BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Global AZ Media - ECPv6.16.4.1//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Global AZ Media X-ORIGINAL-URL:https://globalazmedia.com X-WR-CALDESC:Events for Global AZ Media REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/Phoenix BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0700 TZNAME:MST DTSTART:20220101T000000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/Phoenix:20230307T183000 DTEND;TZID=America/Phoenix:20230307T233000 DTSTAMP:20230226T230533Z CREATED:20230226T230533Z LAST-MODIFIED:20230226T230533Z UID:16034-1678213800-1678231800@globalazmedia.com SUMMARY:Static-X - Rise of The Machine Tour 2023 at The Van Buren DESCRIPTION:American metal crew Static-X emerged at the tail end of the ’90s\, pushing an aggressive thrash metal blend with industrial overtones and a techno pulse. Their breakthrough debut\, 1998’s cult classic Wisconsin Death Trip\, rocketed them to stardom in the heavy music world\, their image boosted by frontman Wayne Static‘s distinctive hair and vocal delivery. While maintaining momentum into the 2000s with additional efforts like Machine and Shadow Zone\, Static‘s passing in 2014 effectively halted the group in their tracks. However\, at the close of the decade\, the original lineup made a comeback with the help of previously recorded Static vocals\, issuing Project Regeneration in 2020. \nStatic-X’s roots trace to the Midwest\, where vocalist/guitarist Wayne Static grew up in Michigan and drummer Ken Jay in Illinois. They ended up in Chicago separately and met at the record store where Jay worked\, introduced to one another by future Smashing Pumpkins vocalist Billy Corgan (who was in the band Deep Blue Dream with Static). Static and Jay decided to head west to California and start up a new band. Shortly after their arrival\, Osaka native Koichi Fukada responded to the duo’s ad and became their new guitarist\, as well as programmer. Bassist Tony Campos\, the only true Californian\, was the final piece of the puzzle. Signed to Warner Brothers in February 1998\, Static-X debuted with Wisconsin Death Trip a year later. The album was a hit and eventually certified platinum\, bolstered by the strength of the singles “Push It” and “Bled for Days.” Despite the success\, founding guitarist Fukada briefly left the group in 2000\, replaced by Tripp Eisen (ex-Dope) for 2001’s gold-certified Machine\, their highest-charting effort to date. Further lineup changes followed\, as drummer Jay left after the 2003 album Shadow Zone. Soon after\, misdemeanor charges forced Eisen to leave the band in 2004 (he was later convicted and spent a year in prison). Still\, Static-X was undeterred. Static tapped Fukada to rejoin on guitar and programming in 2005\, while touring drummer Nick Oshiro took over full-time. \nIn June 2005\, a rejuvenated Static-X returned to recording with Start a War\, home to the single “I’m the One.” Fifth album Cannibal arrived in 2007\, charting inside Billboard’s Top 40. The band toured and released a CD/DVD document\, Cannibal Killers Live\, then settled into the recording of their sixth studio album\, Cult of Static. Released in March 2009\, it debuted inside the Top 20\, their second highest showing to date. The group went on hiatus not long after finishing a lengthy tour\, with Wayne Static announcing a renewed focus on his Pighammer side project\, with contributions from his wife\, Tera Wray. In 2011\, Pighammer appeared as a solo album under his own name. A year later\, he re-formed Static-X — minus any of the original members. The lineup\, which consisted of his solo backing band\, mounted a tour but broke up by 2013\, and a year later\, Wayne Static was dead of a drug overdose at the age of 48. Just over a year after that\, his widow Tera Wray took her own life. \nThis tragedy seemed to spell the end of Static-X\, but a few years later\, the remaining bandmembers patched up their differences and decided to see if they could salvage anything from past recordings. Starting from a slew of unreleased demos\, the group went into the studio\, once again with Ulrich Wild\, where they stripped Wayne‘s vocals from the demos and composed entirely new tunes around them. The resultant album\, Project Regeneration\, was released in two volumes\, with Vol. 1 arriving in the summer of 2020. To support the release\, the band embarked on tour with a new\, masked frontman named Xer0\, rumored to be Edsel Dope of Dope. Lead single “Hollow” crashed the U.S. Dance/Electronic chart\, peaking in the Top 15. ~ Neil Z. Yeung & Josh Loehr\, Rovi \n \n \nOne can’t overstate the size of the Fear Factory boot print on the neck of heavy metal. Unleashing influential albums with devastating anthems for over 30 years\, Fear Factory is widely recognized as both crucial and innovative in extreme metal circles. Fear Factory manufactured\, demanufactured\, and remanufactured a sound that reverberates across several subgenres. They perfected an explosive blend of staccato paint-stripping riffs\, industrial-tinged drums\, electronic flourishes\, and a scream/sing dichotomy\, all of which became staples in heavy music\, ever since the group first emerged in L.A. \nFear Factory records are cinematic in scope; sonic landscapes\, echoing the dystopian post-apocalyptic futures found in classic sci-fi literature and films\, from Ray Bradbury to Blade Runner. Aggression Continuum\, the tenth studio album\, is the culmination of three decades of unforgettable songs\, performances\, and forward-thinking storytelling concepts\, while simultaneously rebooting Fear Factory onto a brilliant and