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DTSTART;TZID=America/Phoenix:20230702T183000
DTEND;TZID=America/Phoenix:20230702T233000
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SUMMARY:Pierce The Veil + The Used at Arizona Financial Theatre
DESCRIPTION:Emerging as a voice for the damaged masses in the early-2000s post-hardcore scene\, Utah-bred rock group the Used connected to their audience with a potent mixture of feral rage and unabashed vulnerability. Their breakthrough platinum debut\, The Used\, gained popularity on both radio and MTV\, bolstered by hit singles like “The Taste of Ink” and “Buried Myself Alive.” As their presence on the touring circuit increased\, they hit a mainstream peak with 2004’s platinum In Love and Death and its follow-up\, 2007’s Lies for the Liars. While they remained a respected name in the scene and were a fixture in the Top 20\, latter albums were less visible outside of their devoted core fan base. With each set\, their sound evolved and bandmembers matured\, reaching creative peaks on 2017’s The Canyon\, 2020’s Heartwork\, and 2023’s Toxic Positivity. \nThe members of the Used had to overcome poverty\, homelessness\, and substance abuse\, as well as the conservative attitudes of their hometown of Orem\, Utah\, to bring their screamo-tinged brand of post-hardcore to life. But they persevered and earned a contract with Reprise Records\, releasing their self-titled debut album in June 2002. The Used proved to be their major breakthrough\, going platinum in the U.S. upon the strength of hit singles “The Taste of Ink\,” “Buried Myself Alive\,” and “Blue and Yellow.” Having only played a handful of shows around Orem prior to their record’s release\, the band — vocalist Bert McCracken\, guitarist Quinn Allman\, bassist Jeph Howard\, and drummer Branden Steineckert — began relentless nationwide touring that quickly saw their fan base multiply. Club dates soon turned into successful stints on larger-scale festival/package tours including the Warped Tour\, Ozzfest\, and Projekt Revolution alongside Linkin Park and Snoop Dogg. In the summer of 2003\, the Used issued the introspective compilation set Maybe Memories\, another platinum release that contained unreleased songs\, live material\, behind-the-scenes footage\, and more. \nThe Used’s official sophomore outing arrived in September 2004. Debuting at number six on the Billboard 200\, In Love and Death shot them even further into the public consciousness. The singles “Take It Away” and “All That I’ve Got” were Top Ten U.S. Rock chart hits\, and the set was soon certified platinum. Around that time\, they also recorded a version of the Queen classic “Under Pressure” with My Chemical Romance to benefit victims of the devastating tsunami of December 2004. Outside of the band\, McCracken has also lent his vocals to the punk rock drum troupe Street Drum Corps. As the Used readied their third album\, Steineckert parted ways with the group over creative differences in early fall 2006 (he went on to join Rancid). \nThe live CD/DVD Berth appeared in February 2007 to tide fans over a bit longer until their third proper full-length\, Lies for the Liars\, came out in May. Though he didn’t perform on the record\, drummer Dan Whitesides joined the band as an official member just in time for the supporting tour. The group’s fourth full-length album\, Artwork\, was produced by Matt Squire (Panic! At the Disco) and released on Reprise in 2009. Arriving in 2012\, Vulnerable\, the band’s fifth studio outing and first for new label Hopeless\, was preceded by the single “I Come Alive.” It was reissued the next year as Vulnerable (II)\, with a bonus disc stocked with B-sides\, remixes\, and acoustic tracks. Imaginary Enemy followed in 2014. \nAllman and the band amicably parted ways in 2015\, and Saosin guitarist Justin Shekoski was recruited as his permanent replacement just in time for a tour in celebration of the group’s 15th anniversary. On each stop of the tour\, the Used performed two shows\, one for each of their first two LPs. A live album commemorating their acoustic stint at the Palace in Los Angeles was released in April 2016. Live and Acoustic at the Palace was recorded in October 2015 and featured accompaniment by a string quartet\, harpist\, pianist\, and gospel choir. \nThe band’s seventh studio album\, The Canyon\, arrived in late 2017. The critically acclaimed set marked an evolution in both style and content\, inspired in part by the death of one of McCracken‘s close friends. When touring concluded for the album\, Shekoski parted ways with the group and they began work on a follow-up. 2020’s Heartwork\, a nostalgic callback to their first three efforts\, was another step forward for the Used. Produced by John Feldmann\, the LP was the first with guitarist Joey Bradford and featured guests Jason Aalon Butler (Fever 333)\, Mark Hoppus and Travis Barker (blink-182)\, and Caleb Shomo (Beartooth). 2022 saw the emo icons issue the combative and celebratory “Fuck You” ahead of the arrival of their ninth long-player. The angsty and anthemic “People Are Vomit” appeared in early 2023\, with Toxic Positivity arriving later that May. \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.
