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DTSTART;TZID=America/Phoenix:20221002T183000
DTEND;TZID=America/Phoenix:20221002T233000
DTSTAMP:20220916T201314Z
CREATED:20220916T201314Z
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UID:14921-1664735400-1664753400@globalazmedia.com
SUMMARY:Knotfest Roadshow at Ak-Chin Pavilion
DESCRIPTION:There was never a band like SLIPKNOT\, and there will never be another. Like a spore out of the Midwest\, they’ve quietly bloomed into the most uncompromising\, undeniable\, and unique presence on the planet whose influence transcends genres and generations. Since sowing the seeds for revolution in Iowa during 1999\, these musical outliers have captured a GRAMMY Award alongside 10 nominations\, scored 12 Platinum / 41 Gold album certifications around the world\, and logged over 8.5 billion global streams and 3.5 billion video views to date – unprecedented for a rock act in this generation or any other. Rolling Stone cited the seminal platinum-selling 2001 album Iowa among “The 100 Greatest Metal Albums of All Time\,” while The Ringer attested\, “They’re the most important heavy band of their era.” In addition to marking the group’s third consecutive #1 debut on the Billboard Top 200\, their sixth full-length album\, WE ARE NOT YOUR KIND\, bowed at #1 in twelve countries worldwide in 2019. Selling out shows on multiple continents\, they deliver an irreplicable multi-sensory experience on tour and through their own festival KNOTFEST. With their seventh album THE END\, SO FAR\, SLIPKNOT are back\, and nothing will be the same again. \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 \nA sweeping self-awareness and expansive creativity are at the heart of CROWN THE EMPIRE\, the modern post-metalcore anthem makers who embrace their dirty rock roots and stadium-ready melodies with bold courage. 
 What began as high-school pals posting clips on YouTube has grown to over 60 million views on the platform alone; endless streams of songs like “Machines\,” “Hologram\,” and “Voices”; and several Billboard 200 accomplishments\, including a Number 1 debut on the Top Rock Charts. Alternative Press anointed them as Best Breakthrough Band and with good reason. Praised enthusiastically as “thrilling\,” “progressive\,” and “dynamic\,” by tastemaker genre publications like Rock Sound\, Kerrang! and Outburn (who\, like AltPress\, put the band on their cover)\, Crown The Empire climbed to the top of an emergent style by jettisoning the scene’s most formulaic traits. 
 A cinematic sensibility permeates each chapter in the band’s story\, from the epic thematic darkness of their earlier work to the sci-fi dystopian ambience of new songs like “20/20.” Super-intense and high-energy songs will always remain a part of the Crown The Empire mission statement. It’s a journey that’s been marked by growth at every turn\, coalescing into the modern incarnation of Crown The Empire\, a band that’s built to last. \n \n 
URL:https://globalazmedia.com/event/knotfest-roadshow-at-ak-chin-pavilion/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20221006T200000
DTEND;TZID=America/Phoenix:20221006T233000
DTSTAMP:20220927T020548Z
CREATED:20220927T020548Z
LAST-MODIFIED:20220927T020548Z
UID:15052-1665086400-1665099000@globalazmedia.com
SUMMARY:Stevie Nicks + Vanessa Carlton at Ak-Chin Pavilion
DESCRIPTION:Famed for her mystical chanteuse image\, singer/songwriter Stevie Nicks enjoyed phenomenal success not only as a solo artist but also as a key member of Fleetwood Mac. Possessed of a raspy croon\, Nicks had a duo with Lindsey Buckingham in the early ’70s\, releasing an excellent folk-pop album as Buckingham Nicks before the pair were absorbed into veteran U.K. group Fleetwood Mac. Nicks’ and Buckingham‘s talents helped steer the band to superstardom with the enormous hit albums Fleetwood Mac and Rumours. In the ’80s\, Nicks ventured out on her own\, scoring numerous hit singles and ultimately leaving the band. In the late ’90s\, however\, she reunited with her Fleetwood friends\, who began performing and recording with renewed vigor. \nStephanie Lynn Nicks was born May 26\, 1948\, in Phoenix\, Arizona; the granddaughter of a frustrated country singer\, she began performing at the age of four\, and occasionally sang at the tavern owned by her parents. Nicks started writing songs in her midteens\, and joined her first group\, the Changing Times\, while attending high school in California. \nDuring her senior year\, Nicks met fellow student Lindsey Buckingham\, with whom she formed the band Fritz along with friends Javier Pacheco and Calvin Roper. Between 1968 and 1971\, the group became a popular attraction on the West Coast music scene\, opening for Jimi Hendrix\, Janis Joplin\, and Creedence Clearwater Revival. Ultimately\, tensions arose over the amount of attention paid by fans to Nicks’ pouty allure\, and after three years Fritz disbanded; Buckingham remained her partner\, however\, and they soon became a