excitingly unpredictable new path. \nAggression Continuum boasts the definitive attack of songs like “Recode\,” “Distruptor\,” and “Purity.” The riffs\, concepts\, and passion remain strong\, as Fear Factory celebrates its past\, present\, and future. Whatever may come\, Fear Factory will be there\, a soundtrack to humankind’s uncertain times ahead. \n \n \nAn uncompromising New York City-based outfit that draws from both heavy metal and industrial music\, Dope’s confrontational emissions evoke Ministry\, Skinny Puppy\, and White Zombie. Emerging in 1999 with the hard-hitting Felons and Revolutionaries\, the group continued to beat the post-industrial drum on 2005’s American Apathy and 2018’s Blood Money\, Part 1\, while managing to weave in elements of speed\, alternative\, rap\, and nu-metal. \nThe quintet was formed in the Chicago area by brothers Edsel Dope (lead vocals\, rhythm guitar) and Simon Dope (keyboards). Simon studied chemistry at the University of Florida\, then received a scholarship to Polytechnic in Brooklyn. There he was joined by his brother\, with the two claiming to have financed their demos by selling drugs. The initial incarnation of the band included lead guitarist Tripp Eisen\, bass player Acey Slade\, and drummer Preston Nash. They began a selective series of gigs in late 1997. In October 1998\, they were signed to Flip Records\, which made a production deal with Epic. \nDope’s debut album and best-selling release to date\, Felons and Revolutionaries\, was released in September 1999. The Dope brothers gutted their lineup after the ensuing tour\, switching Slade to guitar and bringing in original bassist Sloane Jentry\, guitarist Virus\, and drummer Sketchy Shay. In the fall of 2001\, they released their second album\, Life. Two years later\, the band inked a deal with Artemis and issued the nu-metal-leaning Group Therapy. The punitive American Apathy arrived in summer 2005\, featuring covers of Depeche Mode‘s “People Are People” and N.W.A‘s “Fuck tha Police.” It topped the Billboard Heatseekers chart upon release. No Regrets was issued four years later\, and featured a guest appearance by Zakk Wylde. After an extended hiatus\, Dope’s classic lineup returned with a new album and coinciding tour. The band — Edsel Dope\, Acey Slade\, Virus\, and Racci Shay — released Blood Money\, Pt. 1 in late 2016\, with a sequel\, the aptly-named Blood Money\, Pt. 2\, arriving in 2019. \n \n \nKnown for their theatrical live show and the black masks that most of their members wear on-stage\, Mushroomhead are one of the more unique and adventurous alternative metal outfits that emerged in the 1990s. The band’s forceful yet melodic alternative metal incorporates elements of hip-hop\, punk\, and goth rock as well as industrial and techno. Since releasing their eponymous debut in 1995\, Mushroomhead have sold over two million albums worldwide\, with highlights arriving via 2003’s XIII\, 2006’s Savior Sorrow\, and 2014’s The Righteous & the Butterfly. \nThe members of Mushroomhead have been performing incognito since 1993\, when drummer Skinny founded the band. At first\, Mushroomhead were only meant to be a side project. Their members were playing in various local bands at the time\, and they wore the blacks masks (which look like a cross between S&M/bondage masks and World War I gas masks) so that people wouldn’t recognize them. The only Mushroomhead member who doesn’t wear a black mask opts for Kiss-like clown makeup instead. After a few years\, the group became one of Cleveland’s top local attractions — and the bandmembers kept wearing the masks when they saw how intriguing people found them to be. \nMushroomhead’s self-titled debut album was released independently in 1995\, followed by Superbuick in 1996 and M3 in 1999. The Midwesterners signed with Eclipse in 2000\, and their next record\, XX\, came out the following year. In 2001\, Mushroomhead’s members included drummer/founder Skinny\, lead vocalists J-Mann and Jeffrey Nothing\, guitarists Bronson and Gravy\, keyboardist Shmotz\, bassist Pig Benis\, and sample provider Stitch when they signed to Universal Records to re-release XX. Their first proper effort for the label was 2003’s dynamic XIII\, but the band soon parted ways with not only Universal but also vocalist J-Mann during a subsequent tour. Undeterred\, Mushroomhead pressed on with their D.I.Y. ethos intact and welcomed new frontman Waylon\, formerly of 3 Quarters Dead\, into the fray. \nThe concert film Mushroomhead\, Vol. 1 followed in mid-2005 before the group returned in September 2006 with the critically acclaimed Savior Sorrow\, released through New York-based indie Megaforce Records. Beautiful Stories for Ugly Children\, the band’s seventh studio album\, arrived in 2010\, followed in 2014 by The Righteous & the Butterfly\, the latter of which became the group’s first album to crack the Top 20 of the Billboard Top 200. 2020’s A Wonderful Life introduced new members Steve Rauckhorst and Jackie LaPonza (vocals)\, and Tom Shaffner (guitar)\, who replaced longtime vocalist Jeffrey Nothing and guitar player Tommy Church. It was Mushroomhead’s eighth studio LP and first outing for Napalm Records URL:https://globalazmedia.com/event/static-x-rise-of-the-machine-tour-2023-at-the-van-buren/ LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2023/02/Static-X-Rise-of-The-Machine-Tour-2023-at-The-Van-Buren.