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SUMMARY:Summer of Loud Tour 2025 at Talking Stick Resort Amphitheatre
DESCRIPTION:Killswitch Engage first shook the structure of heavy music upon climbing out of snowy industrialized Western Massachusetts in 1999. A musical outlier\, the band pioneered a union of thrashed-out European guitar pyrotechnics\, East Coast hardcore spirit\, on-stage hijinks\, and enlightened lyricism that set the pace for what the turn-of-the-century deemed heavy. 2002’s Alive Or Just Breathing became avowed as a definitive album\, being named among “The Top 100 Greatest Metal Albums of the Decade” by Decibel and celebrated by everyone from Metal Hammer to Revolver. Not only did they bust open the floodgates for dozens to follow\, but they also garnered two GRAMMY® Award nominations in the category of “Best Metal Performance” in 2005 and 2014\, respectively\, and gold certifications for The End of Heartache [2004] and As Daylight Days [2006]. The group landed three consecutive Top 10 debuts on the Billboard Top 200 with Killswitch Engage [2009]\, Disarm The Descent [2013]\, and their career high best bow at #6 with Incarnate [2016]. The latter two releases would also both capture #1 on the Top Rock Albums and Top Hard Rock Albums charts. Their total streams have exceeded half-a-billion to date.  Along the way\, the band has shared stages with some of the biggest acts in the world and has sold out countless headline gigs in six continents across the globe. \n2019 represents another turning point. The quintet—Adam Dutkiewicz [guitar\, production]\, Joel Stroetzel [guitar]\, Mike D’Antonio [bass]\, Justin Foley [drums]\, and Jesse Leach [vocals]—sharpens every side of this signature sound on their eighth full-length and first for Metal Blade\, Atonement. The vision the band initially shared two decades ago crystallizes like never before. \n“To me\, the name Killswitch Engage means ‘Shut the system down’\,” exclaims Jesse. “It’s anti-authority and anti-corruption. My lyrics are very spiritual and political. It’s a part of what Killswitch has been since the beginning. We carry the message through the live show. There’s a sense of fun\, enjoying life\, and emotional catharsis. I don’t even know if we meant to do it consciously\, but this showcases all of our styles. It happened naturally. I’m proud of it.” \n“This is another honest record\,” says Justin. “We’re just being who we are and writing the best material we can.” \n“People take themselves way too seriously\,” adds Adam. “We love metal\, but we also love melody and we want to have a good time.  That’s who we are; we don’t act like your typical ‘metal band.’ \nAtonement proves that. It earmarks the culmination of a trying and turbulent two years. The musicians started kicking around ideas as early as 2017. The band recorded the bulk of the material separately\, with Adam once again behind the board. They worked at Signature Sound for drums and Adam’s own Wicked Good Studios for guitars\, both based in San Diego. Meanwhile\, Mike cut his bass tracks wherever he could: on the road in hotels\, in dressing rooms backstage\, and at home. Vocals were recorded on both coasts at Mainline Recording Studios in Westfield\, Massachusetts and Wicked Good Studios. In the middle of the process\, a polyp developed scar tissue in Jesse’s throat\, forcing him to undergo surgery. The intense three-month recovery ended with speech therapy\, vocal therapy\, and scream therapy. \n“At first\, I was wondering if I was done career-wise\,” he admits. “It worked out though. Out of everything came a real determination to learn techniques and get a second chance at becoming a better vocalist. I have so much more control of my voice and can scream properly. I don’t think the album would be what it is if I didn’t go through all of this.” \nHis “trial-by-fire” on stage came during a 2018 tour with Iron Maiden as he regained “confidence” performing in front of sold out arena and stadium crowds. At the same time\, he experienced a debilitating bout of writer’s block. By the end of this run with the metal gods\, Adam took him aside and offered words of inspiration. \n“I shared my unfinished lyrics\, and he said\, ‘You don’t even need all of these. Keep it simple.’