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DTSTART;TZID=America/Phoenix:20220301T190000
DTEND;TZID=America/Phoenix:20220301T233000
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SUMMARY:Ghost & Volbeat with Special Guest Twin Temple at FootPrint Center
DESCRIPTION:Ghost are a Grammy® Award-winning rock band from Linköping\, Sweden. The band’s critically acclaimed third full length\, Meliora and its accompanying EP Popestar\, elevated the Swedish rock band into the pantheon of rock greats and resulted in a Grammy Award for ‘Best Metal Performance’. Meliora debuted at No. 1 at Independent Retail\, No. 2 at Rock\, and in the Top 10 on Billboard’s Top 200 Album Chart\, selling over a quarter million copies globally. Popestar debuted at the No. 1 position on Billboard’s Top Rock Albums Chart. Fans have come along for the ride for years\, not knowing for certain who was behind the anonymous band… that is\, until Tobias Forge revealed himself as the man behind Ghost in August of 2017. Ghost released their critically acclaimed fourth studio album Prequelle on June 1\, 2018 on Loma Vista Recordings. Previous Ghost albums have dealt with broad themes like impending doom (Opus Eponymous – 2010)\, the antichrist and the Inquisition (Infestissumam – 2013)\, humanism and avarice (Meliora – 2015). Prequelle delves into the plague\, the apocalypse\, and dark ages. \n \n\ \nServant of the Mind\, Volbeat’s eighth album\, takes the signature heavy metal\, psychobilly\, punk ‘n’ roll sound on which they have built their reputation up a notch while showcasing front man Michael Poulsen’s keen ability for songwriting and storytelling. \nLead single “Wait A Minute My Girl” drafted as a love song to his fiancé\, became the band’s ninth No. 1 on the Billboard Rock Airplay chart. The rest of the songs on the album weave intricate and fascinating tales. “The Sacred Stones” tells the story of “an earthly being who has committed himself to the dark side.” “Shotgun Blues” explores the ghostly paranormal events he had recently experienced upon moving into a new home. “The Devil Rages On” looks at the idea of the devil taking human form\, while “Temple of Ekur” returns to the ancient themes explored in past songs\, and epic album closer “Lasse’s Birgita” explores the story of the first witch burnings to occur in Sweden. “Dagen Før” offers a brief respite from the ‘thunder and lightning’ and features guest vocals from Stine Bramsen. \n“I wrote the whole album in three months\,” recalls Poulsen\, noting that the process of drafting a Volbeat album is normally two years in length. “I was in a good place and mood while at home [during the pandemic] and had a captive audience of myself.” He found himself inspired and as a result\, the music and lyrics just flowed out of him\, resulting in the thunderous Servant of the Mind. \n \n \nPioneering the “Satanic Doo-Wop” genre\, Twin Temple combines Occult aeshetics with classic 1950’s and 1960’s Rock ‘n’ Roll. \nAlthough you may expect heavy guitar riffs and a thumping bass to accompany cries of Hail Satan\, instead you’ll hear old-school\, classic riffs and Alexandra’s crooning voice that sounds straight out of the ‘60s. While many confine Satan to the likes of black metal\, the duo is breaking the notion that Satan has a musical type. Inspired by the golden era of Rock ‘n’ Roll\, Twin Temple rejects conformity of any kind\, whether it’s through their magick\, performance\, or sound. \nAnd while a lot of “Satanic” metal bands begin and end their worship of Satan on stage\, the same can’t be said for Twin Temple. Both their music and their practice of Satanism\, on and off the stage\, are rooted in the ideals of free will and giving space to those who are often not allowed any. \nSo no\, Twin Temple doesn’t drink the blood of virgins or kill babies to sacrifice on the full moon. They are challenging notions about what it means to free the oppressed\, fight back against dated and binary ways of thinking\, and doing it all while hailing Satan herself. \nIf there’s anything to expect with Twin Temple\, it’s the unexpected. \nhttps://youtu.be/4ryzqbqOedQ \n 
URL:https://globalazmedia.com/event/ghost-volbeat-with-special-guest-twin-temple-at-footprint-center/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
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DTSTART;TZID=America/Phoenix:20220302T190000
DTEND;TZID=America/Phoenix:20220302T233000
DTSTAMP:20220223T024358Z
CREATED:20220223T024358Z
LAST-MODIFIED:20220223T024358Z
UID:12648-1646247600-1646263800@globalazmedia.com
SUMMARY:Papa Roach "Kill The Noise" Tour With Hollywood Undead and Bad Wolves
DESCRIPTION:Papa Roach doesn’t do lanes.