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Phoenix:20230308T180000 DTEND;TZID=America/Phoenix:20230308T233000 DTSTAMP:20230301T022346Z CREATED:20230301T022346Z LAST-MODIFIED:20230301T022346Z UID:16054-1678298400-1678318200@globalazmedia.com SUMMARY:Cradle Of Filth & DevilDriver at Marquee Theatre DESCRIPTION:A British extreme metal institution\, Cradle of Filth emerged in 1991 with a style that leaned heavily toward black metal. As the years progressed\, their sound evolved as well\, with elements of gothic and symphonic metal taking over\, resulting in a more commercial approach that yielded internationally charting efforts like Damnation and a Day (2003)\, Thornography (2006)\, Hammer of the Witches (2015)\, and Existence Is Futile (2021). \nCradle of Filth formed in 1991\, originally comprised of vocalist Dani Filth (born Daniel Lloyd Davey)\, guitarist Paul Ryan\, his keyboardist brother Benjamin\, bassist John Richard\, and drummer Darren. After recording a demo dubbed Invoking the Unclean a year later\, the group recruited guitarist Robin Eaglestone\, who quit soon after recording a second demo\, Orgiastic Pleasures; however\, when Richard exited the band a short time later\, Eaglestone stepped back in to assume bass duties\, opening the door for guitarist Paul Allender. Following a third demo\, Total Fucking Darkness\, Cradle of Filth — with new drummer Nicholas Barker — signed with the Cacophonous label\, issuing their proper debut\, The Principle of Evil Made Flesh\, in mid-1994. \nThe lineup changes continued when the Ryan brothers both departed to form the Blood Divine (and Allender left as well)\, making room for guitarists Stuart Antsis and Jared Demeter and keyboardist Damien Gregori to debut on the 1996 mini-LP Vempire or Dark Faerytales in Phallustein. For the full-length Dusk and Her Embrace later that same year\, Gian Pyres took Demeter’s spot\, and afterward\, Gregori was replaced by keyboardist Les Smith; at any rate\, the album substantially expanded the group’s growing cult following. COF’s next effort\, Cruelty and the Beast\, appeared in 1998\, amid the band’s steadily growing reputation for elaborate Alice Cooper/Marilyn Manson-style concert theatrics. Two years later\, they returned with From the Cradle to Enslave\, an EP that featured new drummer Adrian Erlandsson (formerly of Sweden’s At the Gates and the Haunted)\, as Barker had departed to join Dimmu Borgir. \nThe band’s dizzying lineup changes continued apace as Paul Allender rejoined the group and Martin Powell (ex-Anathema and My Dying Bride) replaced Smith on keyboards for the full-length Midian\, which was appropriately released on Halloween in 2000. Bitter Suites to Succubi was issued on Spitfire in summer 2001. The group added a choir and orchestra to the lineup for 2003’s Damnation and a Day on Red Ink\, and moved to Roadrunner for 2004’s Nymphetamine. Thornography followed on Roadrunner in 2006\, a year that also saw the release of The Cradle of Filth Box Set. Eleven Burial Masses\, a collection of live material\, arrived in 2007\, followed by the concept album Godspeed on the Devil’s Thunder in 2008\, which saw Erlandsson replaced by new drummer Martin “Marthus” Škaroupka. \nIn 2010\, the band left Roadrunner\, signing to Peaceville in Europe and Nuclear Blast in the U.S. for the release of their ninth studio LP\, Darkly\, Darkly\, Venus Aversa\, a concept album that focused on the myth of the demon Lilith\, the alleged first wife of the biblical Adam. It was the first Cradle record not to contain any instrumental tracks\, and also featured the sole appearance with the band of keyboardist Ashley Ellyllon\, formerly of Abigail Williams. In 2012\, reduced to the trio of Filth\, Allender\, and Škaroupka\, the group released The Manticore and Other Horrors\, on which they did a bit of a turnabout\, returning female vocals and hardcore punk riffs to the fore. A deluxe remastered and expanded edition of their early demo\, Total Fucking Darkness\, was released in May 2014; featuring additional\, previously unreleased tracks\, it proved a stopgap. \nCradle of Filth’s Hammer of the Witches was announced in May 2015\, marking the first new music from the group in three years — the longest gap in their career. It featured a new lineup that included guitarists Marek Ashok Šmerda and Richard Shaw (marking a return to twin-guitar harmonies) and new keyboardist/female vocalist Lindsay Schoolcraft. The video for “Right Wing of the Garden Triptych” was released in May\, followed by online streams of “Deflowering the Maidenhead\, Displeasuring the Goddess\,” and “Enshrined in Crematoria” in late June. The album arrived in mid-July. \nCradle of Filth announced their 12th album\, Cryptoriana: The Seductiveness of Decay\, in June 2017. Produced by longtime collaborator Scott Atkins in Suffolk\, the set was inspired by the Victorian obsession with death and the supernatural\, and was issued in September while the band were already promoting it on tour. It would be five more years before fans saw another record from the group. Entitled Existence Is Futile and concerned with existential dread\, their 13th album was released in October 2021. The preceding year’s COVID-19 lockdown postponed its release\, allowing them longer to work on it\, rewriting and restructuring their demos to produce the best work possible. Recorded once again with Atkins\, it was their first to feature new keyboardist/backing vocalist Anabelle Iratni. Guitarist Stuart Antsis\, who played with Cradle of Filth from 1995 to 1999\, died on August 21\, 2022\, at the age of 48. \n \n \nA punishing groove and melodic death metal unit based out of Santa Barbara\, California\, DevilDriver originally operated under the moniker Deathride before a copyright issue forced them to adopt a new name. Co-founded by Coal Chamber vocalist Dez Fafara\, who remains the group’s