romantic couple. \nAfter moving to Los Angeles\, the duo recorded its 1973 debut LP\, Buckingham Nicks. Despite a cover that featured the couple nude\, the album flopped\, but it caught the attention of the members of Fleetwood Mac\, who invited Buckingham and Nicks to join their ranks in 1974. In quick time\, the revitalized group achieved unparalleled success: after the LP Fleetwood Mac topped the charts in 1975\, the band recorded 1977’s Rumours\, which sold over 17 million copies and stood for several years as the best-selling album of all time. \nMajor hit singles like “Dreams” and “Rhiannon” made Nicks a focal point of Fleetwood Mac\, and in 1981 she took time off from the group to record her solo debut\, Bella Donna\, which hit number one on the strength of the Top 20 hits “Stop Draggin’ My Heart Around” (a duet with Tom Petty & the Heartbreakers)\, “Leather and Lace” (a duet with Don Henley)\, and “Edge of Seventeen (Just Like the White Winged Dove).” After a return to Fleetwood Mac for the 1982 album Mirage (which featured her hit “Gypsy”)\, Nicks released her second solo effort\, The Wild Heart\, highlighted by the Top Five smash “Stand Back.” Rock a Little\, which featured the single “Talk to Me\,” followed in 1985. \nAfter a long hiatus (during which time Nicks was treated for a chemical dependency problem)\, Fleetwood Mac reunited for the album Tango in the Night; The Other Side of the Mirror\, Nicks’ first solo record in four years\, followed in 1989. After a series of lineup changes and dropping sales figures\, she left Fleetwood Mac in 1993 and issued Street Angel a year later. In 1997\, she rejoined the reunited Fleetwood Mac on tour and on the album The Dance. In 1998 Nicks\, along with her Fleetwood Mac bandmates\, was inducted into the Rock and Roll Hall of Fame\, the same year that her three-disc Enchanted box set landed in stores. \nNicks returned to the studio in 2001 with friends Macy Gray\, Sarah McLachlan\, Sheryl Crow\, and Dixie Chick Natalie Maines for the solo album Trouble in Shangri-La\, and again in 2003 for the Fleetwood Mac reunion album Say You Will. Reprise released the CD/DVD Crystal Visions: The Very Best of Stevie Nicks in 2007\, but it wasn’t until 2011 — almost a decade to the day after Trouble in Shangri-La’s release — that Nicks returned with a new solo album. Produced by Dave Stewart and Glen Ballard\, In Your Dreams found her singing a mix of Bob Dylan-inspired folk songs\, Italian love ballads\, and rock anthems. In Your Dreams debuted at six on Billboard’s Top 200 and generated an adult contemporary hit in “Secret Love.” Nicks rejoined Fleetwood Mac in 2013 for the Extended Play release and a reunion tour that eventually blossomed into a full reunion with Christine McVie. In 2014\, Nicks released 24 Karat Gold: Songs from the Vault\, a collection of newly recorded versions of old songs; it debuted at seven on the Billboard charts. In 2015\, she continued to tour with the reunited Fleetwood Mac and the following year her first two albums\, Bella Donna and The Wild Heart\, were given deluxe reissues. \nIn 2016 and 2017\, Nicks toured with the Pretenders. As Fleetwood Mac was gearing up for a 50th Anniversary tour in 2018\, the group parted ways with Lindsey Buckingham\, replacing him with Neil Finn and Mike Campbell. Nicks was inducted into the Rock & Roll Hall of Fame as a solo act in 2019\, making her the first woman to be inducted twice. To accompany her induction\, Rhino/WMG released the anthology Stand Back: 1981-2017. In October 2020\, she released the song “Show Them the Way\,” which featured contributions from Dave Grohl and Dave Stewart. ~ Jason Ankeny\, Rovi \n \n \n“Always building up\, falling apart. Love is an art\,” sings Vanessa Carlton on the title track of her sixth album\, Love Is An Art. Like the record itself\, the song is a meditation on the eternal seesaw that is human connection: the push\, the pull\, the balance\, the bottoming out. It’s that constantly evolving nature of love\, expectations and compassion that Carlton analyzes from all angles on Love Is An Art\, from romantic\, to parental\, to the friends that hold us up and the leaders that repeatedly let us down. And on tracks like the album’s opener\, “I Can’t Stay the Same\,” that also includes the relationship with the person staring back at us in the mirror\, each and every morning. \nProduced by Dave Fridmann (MGMT\, Flaming Lips)\, Love Is An Art finds Carlton reckoning with toxic relationships (the confessional “Miner’s Canary”)\, eternal partnership (“Companion Star”) and the children who fill the world with love and grace while politicians fill their pockets (the passionate “Die\, Dinosaur\,” written after the shootings in Parkland\, Florida). And true to Carlton’s skill as both a lyricist and an instrumentalist\, the arrangements on Love Is An Art tell these tales as vibrantly as the words themselves: piano parts that speak of rage and tenderness\, synths that burst and glow like dawn.