 Be it rap-rock\, electronic rock\, rock ’n’ roll or anything in between\, the quartet – vocalist Jacoby Shaddix\, guitarist Jerry Horton\, bassist Tobin Esperance and drummer Tony Palermo – have spent more than 20 years veering across freeways that most bands barely have the nerve to occupy\, creating one of the most diverse and fearless discographies in music. 
 A hard left turn that sees them making their most daring maneuver yet\, new single ‘Swerve’ is breathless in its unpredictability. Drawing inspiration from everything from jazz\, funk and old-school hip-hop to hard rock and electronica\, it’s a white-knuckle ride featuring a blistering array of rock solid beats\, thumping bass lines\, curveball saxophone licks and crunching guitar grooves\, built around a chorus that features a stark warning cry of “Don’t swerve in my lane”\, the track displays the fearless ability of its creators to cross as many as they desire.
 With Fever 333 frontman Jason Aalon Butler and rap sensation Sueco joining proceedings to create a triple-pronged vocal attack\, ‘Swerve’ provides a first glimpse at one of the most varied and compelling periods of the the group’s career. Clear\, confident and above all competitive\, it sees them challenging perceptions and breaking new ground\, tossing the handbrake out of the window in the process. \n \n \nHollywood Undead hail from the streets of Hollywood\, California\, mixing brash hip-hop\, rock\, and minor metalcore touches with cocky posturing. With their colorful pseudonyms and unique hockey goal tender-inspired masks\, the band debuted in 2008 with Swan Songs\, but didn’t hit their commercial stride until the release of their 2011 sophomore effort\, American Tragedy\, which cracked the Top Ten on the Billboard 200 chart. Subsequent outings like Notes from the Underground (2013)\, Five (2017)\, and the two-volume New Empire (2020) performed just as well\, if not better\, cementing the group’s reputation as one of rapcore’s leading lights. \nOwing much of their popularity and exposure to the social networking website MySpace\, the group started as the musical project of J-Dog and Tha Producer in June 2005. They uploaded some new music to their profile and very quickly started amassing song plays and online friends with tracks about drinking\, sex\, and emo kids. “The gang\,” as the guys liked to refer to themselves\, grew to include six members: J-Dog and Tha Producer alongside Charlie Scene\, Johnny 3 Tears (formerly called the Server)\, Funny Man\, and Da Kurlzz. As the band’s online profile steadily increased\, MySpace head honcho Tom Anderson wasn’t immune and wound up featuring Hollywood Undead‘s song “No. 5” on MySpace’s first compilation album\, in addition to giving them the distinction of being the first act signed to the site’s new record label (distributed by Interscope) in 2005. \nSwan Songs finally appeared in 2008 on A&M/Octone Records. A year later\, that label released an album of B-sides\, live tracks\, and covers titled Desperate Measures. In 2010\, vocalist Aron “Deuce” Erlichman left the group; he was replaced by Daniel “Danny” Murillo\, a former contestant on American Idol and lead singer of Lorene Drive. After shows with Avenged Sevenfold on The Nightmare After Christmas Tour\, Hollywood Undead released their sophomore album\, American Tragedy\, in April of 2011\, and the album debuted in the Top Five of Billboard’s Top 200. The following November\, A&M/Octone Records released a remix version of the record called American Tragedy Redux\, which featured mixes by Andrew W.K.\, Borgore\, and KMFDM\, among others. \nIn January of 2013\, after embarking on The Underground Tour\, Hollywood Undead released their third studio album\, Notes from the Underground\, which proved to be their highest-charting outing to date\, landing at the number two spot on the Billboard Top 200 and soaring to number one on the Canadian albums chart. Their hotly anticipated fourth studio album\, Day of the Dead\, arrived in March 2015\, and was preceded by the singles “Usual Suspects\,” “Gravity\,” “How We Roll\,” and the explosive title cut. The band returned to the studio in late 2016 to record its fifth studio album\, Five. With their contract with Interscope finished\, Hollywood Undead set up their own label\, Dove & Grenade Media\, in collaboration with BMG to release the album. The first single\, “California Dreaming” — a scathing look at the inequalities between the two sides of Los Angeles culture — was released in mid-2017\, with the full-length Five arriving later that October. In 2018 the Undead released the standalone single “Gotta Let Go\,” a summery blast of feel-good nostalgia about letting go of pain. The EP Psalms also arrived that year. Two years later\, the band released their sixth album\, New Empire\, Vol. 1. A deliberate attempt to change their sound\, it was heavier than before\, with more electronic elements. The like-minded sequel\, New Empire\, Vol. 2.