lone original member\, the band debuted in 2002\, but didn’t truly catch fire until the release of 2007’s Last Kind Words\, which heralded a string of high-charting albums like Pray for Villains (2009)\, Winter Kills (2013)\, Trust No One (2016)\, and the concept double album Dealing with Demons (2020 and 2021). Despite enduring numerous personnel shifts\, the band has maintained a lean\, loud\, and punitive sonic attack that has established them as one of the more reliable heavy music purveyors of the early 21st century. \nFollowing the dissolution of his Marilyn Manson/Korn-influenced nu-metal band Coal Chamber\, vocalist Dez Fafara hooked up with guitarists Evans Pitts and Jeffrey Kendrick\, bassist Jon Miller\, and drummer John Boecklin to form DevilDriver — a rather more extreme band dedicated to the subsequent hardcore-meets-death-metal trends. Signed to Roadrunner like Fafara’s previous group\, DevilDriver released their eponymous debut in 2003\, followed a sophomore effort\, The Fury of Our Maker’s Hand (where Pitts was replaced by Mike Spreitzer)\, a couple years later. 2007’s Last Kind Words was the group’s first outing to crack the Billboard 200\, but they got their day in the sun when their 2009 album\, Pray for Villains\, debuted at number 35 and found success in Europe as well. After touring with groups like Behemoth and Slipknot\, DevilDriver went back into the studio to begin work on their fifth album. the resulting Beast\, produced by Mark Lewis\, was released in 2011\, and would be their last album to feature longtime bassist Jon Miller. The band would team up with Lewis again for its next album\, Winter Kills\, their highest-charting LP to date\, which arrived in the summer of 2013 via Napalm Records. 2014 saw the departures of drummer John Boecklin and guitarist Jeff Kendrick\, which prompted Fafara to put the band on hiatus until 2016. The group did indeed resurface that year\, releasing its seventh studio album\, Trust No One\, which would be the first DevilDriver outing for three new members\, ex-Chimaira drummer Austin D’Amond\, guitarist Neal Tiemann\, and ex-Static-X bassist Diego Ibarra. In 2018\, Fafara\, a longtime fan of outlaw country\, fulfilled his ambition to unite the genre with metal on DevilDriver’s eighth album\, Outlaws ’til the End\, Vol. 1. A collection of covers of classics of the genre refashioned in the band’s inimitable powerhouse style\, it featured guest vocals from several metal and country artists including Randy Blythe\, Brock Lindow\, Burton C. Bell\, John Carter Cash\, and Hank Williams III. Prior to that album’s release\, Fafara mentioned to the press that the band had written 48 songs that were ready to record. The first fruits of those sessions appeared in 2020 as Dealing with Demons I\, the initial part of a double album which included the COVID-19-themed single “Keep Away from Me” and a collaboration with Fafara’s son Simon Blade on “You Give Me a Reason to Drink.” Early 2021 saw the band part ways with guitarist Neal Tiemann\, who was replaced by Cody Haglund. The second installment of the concept LP\, Dealing with Demons II\, arrived later that year. \n \n \nBlack Satellite is a rock duo from NYC comprised of Larissa Vale and Kyle Hawken. Having been writing music together for several years\, Black Satellite is the culmination of a deep-rooted partnership contributing to their unified writing style. 
 Shortly after launching their first single Valkyrie from their full-length album Endless\, Black Satellite was requested as support for Starset at NYC’s Gramercy Theatre on the strength of their debut. Their follow up single Blind premiered on ibobi Radio and was subsequently featured on Alternative Press via their discover playlist. Black Satellite was also named one of Alternative Press’ “12 Bands You Need To Know” in a print issue of the magazine. 
 Billboard describes the album as “the end point one might arrive at after listening to all of Muse’s catalog and deciding they just weren’t epic enough.” 
 Black Satellite subsequently released two cover songs paying tribute to Type O Negative\, which charted on metal radio. 
 The band has recently concluded writing and recording their sophomore record\, Aftermath\, mixed by veteran producer Ben Grosse (Marilyn Manson\, Breaking Benjamin\, Filter). Release date to be announced. Their new single “Void” is the first taste of the brand new album. Knotfest commenting on the track: “the first single offers a glimpse into the bold\, stylishly dark sound that has made the duo of Larissa Vale and Kyle Hawken such a promising prospect.” 
 Black Satellite is scheduled to tour with Fozzy Fall 2021. \n \n  URL:https://globalazmedia.com/event/cradle-of-filth-devildriver-at-marquee-theatre/ LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, 85281\, United States ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2023/02/Cradle-Of-Filth-DevilDriver-at-Marquee-Theatre.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Phoenix:20230317T180000 DTEND;TZID=America/Phoenix:20230318T233000 DTSTAMP:20230313T005712Z CREATED:20230313T005712Z LAST-MODIFIED:20230313T005712Z UID:16124-1679076000-1679182200@globalazmedia.com SUMMARY:Taylor Swift\, Paramore & Gayle at State Farm Stadium DESCRIPTION:Taylor Swift is that rarest of pop phenomena: a superstar who managed to completely cross over from country to the mainstream. Others have performed similar moves — notably\, Dolly Parton and Willie Nelson both became enduring pop culture icons based on their 1970s work — but Swift shed her country roots like they were a second skin; it was a necessary molting to reveal she was perhaps the sharpest\, savviest populist singer/songwriter of her generation\, one who could harness the zeitgeist\, make it personal and\, just as impressively\, perform the reverse. These skills were evident on her earliest hits\, especially the neo-tribute “Tim McGraw\,” but her second album\, 2008’s Fearless\, showcased a songwriter discovering who she was and\, in the process\, finding a mass audience. Fearless wound up having considerable legs not only in the U.S.