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DTSTART;TZID=America/Phoenix:20220707T180000
DTEND;TZID=America/Phoenix:20220707T233000
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SUMMARY:Great White at Marquee Theatre
DESCRIPTION:Great White emerged in the early 1980s with a sound rooted in the bluesy hard rock esthetic of classic rock radio behemoths like Led Zeppelin\, AC/DC\, and Mott the Hoople. They found success in 1987 with the release of their sophomore long-player\, Once Bitten\, and dove headfirst into the mainstream in 1989 with the arrival of …Twice Shy\, which went double-platinum thanks to a punchy\, radio-ready cover of Ian Hunter‘s “Once Bitten\, Twice Shy.” Great White’s popularity waned as grunge\, and alternative rock took over the airwaves in the early ’90s\, and they officially disbanded in 2001. They reunited in 2003 and made headlines when pyrotechnics used by the band sparked a fire in a Rhode Island nightclub\, killing 100 people\, including guitarist Ty Longley. They re-formed around the classic lineup in 2007 and released Back to the Rhythm\, with Rising appearing two years later\, but they soon splintered into two groups\, with Russell leading Jack Russell’s Great White and guitarist and co-founder Mark Kendall fronting Great White proper. \nFormed in the early ’80s by vocalist Jack Russell and guitarist Mark Kendall\, Great White were regulars of the L.A. club scene\, playing their Led Zeppelin– and AC/DC-influenced metal to a quickly growing fan base. Local radio play and more gigging helped sell 20\,000 copies of their independent releases\, the Out of the Night EP and the full-length Shot in the Dark\, both released in 1983. \nThe EMI label took notice\, signed the band\, and released their self-titled\, major-label debut a year later. Shot in the Dark would be reissued by the label in 1987\, the same year as the new album Once Bitten… appeared with the hit single “Rock Me.” The release went platinum\, but 1989’s …Twice Shy took things even further thanks in no small part to the massive success of the single “Once Bitten Twice Shy\,” a cover of a Mott the Hoople song written by Mott member Ian Hunter. \nLong tours with Ratt and a co-headlined tour with Tesla kept Great White out of the studio until 1991\, when the polished Hooked appeared with two different album covers\, one a provocative side shot of a mermaid hanging off an anchor in midair and one less scandalous with the mermaid still submerged. Hooked went gold\, while their 1992 follow-up\, Psycho City\, sold less\, leading to EMI saying goodbye to the band with the 1993 compilation The Best of Great White. \nSail Away from 1994 found the group on Zoo\, while 1996’s Let It Rock was released by Imago. A live set of cover tunes featuring the work of their favorite band appeared as Great Zeppelin: A Tribute to Led Zeppelin\, released by Cleopatra in 1999. That same year\, Can’t Get There from Here on the Portrait label gave fans their first taste of Russell‘s new writing partnership with longtime friend and former Night Ranger member Jack Blades. Another set of covers formed the 2002 Cleopatra album Recover\, but this time the choices were surprising\, with the Cult‘s “Love Removal Machine” and X‘s “Burning House of Love” getting the Great White treatment. \nForgotten by the mainstream\, Great White were brought back into the limelight when pyrotechnics used by the band sparked a fire in a Rhode Island nightclub on February 20\, 2003\, killing 100 people\, including the group’s guitarist\, Ty Longley. The 2004 reissue of Recover drew some media attention\, since the Horizon label had given it a new and now morbid title\, Burning House of Love. Trials concerning the fire continued on into 2006 as questions about who authorized the pyrotechnics were being investigated. The band spent the rest of the year touring and playing some benefit concerts for victims of the fire. In early 2007\, they began celebrating their 25th anniversary with some West Coast shows that were tied to the release of VH1 Classic Presents: Metal Mania – Stripped\, Vol. 3\, and in the summer they released a new studio album\, Back to the Rhythm\, with the original core lineup. 2009 saw the release of Rising\, which would be the last Great White outing to include Russell\, who elected to start up his own version of the group under the moniker Jack Russell’s Great White. \nVocalist Terry Ilous was brought in to replace Russell shortly thereafter\, and he made his studio debut on 2012’s generally well-received Elation. In 2017\, the band issued the aptly named Full Circle\, which saw them reuniting with producer Michael Wagener (Metallica\, Ozzy Osbourne\, Alice Cooper)\, who helmed their 1984 debut. That same year\, Jack Russell’s Great White released their debut album\, He Saw It Comin’\, which was followed by the stripped-down Once Bitten Acoustic Bytes in 2020. ~ James Christopher Monger & David Jeffries\, Rovi \n \n 
