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DTSTART;TZID=America/Phoenix:20261019T193000
DTEND;TZID=America/Phoenix:20261019T233000
DTSTAMP:20261008T174456Z
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SUMMARY:Modest Mouse at Arizona Financial Theatre
DESCRIPTION:Having recently completed a sold out 25th anniversary tour for their breakthrough album\, 1997’s and played a summer ’23 run with Pixies and Cat Power\, Modest Mouse continues to prove themselves to be one of the most consistent live acts today. Modest Mouse released their highly anticipated new album\, \, on June 25\, 2021 via Epic Records. The Golden Casket heralds another new chapter in the GRAMMY® Award-nominated multi platinum band’s unpredictable evolution. Produced with Dave Sardy and Jacknife Lee in Los Angeles and in Modest Mouse’s studio in Portland\, the album hovers in the liminal space between raw punk power and experimental studio science\, frontman Isaac Brock explores themes ranging from the degradation of our psychic landscapes and invisible technology\, to fatherhood. The twelve tracks behave like amorphous organisms\, undergoing dramatic mutations and mood swings that speak to the chronic tug-of-war between hope and despair that plays out in Brock’s head. \n \n \nFishtailing across a trimmed sod lawn\, the parking lot of a box-store strip mall\, a fast food drive-thru––it’s a hyperreal Americana fantasy that calls Caroline Rose (she/they) home on Gentling the Horse at the Walt Whitman Mall. The release doubles as the debut of SUCK records\, the LA based artist’s own imprint—a fitting next form for an enigmatic musician whose work resists settling into one shape. \nGentling the Horse at the Walt Whitman Mall stretches the ordinary into the uncanny. The record pairs sharply observed\, memoiristic songwriting with expansive guitar textures that render the everyday with violent clarity and mythic scale. Beneath its melodic sweep and signature hooks runs a current of violence and American dream leakage. \nIt’s Ennio Morricone with an AR15: surf guitars\, spaghetti westerns\, and suburban dread colliding until they become their own sharp vernacular. Reality is unstable\, so we’ll keep telling stories—and for Rose\, the sinister slickness of the everyday grows a new head. \nWorking with producer John Congleton\, Rose built the record through humor\, layering\, and instinct rather than polish. Songs like “Conversations with Shiv\,” “Goddamn Train\,” and “Everything in its Right Place” were recorded in studio for the first time\, with sessions that prized first impulses over perfection. The result is panoramic but never precious—songs that feel meticulously constructed while always threatening to mutate.
URL:https://globalazmedia.com/event/modest-mouse-at-arizona-financial-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85003\, United States
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DTSTART;TZID=America/Phoenix:20261020T190000
DTEND;TZID=America/Phoenix:20261020T233000
DTSTAMP:20261004T002626Z
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SUMMARY:Weezer at Mortgage Matchup Center
DESCRIPTION:As one of the most popular groups to emerge in the post-grunge alternative rock aftermath\, Weezer merges the heavy power pop of arena rockers like Cheap Trick and the angular guitar leads of the Pixies while injecting their melodies with doses of ’70s metal gleaned from bands like Kiss. What truly sets the band apart\, though\, is their implied geekiness. None of the members of Weezer\, especially leader Rivers Cuomo\, were conventional rockers: they were kids who holed up in their garage to play along with their favorite records when they weren’t studying or watching TV. As a result\, their music is infused with a quirky sense of humor and an endearing awkwardness that made songs from their debut\, Weezer (aka “The Blue Album”)\, into big modern rock hits during the mid-’90s. Weezer’s early singles turned into hits with immeasurable help from clever videos\, and the quickly canonized 1994 debut was followed by a more artistically than commercially motivated 1996 sophomore effort\, Pinkerton\, which was adored by critics and set the tone for what became the band’s long and winding career. As years turned into decades\, Cuomo‘s idiosyncratic personality seeped more and more into his songwriting\, resulting in albums that ranged from the catchy nerd rock of 2009’s Raditude to the enduringly tender orchestral pop songcraft of 2021’s OK Human\, as well as their ambitious four-part EP series SZNZ in 2022. The band’s 20th album — 2026’s Gold Album — featured them in back to basics mode with a heavy sound that recalls their early days. \nRaised in Massachusetts\, Rivers Cuomo moved to Los Angeles to attend college in the late ’80s. During high school\, he had played with a number of metal bands\, but upon his move out west\, his interests broadened to include alternative and post-punk music. By early 1992\, he had fused such interests