URL:https://globalazmedia.com/event/pierce-the-veil-the-used-at-arizona-financial-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85003\, United States
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DTSTART;TZID=America/Phoenix:20230712T183000
DTEND;TZID=America/Phoenix:20230712T233000
DTSTAMP:20230711T182712Z
CREATED:20230711T181340Z
LAST-MODIFIED:20230711T182712Z
UID:17132-1689186600-1689204600@globalazmedia.com
SUMMARY:Nickelback at Footprint Center
DESCRIPTION:Nickelback carried the torch for heavy post-grunge into the 2000s\, an era that otherwise didn’t favor their particular brand of pumped-up angst and loud good times. By most measures\, the Canadian group were the most popular rockers of the 2000s\, ruling rock radio from the moment “How You Remind Me” went to number one in both Canada and the U.S. after its release in 2001. Over the next decade\, the group dominated the rock charts\, balancing crossover power ballads like “Someday” and “Photograph” with salacious rockers like “Rock Star” and “Something in Your Mouth.” During the band’s reign\, Nickelback’s presence seemed outsized thanks to its gruff-voiced leader Chad Kroeger stepping outside the group to record “Hero” for the soundtrack for Sam Raimi’s 2002 theatrical adaptation of Spider-Man\, along with appearing on records by Santana and Kroeger‘s then-wife Avril Lavigne — cameos that indicate how the band’s popularity extended beyond die-hard rock audiences. Nevertheless\, those were the fans that stayed true to Nickelback\, helping the band stay successful through the 2010s and into 2022\, when the crunching “San Quentin” became the band’s first American Top Ten Rock hit in nearly a decade. \nChad Kroeger honed his frontman skills by performing with cover bands in Hanna\, a small Canadian town 215 kilometers northeast of Calgary. After growing tired of playing other people’s songs\, he borrowed money from his stepfather and relocated to Vancouver\, where he recorded his first batch of original material. Mike Kroeger\, Chad‘s bass-playing sibling\, decided to join his brother’s band\, as did fellow Vancouver transplants Ryan Peake (a guitarist who had befriended the Kroegers in middle school) and Ryan Vikedal (a drummer from Peake’s hometown of Brooks\, Alberta). Nickelback officially took shape in 1995 and quickly set to work\, releasing two albums — the Hesher EP and full-length album Curb — in 1996. By 1998\, the bandmates were managing themselves; Chad courted radio stations\, brother Mike handled distribution\, Vikedal booked shows\, and Peake maintained the band’s website. \nJanuary 2000 saw the arrival of The State\, Nickelback’s second independent release. Issued at a time in which Canadian content requirements were increased (and\, accordingly\, local radio stations had begun to desperately seek out homegrown product)\, the album fared very well on indie charts. Nickelback toured ceaselessly in support of The State\, logging approximately 200 shows while playing alongside other groups of the burgeoning post-grunge genre. Their commercial appeal wasn’t lost on the record industry\, either\, and The State’s distribution rights were quickly snapped up by Roadrunner Records in the U.S. and EMI in Canada. As the band continued to tour\, Kroeger kept writing new songs\, many of which were polished in front of live audiences. Much of that material found its way onto Silver Side Up\, which was produced by Rick Parashar (who rose to prominence in the early ’90s by helming Pearl Jam‘s Ten\, Alice in Chains‘ Sap\, and Blind Melon‘s self-titled debut) and recorded at Green House\, the same Vancouver studio used for The State’s creation. The combination of Nickelback’s growing popularity and Kroeger‘s focused songwriting propelled Silver Side Up onto album charts across the world\, spearheaded by the hit single “How You Remind Me.” Kroeger capitalized on that exposure by producing another Vancouver-based band\, Default\, and collaborating with Saliva‘s Josey Scott for the Spider-Man soundtrack. The Long Road then arrived in 2003\, featuring an increasingly polished sound and another high-charting single\, “Someday.” While some listeners criticized the apparent similarities between “Someday” and “How You Remind Me\,” The Long Road had little trouble maintaining Nickelback’s wide audience\, eventually selling over five million copies worldwide. \nIn February 2005\, Nickelback announced the departure of Vikedal. He was soon replaced by 3 Doors Down‘s former drummer Daniel Adair\, and Nickelback returned to Kroeger‘s studio in Vancouver to begin work on another album. ZZ Top‘s Billy Gibbons and Pantera‘s Dimebag Darrell (who unfortunately died before the album’s release) were guests on the chart-topping All the Right Reasons\, which arrived in October 2005. It proved to be Nickelback’s most popular effort to date\, remaining in the Billboard Top 30 for over two years and selling over seven million copies in the U.S. alone. It also spawned five Top 20 singles\, a feat that attracted the attention of veteran producer (and demonstrated hitmaker) Mutt Lange. Nickelback traveled to Lange‘s home in Switzerland to share songwriting ideas; impressed with the results\, they also enlisted him to helm their next album. Recorded in a converted Vancouver barn\, Dark Horse marked the band’s sixth studio album upon its release in November 2008. Nickelback’s seventh studio album arrived nearly three years after the multi-platinum-selling Dark Horse. The 11-track Here and Now\, which was preceded by the singles “Bottoms Up” and “When We Stand Together\,” hit the streets on November 21\, 2011. \nThe following year Kroeger began working on fellow Canadian rock star Avril Lavigne‘s eponymous fifth album. Shortly after their working partnership began\, they began dating and eventually married in early 2013. The band put together their first compilation\, The Best of Nickelback\, Vol. 1\, which appeared in November of 2013; the 19-track collection contained no new songs. In 2014\, the band’s contract with Roadrunner expired and they decided not to renew\, signing instead with Universal Republic for their eighth album\, No Fixed Address. The album included a number of departures from Nickelback’s usual fare\, including the radio-friendly “What Are You Waiting For?