URL:https://globalazmedia.com/event/great-white-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
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DTSTART;TZID=America/Phoenix:20220711T200000
DTEND;TZID=America/Phoenix:20220711T233000
DTSTAMP:20220629T005911Z
CREATED:20220629T005911Z
LAST-MODIFIED:20220629T005911Z
UID:13840-1657569600-1657582200@globalazmedia.com
SUMMARY:Machine Gun Kelly + Avril Lavigne at Footprint Center
DESCRIPTION:Delivering lyrics with the speed of a bullet train\, Cleveland rapper Machine Gun Kelly experienced a meteoric rise in late 2011 when he transitioned from grinding out self-released mixtapes to working with major labels. From there\, the rapper skyrocketed to superstar status\, with each of his albums charting in the Top Ten. A beef with Eminem\, a film career\, and even some reality show appearances would follow as the high-powered lyrical rap style of albums like 2019’s Hotel Diablo morphed into a driving emo-rock sound on collaborations with Travis Barker and on the Barker-produced 2020 album Tickets to My Downfall\, which topped the Billboard 200. Kelly worked alongside Barker again in 2022 on album number six\, Mainstream Sellout. \nBorn Colson Baker in Texas but raised in the Cleveland suburb of Shaker Heights\, Machine Gun Kelly began making music in his teens and made news in 2009 when he became the first rapper to win amateur night at Harlem’s Apollo Theater. A series of mixtapes\, including 100 Words and Running\, Lace Up\, and Rage Pack\, came next\, and a 2011 performance at South by Southwest was followed immediately by a meeting with Sean Combs. Kelly signed with Comb‘s Bad Boy imprint that night and released the single “Wild Boy” on the label the same year. The track featured special guest Waka Flocka Flame\, and Kelly’s debut album\, Lace Up\, landed in 2012. During this time\, he also signed a deal with Young & Restless to work on a clothing line. The Black Flag mixtape arrived in 2013\, featuring appearances by French Montana\, Pusha T\, Meek Mill\, Wiz Khalifa\, and Sleeping with Sirens‘ Kellin Quinn. \nIn 2015\, he released his sophomore effort\, General Admission\, a dark\, autobiographical LP that peaked at number four on the Billboard 200 and topped the R&B/Hip-Hop Albums chart. Kelly released the “Bad Things” single in 2016; the duet with ex-Fifth Harmony member Camila Cabello became the first Top Ten single for both artists. In 2017\, Kelly issued his third full-length\, Bloom. In addition to “Bad Things\,” the effort included collaborations with Hailee Steinfeld (“At My Best”)\, Quavo and Ty Dolla $ign (“Trap Paris”)\, James Arthur (“Go for Broke”)\, and DubXX (“Moonwalkers”). Bloom debuted in the Top Ten of the Billboard 200\, peaking at number three on the Top R&B/Hip-Hop Albums chart. \nFollowing the success of the gold-certified third album Bloom\, Kelly received an unexpected boost in 2018 from an unlikely source: major influence Eminem\, who resurrected a 2012 beef stemming from offhand comments about the Detroit rapper’s daughter. On Eminem‘s Kamikaze attack “Not Alike\,” he lobbed a direct shot at Kelly\, who quickly responded with the biting diss track “Rap Devil.” As tabloid headlines swirled\, the latter song entered the U.S. R&B/Hip-Hop chart Top Ten\, jumping to number 13 on the Hot 100. Capitalizing on the surprise boost in exposure\, Kelly issued the EP Binge\, a dark\, trap-influenced set that marked a return to form with a focused flow and sly wordplay. Unencumbered by the star-studded distractions of the pop-friendly Bloom (rapper 24hrs is the only feature)\, Binge debuted at number 24 on the Billboard 200\, also charting in Canada\, Australia\, and New Zealand. 