together and formed Weezer with bassist Matt Sharp and drummer Patrick Wilson. Over the course of the next year\, the group played in the competitive Los Angeles club scene\, eventually landing a deal with DGC during the post-Nirvana alternative signing boom. Three days before Weezer began recording a debut album with producer Ric Ocasek\, they added guitarist Brian Bell to the mix. Upon completing the record\, Weezer went on hiatus; Cuomo was studying at Harvard when their eponymous debut record came out. With the support of DGC and a striking\, Spike Jonze-directed video\, “Undone (The Sweater Song)” became a modern rock hit in the fall of 1994\, but what made Weezer a crossover success was “Buddy Holly.” Jonze created an innovative video that spliced the group into old footage from the sitcom Happy Days and the single quickly became a hit\, making the album a multi-platinum success as well. \nBy the time the album’s final single\, “Say It Ain’t So\,” was released in the summer of 1995\, the group had gone on hiatus once again\, with Cuomo returning to Harvard. During the time off\, Sharp and Wilson formed the new wave revival band the Rentals\, who had a hit later that year with “Friends of P.” During the hiatus\, Cuomo became a recluse\, disappearing at Harvard and suffering writer’s block. When Weezer reconvened in the spring of 1996 to record their second album\, he had written a loose concept album that featured far more introspective material than their debut. Ironically\, the band sounded tighter on the resulting album\, Pinkerton. Released in the fall to generally strong reviews\, the record failed to become a hit\, partially because Cuomo did not want the band to record another series of clever videos. Grudgingly\, the remainder of the bandmembers contented themselves being a supporting group for Cuomo\, largely because each member had his own solo project scheduled for release within the next year. DGC\, however\, had the band make one last stab at a hit with “The Good Life\,” but by the time the single was released\, MTV and modern rock radio had withdrawn their support not only of Weezer but their style of guitar-driven punk-pop in general. \nShortly after the tour in support of Pinkerton was completed in 1997\, it appeared as though Weezer had fallen off the face of the planet. Stung by the public’s initial reaction to their sophomore effort (Rolling Stone even named Pinkerton the Worst Album of 1996)\, the band took time off to regroup and plan their next move. Unhappy with the sluggish rate of the reassessment period\, Sharp left the group to concentrate more fully on the Rentals\, fueling rumors that Weezer had broken up. But a funny thing happened during Weezer’s self-imposed exile — while their copycat offspring were falling by the wayside (Nerf Herder\, Nada Surf)\, a whole new generation of emocore enthusiasts discovered Weezer’s diamond-in-the-rough sophomore effort for the first time\, and their audience grew despite not having a new album in the stores. \nOnce Weezer’s members wrapped up work on their side projects (Bell with Space Twins; Wilson with the Special Goodness)\, the band recruited former Juliana Hatfield bassist Mikey Welsh to take the place of Sharp and began working on new material. Before they could enter the studio to record their third release\, however\, Weezer tested the waters by landing a spot on the 2000 edition of the Warped Tour\, where they were consistently the day’s highlight. Hooking up again with the producer of their 1994 debut\, Ric Ocasek\, Weezer recorded what would be known as “The Green Album” (an informal title given by fans\, since it was actually their second self-titled release). The album was an immediate hit\, debuting at number four in May 2001 and camping out in the upper reaches of the charts for much of the spring/summer\, during which such songs like “Hash Pipe” and “Island in the Sun” became radio and MTV staples\, reestablishing Weezer as one of alt-rock’s top dogs. During their tour that summer\, Welsh fell ill and was replaced by Scott Shriner\, also of the band Broken. (Welsh died in Chicago in October 2011 at the age of 40.) That fall and winter\, the group busied itself with touring alongside bands like Tenacious D and recording their next album\, Maladroit\, which arrived a year after The Green Album‘s release. \nJust before Maladroit‘s release\, former bassist Matt Sharp sued Weezer\, seeking compensation and songwriting credit for songs such as “Undone (The Sweater Song)\,” “El Scorcho\,” and “The Good Life.” The band eventually reconciled with Sharp\, though he didn’t rejoin\, and Weezer continued with the lineup of Cuomo\, Bell\, Wilson\, and Shriner. The limited-edition live EP Lion and the Witch appeared in May 2002\, and Maladroit‘s “Keep Fishin'” was released as a single. Most of 2003 was spent on side projects; Cuomo did some hired-gun songwriting\, Bell‘s band the Space Twins put out End of Imagining\, and Wilson‘s Special