\, arrived in 2020. \n \n \nExpectations never mattered to Bad Wolves. Instead\, the Los Angeles band fused unpredictable metallic intensity and impressive instrumental proficiency to arena-ready hooks\, transforming from underdogs into elite platinum-certified hard rock contenders without compromise or apology. Since 2017\, the core group—John Boecklin [drums]\, Doc Coyle [lead guitar\, backing vocals]\, Chris Cain [rhythm guitar]\, and Kyle Konkiel [bass\, backing vocals]—have consistently subverted expectations and accomplished the seemingly impossible. In 2018\, the band earned a platinum plaque\, topped iTunes\, and ruled Active Rock at #1 for three weeks straight. This momentum also propelled their debut album\, Disobey\, to a Top 25 debut on the Billboard Top 200. In between performing to sold out audiences on multiple continents with heavyweights such as Five Finger Death Punch and Megadeth\, 2019’s N.A.T.I.O.N. yielded their fifth straight #1 at Active Rock\, “Sober\,” and brought their total stream tally past the half-billionmark—unprecedented for a modern rock band. Not to mention\, LoudWire hailed it among the “50 Best Rock Albums of 2019” as Billboard and Consequence of Sound chronicled their rise. In the midst of 2021\, Bad Wolves welcomed Daniel “DL” Laskiewicz—previously of The Acacia Strain—as lead vocalist\, ushering in a new chapter with their third full-length offering\, Dear Monsters\,[Better Noise Music]\, led by the single “Lifeline.” \n \n 
URL:https://globalazmedia.com/event/papa-roach-kill-the-noise-tour-with-hollywood-undead-and-bad-wolves/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/02/papa-roach.jpg
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DTSTART;TZID=America/Phoenix:20220314T180000
DTEND;TZID=America/Phoenix:20220314T233000
DTSTAMP:20220306T211055Z
CREATED:20220306T211055Z
LAST-MODIFIED:20220306T211055Z
UID:12685-1647280800-1647300600@globalazmedia.com
SUMMARY:Imagine Dragons at Footprint Center
DESCRIPTION:Formed in 2009\, Imagine Dragons first revealed their emotionally charged and inventive sensibilities with a series of independently released EPs that earned them grassroots following. Signed to KIDinaKORNER/Interscope by hitmaking producer Alex Da Kid\, the band greatly expanded their fanbase with the release of their multi-platinum breakthrough single “It’s Time” (featured on the 2012 EP Continued Silence). With their past hits also including “Radioactive” (a diamond-selling smash that won Best Rock Performance at the 2014 Grammy Awards)\, Imagine Dragons went on to see Smoke + Mirrors debut at #1 on the Billboard Top 200 album chart upon its release in early 2015. \nFor Imagine Dragons\, one of the greatest achievements of Evolve is its unfettered honesty. “Instead of hiding behind metaphors\, I was able to be more direct in my lyrics\,” says Reynolds. “I really focused on searching deeper for lyrical value.” Along with giving the album untold emotional depth\, honesty cuts through everyday chaos to reveal a luminous truth. “Right now the world can seem like a very dark and daunting place\,” says Reynolds. “We wanted to create something like a lot of the records we grew up on\, where it feels like you’re escaping into a world that’s much more vibrant. Our hope is that the album helps people focus on the beauty of each moment\, and really see all the brilliance and color of life.” \n \n 
URL:https://globalazmedia.com/event/imagine-dragons-at-footprint-center/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/03/Imagine-Dragons.jpg
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DTSTART;TZID=America/Phoenix:20220315T180000
DTEND;TZID=America/Phoenix:20220315T233000
DTSTAMP:20220306T182111Z
CREATED:20220306T182111Z
LAST-MODIFIED:20220306T182111Z
UID:12677-1647367200-1647387000@globalazmedia.com
SUMMARY:Flogging Molly at Marquee Theatre
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 \nRusskaja play with Slavic clichés and melancholic minor melodies which then pick up speed again and invite you to dance. The beat of the so-called “Turbo Polka” with a Jamaican Ska-offbeat makes the people’s feet and souls celebrate\, dance and happily forget all their woes. \nExcursions into punk rock\, metal and dub-step also make even lovers of the harder genres shake their heads. Upbeat powerful songs swing between countries\, languages and cultures – High Speed Polka Ska Groove hits virtuoso dirt guitars. Gorgeous violins let the big bass baritone voice of lead singer Georgij Alexandowitsch Makazaria shine as bright as the stars. Since 2005 RUSSKAJA have been touring their modern and cosmopolitan Austro-Soviet roots. \nGeorgij Makazaria – voc / Lea-Sophie Fischer – violin / Nico Loro Ravenni – sax / H-G. Gutternigg – potete / Engel Mayr – guitar / Dima Miller – bass / Mario Stübler – drums / \n \n \nVandoliers are the next wave of Texas music. The six-piece Dallas-Fort Worth group channels all that makes this vast state unique: tradition\, modernity\, audacity\, grit\, and—of course—size. While tracking alongside the muddy path that country-punk bands like Old 97’s\, Jason and the Scorchers\, and the True Believers blazed in the ‘80s and ‘90s\, Vandoliers define their own style; no one else is upending the genre quite like them. \n \n 