URL:https://globalazmedia.com/event/stevie-nicks-vanessa-carlton-at-ak-chin-pavilion/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20221007T183000
DTEND;TZID=America/Phoenix:20221007T233000
DTSTAMP:20220927T024445Z
CREATED:20220927T024445Z
LAST-MODIFIED:20220927T024445Z
UID:15056-1665167400-1665185400@globalazmedia.com
SUMMARY:Bring Me The Horizon + Knocked Loose & grandson at Arizona Financial Theatre
DESCRIPTION:BRIT and Grammy-nominated\, multi-platinum-selling quintet Bring Me The Horizon is one of the most electrifying and successful rock bands to emerge from the UK. The group released their gold-certified sixth studio album\, amo\, in 2019\, which debuted at Number 1 in 17 markets and was named “one of the most anticipated albums of 2019” by Billboard\, with NME describing it as “bold\, brilliant and boundary-pushing.” amo garnered the band their second Grammy nomination for ‘Best Rock Album’ after the LP’s first single\, “MANTRA\,” earned them a nod for ‘Best Rock Song’ in 2018. The Sheffield 5-piece also received their first BRIT Award nomination for ‘Best Group’ this year. Bring Me The Horizon has sold over 4 million albums globally to date\, played sold-out shows in over 40 countries\, including two sold out nights at London’s O2 and one night at The Forum in Los Angeles\, wowed a traditionally non-rock crowd at Glastonbury Festival in 2016 and 2018\, and stole the show at high profile festivals across Europe all summer 2019. amo followed 2016’s critically acclaimed\, Platinum-certified That’s The Spirit\, which entered the UK charts and the US Billboard album chart at Number Two. They have now also amassed over 1 billion video views on YouTube.  Bring Me The Horizon are vocalist Oli Sykes\, guitarist Lee Malia\, bassist Matt Kean\, drummer Mat Nicholls\, and keyboardist Jordan Fish. \n \n \nFor A Tear in the Fabric of Life\, Knocked Loose wanted to do something different. Or they may have been forced to. With quarantine upending their extensive touring schedule — “we’ve kind of been consistently on the road since 2014\,” says vocalist Bryan Garris — the group found themselves in early 2020 sequestered near Louisville\, in Oldham County\, Ky.\, where they’re from. By June\, they were hunkered down in a cabin in Pigeon Forge\, Tenn.\, focused on writing a concept album. By the end of September they had finished recording. \nWhat they came up with is a six song-EP that expands on the narratives hinted at on A Different Shade of Blue\, their 2019 full length\, and grows beyond them sonically. It’s the band’s most dynamic and contained offering to date\, and a balancing act: a mid-length EP with grand ambitions and scope\, one full of new sonic elements and a cohesive aesthetic that hangs onto Knocked Loose’s trademark anthemic delivery. \n \n \nGrandson is the pseudonym of Canadian/American alternative artist Jordan Benjamin. He takes elements of his rock and roll\, hip hop and electronic music roots and combines them to tell stories of reclaiming power over one’s life\, confronting social issues facing his generation\, and opening up about struggles with addiction and mental health. Since releasing his Modern Tragedy EP series\, grandson has toured extensively across North America\, Russia\, and Europe\, accumulated hundreds of millions of streams online\, and received co-signs from the biggest names in rock and roll and progressive politics\, from Tom Morello to Bernie Sanders. Now\, grandson has released his debut album\, Death Of An Optimist. This body of work conflates personal anxieties with political realities. As the protagonist\, grandson simultaneously explores the dark underbelly of his unrelenting optimism for change\, by creating an antagonist\, X. An ambitious project\, grandson delivers a subtle A-side/B-side structure totaling twelve tracks\, following grandson and X’s dueling world views. Through DOAO\, grandson delivers an overwhelming urgency to do something\, “After the hardest year of our lives\, it’s time to confront the reflection staring back at you\, because only in doing so can you know who you truly are\,” he says. Showcasing a conflicted soul for intense scrutiny has the benefit of not dictating what is right or wrong. It just shows that we’re in this together.”
URL:https://globalazmedia.com/event/bring-me-the-horizon-knocked-loose-grandson-at-arizona-financial-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/09/Bring-Me-The-Horizon-at-Arizona-Financial-Theatre.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20221007T190000
DTEND;TZID=America/Phoenix:20221007T233000
DTSTAMP:20221002T230950Z
CREATED:20221002T230950Z
LAST-MODIFIED:20221002T230950Z
UID:15078-1665169200-1665185400@globalazmedia.com
SUMMARY:Shinedown at Ak-Chin Pavilion
DESCRIPTION:Multi-platinum\, record-breaking band Shinedown\, Brent Smith [vocals]\, Zach Myers [guitar]\, Eric Bass [bass\, production]\, and Barry Kerch [drums] has sold more than 10 million albums worldwide\, earned 11 platinum and gold singles and four platinum and gold albums\, and amassed more than 1.5 billion total overall streams to date. Each of Shinedown’s singles released throughout their career have reached Top 5 on Billboard’s Mainstream Rock Songs Chart\, an unparalleled feat. The band’s latest album yet\, ATTENTION ATTENTION (Atlantic Records) uproots convention and delivers a personal\, poignant\, and powerful body of work that evolves from ruin to reclamation to revelation. An enduring statement about the resolve of the human spirit emerges\, as seen on tracks like the #1 rock radio hits “GET UP” and “DEVIL.” With a distinct mix of explosive rock n roll spirit\, thought-provoking lyrics\, melodic sensibility and cinematic colors\, ATTENTION ATTENTION\, simultaneously hit #1 on Billboard’s Alternative\, Top Rock and Hard Rock Albums Charts and debuted Top 5 on the Billboard 200. The uplifting anthem “GET UP\,” has been galvanizing listeners around the globe with its offer of hope\, empathy\, and encouragement in the face of personal struggles\, whatever they may be. Hailed for their high-octane live shows\, Shinedown continues to engender diehard love from millions of global fans and has racked up countless sold-out tours and festival headlining sets. \n \n \nBorn and raised in Nashville\, Tennessee\, Jason DeFord\, professionally known as Jelly Roll\, cut his teeth selling mixtapes hand to hand and touring the United States in a Chevrolet conversion van. From run-down dive bars to sold-out music halls\, Jelly Roll’s passionate performance conveys a therapeutic message infused with a wide array of influence spanning from southern rock to dirty south rap. His journey is the epitome of unfiltered authenticity and unrivaled persistence\, and you’ll likely never meet a more charismatic outlaw in your life. \n \n 