Goodness project issued Land Air Sea. Weezer returned to the studio in 2004\, working with Rick Rubin on their fifth full-length album. Make Believe appeared in May 2005\, prepped by the single “Beverly Hills\,” and eventually went platinum in multiple countries. Weezer (Red Album) followed in 2008 and featured a more collaborative approach with several bandmembers contributing songwriting ideas and lead vocals to the tracks. One year later\, the group returned with Raditude. Greeted with mixed reviews\, Raditude marked Weezer’s last album for Universal. They jumped to the indies in 2010\, releasing Hurley on Epitaph. The new album was quickly followed by two archival releases: an expanded deluxe edition of Pinkerton and the outtakes collection Death to False Metal. \nWeezer took their time returning to the studio\, finally re-emerging in the autumn of 2014 with Everything Will Be Alright in the End\, a record produced by Ric Ocasek and released on Republic Records. Greeted by generally good reviews\, the album debuted at five on the Billboard 200 upon its October 2014 release. In the fall of 2015\, the band delivered a pair of new singles — “Thank God for Girls” and “Do You Want to Get High? — the first fruits of their sessions with producer Jake Sinclair. One other single\, “King of the World\,” appeared in January 2016\, timed to arrive at the announcement of their tenth studio album. Another self-titled\, color-coded (this time\, it was white) album saw release in April. Weezer’s White Album peaked on the Billboard 200 at number four and was followed by an extensive tour with Panic! At the Disco. \nA year after the release of the White Album\, the band returned with “Feels Like Summer\,” the first single from their 11th LP\, Pacific Daydream. Released in October 2017\, Pacific Daydream boasted a more modern sound than its predecessor and rose into the Top Four of the Billboard Alternative and Rock charts. Months later in 2018\, the group placated social media fan demand by delivering a faithful cover of Toto‘s classic “Africa\,” but not before they first issued a cover of that band’s “Rosanna.” “Africa” became Weezer’s first Hot 100 hit since 2009’s “(If You’re Wondering If I Want You To) I Want You To\,” entering the chart at number 89. Toto returned the favor by covering “Hash Pipe” in August 2018. \n“Africa” turned out to be the cornerstone of the surprise January 2019 release Weezer (The Teal Album)\, a collection of covers. Two months after The Teal Album\, Weezer finally delivered Weezer (The Black Album)\, a record Cuomo began teasing during the promo cycle for Weezer (The White Album). Produced by Dave Sitek of TV on the Radio\, The Black Album appeared in March 2019. In 2020\, the band issued the singles “Hero” and “The End of the Game\,” both of which were slated to appear on their forthcoming album and return to huge\, Van Halen-inspired guitars\, Van Weezer. After multiple setbacks related to the COVID-19 pandemic disrupted the completion of Van Weezer\, the band returned to material they’d first conceptualized and started work on several years earlier. A collection of songs inspired by Harry Nilsson and the Beach Boys\, complete with string parts played by a 38-piece orchestra\, OK Human was released in January 2021 as Weezer’s 14th full-length album\, with Van Weezer pushed back for a release later that year when touring could resume. Van Weezer wound up appearing in May 2021\, just prior to their summer tour. \nWeezer quickly followed their twin albums of 2021 with a four-EP project called SZNZ. A mock abbreviation for “Seasons\,” each of the four EPs is pegged to a different season in the calendar; the intent is for the music to match its respective season. SZNZ: Spring arrived in March of 2022\, followed by SZNZ: Summer in June\, SZNZ: Autumn in September\, and SZNZ: Winter in December. Each EP consists of seven new songs. The band toured behind the releases\, then headed back out on the road in late 2024 in conjunction with a deluxe reissue of their debut album. Sessions for their next album kicked off with the four members of the band holed up in a practice space working on tracks together\, then moved to the studio with co-producers Klas Ahlund and Kenny Beats at the helm. The latter pledged to make the most violent Weezer album yet\, and 2026’s Gold Album leans heavily into grungier guitars and thundering drums. The uncompromising sound is paired with Cuomo‘s usual bag of lyrical tricks\, this time with many songs that revolve around the band’s career\, both past and present. It was the group’s first album to be released under their new deal with Reprise Records. \n \n \nThe Shins are a GRAMMY nominated American band formed by James Mercer in Albuquerque\, NM in 1996. Their debut full length\, Oh\, Inverted World caused a seismic shift in the indie rock world upon its release in 2001\, singlehandedly ushering in the modern era of the genre. With six full length albums released to date\, including The