URL:https://globalazmedia.com/event/flogging-molly-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/03/flogging-molly-1.jpg
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DTSTART;TZID=America/Phoenix:20220316T180000
DTEND;TZID=America/Phoenix:20220316T233000
DTSTAMP:20220309T182053Z
CREATED:20220309T182053Z
LAST-MODIFIED:20220309T182053Z
UID:12689-1647453600-1647473400@globalazmedia.com
SUMMARY:Sevendust\, Tetrarch & Dead Poet Society at Marquee Theatre
DESCRIPTION:Atlanta-based quintet Sevendust are one of the most prominent nu-metal acts\, rising above their contemporaries with an aggressive blend of bottom-heavy riffs and soulful\, accessible melodies delivered by vocalist Lajon Witherspoon. Over the years\, the band balanced the raw energy and brutality of early albums like 1997’s Sevendust and 1999’s Home with increasingly atmospheric production and even late-era acoustic sets on releases like Time Travelers & Bonfires (2014) and Kill the Flaw (2015)\, home to the Grammy-nominated single “Thank You.” \nThe band — comprising frontman Witherspoon\, John Connolly (guitar)\, Clint Lowery (guitar)\, Vince Hornsby (bass)\, and Morgan Rose (drums) — first appeared in 1995 as Crawlspace\, releasing the single “My Ruin” on the Mortal Kombat: More Kombat soundtrack. Shortly thereafter\, the group changed their name to Sevendust and released a 1997 self-titled debut\, home to the breakthrough singles “Black” and “Bitch.” Two years later\, they issued the gold-selling sophomore set Home (TVT)\, which featured their mainstream rock hit “Denial.” As the band’s audience grew\, they played over 800 shows alongside such groups as Korn\, Godsmack\, Disturbed\, and Metallica\, even making an appearance at Woodstock ’99. Their angst-ridden third album\, the aptly titled Animosity\, appeared in fall 2001 and landed in the Top 30 on the Billboard 200. Seasons followed in 2003\, their highest-charting album to date and last with TVT. \nIn late December 2004\, word surfaced that Lowery had left the band\, and those rumors proved true the following February when Sevendust announced ex-Snot guitarist Sonny Mayo as Lowery‘s replacement. (Lowery\, a co-founder of Sevendust\, eventually surfaced in the hard rock supergroup Dark New Day.) Sevendust’s fifth album and first self-produced effort\, Next\, appeared in October 2005 on Winedark Records. The record failed to sell as much as its predecessors\, and Sevendust later signed to Asylum Records\, issuing Alpha in March 2007. Alpha fared better than Next\, climbing to number 14 on the Billboard charts and paving the way for the band’s seventh effort. Chapter VII: Hope and Sorrow arrived a year later and featured appearances by Chris Daughtry\, Myles Kennedy\, and Mark Tremonti. \nAt this time\, the band parted ways with Mayo\, welcoming Lowery back to Sevendust and restoring their original lineup. The reunited crew followed with Cold Day Memory in 2010. Landing just outside the Top Ten\, it was their highest-charting set to date\, yielding the trio of mainstream rock hits “Unraveling\,” “Forever\,” and “Last Breath.” Their ninth album\, Black Out the Sun\, arrived in 2013\, topping the hard rock chart. \nLooking to change things up\, Sevendust stripped away their metal edge for their next effort\, issuing an album of acoustic tracks. Time Travelers & Bonfires\, released in the spring of 2014\, debuted at number 18 on the Billboard 200. Bouncing back to basics a year later\, the group returned with the heavy yet atmospheric Kill the Flaw\, which included the Grammy-nominated single “Thank You.” After touring\, they returned to the studio to record their 12th album. Produced by Michael Baskette (Stone Temple Pilots\, Incubus)\, All I See Is War arrived in May 2018 on Rise Records. Two years later\, the band returned with Blood & Stone\, which included an emotionally charged cover of Soundgarden‘s “The Day I Tried to Live.” ~ Kirk Dombek & Neil Z. Yeung \n \n \nTetrarch is a Metal band from Atlanta\, GA\, currently residing in Los Angeles\, CA. They are tried-and-true blend of intense heavy riffage and driving drums with the dark vibes and the haunting choruses of hooky modern hard rock. Throw in Diamond’s thrash influenced guitar solos and you have Tetrarch. Tetrarch’s influences are evident but never replicated\, as they stay true to their own unique sound that will appeal to any heavy music fan. \nThe bands debut full length album FREAK debuted at #3 on the iTunes metal charts and #16 on the Rock Charts. They were heavily championed on Sirius XM Liquid Metal and Octane and became one of the