URL:https://globalazmedia.com/event/shinedown-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/2022/10/Shinedown-at-Ak-Chin-Pavilion.jpg
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DTSTART;TZID=America/Phoenix:20221014T170000
DTEND;TZID=America/Phoenix:20221014T233000
DTSTAMP:20221007T000032Z
CREATED:20220918T230304Z
LAST-MODIFIED:20221007T000032Z
UID:14940-1665766800-1665790200@globalazmedia.com
SUMMARY:In This Moment + NOTHING MORE + Sleep Token & Cherry Bombs at House of Blues Las Vegas
DESCRIPTION:Initially conceived as a metalcore counterpart to Evanescence\, In This Moment moved into more melodic territory with its fantastical 2008 breakthrough album The Dream. Though capable of throat-scraping screams\, vocalist Maria Brink shone brightest on mature and atmospheric material\, putting In This Moment in the running as a promising goth rock band. The Los Angeles-based act also widened its exposure by touring with the like-minded Lacuna Coil as well as metal veterans Megadeth and Ozzy Osbourne. \nBorn of a chance meeting and the innate musical rapport established between vocalist Maria Brink and lead guitarist Chris Howorth\, In This Moment quickly grew from local cult favorites performing in Los Angeles clubs to a MySpace phenomenon before landing a deal with Century Media. Along the way\, the group was fleshed out by rhythm guitarist Blake Bunzel\, bassist Jesse Landry\, and drummer Jeff Fabb. In This Moment embarked on several U.S. tours with the likes of Diecast and 36 Crazyfists and gradually honed its melodic metalcore songwriting for their 2007 debut album\, Beautiful Tragedy. The band supported it on the Hot Chicks of Metal Tour\, featuring Lacuna Coil and Within Temptation\, among others. The Dream arrived in 2008 and became their breakthrough as well as their first on the album charts. It was followed by the Top 40 A Star-Crossed Wasteland in 2010. \nMultiple changes to the band’s original line-up took place in their earliest years\, with Landry leaving the band in 2009\, replaced by new bassist Kyle Konkiel. Konkiel only lasted a year before he too left the band and was replaced by Travis Johnson in 2010. One of the largest line-up shifts occurred when founding members Jeff Fabb and Blake Bunzel left in 2011. Their replacements — drummer Tom Hane and guitarist Randy Weitzel — stepped in to complete the recording of electro-charged fourth album Blood in 2012. The album was a Top 20 hit. \nThe group moved to a major label\, Atlantic\, for their fifth studio long-player\, 2014’s Black Widow\, and were rewarded with placement inside the Top 10. In 2016\, Hane left the band and former 3 by Design drummer Kent Diimmel took over. In June 2017\, the band dropped the single “Roots” in anticipation of the release of sixth full-length Ritual\, which arrived in July and hit number 23 on the chart. The following year\, recording for their seventh album coincided with a tour\, teasing the theme of “mother” in its stage show. The band pushed their sound into heavier territory\, including on the single “The In-Between” and the album Mother\, which appeared in March 2020. \n \n \nRock audiences count NOTHING MORE among the most cherished acts\, the kind of band who straddle the line between populism and intimacy with every performance. The San Antonio\, Texas-born quartet builds unapologetically massive anthems from catchy hooks. Crowd-pleasers clear a path for heady\, confessional\, thought-provoking emotionalism. Fresh rewards reveal themselves with repeat listens\, welcoming like-minded seekers with rich melodicism\, like the best of Deftones or Tool. \nThose who saw the band on tour with hard rock heavyweights like Shinedown\, Five Finger Death Punch\,Breaking Benjamin\, Papa Roach\, and Disturbed will attest to what The Guardian observed: “There’s a sophistication to NOTHING MORE’s angst that raises them above the tumult-tossed pit. \n”Kerrang! named NOTHING MORE one of 22 Artists Shaping the Future of Rock\, alongside Nine Inch Nails\, Twenty One Pilots\, and Bring Me The Horizon. And frontman Jonny Hawkins\, who met guitarist Mark Vollelunga before they were old enough to drive\, appeared with Billie Joe Armstrong\, Dave Grohl\, and Hayley Williams in the English tastemaker’s Top 50 Greatest Rockstars in the World. \nHawkins and Vollelunga started the band in 2003 and were quickly joined by bassist Daniel Oliver and later by drummer Ben Anderson. The band’s blend of explosive bombast and nuanced storytelling resulted in a half dozen Top 10 singles at Mainstream Rock Radio\, including the No.1 hit “Go to War” and the Sirius XM Octane song of the decade and Active Rock chart-topper “This is the Time (Ballast).”The Stories We Tell Ourselves earned a head-turning three Grammy nominations. They’re set to follow it up with a new albumin 2022\, which is filled with their most philosophical and primal music to date. The first offering\, “TURN ITUP LIKE\,” released in March 2022\, is a fitting first taste of what’s to come. \nNOTHING MORE appeals to fans of Linkin Park\, Incubus\, Rage Against The Machine\, and all crucial acts that stoke relatable passion with