\,” Jesse goes on. “I was stressed out. I was insecure. A lot was going on in my head between writer’s block and the surgery. It was amazing to have a friend and producer like Adam mentally slap me upside the face and encourage me.” \n“Jesse did a really great job with the words and melodies\,” remarks the guitarist. “At the same time\, I strove to write songs that were really thrash-y and aggressive. We’ve got more butt-kickers than we usually do.” \nSigning to Metal Blade also stoked this fresh fire. “We were all excited to kick off a new chapter\,” says Justin. “We’ve known Brian Slagel forever. We have friends who have worked with him. We went into this with a sense of optimism about what we could potentially do on this cycle with Metal Blade on our side.” \nThe opener and first single “Unleashed” tempers ominous drums with foreboding guitars before descending into a chantable refrain. “It’s the genesis of the whole thing\,” explains the frontman. “For me\, it’s about the inner animal and darkness we all have inside. Thankfully\, I’ve only had it come out a few times in my life. The chorus felt like something people could relate to.” \n“The Signal Fire” steamrolls from airtight thrashing towards an expansive and entrancing refrain. Boasting a guest appearance from former Killswitch Engage singer and current Light The Torch vocalist Howard Jones\, it sparks a pyre of metallic mastery\, joining two eras of the band on one anthem. \n“I had an image from Lord of The Rings when they climb to the top of the mountain and light a fire to signal for backup\,” says Jesse. “It felt powerful to me. At the same time\, Howard’s Light The Torch was making new music. I thought\, ‘‘Light The Torch’and ‘Signal Fire’ make sense together.’ It needed to be a call-to-arms\, and I wanted to invite him to sing on it. We hit it off for the first time\, recently. Afterwards\, we were texting back-and-forth. We needed a song with him to show the fans there’s solidarity. It’s a perfect ode to our bond as brothers and a nice nod to Light The Torch.” \nElsewhere\, legendary Testament mainman Chuck Billy brings his unmistakable guttural growl to the possessed power of “Crownless King\,” which Adam rightfully refers to as “fucking awesome.” On the other end of the spectrum\, the soaring chorus of “I Am Broken Too” assures “someone struggling with mental illness or suicidal thoughts not to give up\, because there are more of us than you think\,” as the singer reminds. Then there’s “As Sure As the Sun Will Rise\,” which builds towards a triumphant chant\, turning a corner thematically over thunderous percussion and punch-y guitars. \nIn the end\, Killswitch Engage lengthen their legacy while blazing another new path—the system won’t be the same again. \n“I want to take all of that energy\, negativity\, and shit I suffer with and turn it into something positive to make people feel a sense of hope\,” Jesse leaves. “Acknowledge the darkness and fight through it. If you keep pushing\, you will persevere. There will always be a ray of hope.” \n“I want fans to enjoy this\,” Adam concludes. “When I listen to metal records\, I get pumped up and excited. I hope our fans can get just as excited when they hear our songs and watch us play live. Do you really want to pay money to look at someone pretending to be a badass? It’s not what we do. If we’re laughing\, we’re enjoying it—and we are enjoying this one.” \nBOILER \nKillswitch Engage first shook the structure of heavy music upon climbing out of snowy industrialized Western Massachusetts in 2000. A musical outlier\, the band pioneered a union of thrashed-out European guitar pyrotechnics\, East Coast hardcore spirit\, on-stage hijinks\, and enlightened lyricism that set the pace for what the turn-of-the-century deemed heavy. 2002’s Alive Or Just Breathing became avowed as a definitive album\, being named among “The Top 100 Greatest Metal Albums of the Decade” by Decibel and celebrated by everyone from Metal Hammer to Revolver. Not only did they bust open the floodgates for dozens to follow\, but they also garnered two GRAMMY® Award nominations in the category of “Best Metal Performance” in 2005 and 2014\, respectively\, and gold certifications for The End of Heartache [2004] and As Daylight Days [2006]. The group landed three consecutive Top 10 debuts on the Billboard Top 200 with Killswitch Engage [2009]\, Disarm The Descent [2013]\, and their career high best bow at #6 with Incarnate [2016]. The latter two releases would also both capture #1 on the Top Rock Albums and Top Hard Rock Albums charts. Their total streams have exceeded half-a-billion to date.  Along the way\, the boys have shared stages with some of the biggest acts in the world and have sold out countless headline gigs in six continents across the globe. \n2019 represents another turning point. The quintet—Adam Dutkiewicz [lead guitar]\, Joel Stroetzel [rhythm guitar]\, Mike D’Antonio [bass]\, Justin Foley [drums]\, and Jesse Leach [vocals]—sharpen every side of this signature sound on their eighth full-length and first for Metal Blade\, Atonement. The vision they shared two decades ago crystallizes like never before as evidenced by the first single “Unleashed\,” “The Signal Fire” [feat. Howard Jones]\, “Crownless King” [feat. Chuck Billy]\, and “I Am Broken Too.” \n \n \nIn the kitchen of the Byron Bay home of Winston McCall stands a refrigerator\, adorned on one side by a quote from Tom Waits: “I want beautiful melodies telling me terrible things.” \nThis\, the Parkway Drive vocalist says\, is a pretty good summation