most played artist in 2018. The single FREAK also hit the active rock charts. \nTetrarch has received extreme amounts of major press including Guitar World Magazine\, Loudwire\, Grammy.com\, Red Bull\, Guitar Player Magazine\, Afropunk\, Alternative Press\, Revolver Magazine and several others. They have also left a lasting impact of those who have seen them on countless tours and festivals around the country including DWP Epicenter Festival (with bands like Korn\, Rob Zombie\, Tool)\, Exit 111 (with Guns n Roses\, Ghost\, Gojira\, Deftones) and several others. Their guitar player Diamond also became the first female african american lead guitar player to be featured in major rock/metal publications around the country. \nThe band has a very promising future and budding fanbase and they always deliver exactly what their fans and metal fans want to hear. \n \nDead Poet Society are poised to have a major year in 2022. The band released their debut album -!- (said as “The Exclamation Album.“) a year ago and have since accumulated over 30 million global streams\, with over 10 million in the U.S. alone. The single “.CoDA.” was a Top 15 single at radio\, spending over 20 weeks on the chart. The track was also featured on Spotify’s Rock This playlist.  The band hit the road last fall in support of Badflower and made appearances at the Welcome to Rockville and Louder Than Life festivals. Across the pond\, the band appeared at the Reading and Leeds festivals. At Reading\, they drew one of the biggest crowds of the day.
URL:https://globalazmedia.com/event/sevendust-tetrarch-dead-poet-society-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
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DTSTART;TZID=America/Phoenix:20220316T190000
DTEND;TZID=America/Phoenix:20220316T233000
DTSTAMP:20220309T223135Z
CREATED:20220309T223135Z
LAST-MODIFIED:20220309T223135Z
UID:12710-1647457200-1647473400@globalazmedia.com
SUMMARY:Judas Priest and Queensrÿche at Arizona Federal Theatre
DESCRIPTION:One of the most influential heavy metal groups of all time\, Judas Priest emerged at the dawn of the New Wave of British Heavy Metal. Decked out in leather and chains\, the band combined the gothic doom of Black Sabbath and blazing speed of Led Zeppelin with the inventive art rock of Queen\, powered by the dynamic banshee wail of Rob Halford and the vicious dual lead guitar attack of Glenn Tipton and K.K. Downing. Judas Priest set the pace for the genre from 1975 until 1985 with iconic albums like British Steel (1980)\, Screaming for Vengeance (1982)\, and Defenders of the Faith (1984) and helped lay the groundwork for speed and death metal. The group struggled after Halford‘s departure in the early ’90s but were restored to prominence in the 2000s upon his return\, issuing a string of acclaimed efforts — Angel of Retribution (2005)\, Nostradamus (2010)\, Redeemer of Souls (2014)\, and Firepower (2018) — that skillfully married melody\, pageantry\, and muscle. \nFormed in Birmingham\, England\, in 1970\, the group’s core members were guitarist K.K. Downing and bassist Ian Hill. Joined by Alan Atkins and drummer John Ellis\, the band played their first concert in 1971. Atkins’ previous group was called Judas Priest\, yet the members decided it was the best name for the new group. The band played numerous shows throughout 1971. During the year\, Ellis was replaced by Alan Moore; by the end of the year\, Chris Campbell replaced Moore. After a solid year of touring the U.K.\, Atkins and Campbell left the band in 1973 and were replaced by vocalist Rob Halford and drummer John Hinch. They continued touring\, including a visit to Germany and the Netherlands in 1974. By the time the tour was completed\, they had secured a record contract with Gull\, an independent U.K. label. Before recording their debut album\, Judas Priest added guitarist Glenn Tipton. \nRocka Rolla was released in September 1974 to almost no attention. The following year\, they gave a well-received performance at the Reading Festival and Hinch departed the band; he was replaced by Alan Moore. Later that year\, the group released Sad Wings of Destiny\, which earned some positive reviews. However\, the lack of sales was putting the band in a dire financial situation\, which was remedied by an international contract with CBS Records. Sin After Sin (1977) was the first album released under that contract; it was recorded with Simon Phillips\, who replaced Moore. The record received positive reviews and the band departed for their first American tour\, with Les Binks on drums. \nWhen they returned to England\, Judas Priest recorded 1978’s Stained Class\, the record that established them as an international force in metal. Along with 1979’s Hell Bent for Leather (Killing Machine in the U.K.)