authenticity and integrity. Memorize the arena-ready hooks. Get mesmerized by the intimate\, communal live show. Dig deeper down the rabbit hole into the work of philosophers and artists like Eckhart Tolle\, Carl Jung\, and Alan Watts\, who inspire the band. \nThere’s a place for every type of rock fan with NOTHING MORE. Built to last\, here to stay. \n \n \nSleep Token are a masked\, anonymous collective of musicians; united by their worship of an ancient deity crudely dubbed “Sleep”\, since no modern tongue can properly express its name. \nThis being once held great power\, bestowing ancient civilizations with the gift of dreams\, and the curse of nightmares. \nEven today\, though faded from prominence\, ‘Sleep’ yet lurks in the subconscious minds of man\, woman\, and child alike. Fragments of beauty\, horror\, anguish\, pain\, happiness\, joy\, anger\, disgust\, and fear coalesce to create expansive\, emotionally textured music that simultaneously embodies the darkest\, and the brightest abstract thoughts. He has seen them. He has felt them. He is everywhere. \nSleep Token\, led by the perpetually tormented Vessel\, creates music that brings to the fore our most submerged thoughts and feelings\, coaxing them from the desolate\, terrifying caves of our subconscious mind. \n \n \nCherry Bombs bring an entire new way to experience rock and roll music – combining daredevil arts with feminine power\, fearless and dynamic performances feature dance\, fire\, aerial\, grinding\, stilt walking\, and so much more. \nCutting their teeth in the world of motorcycle rallies\, they soon climbed the ranks of live entertainment by being the first group of its kind to bag a national tour with Buckcherry and Black Stone Cherry in 2016. Since then\, Cherry Bombs have appeared in performances and tours nationally and internationally (Stone Sour/Steel Panther\, Corey Taylor\, KnotFest Mexico\, ForceFest Mexico\, KnotFest Colombia)\, on television (AEW)\, and in numerous music videos (Corey Taylor\, 21 Savage\, Fozzy\, Moonshine Bandits). \n2019 saw the premiere of the YouTube docu-series titled\, “Girl Gang”\, which pulled the curtain back to reveal what it takes to put on such a unique show. The series has been met with overwhelmingly positive reception for its raw storytelling and willingness of the performers to show vulnerability. Episodes focus on the inner-workings of Cherry Bombs\, including the adventures\, challenges\, and triumphs they experience. With four seasons of “Girl Gang” out\, fans anxiously await the next one with each passing year. \nLike many in the industry\, the pandemic of 2020 forced Cherry Bombs to cancel their tour. However\, they adapted quickly\, and filmed their headlining show\, “Macabarét” – a story of karma wrapped in temptation\, action\, and danger around every corner. This “eyegasm” of a movie was streamed worldwide and met with rave reviews\, cementing it to become an annual event every October. \nFor 2022\, Cherry Bombs will be hitting the road nationally\, and\, for the first time- reaching their fans across the pond as they travel to select cities in the UK. \n \n 
URL:https://globalazmedia.com/event/in-this-moment-nothing-more-sleep-token-cherry-bombs-at-house-of-blues-las-vegas/
LOCATION:House of Blues Las Vegas\, 3950 Las Vegas Blvd\, Las Vegas\, NV\, 89119\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2022/09/house-of-blues-las-vegas.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20221027T160000
DTEND;TZID=America/Phoenix:20221027T233000
DTSTAMP:20221020T202741Z
CREATED:20221020T202741Z
LAST-MODIFIED:20221020T202741Z
UID:15412-1666886400-1666913400@globalazmedia.com
SUMMARY:A Day To Remember | The Used | Movements & Magnolia Park at Mesa Amphitheatre
DESCRIPTION:Over the course of the past several years\, each of A Day To Remember’s releases have hit No. 1 on Billboard’s Rock\, Indie and/or Alternative Charts. They’ve also sold more than a million units\, racked up over 800 million Spotify streams and 500 million YouTube views\, two Gold-selling albums and singles (and one Silver album in the UK) and sold out entire continental tours (including their own curated Self Help Festival)\, amassing a global fanbase whose members number in the millions. All of which explains why Rolling Stone called them “An Artist You Need To Know.” In other words\, their creative process has worked and worked well. But for new album Bad Vibrations\, the Ocala\, Florida-based quintet switched gears and headed for uncharted territory. \n“We completely changed the way we wrote\, recorded and mixed this album\,” says vocalist Jeremy McKinnon. “It was one of the most unique recording experiences we’ve ever had. We rented a cabin in the Colorado mountains and just wrote with the five of us together in a room\, which was the polar opposite of the last three albums we’ve made. We just let things happen organically and in the moment. I think it forever changed the way we make music.” \nBad Vibrations debuted at #2 on the Billboard 200 and #1 on the Top Album Sales Chart. It was also the #1 album in Australia\, #6 in the UK and #7 in Germany. \nOn Aug 20 the band debuted their new single ‘Degenerates’. \n \n \nThe Used is an American alternative rock band from Orem\, Utah. Their sound has been classified under many sub-genres of rock. They signed with Reprise Records in late 2001 and rose to fame in June 2002 after releasing their debut self-titled album\, The Used. Soon after a CD/DVD package named “Maybe Memories” was released containing unheard demos and a “behind the scenes” story of the band/band’s past. They followed up with their second album\, In Love And Death\, in September 2004 and their third album\, Lies For The Liars\, in May 2007. An EP\, Shallow Believer\, was released in February 2008 that featured most of the band’s B-sides to date. They spent the entire year of 2008 working on their fourth studio album\, Artwork\, which was released September 1st\, 2009. The band has