\,” the politicized “Edge of a Revolution\,” and “Got Me Runnin’ ‘Round\,” which featured a horn section and rapper Flo Rida. No Fixed Address appeared in November 2014\, debuting at four on Billboard’s Top 200 and generating rock radio hits in “Edge of a Revolution” and “Million Miles an Hour.” As they worked on their ninth album in 2016\, Nickelback released a cover of Don Henley‘s “Dirty Laundry” and negotiated a switch from Republic to BMG. Feed the Machine\, their first record for BMG\, was co-produced by Chris Baseford (Disturbed) and appeared in June 2017. The LP debuted at number five on the U.S. Billboard 200\, with its title track reaching 12 on Billboard’s Mainstream Rock chart. A non-LP cover of the Charlie Daniels Band‘s “The Devil Went Down to Georgia” featuring guitarist Dave Martone appeared in 2020\, as did a 15th anniversary edition of 2005’s multi-platinum-selling All the Right Reasons. Nickelback returned with new material in 2022’s “San Quentin\,” the first taste of their tenth studio album\, Get Rollin’. Another co-production with Chris Baseford\, Get Rollin’ focused on heavy riffs and good times\, a combination highlighted on the breezy single “High Time.” ~ Andrew Leahey \n \n \nWith back-to-back PLATINUM albums and a grassroots following millions strong\, Brantley Gilbert’s music has been shared\, covered and adopted as the soundtrack to Saturday night and Sunday morning by audiences around the world. The Georgia native who started as the defiant life-of-the-party can still go ‘til sunrise also emerged as something far greater: the leader of a massive tribe of hard-working\, fun-loving believers for whom electric guitar-shredding\, rapping\, and twang can go hand-in-hand-in-hand. Seven No. 1 hits punctuate his career: RIAA 6X PLATINUM-certified “Bottoms Up\,” 2X PLATINUM “Country Must Be Country Wide\,” 2X PLATINUM “You Don’t Know Her Like I Do\,” 2X PLATINUM “One Hell of An Amen\,” PLATINUM-certified collaboration with Lindsay Ell “What Happens In A Small Town\,” and two chart-toppers as a songwriter with CMA Song of the Year nominee “Dirt Road Anthem” and “My Kinda Party.” Earning praise from the New York Times\, NPR\, American Songwriter\, and more\, Gilbert has mined a rich vein of conflict between the party and the pew on all of his albums. His latest offering SO HELP ME GOD (DELUXE EDITION) is set for release April 21 via The Valory Music Co. and features chart-climbing single “Heaven By Then” with Blake Shelton featuring Vince Gill. Gilbert joins Nickelback this summer for the GET ROLLIN’ TOUR\, featuring 35+ dates across North America. \n \n \nEchoing the primary themes of country in his pop-rock-infused way\, Josh Ross’s take on love\, work\, and play is often documented through his whirlwind experiences. From moving to Nashville on the night of a tornado\, leaving only a month later when a global pandemic arrived\, to developing an ever-evolving career amidst the drawbacks of injuries\, lockdowns\, and conflicting relationships\, Josh Ross is a country artist bound by the act of forging past and overcoming restraints. Ross debuted as an artist with his independently released Top 5 chart-topping cathartic ballad on romantic losses\, “First Taste Of Gone\,” and has since pushed even further in his career with his signing to Universal Music Canada\, partnering with Universal Music Group Nashville\, and management by The Core Entertainment. Often writing from personal experiences\, Josh Ross has delivered versatile lyrics throughout his collection of songs with over 115 million global streams. His bustling catalogue includes “Tall Boys\,” his Top 5 Canadian radio hit “On A Different Night\,” the introspective “Trouble\,” and the latest too-close-to-home emotional track “Red Flags.” \n \n 
URL:https://globalazmedia.com/event/nickelback-at-footprint-center/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230715T190000
DTEND;TZID=America/Phoenix:20230715T233000
DTSTAMP:20230627T004325Z
CREATED:20230627T003131Z
LAST-MODIFIED:20230627T004325Z
UID:16972-1689447600-1689463800@globalazmedia.com
SUMMARY:Misfits + AFI at Talking Stick Resort Amphitheatre
DESCRIPTION:From the time of their first gig in 1977\, the MISFITS and their iconic imagery went on to become one of the most crucially influential\, genre-defying bands to ever emerge from North America deconstructing and redefining rock music. Immortalizing B horror films in their music\, they developed a ghoulishly unique persona and rebellion all their own. \nAfter a split with original singer Glenn Danzig in the mid 1980s\, The Misfits were resurrected in the 1990s by co-founder Jerry Only\, (the only consistent member since the band’s inception in 1977 to present)\, helming on Bass & Vocals over the course of the decades that followed. \n2016 brought The ORIGINAL MISFITS triumphant return\, reuniting Original Singer/Songwriter GLENN DANZIG and Original Bassist JERRY ONLY for the first time in over 30 years. Joined by long-time guitarist Doyle Wolfgang von Frankenstein\, the Original Misfits have played sold out arenas and stadiums and in 2019\, took the crown as the only first wave punk band to ever headline the world’s most famous arena\, Madison Square Garden—in a SOLD OUT performance no less. \nThe MISFITS with Danzig’s anthemic songs and unmistakable voice\, Only’s ferocious bass sound\, and the band’s melody-induced choruses and authentically bruising musicianship\, cemented their importance with all ensuing generations. And now legions of diehard fans from around the world have the opportunity to hear the Original Band that forges a level of intensity unprecedented in the new millennium. \n \n \nAFI 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.