\, where it racked up six platinum singles on the strength of the Top Ten hits “Love Story” and “You Belong with Me\,” but throughout the world\, performing particularly well in the U.K.\, Canada\, and Australia. Speak Now\, delivered almost two years later\, consolidated that success and moved Swift into the stratosphere of superstardom. Her popularity only increased over her next three albums — Red (2012)\, 1989 (2014)\, Reputation (2017) — and found her moving assuredly into a pop realm where she already belonged. Even when she scaled back her approach with 2020’s stripped-down sibling releases folklore and Evermore\, she remained atop the pop world\, a position she maintained with re-recordings of her back catalog along with Midnights\, a moody album released in 2022. \nThis sense of confidence had been apparent in Taylor Swift since the beginning. The daughter of two bankers — her father\, Scott Kingsley Swift\, worked at Merrill Lynch; her mother\, Andrea\, spent time as a mutual fund marketing executive — Swift was born in Reading\, Pennsylvania\, and raised in suburban Wyomissing. She began to show interest in music at the age of nine\, and Shania Twain wound up as her biggest formative influence. Swift started to work regularly at local talent contests\, eventually winning a chance to open for Charlie Daniels. Soon\, she learned how to play guitar and began writing songs\, signing a music management deal with Dan Dymtrow; her family relocated to Nashville with the intent of furthering her music career. She was just 14 years old but on the radar of the music industry\, signing a development deal with RCA Records in 2004. Swift sharpened her skills with a variety of professional songwriters\, forming the strongest connections with Liz Rose. Taylor’s original songs earned her a deal with Sony/ATV Music Publishing\, but not long after that 2004 deal she parted ways with Dymtrow and RCA\, all with the intent of launching her recording career now\, not later. \nThings started moving swiftly once Swift came to the attention of Scott Borchetta\, a former DreamWorks Records exec about to launch Big Machine Records. Borchetta saw Swift perform at a songwriters showcase at the Bluebird Cafe and he signed her to Big Machine in 2005; shortly afterward\, she started work on her debut with producer Nathan Chapman\, who’d previously helmed demos for Taylor. Boasting original song credits on every one of the record’s 11 songs (she penned three on her own)\, Taylor Swift appeared in October 2006 to strong reviews and Swift made sure to work the album hard\, appearing at every radio or television event offered and marshaling a burgeoning fan base through the use of MySpace. “Tim McGraw\,” the first song from the album\, did well\, but “Teardrops on My Guitar” and “Our Song” did better on both the pop and country charts\, where she racked up five consecutive Top Ten singles. Other successes followed in the wake of the debut — a Grammy nomination for Best New Artist (she lost to Amy Winehouse)\, stopgap EPs of Christmas songs — but Swift concentrated on delivering her sophomore set\, Fearless. \nAppearing in November 2008\, Fearless was certified gold by the RIAA in its first week of release\, and the record gained momentum throughout 2009\, earning several platinum certifications as “Love Story\,” “White Horse\,” “You Belong with Me\,” “Fifteen\,” and “Fearless” all scaled the upper reaches of the country charts while “You Belong with Me” nearly topped Billboard’s Hot 100. Along with the success came some headlines\, first in the form of an infamous appearance at the 2009 MTV Video Music Awards where her acceptance speech was interrupted by Kanye West\, who burst on-stage to declare that Swift’s rival Beyoncé deserved the award more\, but her romances also started gaining attention\, notably a liaison with Twilight star Taylor Lautner\, who appeared with the singer in the 2009 film Valentine’s Day. \nHer flirtation with the silver screen proved brief\, as she then poured herself into her third album\, Speak Now. Released in October 2010\, Speak Now was another massive first-week smash that refused to lose momentum. Hit singles like “Mine” and “Mean\,” which won two Grammy Awards\, played a big factor in its success not just on the country charts but on pop radio as well. Following a 2011 live album called World Tour Live: Speak Now\, Swift turned toward following a pop path on her fourth album\, hiring such mainstream musicians as Dan Wilson\, Butch Walker\, and Britney Spears producer Max Martin. This mainstream pulse was evident on “We Are Never Ever Getting Back Together\,” the first single from Red. Upon its October 2012 release\, Red shattered expectations by selling over a million copies in its first week\, a notable achievement that was doubly impressive in an era of declining sales. Once again\, Swift’s album had legs: it was certified platinum four times in the U.S. and its international sales outstripped those of Speak Now. She supported Red with an international tour in 2013 and more hits came\, including “I Knew You Were Trouble” and “22.” \nAs Swift geared up for the release of her fifth album in 2014\, she