\, Stained Class defined the nascent New Wave of British Heavy Metal movement. A significant number of bands adopted Priest’s leather-clad image and hard\, driving sound\, making their music harder\, faster\, and louder. After releasing Hell Bent for Leather\, the band recorded the live album Unleashed in the East (1979) in Japan; it became their first platinum album in America. Les Binks left the band in 1979; he was replaced by former Trapeze drummer Dave Holland. Their next album\, 1980’s British Steel\, entered the British charts at number three\, launched the hit singles “Breaking the Law” and “Living After Midnight\,” and was their second American platinum record; Point of Entry\, released the following year\, was nearly as successful. \nAt the beginning of the ’80s\, Judas Priest was a top concert attraction around the world\, in addition to being a best-selling recording artist. Featuring the hit single “You’ve Got Another Thing Comin’\,” 1982’s Screaming for Vengeance marked the height of their popularity\, peaking at number 17 in America and selling over a million copies. Two years later\, Defenders of the Faith nearly matched its predecessor’s performance\, yet metal tastes were beginning to change\, as Metallica and other speed/thrash metal groups started to grow in popularity. That shift was evident on 1986’s Turbo\, where Judas Priest seemed out of touch with current trends; nevertheless\, the record sold over a million copies in America on the basis of name recognition alone. However\, 1987’s Priest…Live! was their first album since Stained Class not to go gold. Ram It Down (1988) was a return to raw metal and returned the group to gold status. Dave Holland left after this record and was replaced by Scott Travis for 1990’s Painkiller. Like Ram It Down\, Painkiller didn’t make an impact outside the band’s die-hard fans\, yet the group were still a popular concert act. \nIn the early ’90s\, Rob Halford began his own thrash band\, Fight\, and soon left Judas Priest. In 1996\, following a solo album by Glenn Tipton\, the band rebounded with a new young singer\, Tim “Ripper” Owens (formerly a member of a Priest tribute band and of Winter’s Bane). They spent the next year recording Jugulator amidst much self-perpetuated hype concerning Priest’s return to their roots. The album debuted at number 82 on the Billboard album charts upon its release in late 1997. Halford had by then disbanded Fight following a decrease in interest and signed with Trent Reznor‘s Nothing label with a new project\, Two. In the meantime\, the remaining members of Judas Priest forged on with ’98 Live Meltdown\, a live set recorded during their inaugural tour with Ripper on the mike. Around the same time\, a movie was readying production to be based on Ripper‘s rags-to-riches story of how he got to front his all-time favorite band. Although Priest was originally supposed to be involved with the film\, they ultimately pulled out\, but production went on anyway without the band’s blessing (the movie\, Rock Star\, was eventually released in the summer of 2001\, starring Mark Wahlberg in the lead role). Rob Halford in the meantime disbanded Two after just a single album\, 1997’s Voyeurs\, and returned back to his metal roots with a quintet simply named Halford. The group issued their debut in 2000\, Resurrection\, following it with a worldwide tour that saw the new group open up Iron Maiden‘s Brave New World U.S. tour and issue a live set one year later (which included a healthy helping of Priest classics) — Live Insurrection. \nIn 2001 the Ripper-led Priest released a new album\, Demolition\, and Priest’s entire back catalog for Columbia was reissued with remastered sound and bonus tracks. In 2003 the band — including Halford — collaborated on the liner notes and song selections for their mammoth career-encompassing box Metalogy\, a collaboration that brought Halford back into the fold. Owens split from the group amicably in 2003\, allowing the newly reunited heavy metal legends to plan their global live concert tour in 2004\, with their 16th studio album\, Angel of Retribution\, to be released the following year. In 2008 the band released Nostradamus\, a sprawling\, two-disc conceptual piece that charted the life and times of the famous French seer. On December 7\, 2010\, Priest broke the news that their upcoming Epitaph world tour would be their last. The following month\, however\, they clarified that they were not disbanding\, announcing that they were working on new material. Before the tour began\, founding member Downing left the band over differences with the other members and their management; he was replaced by Richie Faulkner. \nPriest worked on their new album during the tour\, which ran until 2012. The record’s release was delayed several times\, but it was eventually announced that it would see the light of day in July 2014. Entitled Redeemer of Souls\, it was described by Priest as a traditional\, crowd-pleasing return to their roots\, and went on to become the group’s first Top Ten album in the U.S.