URL:https://globalazmedia.com/event/misfits-afi-at-talking-stick-resort-amphitheatre/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2023/06/misfits-at-Talking-Stick-Resort-Amphitheatre.jpg
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DTSTART;TZID=America/Phoenix:20230718T193000
DTEND;TZID=America/Phoenix:20230718T233000
DTSTAMP:20230713T130716Z
CREATED:20230713T125741Z
LAST-MODIFIED:20230713T130716Z
UID:17137-1689708600-1689723000@globalazmedia.com
SUMMARY:3 Doors Down + Candlebox at Arizona Financial Theatre
DESCRIPTION:A subsidiary of Universal\, Republic Records signed the musicians and issued their major-label debut\, The Better Life\, in early 2000. \nThe Better Life became one of the biggest-selling albums of 2000\, going platinum four times during its first year of release and spawning several singles. The band furthered its success with 2002’s Away from the Sun\, which debuted at number eight on the Billboard Top 200 and\, like its predecessor\, climbed to multi-platinum status. 3 Doors Down toured steadily throughout 2003 and 2004 in support of Away from the Sun\, and issued the live EP Another 700 Miles in November 2003 as a holdover between studio efforts. The group returned with a heavier album\, Seventeen Days\, in early 2005. It debuted at number one on the Billboard 200 and went platinum in its first week of release. A self-titled album\, which followed in May 2008\, repeated its predecessor’s success when it too debuted at the top of the Billboard 200. \n3 Doors Down toured throughout 2009\, released a digital-only acoustic holiday album at the end of the year\, and began to work on their next album in 2010. With Howard Benson serving as producer\, the guys shuttled themselves between L.A. and Tokyo\, recording the album in both cities and eventually emerging with 2011’s Time of My Life. \n \n  \n \nMulti-platinum selling Seattle rock band Candlebox is coming to Phoenix on Tuesday\, July 18 at Arizona Financial Theatre supporting 3 Doors Down on their 46-date Away From The Sun amphitheater tour amidst Candlebox’s final tour. Celebrating 30 years of success\, Candlebox – whose power anthems “Far Behind\,” “You” and “Cover Me” off their 1993 debut\, self-titled album exploded onto the charts – recently revealed their final studio album\, titled The Long Goodbye\, will be released on Friday\, August 25th via Round Hill Records. More details on the project coming soon. \n\nCandlebox – Kevin Martin (lead vocals)\, Adam Kury (bass)\, Brian Quinn (guitar)\, Island Styles (guitar)\, BJ Kerwin (drums) – will be out on the road through early fall crossing the country with fellow rockers 3 Doors Down as well as their own headlining shows as they say their final\, and long\, goodbye. Visit https://www.candleboxrocks.com/tour for all ticket details. \n\nThe Long Goodbye follows the release of Candlebox’s live\, acoustic album\, Live at The Neptune\, set for release on June 23rd via Pavement Records. PRESS HERE more info and to pre-order. \n\nEmerging from Seattle’s burgeoning mid-90s grunge scene\, Candlebox quickly found mainstream success with their deep\, lyrically-driven melodies and big radio hooks\, as evidenced by their massive hits “Far Behind\,” “You” and “Cover Me” that propelled their self-titled debut album to sell more than 4 million copies worldwide. Their follow-up album\, Lucy\, earned a platinum certification and solidified Candlebox as a tour de force in the thriving alt-rock scene. While the commercial success of the first album played a pivotal role in the band’s trajectory to the top\, it was their raw and unapologetically honest live performances that ultimately solidified their place among Seattle’s elite. In 1998\, Candlebox released Happy Pills\, which would be their last album before going on hiatus from 2000 to 2006. In 2008\, the band reformed and released their fourth album\, Into The Sun\, and hit the road for the first time in 10 years\, touring extensively and releasing Alive In Seattle\, a live album that included tracks from every era of their career. 2016 marked the triumphant return of Candlebox with the release of Disappearing In Airports\, a more classic rock-tinged album hailed by many critics and fans as their best work in years. Singles “Vexatious” and “Supernova” drove the album to debut at #9 on the Billboard Charts and spurred multiple U.S. and international tours including major festival appearances at Carolina Rebellion\, Welcome To Rockville\, and Lollapalooza Chile. While these iconic rockers have been blazing full-steam since\, releasing their latest album\, Wolves\, in 2021\, Candlebox is now wrapping up their long and illustrious 30-year career with The Long Goodbye. \n \n 
URL:https://globalazmedia.com/event/3-doors-down-candlebox-at-arizona-financial-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85003\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230722T183000
DTEND;TZID=America/Phoenix:20230722T233000
DTSTAMP:20230714T180354Z
CREATED:20230714T172702Z
LAST-MODIFIED:20230714T180354Z
UID:17151-1690050600-1690068600@globalazmedia.com
SUMMARY:Disturbed + Breaking Benjamin & Jinjer at Talking Stick Resort Amphitheatre
DESCRIPTION:Emerging out of Chicago at the turn of the century with an insidious\, infectious\, and inimitable vision without comparison\, Disturbed have quietly dominated hard rock on their own terms. They make the kind of music that pushes you to hold on tighter\, fight harder\, and persevere forever. It’s why they’ve quietly claimed a place at the forefront of 21st century rock with record-breaking success\, sales of over 17 million-plus units\, nearly 8 billion streams\, and sold out shows around the globe. The two-time GRAMMY® Award-nominated quartet have notched five consecutive #1 debuts on the Billboard Top 200\, occupying rarified air alongside Metallica—the only other hard rock group to accomplish this feat. Since their influential 5x-platinum debut The Sickness in 2000\, they have built a bulletproof catalog highlighted by a procession of smashes\, including the platinum “Stupify\,” “Inside The Fire\,” and “Land of Confusion\,” 2x-platinum “Stricken\,” 6x-platinum “Down With The Sickness\,” and 7x-platinum “The Sound of Silence\,” to name a few. The latter notably received a GRAMMY® Award nomination in the category of “Best Rock Performance” as the band earned “Best Rock