achieved both Gold and Platinum statuses in over 6 countries worldwide. Speaking with Songfacts\nin a 2012 interview\, The Used bassist Jeph Howard said that “A Box Full of Sharp Objects” is probably his favorite song by the band. \nA few years ago\, while preparing to send the album art for b-side collection Shallow Believer to his record label\, Bert McCracken scrawled the word “Artwork” across its cover in silver ink. The sentiment\, which\, to Bert and his bandmates in The Used\, resonated with both extreme simplicity and indescribable complexity\, said everything without really having to say anything. Now\, the Utah band has titled their fourth full-length album with that very word: Artwork. \nThe group started writing the album after finishing the Taste of Chaos International tour in 2007\, slowly collecting and jamming out ideas with no concrete intention beyond making the songs as dirty as possible. The Used\, whose last album\, 2007’s Lies For the Liars\, debuted at No. 5 on the Billboard Top 200\, spent the first half of 2008 in LA exploring and refining these ideas\, eventually piecing tangential riffs and melodies into a scattering of songs that contained a surprisingly cohesive sensibility. The band members dubbed the music they were writing “gross pop\,” their own new genre of hook-laden numbers that pushed the boundaries of the grotesque. Tracking for the album began in June of 2008 with producer Matt Squire and eventually concluded in February of 2009\, primarily at LA studios The Lair and NRG. Between a few sporadic tours\, the band spent about three months total recording with Squire where they allowed their creativity to dictate when they worked on something. \n“I wouldn’t say it was hard to make any of the record but it definitely was time consuming\,” Bert says. “We worked on our time table. The band allowed me to create when I was able to create\, which was a good thing. I didn’t feel pressure to force things. There was no specific time I had to do anything. If we were in the studio and I’d been working on lyrics for five hours and nothing came out\, we would just try again tomorrow.” \nIn the studio Squire approached the recording process with a laid-back attitude the band both appreciated and needed. The decision to work with a new producer after establishing a longtime relationship with producer John Feldman\, who was at the helm of the band’s past three albums (Lies For the Liars\, as well as 2004’s In Love and Death and 2002’s The Used\, both of which were certified gold)\, was derived from a simple desire for change. The Used wanted to see what would happen if they entered the studio with someone different\, a process guitarist Quinn Allman compares to “breaking up with your girlfriend not because you don’t love her but because you need to try something new.” \n“It wasn’t that we absolutely didn’t want to work with Feldman or that we absolutely wanted to work with Squire\,” Bert explains. “It was more that the band needed a change. We wanted to try something different and have it sound a lot different. It took a few weeks for us to get a vibe for each\, but once we got used to it\, it was really easy. Squire brought in this willingness to try anything and an open mind and a good attitude. I feel like he was really in touch with what the band wanted to do and he was really supportive of our ideas.” \nThe result is a raw collection of twelve songs that not so delicately teeter the line between being aggressively discordant and charmingly hooky. The first single “Blood On My Hands\,” which Quinn describes as the song that “sums up everything about The Used\,” is confined chaos\, brutally thrashing one moment and proffering a pop-driven\, sing-along chorus the next. “Empty With You\,” a track Bert says is “about feeling empty and lonely but as long as you have someone who can feel lonely with you then everything’s okay\,” surges with passion and gripping honesty\, while “Cut Yourself” balances the album’s predilection for propulsive rage with its quieter\, piano-driven exploration of what it means to have someone to lean on. \n“This record is more sincere\,” Quinn says. “It’s got a sound more reminiscent of the first record. Lyrically\, it completely engulfs you and makes you feel safe but it’s all about feeling alone and empty and knowing there’s always a light. If you’re frustrated that much it means you care that much. The lyrics carry you through the record and you’re right with Bert and where he’s at. The music isn’t showing off. It’s just being what it is. I think the fans will appreciate all that.” \n“This record is about coming together\,” Bert adds. “Whether it’s through positivity or negativity\, it’s about coming together through anything.” \nArtwork encapsulates the past eight years of a band that’s played tours and festivals like Warped Tour\, Ozzfest\, Projek Revolution\, Give It a Name\, Reading and Leeds and SxSW\, and sold over two million albums in the States alone\, while simultaneously urging them forward. It’s a collaborative effort that drew The Used closer together during its creation. It’s about love and mortality and the basic human emotions we all experience every day. It’s biting and gritty\, and it’s melodic and catchy. It’s a new chapter for a band that’s constantly sought to redefine the bounds of pop music—and have always successfully done so. It’s a reminder\, as Bert says\, “we’re all artists creating our own art just by living it.” \n“I Come Alive” is the first single from The Used’s fifth album\, Vulnerable. It is the first release on the band’s own label\, Anger Music Group\, an imprint of Hopeless Records. The song was released on January 17\, 2012. (I Come Alive Songfacts). \n \n \nReflecting personal changes from a whirlwind five years\, Movements realize the full scope of their storytelling\, musicianship\, and vision on their second full-length album\, No Good Left To Give [Fearless Records]. Not only does the music address