2019 found Kelly portraying Mötley Crüe drummer Tommy Lee in The Dirt\, a stylized biopic on the rise and fall of the hair metal legends. In May of that year\, he released the single “Hollywood Whore\,” the first offering from his fourth album\, Hotel Diablo. Landing that July\, the introspective set featured additional singles “El Diablo” and “I Think I’m Okay\,” as well as guests Lil Skies\, Trippie Redd\, Yungblud\, and Travis Barker. \nAfter Hotel Diablo\, things shifted for Machine Gun Kelly\, as his focus became more split between music and acting. On the music side of things\, the rock-leaning Travis Barker collaboration “I Think I’m Okay” led to the duo working on more songs together and ultimately to Barker acting as executive producer on fifth album Tickets to My Downfall. Singles that preceded the record were a sharp turn from Machine Gun Kelly’s established rap sound. In April 2020\, he released “Bloody Valentine\,” an upbeat and melodic emo pop song dotted with synth touches. Successive singles “Concert for Aliens” and “Misery Business” followed a similar stylistic change-up. Tickets to My Downfall was released in late September 2020 and became Kelly’s first number one album. In March 2021\, he reached number eight on the Hot Rock & Alternative Songs chart with his non-album single “DayWalker” featuring Corpse Husband. Early 2022 saw the release of the grunge-tinged rocker “Papercuts\,” the lead single from his sixth full-length effort. Originally titled Born with Horns\, the album was retitled Mainstream Sellout\, and saw Kelly working once more with Barker as co-producer. The album also featured a number of guest contributors\, including two songs with Lil Wayne\, an interlude featuring comedian/actor Pete Davidson\, and appearances throughout from Willow\, blackbear\, Gunna\, Bring Me the Horizon\, and others. Mainstream Sellout was released in March of 2022. ~ Fred Thomas & Neil Z. Yeung\, Rovi \n \nhttps://youtu.be/_1kVVpfnMs8 \n \nGrammy-winning Canadian pop/rock singer/songwriter Avril Lavigne became an international star in the 2000s with her punk-influenced pop anthems and anti-starlet image. First appearing in 2002 with the spunky debut single “Complicated\,” she touted a skatepunk image that purposely clashed with the polished glamour of mainstream pop. Lavigne\, who was 17 at the time\, quickly rose to teen idol status\, selling several million copies of her debut album\, Let Go (the best-selling album by a female artist in 2002)\, while inspiring a genuine fashion craze with her penchant for tank tops and neckties. As the decade progressed\, so did Lavigne’s marketable sound\, which took a contemplative turn on the chart-topping sophomore effort Under My Skin before reaching an aggressively upbeat tone for 2007’s The Best Damn Thing. A pair of hit albums later\, she took a three-year hiatus from the spotlight to focus on health issues related to Lyme disease\, returning in 2019 with her mature sixth album\, Head Above Water. In 2021\, she made her debut for Travis Barker‘s DTA label with the pop-punk single “Bite Me” from 2022’s Love Sux. \nBorn into a devout Christian household in the small town of Napanee\, Ontario\, Lavigne sharpened her vocal talents in church choirs\, local festivals\, and county fairs. She began playing guitar and writing songs in her early teens\, focusing her early efforts on country music and contributing vocals to several albums by local folk musician Steve Medd. Arista Records caught wind of the singer and brought her aboard at the age of 16\, with CEO Antonio “L.A.” Reid personally taking Lavigne under his wing. She quit high school\, relocated to Manhattan\, and set to work with a handful of prime songwriters and producers\, but the partnerships only produced country songs\, not the rock music in which Lavigne had become increasingly interested. Arista relented and instead sent Lavigne to Los Angeles\, where she fashioned her melodic\, edgy debut alongside such writing teams as the Matrix. Released in 2002\, Let Go was the polished product\, and its four high-charting singles — “Complicated\,” “Sk8er Boi\,” “I’m with You\,” and “Losing Grip” — led the album to multi-platinum status within its second month of release. Lavigne became the youngest female musician ever to have a number one album in the U.K.