Artist” at the 2017 iHeartRadioMusic Awards. Still\, Disturbed never stop\, igniting their next chapter with their 2022 album Divisive featuring their 15th #1 at Rock Radio “Hey You\,”“Unstoppable\,” and more. \n \n \nPennsylvania hard rock outfit Breaking Benjamin debuted with a brand of metal-tinged alternative that came to define the sound of mainstream rock in the early 2000s. Over the years\, multiple lineup changes would impact the sound of the band\, which developed into a more arena-friendly act by the late 2000s. Originally indebted to the minor-chord dirges of grunge rockers like Alice in Chains and the menacing darkness of nu-metal acts like Godsmack and Chevelle\, Breaking Benjamin became one of the most popular rock groups in the United States\, scoring a number one with the single “Breath” in 2007 and topping the Billboard 200 in 2015 with Dark Before Dawn. In addition\, three of their albums — 2004’s We Are Not Alone\, 2006’s Phobia\, and 2009’s Dear Agony — have been certified platinum in the U.S. \nIn late 2000\, after parting ways with the band Lifer\, founding guitarist Aaron Fink and bassist Mark Klepaski joined forces with singer Benjamin Burnley and drummer Jeremy Hummel to form Breaking Benjamin. When the quartet started playing around their hometown of Wilkes-Barre\, they favored a radio-friendly post-grunge approach that was informed by influences like Live\, Bush\, Pearl Jam\, Stone Temple Pilots\, and Nirvana. Later\, they would adopt the downtuned guitar sound of groups such as Korn and Tool. \nIn 2001\, Breaking Benjamin’s Wilkes-Barre gigs caught the attention of a local radio DJ named Freddie Fabbri\, who was an on-air personality at alt-rock station WBSX-FM. Fabbri put their song “Polyamorous” in rotation\, later financing the recording of their self-titled debut EP. That year\, they signed with Hollywood Records\, which connected the band with Ulrich Wild (Static-X\, Pantera\, Slipknot)\, who served as both producer and engineer on their debut full-length\, 2002’s Saturate. The David Bendeth-produced We Are Not Alone followed two years later\, complete with a few collaborations with Billy Corgan. The group landed a spot on tour with Evanescence in support of the effort\, as three of the album’s singles made their way onto the Billboard charts (“So Cold” and “Sooner or Later” both peaked at number two on the Mainstream Rock Songs list). \nBreaking Benjamin issued their third album\, Phobia\, in August 2006 before heading out on a nationwide headlining trek. The album featured new drummer Chad Szeliga and was spearheaded by the single “The Diary of Jane\,” which gained radio airplay and helped the album debut at number two on the Billboard charts. Phobia was reissued that fall with additional bonus tracks\, while the band continued touring alongside Godsmack. After the tour\, Breaking Benjamin dove back into the studio to begin work on their fourth full-length. The resulting Dear Agony\, fueled by first single “I Will Not Bow\,” arrived in the summer of 2009. More touring followed\, including legs with Three Days Grace and Nickelback\, before Burnley announced a hiatus due to persistent health issues. Ensuing legal disputes within the group led to Fink and Klepaski being fired just before a collection\, Shallow Bay: The Best of Breaking Benjamin\, was released in 2011. Szeliga exited the band in 2013. \nThe following year\, Burnley confirmed that Breaking Benjamin would continue as a quintet\, and in June of 2015 they returned with their first album of new material in six years\, Dark Before Dawn. The comeback effort featured the lineup of Burnley (who also produced)\, guitarists Jasen Rauch and Keith Wallen\, bassist Aaron Bruch\, and drummer Shaun Foist. The lead single\, “Failure\,” cracked the Billboard Hot 100 and hit number one on the Mainstream Rock Songs chart\, and the album became their first American chart-topper. While still touring behind Dark Before Dawn\, Breaking Benjamin recorded their sixth effort\, Ember\, which arrived in 2018. Debuting on the charts at number three\, the LP included the hit singles “Red Cold River\,” “Feed the Wolf\,” and “Blood.” Two years later\, Breaking Benjamin returned with Aurora\, a collection of reimagined versions of some of their best-known songs featuring a guest list that included Cold frontman Scooter Ward\, Saint Asonia vocalist Adam Gontier\, and Underøath‘s Spencer Chamberlain. \n \n \nA versatile\, progressive groove metal unit based out of Ukraine\, Jinjer have found success both in their Eastern European homeland and abroad with their punitive blend of post-hardcore and death/progressive/nu-metal. Drawing from a wide array of influences\, including R&B\, soul\, hip-hop\, and the full spectrum of heavy metal\, the band formed in 2009 and features a lineup consisting of Tatiana Shmailyuk (vocals)\, Roman Ibramkhalilov (guitar)\, Eugene Abdiukhanov (bass)\, and Vladislav Ulasevich (drums). Jinjer issued a pair of EPs\, 2009’s OIMACTTA and 2012’s Inhale\, Do Not Breathe\, before breaking big at home with the release of a full-length version of the latter album in 2013. The group’s sophomore long-player\, 2014’s Cloud Factory\, caught the attention of heavy metal institution Napalm\, which signed Jinjer and released their third full-length effort\, King of Everything\, in 2016. The group toured heavily in support of the LP\, hitting the European festival circuit and making their presence known overseas as well. In early 2019\, the band returned with the Micro EP\, again on Napalm. By the end of the year\, its natural counterpoint\, Macro\, arrived. ~ James Christopher Monger\, Rovi \n \n 
URL:https://globalazmedia.com/event/disturbed-breaking-benjamin-jinjer-at-talking-stick-resort-amphitheatre/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2023/07/Disturbed-Breaking-Benjamin-Jinjer-at-Talking-Stick-Resort-Amphitheatre.png
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230726T190000
DTEND;TZID=America/Phoenix:20230726T233000
DTSTAMP:20230721T200929Z
CREATED:20230721T200015Z
LAST-MODIFIED:20230721T200929Z
UID:17211-1690398000-1690414200@globalazmedia.com
SUMMARY:Dream Theater + Devin Townsend & Animals As Leaders at Arizona Financial Theatre