\, landing at the number six slot on the Billboard 200 chart. A lengthy tour followed\, and in early 2016 Priest issued the concert album Battle Cry\, which featured highlights from their August 1\, 2015 performance at Germany’s Wacken Festival. \nJudas Priest began loosely demoing ideas for a studio album in 2016\, but they didn’t enter the studio as a band until a year later. It wasn’t until January 2018 that they announced to the press and social media that they’d completed Firepower\, their 18th studio album. They revisited their original\, organic way of recording\, with the entire band playing together at the same time in the studio. They underscored this by enlisting producers Tom Allom — who worked on all of the band’s records from 1979 through 1988 — and Grammy-winning veteran Andy Sneap. In a press release\, Halford explained\, “Tom Allom has got this classic metal thing\, and Andy is a bit more of a ‘modern metal producer’\,” adding\, “I think to get this balance between that classic old-school metal to what Andy’s world is was just a remarkable coalescence.” \nIn January 2018\, the band announced the March release of Firepower with a teaser video for the single “Lightning Strikes” and news of a forthcoming world tour. In February\, guitarist Tipton — diagnosed with Parkinson’s disease a decade earlier — announced that it had progressed to the point where he had to retire from touring. Sneap would fill his slot on the road. Former guitarist K.K. Downing\, who claimed he was shocked that he wasn’t asked to replace Tipton on tour\, asserted in public that “Sneap’s role was actually much more than as a producer on Firepower” — i.e.\, he actually played Tipton‘s parts on the album. Halford took to the media to respond\, saying that “everything that you hear from Glenn on Firepower is the amazing Glenn Tipton.” He called Downing’s accusation “completely superfluous” and “a thousand percent false.” On March 2\, Judas Priest released the lyric video for second single “Never the Heroes.” Firepower was issued on March 9 and soared to number five in the U.K.\, making it their first Top Ten album there since British Steel. ~ Stephen Thomas Erlewine & Greg Prato\, Rovi \n \n \nOne of rock’s most respected names who have weathered the storm and emerged in 2019 with ‘The Verdict’. It’s an album that echoes Queensryche’s three decades of career high-points while pushing ahead with the confidence and urgency of a band just now coming into its own. \nWith a legacy behind them that’s shifted over 30 million records and built a dedicated legion of fans while touring the globe alongside giants including Metallica\, Def Leppard and The Scorpions\, Queensryche have exceeded themselves once again. If Queensryche’s 15th studio album sounds like a young\, hungry band just hitting its stride\, it’s because that is precisely the case. Produced and mixed by Chris “Zeuss” Harris (Hatebreed\, Rob Zombie)\, who helmed 2015’s Condition Human\, it’s also Queensryche’s third album with frontman Todd La Torre\, who joined the veteran band in 2012\, taking the reins from erstwhile voice\, Geoff Tate. \nQueensryche’s impact on other bands and musicians is undeniable. While they dominated rock radio in the 90’s with a string of hits including “Jet City Woman” and “Silent Lucidity”\, their influence on rock and progressive bands including the likes Dream Theater or the late\, lamented Nevermore has been undeniable. \nThe Verdict is in and it’s testament to not merely Queensryche’s staying power as a force in rock in a turbulent new world\, but a band without boundaries who continue to prove how timeless they truly are. \n \n 
URL:https://globalazmedia.com/event/judas-priest-and-queensryche-at-arizona-federal-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85003\, United States
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DTSTART;TZID=America/Phoenix:20220317T190000
DTEND;TZID=America/Phoenix:20220317T233000
DTSTAMP:20220310T014809Z
CREATED:20220310T014809Z
LAST-MODIFIED:20220310T014809Z
UID:12716-1647543600-1647559800@globalazmedia.com
SUMMARY:Motionless In White + Ice Nine Kills + Black Veil Brides at Mesa Amphitheatre
DESCRIPTION:While their hometown of Scranton\, Pennsylvania is mostly known in popular culture for being perfectly mundane\, gothic metalcore band Motionless in White make music that’s anything but tame. Blending the raw fury of metalcore with the dramatic atmospherics of goth-metal and industrial\, the band has cultivated a dark and moody sound that owes as much to Type O Negative as it does to Slayer. Emerging in 2010\, the group entered the mainstream four years later with the release of their third studio LP Reincarnate\, which debuted at number nine the Billboard Top 200. \nFormed in 2005 while members Chris Cerulli (vocals)\, Angelo Parente (drums)\, Mike Costanza (guitar)\, and Frank Polumbo (bass) were still in high school\, they become a quintet after the addition of keyboard player Josh Balz in 