\, and she supported the wildly popular LP (which eventually gained eight Grammy nominations) with a tour of Europe\, Asia\, North America\, and Australia. \nCompared with the antics of other teen idols of her day\, Lavigne was a new kind of superstar\, one whose appeal didn’t rely on sexy videos or suggestive music. She further distinguished herself by bypassing the assistance of professional writing teams during the creation of her second album\, choosing instead to collaborate with singer/songwriter Chantal Kreviazuk\, Evanescence‘s Ben Moody\, and Evan Taubenfeld (who had previously worked with Lavigne as her touring guitarist). Released in May 2004\, Under My Skin was more serious than its predecessor\, dealing with such issues as premarital sex (“Don’t Tell Me”)\, depression (“Nobody’s Home”)\, and the death of Lavigne’s grandfather (“Slipped Away”). The album debuted at number one in more than ten countries\, went platinum within one month\, and further established Lavigne as a pop icon. Incidentally\, a song that was co-written by Lavigne and ultimately cut from the final track list — “Breakaway” — was later given to Kelly Clarkson\, who used it as the title track and lead single for her Grammy-winning sophomore album. \nLavigne married her boyfriend of two years\, Sum 41‘s Deryck Whibley\, in July 2006\, just one month after the animated film Over the Hedge announced her cinematic debut (Lavigne voiced the part of Heather\, a hungry opossum). She also appeared in Richard Linklater‘s fictional adaptation of Fast Food Nation\, which was released that November. Nevertheless\, she spent most of the year working on her third album\, enlisting former blink-182 drummer Travis Barker to play drums\, and cherry-picking a variety of producers (including her husband) to helm the recording sessions. The Best Damn Thing appeared in April 2007\, and its lead single\, “Girlfriend\,” marked a return to the bratty\, spunky punk-pop of her first album. “Girlfriend” soon became the subject of controversy as the ’70s power pop band the Rubinoos sued Lavigne\, claiming that her tune reworked their 1979 song “I Wanna Be Your Boyfriend.” No amount of bad publicity could hurt the singer\, however\, as “Girlfriend” became her biggest U.S. single ever and The Best Damn Thing topped album charts worldwide. \nLavigne filed for divorce from Whibley in October of 2009. The dissolution of their union featured heavily on her next album\, 2011’s Goodbye Lullaby\, which included tracks produced by Whibley. \nLavigne returned to the studio just weeks after the release of Goodbye Lullaby and began work on her fifth album. In 2012\, she started working on material with Nickelback frontman Chad Kroeger and eventually the pair began dating; she married Kroeger on July 1\, 2013. By that point\, she had released the platinum-certified “Here’s to Never Growing Up\,” the first single from her eponymous fifth album. Released in October\, Avril Lavigne featured eight songs co-written by Kroeger\, who also duetted with her on the record’s third single\, “Let Me Go.” \nIn early 2015\, Lavigne released “Fly\,” an empowering ballad written for the Special Olympics World Summer Games. That same month\, she also revealed that she had been diagnosed with Lyme disease. Soon after\, she separated from Kroeger. For the next few years\, as she healed\, she remained out of the public spotlight. In 2018\, she returned with the single “Head Above Water\,” which was inspired by her battle with Lyme disease; it unexpectedly made the Christian radio top 10. Despite this success\, the accompanying album\, Head Above Water — which appeared in February 2019 — was a secular pop album\, albeit one with an inspirational bent. While her worst-charting long-player to that point\, it still reached Canada’s Top Five\, the U.K. Top Ten\, and number 13 on the Billboard 200. \nAfter re-recording Head Above Water‘s “Warrior” as “We Are Warriors” to raise funds for pandemic relief efforts in 2020\, Lavigne returned to the studio to record her seventh album with producers including Barker\, Machine Gun Kelly\, Mod Sun\, and Goldfinger‘s John Feldmann. In the meantime\, she was featured on the Mod Sun single “Flames” in early 2021\, and with Barker on Willow Smith‘s “Grow” mid-year before signing with Barker‘s Elektra Music Group imprint\, DTA Records. Her own single\, “Bite Me\,” appeared before the end of 2021. That punk-infused anthem landed on her seventh full-length\, 2022’s Love Sux\, which also featured “Love It When You Hate Me” with Blackbear. \n \n \n 
URL:https://globalazmedia.com/event/machine-gun-kelly-avril-lavigne-at-footprint-center/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220726T200000
DTEND;TZID=America/Phoenix:20220726T233000
DTSTAMP:20220719T002126Z
CREATED:20220719T002126Z
LAST-MODIFIED:20220719T002126Z
UID:14213-1658865600-1658878200@globalazmedia.com
SUMMARY:Anthrax - Black Label Society & Hatebreed at The Van Buren