the emotional push-and-pull of relationships\, but it also explores loss\, love\, mental health\, and even intimacy through a prism of newfound clarity soundtracked by post-punk grit\, alternative expanse\, heartfelt spoken word\, expansive rock\, and subtle pop ambition. The Southern California quartet—Patrick Miranda [vocals]\, Ira George [guitar]\, Spencer York [drums]\, and Austin Cressey [bass]—quietly worked towards this moment since forming in 2015. Following the 2016 EP Outgrown Things\, the group cemented a singular sound on their 2017 full-length debut\, Feel Something. Eclipsing 40 million total streams by 2020\, it immediately connected by way of “Daylilly” [11.1 million Spotify streams]\, “Full Circle” [6.1 million Spotify streams]\, and “Colorblind” [5.5 million Spotify streams]. Along the way\, the four-piece received acclaim from Brooklyn Vegan\, AXS\, Rock Sound\, Culture Collide\, and more. In between packing shows worldwide\, they joined forces with Alzheimer’s Association for the “Deadly Dull” video and covered “Losing My Religion” by R.E.M. for the Songs that Saved My Life compilation. \n \n \nIt’s no secret that Epitaph Records has been the breeding ground for some of the most legendary punk acts in existence and Magnolia Park carry on in that tradition with their highly anticipated debut full-length\, Baku’s Revenge. Since forming in Orlando\, Florida\, in 2019\, the six-piece act—vocalist Joshua Roberts\, guitarists Tristan Torres and Freddie Criales\, bassist Jared Kay\, drummer Joe Horsham and keyboardist Vincent Ernst—have released an EP\, mixtape and handful of singles and toured with everyone from Sum 41 to Simple Plan as a way to bring their upbeat brand of pop-punk to the masses. While Magnolia Park’s music is at times lighthearted\, the ethnically diverse act are also serious about spreading a message of inclusivity and inspiring other kids like them to start bands as a form of creative expression. “Our goal when we’re together is to make sure the next generation doesn’t have to face as much racial backlash for being a rock band\,” Torres explains. “In the industry\, people look at us a certain way and try to impose things on us—and we want to make sure the next generation of rock bands don’t have to go through what we’ve been through.”
URL:https://globalazmedia.com/event/a-day-to-remember-the-used-movements-magnolia-park-at-mesa-amphitheatre/
LOCATION:Mesa Amphitheatre\, 263 N. Center St\, Mesa\, 85201\, United States
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DTEND;TZID=America/Phoenix:20221028T233000
DTSTAMP:20221020T191355Z
CREATED:20221020T191355Z
LAST-MODIFIED:20221020T191355Z
UID:15404-1666981800-1666999800@globalazmedia.com
SUMMARY:AFI at Marquee Theatre
DESCRIPTION:AFI are leaders\, not followers. A collective in a perpetual state of creative evolution as fluid as the evocative figures contorting on the cover of Bodies\, their newest collection of songs. The record is a snapshot of unrelenting artists in motion\, unconcerned with compromise or outside demands. \nThe band initially summoned a steady subcultural groundswell in the mid-90s\, devoid of careerist ambitions. The band first made music as teenaged misfits in an obscure Northern California town\, steadily assembling a dense catalog over the years marked by its diversity and authenticity. \nThe platinum success of Sing the Sorrow blazed a path for a generation of hardcore-punk weaned bands to similarly crossover. 2006’s Decemberunderground upended expectations again and earned AFI a second platinum plaque. Crash Love was another adventurous turn\, with expansive and almost optimistic-sounding melodies\, glistening with emotion. The haunting Burials arrived four years later\, debuting in the Top 10 of the Billboard 200. The self-titled follow-up\, commonly referred to as “the Blood Album\,” became AFI’s second-highest charting album since their inception\, debuting at No. 5 in 2017. \n \n \nKnown for their androgynous image\, prominent use of reverb-laden guitar work\, and forlorn vocals akin to the style of early Killing Joke\, Drab Majesty are an alternative neo-goth project from Los Angeles\, California. Led by singer/songwriter Andrew Clinco (aka Deb DeMure)\, Drab Majesty came about after Clinco decided to focus his creative energy on his own work\, primarily geared toward particular aural and visual aesthetics. Following their emergence in 2011\, the group gained critical acclaim in 2015 with their DAIS Records debut Careless\, and 2017 follow-up The Demonstration. \nRaised in a musical household during the early 2000s\, Clinco became more interested in making music after discovering abandoned vinyl in the bins of the local thrift stores around Hollywood. He developed a taste for the culturally defining sounds of acts from previous decades such as Siouxsie and the Banshees\, Red Lorry\, Yellow Lorry\, and Felt. Clinco also found time to build up his own musical abilities by teaching himself to play his father’s guitar and attending regular church visits with his grandmother\, where the expansive range of the church choir and the naturally cavernous acoustics of the church would later influence his eclectic vocal style. \nOver time\, Clinco began to experiment with various instruments and styles\, and eventually found his first niche in handling drum duties for post-rock outfit Marriages and neo-goth darkwave band Black Mare. After having established himself on the gig circuit and extensive recordings with both bands\, Clinco felt he needed to delve deeper into his own creativity and inner consciousness by developing a multi-angled project of his own. Interested in creating something that traversed visual arts as well as aural textures in which he could become “a vessel” for outside influences flowing inwardly through him\, the idea ultimately resulted in the character of Deb DeMure and the world of Drab Majesty. Opting for a blend of ’80s-esque new wave with jangly\, reverberated