DESCRIPTION:Long Island\, New York’s Dream Theater are the globally celebrated standard bearers for progressive metal in the 21st century. Their ability to deliver tight\, melodic\, musically sophisticated songs and thematic concept recordings encompassing elements of hook-based hard rock\, riff-fueled metal\, syncopated prog\, and refined lyrics have made them the act others are measured by. Their second album\, 1992’s Images and Words\, established their sonic signature\, while 1994’s Awake and 1999’s Metropolis\, Pt. 2: Scenes from a Memory cemented their place in metal’s pantheon. Dream Theater is well known for high-energy concert performances. While they’ve released several 21st century live albums — Live at the Marquee\, Live in Japan\, and Live Scenes from New York — they remain one of the genre’s most bootlegged bands. For 2016’s The Astonishing\, a double-length dystopian sci-fi opera\, they were accompanied by the Prague Symphony Orchestra and three choirs. In 2021\, the band issued A View from the Top of the World. \nOriginally named Majesty (from a lyric in “Bastille Day”)\, the band was founded by Berklee College of Music students guitarist John Petrucci\, bassist John Myung\, and drummer Mike Portnoy; they soon expanded with the addition of keyboard player Kevin Moore and vocalist Chris Collins. Releasing an eight-tune demo\, Majesty Demo\, as Majesty\, the group sold 1\,000 copies within six months. The departure of Collins in late 1986 left Majesty without a vocalist\, and after a long period of auditioning possible replacements\, the group settled on Charlie Dominici in November 1987. They decided to change their name to Dream Theater\, inspired by a now-demolished California movie theater. Signing with Mechanic Records\, the group began working on their first full-length album. Delays caused by label mismanagement limited the group to performing at small clubs and bars. Frustrated by this experience\, Dream Theater finally severed its ties with Mechanic. \nThis was only one drastic change in the band’s course of action. Firing Dominici\, the group spent the next couple years searching for a vocalist. The search ended in late 1991 when a demo tape from Canadian vocalist James LaBrie\, formerly of Winter Rose\, arrived. After flying to New York to audition\, LaBrie was invited to join the band. Signing with Atco Atlantic (which came to be known as East West)\, Dream Theater released its second album\, Images & Words\, in 1992. One of three videos based on songs from the album\, “Pull Me Under\,” became an MTV hit. Although Theater showed considerable growth with their third studio album\, Awake\, recorded between May and July 1994\, the group continued to be hampered by personnel changes. Before the album was mixed\, keyboardist Moore left the group to focus on his solo career. Hired as a temporary replacement for the band’s Waking Up the World tour\, Derek Sherinian later became a permanent member. His first recording with Dream Theater was a 23-minute epic\, “A Change of Seasons\,” written in 1989 and released in September 1995 on the album of the same name. \nFollowing a mini tour\, Fix for ’96\, the members of Dream Theater separated for several months and became involved with a variety of outside projects. Petrucci was the busiest. In addition to joining Portnoy and keyboard player Jordan Rudess in the Liquid Tension Experiment — a group that included influential bassist/stick player Tony Levin — Petrucci played guitar with Trent Gardner’s Explorers Club and made a guest appearance on Shadow Gallery‘s Tyranny album. Myung and Sherinian collaborated with King’s X vocalist Ty Tabor in the band Platypus. LaBrie worked with Mull Muzzler\, a group formed with Matt Guillory and Mike Mangini. \nDream Theater experienced yet another change when Rudess was tapped to replace Sherinian\, who had been fired in 1999. The band released the progressive rock-heavy Scenes from a Memory that year\, a conceptual piece that followed the story of the 1928 murder of a young woman and how a modern man is haunted by the crime. It was followed by Live Scenes from New York in 2001\, which suffered from an unintentional bout of controversy when its original cover featuring the city of New York in flames was pulled due to the events of September 11. The group continued in the progressive metal vein in 2002 with Six Degrees of Inner Turbulence\, followed by the leaner Train of Thought in 2003 and Octavarium in 2005. The live album Score: XOX was released in 2006 and featured the band backed by a 29-piece orchestra. It was followed a year later by the new studio album Systematic Chaos\, and in 2009 by Black Clouds & Silver Linings. \nSherinian went on to record as a soloist and to play with a prog and jazz fusion band\, Planet X. Petrucci released an eponymously titled solo album in 2003\, featuring accompaniment by Dave LaRue of the Dixie Dregs and Boston-based drummer Dave DiCenso. In late 2010\, Mike Mangini joined the group\, replacing drummer Mike Portnoy\, who left the band in September of that year. With a rigorous touring schedule that firmly broke in Mangini\, Dream Theater somehow found time to record. They pre-released the track “On the Backs of Angels” on YouTube via their label\, Roadrunner\, in June of 2011\, followed by the CD release of the aptly titled full-length A Dramatic Turn of Events in the fall. After a period of rigorous international touring\, the band took a break\, though its members continued writing. They reconvened in early 2013 and returned with a self-titled studio album in September — this one with Mangini completely involved in the writing process — followed in November with the concert recording Live at Luna Park on CD and DVD\, which was recorded during the Dramatic Turn of Events tour over two nights at the Buenos Aires soccer stadium. Recorded live at the Boston Opera House on March 24\, 2014\, the concert recording Breaking the Fourth Wall arrived the following year\, and in late 2015 the band announced their upcoming 13th studio album\, The Astonishing. A completely conceptual sci-fi offering\, it was released in January 2016. After a world tour in which they performed the whole of the album\, the band took an extended breather. At the end of 2018\, Dream Theater released the single and video for “Untethered Angel” in advance of a North American tour. The full-length Distance Over Time was the first album by the band to clock in at less than an hour in length in over a