DESCRIPTION:Nearly as much as Metallica or Megadeth\, Anthrax were responsible for the emergence of speed and thrash metal. Combining the speed and fury of hardcore punk with the prominent guitars and vocals of heavy metal\, they helped create a new subgenre of heavy metal on their early albums. Original guitarists Scott Ian and Dan Spitz were a formidable pair\, spitting out lightning-fast riffs and solos that never seemed masturbatory. Unlike Metallica or Megadeth\, they had the good sense to temper their often serious music with a healthy dose of humor and realism. After their first album\, Fistful of Metal\, singer Joey Belladonna and bassist Frank Bello joined the lineup. Belladonna helped take the band farther away from conventional metal clichés\, and over the next five albums (with the exception of 1988’s State of Euphoria\, where the band sounded like it was in a creative straitjacket)\, Anthrax arguably became the leaders of speed metal. As the ’80s became the ’90s\, they also began to increase their experiments with hip-hop\, culminating in a tour with Public Enemy in 1991 and a joint re-recording of PE‘s classic “Bring the Noise.” The remainder of the decade saw the band continuing to both flex and expand its sonic muscle\, but lineup changes and label woes remained a constant stress throughout\, and by 2003 they were only playing sporadically. In 2010\, after a seven-year hiatus\, Anthrax reconvened for Worship Music\, a return to form that many called their most potent offering since 1990’s Persistence of Time. \nAfter their peak period in the late ’80s\, Anthrax kicked Belladonna out of the band in 1992 and replaced him with ex-Armored Saint vocalist John Bush — a singer who was gruffer and deeper\, fitting most metal conventions perfectly. Subsequently\, their sound became less unique and their audience shrank slightly as a consequence\, and after signing to Elektra for 1993’s Sound of White Noise\, the group left the label after just one more album\, 1995’s Stomp 442. At that point\, Anthrax — now a four-piece consisting of Ian\, Bush\, Bello\, and drummer Charlie Benante — built their own studio in Yonkers\, New York\, and after a three-year hiatus returned with their Ignition label debut\, Volume 8: The Threat Is Real. Anthrax’s very first “hits” collection was released in 1999; titled Return of the Killer A’s: The Best Of\, it was also their first release for the Beyond label. The album included a cover of “Ball of Confusion\,” which featured a duet between current frontman Bush and former vocalist Belladonna. A proposed tour that was to include both vocalists was announced\, but on the eve of its launch\, Belladonna pulled out\, reportedly for monetary reasons. The tour carried on\, as Anthrax signed on to participate in a package tour during the summer of 2000 with Mötley Crüe and Megadeth\, but left the tour after only playing a handful of dates. \nAnthrax appeared on the Twisted Sister tribute album Twisted Forever in 2001 (covering the track “Destroyer”)\, and began recording their next album the same year. In addition\, guitarist Ian found time to regularly host the metal television program Rock Show on VH1\, plus he appeared as part of the fictional metal band Titannica in the film Run\, Ronnie\, Run. VH1 programming heads eventually replaced Ian with Sebastian Bach\, but the band was ready to head back into the studio anyway. New guitarist Rob Caggiano joined in the spring of 2002\, just in time for the recording. A year later\, Anthrax made their Sanctuary debut with We’ve Come for You All. The band’s dynamic hadn’t changed\, and touring in support of that album was met with overwhelming success. The CD/DVD set Music of Mass Destruction: Live in Chicago\, which arrived in spring 2004\, celebrated Anthrax’s two decades in the business. Then\, in 2005\, Anthrax’s entire original lineup of Ian\, Spitz\, Belladonna\, Benante\, and Bello reunited for a tour and the CD/DVD retrospective Anthology: No Hit Wonders 1985-1991. Anthrax also issued Alive 2\, recorded during their summer 2005 reunion tour. \nIn 2007\, Dan Nelson\, formerly of the group Devilsize\, took over vocal duties. The band announced the return of vocalist John Bush in 2009\, though the stint was never deemed permanent. The vocal pendulum shifted again the following year with an announcement that Belladonna was returning to the fold for future shows\, and beginning work on a new Anthrax album. The resulting Worship Music\, the band’s