2007\, the same year the band would release their debut EP\, The Whorror\, on Masquerade. In the years following that release\, Polumbo and Costanza parted ways with Motionless in White\, with Ryan Sitkowski and Ricky Olson coming on board to fill in the gaps\, allowing the band to forge ahead after the release of their second EP\, When Love Met Destruction\, on Tragic Hero in 2009. The group signed to Fearless Records in 2010\, and their first full-length album\, Creatures\, arrived that year\, followed by their sophomore effort\, Infamous\, in 2012. A third album\, Reincarnate\, arrived in the summer of 2014. In June 2016\, the band announced their signing to Roadrunner Records. They released the single “570” the same day. \nAt the beginning of 2017\, Balz announced his departure from the band. His synth duties were taken over by Marie Christine-Allard for the recording of the band’s fourth set\, Graveyard Shift. Issued in May 2017\, the album featured the singles “Rats” and “Loud (Fuck It)\,” as well as an appearance by Korn‘s Jonathan Davis. The group headed back into the studio the following year\, returning in 2019 with their fifth studio long-player Disguise. ~ Gregory Heaney\, Rovi \n \n \nLike the undead slashers celebrated in their songs\, Ice Nine Kills return with The Silver Scream 2: Welcome To Horrorwood\, a sequel of gruesome movie-sized proportion to The Silver Scream. The new album carves out a fresh\, bloody homage to the VHS celluloid classics that possessed singer Spencer Charnas at an early age\, with a devilish new twist. \nIce Nine Kills make music both timeless and timely\, mixing metal\, hardcore\, and punk\, with accessible power. New anthems like “Rainy Day” and “Hip To Be Scared” demonstrate Spencer’s fascination with fright\, pop culture obsession\, and his expertise with inescapably wicked melodic hooks and clever twists of phrase. Producer Drew Fulk returned for Welcome To Horrorwood which includes cameos from members of Papa Roach\, Cannibal Corpse\, Atreyu\, Fit For A King\, and Senses Fail. \nDecadent\, devious\, and fiercely insane\, Ice Nine Kills celebrate pop culture’s darkest edges\, mining a cinephile library’s worth of iconic horror on The Silver Scream and its sequel. The creative marriage made in hell of music and fiction began in earnest with the Every Trick In The Book\, which brought the previous three records’ themes to new levels. \nThe band’s synergy of music and lifestyle draws favorable comparisons to Slipknot and Rob Zombie. Visionary trailblazers and multimedia raconteurs\, INK built a thrilling world for a growing legion of devoted true believers\, with theatrical shows\, high-concept videos\, and inventive band-to-fan communion. \n \n \nIn an era when rock music is regularly declared “dead\,” Black Veil Brides music videos have been viewed over a half a billion times. The band (and its members) Instagram and Twitter accounts command close to 10 million followers between them. Vale\, the group’s most re- cent full-length album\, went to No. 1 on Billboard’s Top Hard Rock Albums chart. \nWith a rightful reverence for the pop cultural icons of the past\, the young outfit has never- theless fashioned their own collective future\, with relentless fury. In the hearts and minds of their fans\, Black Veil Brides represents an unwillingness to compromise and a resistance to critics (personal and professional)\, fueled by the same fire as the group’s own heroes\, the iconoclasts whose creative output\, once dismissed\, is now canonized. \n \n \nLilith Czar arrives with the force of an otherworldly thunder\, arising in visceral rebirth from an untimely grave of surrender and sacrifice. Her voice is the sound of supernatural determination\, summoned with a confessional vulnerability and unapologetic authenticity. The girl who was Juliet Simms – her dreams discouraged and dismissed\, her identity confined and controlled – is no more. In her place stands Lilith Czar\, a new vessel forged in unbridled willpower and unashamed desire. \nHer motivation is simple: if it’s truly a man’s world? She wants to be King. \nCreated from Filth and Dust\, the debut album from Lilith Czar\, is an evocative invitation into her bold new world. It’s aggressive music with warm accessibility; huge hooks with driving hard rock—the new larger-than-life icon channels the fierce combativeness of Fiona Apple and Stevie Nicks’ seductive witchery. Lilith Czar arms herself with sonic power\, theatricality\, and confidence. It’s a sound where the pulse of Nine Inch Nails\, Halestorm’s songcraft\, and the libertine spirit of David Bowie converge\, all in service of a ritualistic ache for a more just and equitable world. \n \n 
URL:https://globalazmedia.com/event/motionless-in-white-ice-nine-kills-black-veil-brides-at-mesa-amphitheatre/
LOCATION:Mesa Amphitheatre\, 263 N. Center St\, Mesa\, 85201\, United States
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