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DTSTART;TZID=America/Phoenix:20210901T190000
DTEND;TZID=America/Phoenix:20210901T233000
DTSTAMP:20210823T021810Z
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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
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DTSTART;TZID=America/Phoenix:20210913T183000
DTEND;TZID=America/Phoenix:20210913T233000
DTSTAMP:20210908T002511Z
CREATED:20210908T002511Z
LAST-MODIFIED:20210908T002511Z
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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
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DTSTART;TZID=America/Phoenix:20210926T173000
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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
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