tenth studio album\, and the first to feature original material since 2003’s We’ve Come for You All\, was released on September 13\, 2011. Worship Music was a strong comeback that earned the group a Grammy nomination\, and Anthrax followed it up with some dumb fun in the form of a 2013 EP of ’70s classic rock covers\, titled Anthems. Shortly before the EP was released\, Caggiano left the group\, and he was replaced by Shadows Fall guitarist Jonathan Donais during live dates. In August\, he officially became Anthrax’s lead guitarist. \nThe group began working on a new studio album in late 2013. A live DVD titled Chile on Hell appeared in 2014. The following year\, they toured with Volbeat\, whom Caggiano had joined after leaving Anthrax. The group’s 11th studio album\, For All Kings\, was released in February of 2016. Anthrax then toured with Iron Maiden\, opening up for the metal legends during the Latin American leg of their Book of Souls World Tour. In 2018\, the band released Kings Among Scotland\, a concert film/album recorded on February 15\, 2017 at Glasgow’s Barrowland Ballroom. To commemorate the band’s 40th anniversary\, Anthrax staged a global livestream event in 2021 at the Los Angeles soundstage/studio where they performed a two-hour set of fan favorites and deep cuts. The concert/film XL\, which included the entire performance\, as well as rehearsal footage and a Scott Ian-led walking tour of formative New York locations\, was released in 2022 by Nuclear Blast. ~ Stephen Thomas Erlewine & Greg Prato\, Rovi \nhttps://youtu.be/gAH4Wo38iQE \n \nBlack Label Society bandleader Zakk Wylde wields his guitar like a Viking weapon\, bashing out thick riffage and squeezing out expressive squeals as if the glory of his Berserker brotherhood depends upon every single note\, which of course\, it does. Charismatic beast and consummate showman\, Wylde puts his massive heart and earnest soul on display with unbridled\, unchained\, animalistic passion in Black Label Society\, whether it’s a crushingly heavy blues-rock barnstormer or a piano-driven ode to a fallen brother. Each Black Label Society album is another opportunity to top the one before it\, but like AC/DC or The Rolling Stones\, BLS isn’t here to reinvent the wheel. If it ain’t broke\, don’t fix it. It’s a brand we can trust. Mighty missives like Damn the Flood\, In This River\, Stillborn\, My Dying Time\, Queen of Sorrow and Blood Is Thicker Than Water have amassed millions of downloads and streams. They are the soundtracks to sweat soaked revelry\, jubilant evenings that descend into bewildering mornings\, and adrenaline fueled sports. Grimmest Hits\, the band’s tenth full-length studio album and follow-up to Billboard Top 5 entries Catacombs of the Black Vatican (Deluxe) and Order Of The Black\, Black Label Society submit new anthems like Room of Nightmares the bluesy Seasons Of Falter and Southern-fried The Day That Heaven Had Gone Away to the BLS faithful; 12 unstoppable tracks to add to that lifestyle soundtrack. \n \n \nWith unflinching tenacity\, the impenetrable heavy metal hardcore factory that is HATEBREED has brought forth yet another iron cast\, sonic weapon with Weight Of The False Self. It comes as no surprise that their eighth\, full length album is the result of the usual sweat and blood that have cemented HATEBREED’s unique niche in the world of music for over two decades. Renowned for their ability to provide an intense and cathartic release for their fans\, HATEBREED challenged their writing style through this album cycle in order to produce material that is exceptionally relatable in a contemporary world flooded with overstimulation\, emotional dampening\, and lack of social patience.A metaphorical weight is carried by almost every individual in regards to their emotional construct. Our experiences shape who we become and over time\, gradually produce a heavy burden that we continue to lug along. For many of us\, the weight becomes so much that we struggle to get out from underneath\, let alone move. It is these struggles that are translated throughout Weight Of The False Self. Recording the album once more with the help of ZEUSS\, the band experienced a sense of challenge and breakthrough that enabled them to obtain a new level of sound. After working with the band for several years\, and while normally spending his time with bands that have a fairly different sound\, Zeuss is able to test HATEBREED and expand their already infamous vibration.