made it clear that 1989 was designed as her first “documented\, official” pop album and that there would be no country marketing push for the record. “Shake It Off\,” an ebullient dance-pop throwback\, hit number one upon its August 2014 release. When 1989 appeared in late October 2014\, it once again shot to number one and became her third straight album to sell one million copies in its first week (a new record for any artist). \nSwift gathered many awards during the subsequent year\, including Billboard’s Woman of the Year\, the Award for Excellence at the American Music Awards\, and a special 50th Anniversary Milestone Award from the CMAs. Her 1989 World Tour crossed Asia\, North America\, and Europe during the last half of 2015\, and she won three Grammy Awards at the 2016 ceremonies\, including Album of the Year\, Best Pop Vocal Album\, and Best Music Video for “Bad Blood.” At the end of 2016\, she released “I Don’t Wanna Live Forever\,” a duet with ZAYN from the soundtrack for Fifty Shades Darker. The single reached the Top Five across the world. Swift returned with her sixth album\, Reputation\, in November 2017. Preceded by the number one hit single “Look What You Made Me Do\,” Reputation debuted at number one\, and while it didn’t replicate the success of 1989\, the album did help underscore her popularity while also pushing her toward mature musicality. \nReputation was Swift’s final record for Big Machine. In November 2018\, she signed with Universal Music Group\, which distributed her new albums under its Republic Records banner. The first album in this contract was Lover. Released in August 2019\, Lover was preceded by two singles\, “Me!” and “You Need to Calm Down\,” which both reached number two on the Hot 100 and helped push the album to number one. The acclaimed LP and two of its singles received a total of three nominations at the 62nd Grammy Awards. \nSwift’s plans to support Lover with a tour in 2020 were scrapped due to the COVID-19 pandemic. With some unexpected time on her hands\, she wrote and recorded a new set of songs\, many in collaboration with Aaron Dessner of the National; Bon Iver and longtime Swift associate Jack Antonoff also contributed. The resulting album\, folklore\, was released on July 24\, 2020\, and went straight to the top of the Billboard 200. Less than five months later\, Swift released a companion album to folklore called Evermore. Featuring many of the same collaborators as its predecessor\, the Grammy-nominated Evermore debuted at number one upon its December 11\, 2020 release. Altogether\, the sibling LPs planted Swift atop the U.S. charts for a combined 11 weeks\, and folklore became the best-selling album of 2020. \nIn 2021\, she began the process of re-recording her back catalog after her Big Machine masters were sold off in 2019\, starting with 2008’s Fearless. The first of these tracks — “Love Story (Taylor’s Version)” — arrived that February\, with Fearless [Taylor’s Version] arriving in April. The new version of Fearless contained cameos from Colbie Caillat\, Keith Urban\, and Maren Morris\, along with several previously unheard tunes originally written during the same time period; it debuted at number one on Billboard upon its release. Swift next revisited Red\, releasing Red [Taylor’s Version] in November 2021. This revamp of the 2012 album featured new duets with Phoebe Bridgers\, Chris Stapleton\, and Ed Sheeran\, along with a ten-minute version of the ballad “All Too Well.” Another re-recording\, “This Love (Taylor’s Version)” (originally off 1989)\, arrived in May 2022 and was included in the soundtrack to the coming-of-age drama The Summer I Turned Pretty. \nSwift opened up another chapter in her career with the October 2022 release of Midnights\, an album co-produced by Jack Antonoff and featuring a duet with Lana Del Rey on “Snow on the Beach.” ~ Stephen Thomas Erlewine \n \n \nWhen Paramore revealed they were recording together in January 2022 the response from music fans around the world was immediate and celebratory. In the time since the Grammy-winning\, RIAA-certified multi-Platinum band released their last album\, After Laughter – and Hayley Williams unveiled two lauded solo albums – Paramore have become more popular than ever. Over the last few years Paramore’s influence and popularity has snowballed\, as the age of streaming organically propelled them into a position as one of the world’s biggest\, most culturally compelling rock bands. For the band\, who formed as teenagers in Tennessee\, their 20 year trajectory has seen them grow from youthful outsiders to bonafide pop culture icons\, permeating the musical landscape by inspiring a new generation of musical talent. \n \n \nhi i’m GAYLE and liking the color orange is a personality trait so is being indecisive and having a split dye. i hope my music can help u be more confident and comfortable inside ur emotions because writing and singing about them helps me. maybe if u like my music i’ll be able to meet u at a show or in my dms soon <3 \n \n  URL:https://globalazmedia.com/event/taylor-swift-paramore-gayle-at-state-farm-stadium/ LOCATION:State Farm Stadium\, 1 Cardinals Dr\, Glendale\, AZ\, 85305\, United States ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2023/03/taylor-swift-at-State-Farm-Stadium.