Worm’s Heart which is comprised of “flipped” or alternate/opposite versions of each of the original songs on Heartworms\, the band continues to redefine and push the boundaries of indie and alternative music. \n \n \nA sense of urgency drives Silversun Pickups. The GRAMMY® Award-nominated L.A. quartet create & perform with eloquence & intensity all at once. Guitars may restlessly roar and rumble\, only to be reined in by the spell of a saccharine melody or a honeyed hook. This push-and-pull has catapulted the group—Brian Aubert [vocals\, guitar]\, Nikki Monninger [bass\, vocals]\, Chris Guanlao [drums]\, & Joe Lester [keys]—out of a crowded and competitive local scene & into the wide open space of some of the world’s biggest stages. Their full-length debut\, Carnavas [2006]\, went Gold & spawned the Platinum staple “Lazy Eye.” On its heels\, they logged two back-to-back Top 10 entries on the Billboard 200 with Swoon [2009]—featuring the Gold-certified “Panic Switch”—and Neck of the Woods [2012]. Coursing through culture\, they have landed dozens of film & TV placements\, ranging from the cult classic Jennifer’s Body to NETFLIX’s The Lincoln Lawyer. They’ve held their own on tours with the likes of Foo Fighters & Muse\, sold out successive headline jaunts\, & performed on late-night TV shows such as Jimmy Kimmel LIVE! Beyond praise from NPR\, Consequence\, and more\, Pitchfork hailed 2022’s Physical Thrills as “their most varied and carefree songs in over a decade.” Now\, SSPU meet the moment with their seventh full-length LP\, Tenterhooks. It’s an anxious\, emotionally charged\, and unapologetic collection of ten tracks appropriate for the times\, yet as timeless as anything they’ve done.
URL:https://globalazmedia.com/event/weezer-at-mortgage-matchup-center/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
ATTACH;FMTTYPE=image/webp:https://globalazmedia.com/wp-content/uploads/2026/10/Weezer-at-Mortgage-Matchup-Center.webp
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DTSTART;TZID=America/Phoenix:20261027T200000
DTEND;TZID=America/Phoenix:20261027T233000
DTSTAMP:20261008T182425Z
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SUMMARY:AFI at Marquee Theatre
DESCRIPTION:AFI is an influential Northern California punk band whose hardcore origins evolved to include alternative rock\, post-punk\, emo\, and new wave flair. AFI broke into the mainstream in 2000 with the arrival of their fifth studio LP The Art of Drowning. The group remained at the fore of the modern rock scene for the next two decades\, releasing a string of chart-topping efforts like Sing the Sorrow (2003)\, Decemberunderground (2006)\, and AFI (2017). They continued to take punk music in exciting directions with 2021’s Bodies and 2025’s Silver Bleeds the Black Sun. \nNorthern California hardcore punk revivalists AFI formed in 1991 when the band’s four founding members — vocalist Davey Havok\, guitarist Markus Stopholese\, bassist Vic Chalker\, and drummer Adam Carson — were attending high school in Ukiah. Chalker was replaced by Geoff Kresge after eight months\, and the band played several local gigs and released a split 7″\, Dork\, with fellow Ukiah natives Loose Change (a band that incidentally included future AFI member Jade Puget). An EP titled Behind the Times was released as well. The bandmembers then split up to attend different colleges\, with Kresge temporarily moving to New Jersey to join Blanks 77. However\, AFI reconvened during a holiday break to play a one-off reunion show\, and audience response was so positive that the bandmembers decided to quit school and concentrate on music full-time. \nAFI (whose abbreviation stands for “A Fire Inside”) issued several singles before securing a record deal with the Nitro label\, which issued the band’s second album\, Very Proud of Ya\, in 1996. Two LPs followed in 1997 — a re-release of their 1995 debut\, Answer That & Stay Fashionable\, and Shut Your Mouth & Open Your Eyes — and personnel shifts ensued. Kresge was the first to leave\, replaced by bassist Hunter Burgan\, and Stopholese departed\, ex-Redemption 87 guitarist Jade Puget took his place and shared songwriting duties with Havok. The new lineup recorded an EP titled A Fire Inside in 1998\, and issued a noticeably more mature full-length in 1999\, Black Sails in the Sunset; 1999 also saw the release of the All Hallow’s EP and The Art of Drowning a year later. Though already having a fiercely loyal core fan base\, the latter album saw the band’s music attracting an even larger audience\, due in part to the moderate success of the single “Days of the Phoenix.” Accordingly\, it was the first album to chart in the Billboard 200. \nAt the onset of the new millennium\, AFI hooked up with producers Jerry Finn and Garbage‘s Butch Vig for a new set of recording sessions. The end result was the ambitious Sing the Sorrow\, AFI’s major-label debut for DreamWorks\, which showcased the band’s significant growth since its early hardcore days. Released