URL:https://globalazmedia.com/event/anthrax-black-label-society-hatebreed-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/07/Anthrax-Black-Label-Society-hatebreed-at-the-van-buren.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20220731T200000
DTEND;TZID=America/Phoenix:20220731T233000
DTSTAMP:20220719T234714Z
CREATED:20220719T234714Z
LAST-MODIFIED:20220719T234714Z
UID:14233-1659297600-1659310200@globalazmedia.com
SUMMARY:Avatar & Light The Torch at The Rialto Theatre
DESCRIPTION:AVATAR returns in 2020 with a bold manifesto called Hunter Gatherer . The band’s eighth album is an unflinchingly ruthless study of a clueless humankind’s ever-increasing velocity into an uncertain future\, furthering the reach of the band’s always expanding dark roots. Songs like “A Secret Door\,” “Colossus\,” and “Silence in the Age of Apes” are ready-made anthems for the modern age\, each struggling for a collective meaning amidst the savagery of technology. Hunter Gatherer shares the determined focus of the conceptually driven Feathers & Flesh and Avatar Country while decisively emphasizing the individual songs above any overarching story. At the same time\, there are thematic threads throughout the album\, reflecting the members’ shared state of mind. Hunter Gatherer is the darkest\, most sinister version of Avatar\, with deep studies of cruelty\, technology\, disdain\, and deprivation. In 2019\, Avatar reunited with producer Jay Ruston at Sphere Studios in Los Angeles\, California\, where the foundation for each song on Hunter Gatherer was laid with the band performing altogether\, as they’d done only once before\, on Hail the Apocalypse. The old-school method of playing as one in the studio\, more akin to how they are on stage\, captured the essence of Avatar. Recorded entirely to two-inch tape\, something you don’t hear about much in 2020\, Hunter Gatherer exhibits everything that makes AVATAR standouts in the vast\, rich landscape of heavy metal’s past and present. \n \n \nSince emerging in 2018\, Light The Torch have grown stronger in lockstep together as a band and as friends. Through this growth\, the Los Angeles trio—Howard Jones [vocals]\, Francesco Artusato [guitar]\, and Ryan Wombacher [bass]—only enhanced their signature sound. Upheld by head-spinning seven-string virtuosity and skyscraping melodies\, the group crafted twelve no-nonsense anthems on their 2021 second full-length album\, You Will Be The Death of Me [Nuclear Blast]. \nThe group shot out of the gate as a contender on their full-length debut\, Revival. It bowed at #4 on the Billboard US Independent Albums Chart and at #10 on the Hard Rock Albums Chart in addition to receiving acclaim from Revolver\, Outburn\, and many more. “Calm Before the Storm” racked up a staggering 14.5 million Spotify streams\, while “The Safety of Disbelief” remains one of SiriusXM Octane’s all-time most requested songs. They toured North America and Europe with the likes of Trivium\, Avatar\, In Flames\, Ice Nine Kills\, Killswitch Engage and August Burns Red to name a few. \nThe guys returned to Sparrow Sound in Glendale\, CA in late 2019 to once again work with the production team of Josh Gilbert and Joseph McQueen [Bullet for My Valentine\, As I Lay Dying\, Suicide Silence]. This time around\, they also welcomed Whitechapel’s Alex Rudinger on drums. \nIn the end\, the bond between Light The Torch burns brighter than ever in the music as they deliver a definitive statement with You Will Be The Death Of Me.
URL:https://globalazmedia.com/event/avatar-light-the-torch-at-the-rialto-theatre/
LOCATION:The Rialto Theatre\, 318 E Congress St\, Tucson\, AZ\, 85701\, United States
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