decade. Petrucci credited the more economical running time to a more collaborative writing process that took a mere 18 days to complete\, and focused on harder-edged songs than on more recent recordings. Distance Over Time was released by Inside Out in early 2019. Taking the album on the road\, Dream Theater played a sold-out show at London’s Apollo\, which was recorded for prosperity. \nReleased in November 2020\, Distant Memories: Live in London\, not only featured live tracks from the album but a 20th anniversary celebration of their 1999 concept album\, Metropolis\, Pt. 2: Scenes from a Memory. In 2021\, the band returned with A View from the Top of the World. Its seven extended tracks ranged from just over six to 20 minutes and comprised — for the first time in many years — an aural portrait of the band mapping out prog metal architectures and compositions without a guiding concept or theme. ~ Craig Harris\, Rovi \n \n \nCanadian progressive metal singer and guitarist Devin Townsend has been referred in the rock press as a “multi-everythingist”; in addition to being a celebrated instrumentalist\, he is a composer\, producer\, arranger\, and bandleader. While his earliest recorded appearance was as a vocalist with Steve Vai‘s band on Sex & Religion\, he also worked with Front Line Assembly and Skinny Puppy\, and led the almost unbearably heavy extreme metal group Strapping Young Lad. His recorded solo work since 1997’s rocking sci-fi opus\, Ocean Machine (Biomech)\, has been hotly debated in extreme music circles. He has recorded more than two dozen solo studio and live albums with a variety of musicians. His undeniably progressive\, shape-shifting conceptual outfit the Devin Townsend Project is perhaps the best-known of his outlets; their albums Ki (2009)\, Ziltoid (Dark Matters) (2015)\, and Transcendence (2016)\, reveal Townsend delivering his ambition in unified\, accessible\, and provocative projects readily embraced by the metal and prog-rock communities. The solo album Empath appeared in 2019. The Puzzle/Snuggles double appeared in 2021 followed by Lightwork in 2022. \nTownsend was born May 5\, 1972 in Vancouver\, British Columbia. After picking up the banjo at age five\, he moved to guitar at 12\, and within a few years was leading the band Grey Skies\, later known as Noisescapes. Sending the group’s demo to the Relativity label\, Townsend was not only offered a solo deal but was also tapped to sing on Steve Vai‘s 1993 LP Sex & Religion\, a collaboration that further extended to the guitar god’s 1996 effort Fire Garden. In between\, Townsend worked on a series of projects with Front Line Assembly\, and in 1995 issued the solo Heavy as a Really Heavy Thing under the alias Strapping Young Lad. A stint with the satiric punk band Punky Bruster yielded the Cooked on Phonics LP before Townsend began work on the second Strapping Young Lad album\, 1997’s City. In a move away from the industrial and death metal of previous recordings\, he next formed Ocean Machine — with J.R. Harder and Marty Chapman — for the accessible Biomech\, which was issued later that year. \nTownsend’s first solo album to be released under his own name was 1998’s Infinity\, and it directly followed a difficult period for the artist\, in which he was diagnosed with bipolar disorder. He would later identify his condition as an explanation for the difference in sound and approach between Strapping Young Lad and Ocean Machine. 2000 saw a mentally stronger Townsend release the sharp\, focused\, and melodic speed metal album Physicist\, while 2001’s Terria channeled an ambient pop sound. February 2003 brought an eponymous Strapping Young Lad record which returned to a traditional death metal template. Sessions for this release took place during the same period as those for the acclaimed first album under the Devin Townsend Band moniker\, Accelerated Evolution. This record was issued just a month after the SYL release\, and Townsend received praise for creating a modern metal album that wasn’t afraid to nod to ’70s and ’80s arena rock in a post-grunge world. While 2006’s Synchestra didn’t quite reach the same high standard\, Townsend continued to keep things fresh by following a straight-up ambient record — The Hummer — with Ziltoid the Omniscient\, a rock opera about an alien who travels to Earth in search of “the ultimate cup of coffee.” \nIn the immediate years that followed Ziltoid\, Townsend took a break from the music industry to rest\, recharge\, and rediscover the cathartic aspect of composition. In March 2009\, a shaven-headed\, teetotaling Townsend announced an intended four-album sequence from the Devin Townsend Project\, billed as an opportunity to show that he could create new music without the assistance of drugs. The strongest of these four releases was November 2009’s Addicted\, on which he collaborated with former Gathering vocalist Anneke van Giersbergen. Giersbergen returned for a central role on an unexpected fifth Devin Townsend Project album in 2012\, the pop-infused Epicloud. In 2014\, Townsend released the ambitious Z²\, a double album that featured a Devin Townsend Project album\, Sky Blue\, and a conceptual album\, Dark Matters\, the latter of which was a sequel to 2007’s Ziltoid the Omniscient. 2015 saw the release of Ziltoid: Live at the Royal Albert Hall\, a recording of Townsend’s performance at the prestigious London venue in April of that year. Despite a claim that he was taking a year off\, Townsend kept writing and recording. In March of 2016 he announced a new DTP album titled Transcendence. It was released in September\, and after a tour\, he disbanded the outfit. Over the next several years\, Townsend toured selectively with his various shape-shifting bands\, issued three separate volumes of his catalog on vinyl\, and began writing his most ambitious project. Titled Empath\, Townsend prefaced its release with a social media warning to fans: “Some of you won’t like it. Some of you will be very confused by it. Some of you will be alienated by it.” The reason for the statement was that in the past\, Townsend always recorded albums to showcase where he was at any given time — even if it meant that he would be showcasing a wide variety of styles on an album. With 2019’s wildly diverse and exotic Empath\, he chose to create an offering that would depict\, under a single sonic