 85007\, United States
ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2020/09/Aaron-Lewis-and-Sully-Erna-drive-in-concert-2.png
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