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Phoenix:20230322T190000 DTEND;TZID=America/Phoenix:20230322T233000 DTSTAMP:20230228T025002Z CREATED:20230228T025002Z LAST-MODIFIED:20230228T025002Z UID:16046-1679511600-1679527800@globalazmedia.com SUMMARY:Skillet + Theory Of A Deadman at Arizona Financial Theatre DESCRIPTION:One of the best-selling rock bands of the 21st century\, two-time GRAMMY® Award-nominated multiplatinum Wisconsin quartet Skillet—John Cooper [lead vocals/bass]\, Korey Cooper [guitar/keys]\, Jen Ledger [drums/vocals]\, and Seth Morrison [lead guitar]—write the soundtrack to triumph. An undying spirit humbly asserted and affirmed the band as one of this generation’s most successful rock acts. However\, as all classic underdog stories do\, it happened quietly under the radar. By 2019\, they not only garnered a pair of GRAMMY® Award nods and sold over 12 million albums worldwide\, but they also took home a Billboard Music Award for the double-platinum Awake. Its breakout single “Monster” remains “one of the most-streamed rock songs of all-time” with 285 million global audio streams. 2016’s Unleashed bowed at #3 on the Billboard Top 200. Going #1 on Rock Radio\, the lead single “Feel Invincible” cracked 150 million global audio streams and went platinum. Meanwhile\, the gold-certified Unleashed became their fourth consecutive album to receive either a gold\, platinum\, or double-platinum plaque. To date\, nine original tunes earned RIAA recognition in tandem with high-profile syncs by everyone from WWE and Marvel to ESPN and NFL. Between selling out arenas on four continents\, the group performed on CONAN and graced the pages of USA Today and New York Times\, to name a few. In 2018 alone\, the band clocked 1 billion streams. This momentum continues on their 2019 tenth full-length\, Victorious. \n \n \nSongs make statements at just the right time. Born at the intersection of insurgency and inspiration\, music props up a sounding board for the people to be heard. Theory Of A Deadman amplify this voice on their seventh full-length offering\, “Say Nothing”\, releasing 1.31.20. The award-winning multiplatinum Los Angeles-based Canadian band—Tyler Connolly [lead vocals\, guitar]\, Dave Brenner [guitar\, backing vocals]\, Dean Back [bass]\, and Joey Dandeneau [drums]—flip the pulse of the world into scorching songcraft\, integrating experimental vision\, rock ‘n’ roll attitude\, and clever pop ambition. \nIn the midst of this storm\, Connolly and Co. speak up like never before. “This album allowed me to say all of the things that were on my mind earlier\, but I was too afraid to say\,” the frontman admits. “This album is about what’s going on in the world\, the state of American politics\, and everything else. It was a completely different way of writing for us.” \n“What makes this record important is the content\,” Brenner elaborates. “Tyler approaches some really tough topics like domestic violence and racism. There are real discussions happening in the tracks backed by heavy stuff to make you think.” \n“We just want to write what speaks to us\,” Connolly leaves off. “The best thing is when people sing lyrics back to you\, or if a song gets somebody through a tough time. There’s something we all might be able to dig here.” \n \n \nBy turning inward\, Saint Asonia amplify every element of their signature sound. Skyscraping hooks soar higher\, while arena-ready rhythms rattle harder. The guitars cut deeper\, and the lyrics resound louder than ever. The quartet—Adam Gontier [vocals\, guitar]\, Mike Mushok [lead guitar]\, Cale Gontier [bass]\, and Cody Watkins [drums]—find power and strength on their aptly titled 2022 EP\, Introvert [Spinefarm Records]. \nSaint Asonia initially united two hard rock luminaries under a new banner. Respectively\, Adam and Mike had each reached stratospheric heights in Three Days Grace and Staind\, toppling charts\, packing venues\, and selling millions of records. As such\, their union captivated audiences worldwide. In the wake of their 2015 self-titled debut Saint Asonia\, Loudwire christened the band its “Best New Artist” at the Loudwire Music Awards. The 2019 follow-up\, Flawed Design\, yielded the blockbuster single “The Hunted” [feat. Sully Erna of Godsmack]\, generating over 15 million Spotify streams. In a “4.5-out-of-5-star” review\, New Noise Magazine declared\, “Any fan of hard rock (whether they’ve listened in recently or not) should give Saint Asonia a spin.” Plus\, Loudwire applauded it as one of the “The 50 Best Rock Albums of the Year.” Not to mention\, they toured with everyone from Disturbed\, Breaking Benjamin\, and Seether to Alter Bridge and Mötley Crüe. URL:https://globalazmedia.com/event/skillet-theory-of-a-deadman-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/2023/02/Skillet-Theory-Of-A-Deadman-Rock-Resurrection-Tour.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Phoenix:20230329T120000 DTEND;TZID=America/Phoenix:20230402T190000 DTSTAMP:20230217T023757Z CREATED:20230217T023112Z LAST-MODIFIED:20230217T023757Z UID:15969-1680091200-1680462000@globalazmedia.com SUMMARY:Arizona Bike Week 2023 at WestWorld of Scottsdale DESCRIPTION:Are you all set for Arizona Bike Week 2023?! If you haven’t already\, make your camping or hotel reservations now! \nGet ready to be part of an incredible motorcycle rally and music festival at WestWorld of Scottsdale from March 29-April 2! \nThe RockYard concerts will be epic\, featuring Billy Idol\, Megadeth\, Staind\, and Texas Hippie Coalition! The PowerYard will offer non-stop entertainment and excitement\, including world-class vendors\, bike shows \, charity ride raffles\, live music\, our sexy rally girls\, and much more! Check our Event Schedule often. We’re adding to the list daily. \nFind Your 2022 Ride In Photo Here \n \n\n\n\nArizona Bike Week® and the Arizona Bike Week logo are Registered Trademarks.\nAny Unauthorized Duplication\, Display\, or Use of Name or Logos is Strictly Prohibited by Law.