in 2003\, the record also marked AFI’s crossover into the mainstream. Sing the Sorrow eventually went platinum\, buoyed by the singles “Girls Not Grey” and “The Leaving Song\, Pt. II\,” both of which were popular on MTV. \nWorking again with Jerry Finn (who had also produced records for blink-182 and Green Day)\, the band began recording their next album\, which would be their most labor-intensive to date\, resulting in two years of detailed songwriting. Decemberunderground\, AFI’s seventh album\, surfaced in 2006 on the Interscope label. The album was an instant success\, debuting at number one on the Billboard charts and launching a summer-long tour\, followed by a string of overseas performances in October. While on tour\, Havok and Puget dedicated their spare time to a side project that would eventually become Blaqk Audio\, which they debuted in early 2007. AFI released the concert album I Heard a Voice: Live from Long Beach Arena later that same year\, but the bandmates continued pursuing their own projects\, with Hunter Burgan playing bass for several other bands while Jade Puget did remix work for the likes of the Cure. \nAFI properly reconvened in 2008 to begin writing new material; by November\, they had announced their intention record with producer David Bottrill. Two months later\, they traded Bottrill for a pair of new producers — Joe McGrath and Jacknife Lee — and continued working on the album\, focusing on songs that were harder than those found on Decemberunderground. The result\, Crash Love\, was their most straight-ahead rock record to date. The album was released in September 2009 and proved to be another success\, though it did not chart as highly or sell as well as the previous two albums. AFI toured extensively throughout 2010 to promote the release before going quiet for a couple of years. In 2013 they announced they would be returning with a new album\, Burials\, in October. Produced by Gil Norton\, the album was preceded by a number of singles including the thrilling\, melodic pop-punk anthem “17 Crimes.” \nFour years would pass before the next AFI album\, during which time Havok and Puget worked on music for the hardcore side project XTRMST\, as well as Blaqk Audio‘s third LP. The self-titled AFI (also known as “The Blood Album”) was issued in January 2017. Rising to number five on the Billboard 200\, it included the singles “Snow Cats” and “White Offerings.” While on tour promoting the effort\, AFI wound up recording a fresh batch of songs that landed on their 2018 EP\, The Missing Man. Issued that December and produced by Puget\, the five-track release included the single “Get Dark.” \nThe band returned in early 2021 with the singles “Twisted Tongues” and “Escape from Los Angeles\,” both of which landed on their 11th album\, Bodies. Released that June\, the set continued their late-era maturation with a combination of synth-friendly sheen and nostalgic punk energy\, heard on additional tracks such as “Looking Tragic” and “Dulceria\,” which was co-written with 2018 tourmate Billy Corgan of Smashing Pumpkins. In 2025\, AFI took a bold tonal shift with Silver Bleeds the Black Sun — a brooding\, darkly cinematic album steeped in existential dread and dystopian discord. Its moody atmosphere echoed the shadowy legacy of goth pioneers like Sisters of Mercy\, Bauhaus\, and Siouxsie and the Banshees. \n \n \nAfter the release of their debut album Passive With Desire\, the band solidified into the foursome of Adam Klopp\, Chaz Costello\, Jeff Kleinman\, and Michael Paulsen. Living in Salt Lake City\, “We would see each other nearly every day\, rehearse multiple times a week.” Their collected drive – and friendships – resulted in Gathering Swans. The album was announced in February 2020. One month later\, “At least one hundred shows were cancelled.” Touring in support of Swans couldn’t begin in earnest until Spring of 2022\, and by then\, the band members moved away from Salt Lake\, settling in Los Angeles\, and places East. “Triumphantly return?” Time is a notorious trickster\, and the band are jovial when confronting the subject. “Just say that we ‘Got Lost.'” Over the past four years\, Choir Boy have continued making surrealist music videos\, sharing avant-garde updates on social media\, and playing live across North America and Europe. Yet\, when measured against the release of their last album\, the lack of new music has felt like an eternity for some in their dedicated fanbase. “Tell everyone the delays are my fault.” Laughter. “Blame everything on me.” Following the end of their supporting run for Provoker last September\, Choir Boy’s momentum was at a high\, and after kicking off 2026 with a series of one-off shows in Las Vegas and Los Angeles\, there was a rebirth\, leading to the recording of “I’ll Always Let You Down.”
URL:https://globalazmedia.com/event/afi-at-marquee-theatre-2/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
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