guitars and ethereal synth leads\, DeMure amassed a number of songs\, and Drab Majesty put out the independent release Uranian Dances in 2012 in a limited run of 100 cassette tapes. The effort was later picked up and re-pressed by Lollipop Records. \nDrab Majesty then went on to sign with DAIS Records and release the full-length effort Careless in late 2015. The record was a success\, with many critics praising its use of nostalgic sound and its crystalline production techniques. Drab Majesty then went out on the road to promote the record\, in support of acts such as Clan of Xymox\, the Black Queen\, and DAIS labelmates King Dude and Youth Code. It was around this time that DeMure added keyboardist Alex Nicolaou (aka Mona D) to the band. These numerous live appearances\, both in the U.S. and overseas\, began to expose the project to a wider audience\, earning them an ever-increasing fan base. \nIt wasn’t long until Drab Majesty’s followers were demanding another full-length release. They got what they wanted with The Demonstration\, issued in early 2017. The effort featured the project’s signature sound alongside more prominent use of synthesizers\, effects\, and post-punk-influenced guitar work. They spent the following year writing and recording their third LP. Modern Mirror arrived in May 2019. ~ Rob Wacey\, Rovi
URL:https://globalazmedia.com/event/afi-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States
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DTSTART;TZID=America/Phoenix:20221028T183000
DTEND;TZID=America/Phoenix:20221028T233000
DTSTAMP:20221026T021726Z
CREATED:20221026T021726Z
LAST-MODIFIED:20221026T021726Z
UID:15423-1666981800-1666999800@globalazmedia.com
SUMMARY:I Prevail | Pierce The Veil & Fit For A King at The Van Buren
DESCRIPTION:Platinum-certified and twice GRAMMY-nominated Michigan rock powerhouse I PREVAIL — Brian Burkheiser (vocals)\, Eric Vanlerberghe (vocals)\, Steve Menoian (guitars/bass)\, Dylan Bowman (guitars)\, and Gabe Helguera (drums) — have announced their first North American headline tour in support of their new album TRUE POWER. Their much-anticipated album was just released via Fearless Records on August 19. You can check out the video for “Body Bag” here. Also\, the band shows off its dynamic chops with “Self-Destruction” here. \n  \nI Prevail have established themselves as the forerunners of the genre in the 21st century. TRUE POWER\, once again produced by Tyler Smith\, features the sort of stadium-sized riffs that will rattle your teeth loose from your gums and unforgettable\, supremely catchy melodies that will camp out in your brain for weeks at a time. The band also alternately mixes screamed vocals that sound as though they crawled from the depths of hell with soaring\, emotional vocals and heartfelt\, intimate lyrics that go so deep\, they hit marrow. The end result is an album that resonates with the listener in the most personal way. Rising to an arena level and receiving two Grammy nominations\, I Prevail proved that they were built to last. \n \n \nRight now\, Pierce the Veil are at their most raw\, crackling with urgency and immediacy. Never predictable\, always engaging\, Pierce the Veil continue to soar on the strength of highly potent energy\, rich musicality\, and a scrappy sense of authentic exuberant ambition that’s frankly unrivaled. Frontman Vic Fuentes\, guitarist Tony Perry\, and bassist Jaime Preciado put volatile\, angsty\, confessional emotions into the music\, which is why their songs resonate with so many. “No matter where the band performs\, fans will show up\,” wrote Loudwire. “When you see Pierce The Veil live\, you’ll understand why.” \nPTV’s evolution from album to album is nothing less than stunning. The early buzz generated by A Flair for the Dramatic (2007) made its follow-up one of the most anticipated albums of 2010. Selfish Machines shot to No.1 on Billboard’s Heatseekers chart. The Chicago Tribune saluted Collide with the Sky for its “post-hardcore punk with more than a few nods to Queen.” They became a true arena act on Misadventures\, selling out huge venues without losing the intimate connection with their fans. \nPierce the Veil have long cemented their status as one of the most exciting and relevant acts in their genre — by constantly evolving. \n \n \nTrauma and tragedy transfer from one generation to the next. As difficult as it may be\, we still possess the power to break the cycle and start anew. Fit For A King ponder the pain of these cycles and the possibility to end them on their seventh full-length offering\, The Hell We Create [Solid State]. The Texas quintet—Ryan Kirby [vocals]\, Bobby Lynge [guitar]\, Daniel Gailey [guitar]\, Ryan “Tuck” O’Leary [bass]\, and Trey Celaya [drums]—explore this ebb and flow with a deft\, yet delicate balance of sharp metallic intensity and soaring melodic energy. “The album is a reflection of the events that happened throughout the pandemic\,” recalls Ryan. “In short\, my wife and I adopted children and had to homeschool them. She almost died from a stroke. The Hell We Create is by far the deepest and most personal record we’ve ever written.” In 2011\, Fit For A King emerged out of Texas with a searing signature style rooted in metal and hardcore and uplifted by hypnotic hooks. Following the breakout LP Creation/Destruction [2013]\, they earned four consecutive Top 5 debuts on both the Billboard Top Christian Albums Chart and the Top Hard Rock Albums Chart with Slave to Nothing [2014]\, Deathgrip [2016]\, Dark Skies [2018]\, and The Path [2020]. The latter marked their first #1 on the Top Christian Albums Chart and Top 10 on the Billboard Top Album Sales Chart. Plus\, the band collaborated with fellow heavy-hitters such as August Burns Red and We Came As Romans. \n \n 
URL:https://globalazmedia.com/event/i-prevail-pierce-the-veil-fit-for-a-king-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
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