\n\n\n\n\n\nFX Promotions\, Inc. dba Arizona Bike Week\nCorporate Address: 104 S. Robson\, Mesa\, AZ 85210\nVenue Address: 16601 North Pima Road\, Scottsdale\, AZ 85260\nphone: 480.644.8191 | fax: 480.733.4006\ninfo@azbikeweek.com URL:https://globalazmedia.com/event/arizona-bike-week-2023-at-westworld-of-scottsdale/ LOCATION:WestWorld of Scottsdale\, 16601 North Pima Road\, Scottsdale\, AZ\, 85260\, United States ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2023/02/ABW2023-Menu-Header.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Phoenix:20230329T203000 DTEND;TZID=America/Phoenix:20230329T233000 DTSTAMP:20230305T180436Z CREATED:20230305T180436Z LAST-MODIFIED:20230305T180436Z UID:16070-1680121800-1680132600@globalazmedia.com SUMMARY:Texas Hippie Coalition at Arizona Bike Week 2023 DESCRIPTION:Backyard barbeques\, barroom brawls\, tent revivals\, and big rock festivals alike are suitable environments for the Red Dirt Metal of TEXAS HIPPIE COALITION\, a band with a sound so devilishly electrifying that they had to come up with a new genre to describe it. \nBIG DAD RITCH captains this pirate ship of bikers\, outlaws\, troubadours\, and hellraisers\, welcoming all comers to the THC party with gregarious charisma and Southern charm. Across a half dozen albums\, countless club gigs\, and show stealing performances at Rockstar Mayhem\, THC has spread the good word of big riffs\, big hooks\, and wild times. \nHigh in the Saddle is a record full of unashamed\, full-throttle ass kicking. It’s the band’s second pairing with producer Bob Marlette (Black Stone Cherry\, Rob Zombie) and sixth album over all\, on the heels of the No. 2 Billboard Heatseekers slab\, Dark Side of Black . \nRock/metal tastemaker Loudwire.com described THC’s “nonstop gritty\, grooving\, and downright party rock” as “sounding like the bastard that spawned from a threesome between Monster Magnet\, Willie Nelson\, and Pantera.” Guitarists Cord Pool and Nevada Romo\, bassist Rado Romo\, and drummer Devon Carothers build songs with traditional blue-collar and red-blooded American craftsmanship\, skillfully transforming Big Dad Ritch’s tales of recklessness and revelry into anthems for the Red Dirt Metal lifestyle. URL:https://globalazmedia.com/event/texas-hippie-coalition-at-arizona-bike-week-2023/ LOCATION:WestWorld of Scottsdale\, 16601 North Pima Road\, Scottsdale\, AZ\, 85260\, United States ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2023/03/Texas-Hippie-Coalition-2023.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Phoenix:20230330T203000 DTEND;TZID=America/Phoenix:20230330T233000 DTSTAMP:20230305T181258Z CREATED:20230305T181258Z LAST-MODIFIED:20230305T181258Z UID:16073-1680208200-1680219000@globalazmedia.com SUMMARY:Billy Idol at Arizona Bike Week 2023 DESCRIPTION:Billy Idol was an early architect of the sound\, style\, and fury of punk rock. Billy was responsible for some of punk rock’s most memorable\, literate\, and evocative moments and created a pioneering new sound by bringing the spirit of ’77 to the dance floor\, going on to fashion an immediately identifiable musical blueprint that integrates club-land throb\, rockabilly desperation\, and rock’n’roll decadence. \nHis lip-curling sneer and fist-pumping persona vaulted him into the mainstream as one of MTV’s first megastars\, making him one of the most recognizable faces in pop music. He has sold 40 million albums while scoring numerous platinum albums worldwide\, nine top forty singles in the U.S. and 10 in the U.K. His smash singles include “Dancing With Myself\, “White Wedding\,” “Rebel Yell\,” “Eyes Without A Face\,” “Flesh For Fantasy\,” “Mony Mony” and “Cradle of Love.” URL:https://globalazmedia.com/event/billy-idol-at-arizona-bike-week-2023/ LOCATION:WestWorld of Scottsdale\, 16601 North Pima Road\, Scottsdale\, AZ\, 85260\, United States ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2023/03/Billy-Idol-2023.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Phoenix:20230331T203000 DTEND;TZID=America/Phoenix:20230331T233000 DTSTAMP:20230305T184743Z CREATED:20230305T184430Z LAST-MODIFIED:20230305T184743Z UID:16076-1680294600-1680305400@globalazmedia.com SUMMARY:MEGADETH at Arizona Bike Week 2023 DESCRIPTION:To be released by UMe on September 2\, 2022\, The Sick\, The Dying… And The Dead! further establishes MEGADETH as a band that has both defined and repeatedly redefined heavy metal since formation\, and which follows up 2016’s Grammy®-winning Dystopia\, which debuted at #3 on the Billboard Top 200 (MEGADETH’s highest chart position since its 1992 classic Countdown to Extinction). MEGADETH has crafted a record with a visceral energy\, heaviness\, and sometimes paranormal pace that few would expect from such a seasoned band with so little to prove. The Sick\, The Dying… And The Dead! melds the ultra-frenetic riffing\, fiercely intricate guitar solos\, and adventurous spirit of the quartet’s groundbreaking early output with the musicality and melodicism of its ‘90s songwriting\, all laced with signature virtuosity and precision – plus\, of course\, Mustaine’s singular vocal snarl and wry\, take-no-shit lyrical vitriol. \n“I don’t think we’re nearing the end\, not even remotely\,” Mustaine concludes. “I feel more energized now that I have in decades.” Appropriately\, the album closes with “We’ll Be Back” … URL:https://globalazmedia.com/event/megadeth-at-arizona-bike-week-2023/ LOCATION:WestWorld of Scottsdale\, 16601 North Pima Road\, Scottsdale\, AZ\, 85260\, United States ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2023/03/megadeth-lineup-current.jpg END:VEVENT END:VCALENDAR