umbrella\, every musical space he’d inhabited up to the present time — sometimes within a single track — in order to point his way forward. His guest list for the date included Mike Keneally as his music director\, former boss Steve Vai\, the Elektra Women’s Choir\, Casualties of Cool partner Ché Aimee Dorval\, Anneke Van Giersbergen\, drummers Morgan Ågren\, Anup Sastry\, and Samus Paulicelli\, and Chad Kroeger — the Nickelback vocalist who convinced Townsend to undertake Empath in the first place. Upon release\, the set was greeted by mostly positive reviews\, but in true Townsend fashion\, he claimed to agree equally with critical and affirmative ones. A live rendition of the album\, Order of Magnitude: Empath Live\, Vol. 1\, arrived in October 2020. \nIn December 2021\, Townsend released The Puzzle/Snuggles\, his 19th and 20th albums\, simultaneously. The former is “an elaborate and much more chilled out” version of 2004’s Devlab\, and “more a collaborative\, multimedia internet art project.” The latter was “meant to be something you listen to in order to feel better… Puzzle is chaos\, Snuggles is calm.” The entire project was meant to express Townsend’s impression that he felt light at the end of a dark tunnel imposed on the world by the pandemic. \nThe following November\, Townsend issued Lightwork. Assembled from a compendium of material written during quarantine\, he enlisted veteran first-call producer Garth Richardson to assist in bringing these more traditional\, song-oriented sessions to fruition. Lightwork appeared in several editions: the standard ten-track album was appended by a deluxe version that doubled the track list and included the bonus album companion album Nightwork. ~ Jason Ankeny & James Wilkinson\, Rovi \n \n \nIt might sound strange to associate “storytelling” with instrumental music. But ANIMALS AS LEADERS jettisoned the rules\, limitations\, and boundaries of conventional rock music from the start. Armed with palette-expanding eight-string guitars\, rich synths\, and pummeling percussive grooves\, the trio is beloved by metalheads\, aspiring virtuosos\, jazz fanatics\, and casual listeners alike. As Pitchfork observed\, “Animals As Leaders have walked the tightrope between sheer technical virtuosity and actual emotional resonance.” Even without vocals\, this is intimate\, mythmaking music. Animals As Leaders began as a solo outlet for guitarist Tosin Abasi\, whose creative partnership with classically trained guitarist Javier Reyes and Berklee-educated drummer Matt Garstka is built on a shared love of everything from fusion to technical death metal. Garstka graced the cover of Modern Drummer in 2015. In one of his many appearances on their cover\, Guitar World named Tosin among the Guitarists of the Decade. Rolling Stone featured him as part of their “Young Guns” series. The Chicago Tribune declared him “the closest thing prog-metal has to an Eddie Van Halen.” Quickly ascending beyond the traditional confines of instrumental rock\, Animals As Leaders owe much to their unique blend of precision and feel\, both in abundance on album five\, PARRHESIA. The trio remain connected to their fiercely engaged audience via captivating shows and projects.
URL:https://globalazmedia.com/event/dream-theater-devin-townsend-animals-as-leaders-at-arizona-financial-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85003\, United States
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DTSTART;TZID=America/Phoenix:20230729T173000
DTEND;TZID=America/Phoenix:20230729T233000
DTSTAMP:20230724T183323Z
CREATED:20230724T182121Z
LAST-MODIFIED:20230724T183323Z
UID:17229-1690651800-1690673400@globalazmedia.com
SUMMARY:In This Moment + Motionless In White at Pepsi Amphitheater at Fort Tuthill Park
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. ~ Eduardo Rivadavia\, Rovi \n \n \nIn 2006\, Motionless In White materialized out of Scranton\, PA with an inimitable conjuration of sharp metallic rock\, industrial\, magnetic melodies\, and larger-than-life visual imagery. The quintet—Chris Motionless [Vocals]\, Ricky Olson [Guitar]\, Ryan Sitkowski [guitar]\, Vinny Mauro [drums]\, and Justin Morrow [bass]—quietly clawed their way to the forefront of hard rock\, gathering nearly half-a-billion cumulative streams and views to date. Following the success of Creatures [2010] and Infamous [2012]\, Reincarnate [2014] sunk its teeth into the Top 10 of the Billboard Top 200\, bowing at #9 and capturing #1 on the Top Rock Albums Chart. Both Graveyard Shift [2017] and Disguise [2019] cracked the Top 5 of the Top Hard Rock Albums Chart and Top Rock Albums Chart. Along the way\, they sold out headline tours and supported everyone from Slipknot and Korn to Breaking Benjamin. Not to mention\, Motionless In White have collaborated with Jonathan Davis of Korn\, Maria Brink of In This Moment\, Dani Filth of Cradle Of Filth\, Tim Sköld of KMFDM\, Caleb Shomo of Beartooth\, and more. The five-piece kept busy throughout 2020 with the Deadstream event performance of Creatures for its decade-anniversary\, a cover of The Killers’ “Somebody Told Me\,” and the standalone single “Creatures X: To The Grave.” Now in 2022\, Motionless In White are set to return with their new album Scoring The End of the World which sees them perfecting the poetically pummeling sound they patented. \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 \nFrom Ashes To New utilize their outlier perspective to break boundaries. The Lancaster\, PA band consists of—Matt Brandyberry [rap vocals\, keys\, synths\, programming\, guitar]\, Danny Case [clean & unclean vocals]\, Lance Dowdle [lead guitar]\, and Mat Madiro [drums]—churn out an anthemic hybrid of hard rock\, hip-hop\, electronic\, and alternative with enough energy to inspire you to get up\, move forward\, and maybe even\, make a change. Since 2013\, the group have risen from humble beginnings to the top of the 21st century rock vanguard with hundreds of millions of streams\, radio hits\, sold out shows across the country\, and acclaim from LoudWire\, Alternative Press\, and more.
URL:https://globalazmedia.com/event/in-this-moment-motionless-in-white-at-pepsi-amphitheater-at-fort-tuthill-park/
LOCATION:Pepsi Amphitheater at Fort Tuthill Park\, Fort Tuthill County Park\,\, Flagstaff\, 86001\, United States
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