of himself. It holds true\, too\, as one of the guiding principles behind Darker Still\, the seventh full-length album to be born of this picturesque and serene corner of north-eastern NSW\, Australia\, and the defining musical statement to date from one of modern metal’s most revered bands. \nDarker Still\, McCall says\, is the vision he and his bandmates – guitarists Jeff Ling and Luke Kilpatrick\, bassist Jia O’Connor and drummer Ben Gordon – have held in their mind’s eye since a misfit group of friends first convened in their parents’ basements and backyards in 2003. The journey to reach this moment has seen Parkway evolve from metal underdogs to festival-headlining behemoth\, off the back of close to 20 gruelling years\, six critically and commercially acclaimed studio albums (all of which achieving Gold status in their home nation)\, three documentaries\, one live album\, and many\, many thousands of shows. \n“When Parkway originally started out\, we all were trying to push ourselves to do more than we possibly could\,” is how McCall explains it. “The better we got at it\, the more comfortable we got\, to the point where it became all comfortable. That is when we chose to acknowledge that just being comfortable was not necessarily doing justice to the skills and the creativity that you have grown over the years. What you hear on Darker Still is the final fulfilment of our ability to learn and grow catching up with the imagination that we have always had. These are the kinds of sounds we always had in mind. This is the way we always dreamed.” \nTo understand that growth is to understand Darker Still\, both musically and thematically. Those who thought they had Parkway Drive figured out – the unrivalled energy\, the high-octane breakdowns\, McCall’s trademark bark – need reconsider everything they know about Australia’s masters of heavy. Not that anyone truly paying to their recent evolution should be surprised\, though. “This is a journey we began with Ire\, and which grew further still on Reverence\,” McCall says\, referencing the band’s preceding 2015 and 2018 works\, respectively. In that context\, it is easy to view Darker Still as the curtain-closer on a transformative trilogy that has seen Parkway reach new heights of creativity and success by eschewing the restrictive\, safe conventions of genre and abandoning their own self-imposed rules in favour of a wide-eyed appreciation of bold new horizons. “There are compositions and songs that we’d never attempted before – or\, to be more accurate\, which we have attempted in the past\, but not had the courage\, time or understanding to pull off\,” McCall reveals. \nThe vocalist would be the first to tell you that in order to grow\, you have to let go of the past; a mantra Parkway embraced tighter than ever before when it came to blueprinting Darker Still. McCall describes how “we wanted to make a record that stood alone from the records we hear at this point in time”; one that delivers on “a more expansive sound\, which allows a new weight to fall into the music.” Gordon\, meanwhile\, says it features “some of the heaviest moments we have ever created\, but it is a different kind of heavy: an emotional catharsis that you can feel in every cell in your body.” The drummer is brutally honest in his reflection that\, between “the ever-changing COVID lockdowns\, government mandates\, travels restrictions and tense personal relationships within the band”\, Darker Still was the most challenging moment of the band’s career. Ling offers agreement\, admitting that the three-year journey of writing and recording – which commenced as far back as April 2019 and would conclude in February 2022 following three months in the studio with producer and engineer pairing George and Dean Hadjichristou – “broke me by the end” as he juggled lockdown family life with the “daunting task of trying to stick everyone’s ideas together” in his downstairs home studio. \n“When writing songs\, we have a few questions that we ask ourselves that helps define our creative path\,” he explains of the gruelling process. “‘What will this song achieve?’ ‘Why does this song deserve to be on this album?’ ‘What emotional response will this song provoke in the listener?’ If all these points check out\, we know we are on the right path.” \n“We are very much a collaborative band when it comes to song writing\,” says Gordon. “Each song goes through several layers of scrutiny and refinements before the final version emerges. Some songs are completely unrecognisable from the first rendition to what ends up on the record.” \nAnd so while Darker Still remains irrefutably Parkway Drive\, it finds the band sonically standing shoulder to shoulder with rock and metal’s greats – Metallica\, Pantera\, Machine Head\, Guns N’ Roses – as much as it does their metalcore contemporaries. “I wanted a classic guitar tone for this record\,” explains Ling\, who credits much of his inspiration to the connection his riffs have with a crowd in a live setting. “I’ve always been drawn to early ‘90s metal\, so something along these lines with a modern edge was my jive. Creatively my goal was to write intricate and intriguing music that is also simple enough for everyone to understand and enjoy. We made a conscious decision to not go overboard with layering and soundscaping. This move would help reinforce our raw and classic album vision.” \n“Production wise\, we wanted to have a slight throwback to the ‘90s\, leaning into some more real and natural sounding tones\, which gives the record more character\,” nods Gordon\, whose work behind the kit on Darker Still – “Less about how much I could show off\, and more about what will best compliment the song\,” is his simple assessment – is emblematic of the record at large. “It took us a long time to learn about the importance of dynamics\,” he says. “We now pick our moments much more and let the song breathe when it needs to.” \nIt is a revivified sound that provides the backdrop for some of McCall’s most personal and introspective songs yet. Exploring the concept of the ‘dark night of the soul’ – “The idea of reaching a point in your life where you are faced with a reckoning of your structure of beliefs\, your sense of self and your place in the world\, to a point where it’s irreconcilable with the way that you are as a person\,” as McCall describes – Darker Still unfurls like the great rock concept albums\, from Pink Floyd to\, most comparably\, Nine Inch Nails’ The Downward Spiral. \nAmongst ruminations on society’s fear of death\, societal isolation and a loss of humanity\, its 11 tracks play out in a classic three-act structure. Ground Zero opens its ‘setup’; a “reckoning with your own internal monologue\, says McCall\, which ominously speaks to “the fights\, the falls\, the scars and broken bones” and how “beneath it all\, the cracks begin to show…” Its second act – its ‘confrontation’ – frames the album’s title track at its core: a classic rock epic about “love and time” that spans a near seven-minutes and which evokes Metallica’s Nothing Else Matters. The album’s ‘resolution’\, meanwhile\, concludes with From The Heart Of Darkness: a brooding monster that opens with McCall’s contemplative searching (“There’s a war going on inside\, nobody’s safe from / You can run\, but you can’t hide / When it’s your soul you must confront”) before exploding with its mosh-call of “Fury be my victory!” \n“I wanted the end of the record to mirror my experience to a degree of what this journey has been like for me\,” McCall reveals. “I found that I was always afraid of showing defiance to be honest and true to myself\, even if that meant sacrificing who I was to become a better version of who I could be. That has to be ripped from the darkest part of you\, because the darkest part of you is what you are always afraid of in the first place. It’s the thing that you don’t want to shine the light on. It’s the element that you don’t want to show people\, which you shy away from\, which you’re too scared to embody.” \nIt is a closing statement that truly defines Darker Still. This is the Parkway Drive the band have been striving to be for two decades. Ling says it best: “I’m really proud of what we have achieved together\, and feel that as musicians\, we have really ascended to new realms of class and ability.” Emerging from the darkness of the past few years\, this is the true face of Parkway: redefined and resolute\, focused in mind and defiant in spirit. \n \n \nCaleb Shomo first turned the pain of his struggle with mental health and self-image into music in 2013. Beartooth began as a living document\, a diary\, a journal of repressed rage and depression. Alone in his basement studio\, screaming and singing\, playing all the instruments\, and self-producing a batch of furious but melodic songs filled with reflection and confession\, the Ohio native stared into the abyss\, initially with no intention of returning to the heavy music world that burned him as a teen. A decade later\, the different pieces of his body of work connect in title\, sound\, and spirit. As the frontman hits 30\, Beartooth’s fifth album\, he Surface\, completes this era in 2023. Even more importantly\, it kicks off a new chapter filled with surprising optimism and just as honest. Depression is a sick\, disgusting\, aggressive disease below the surface. Shomo stands ready to bask in the light. \nLike Nine Inch Nails\, Beartooth remains a one-person band in the studio. On the heels of the introductory Sick EP (2013)\, Disgusting (2014) produced the band’s first Gold single\, “In Between.” Aggressive (2016) and Disease (2018) expanded on the desperation and pain\, each a step closer to a balance between the blood and tears of classic recordings and the shimmer of modernity. \nRolling Stone heralded Beartooth as one of 10 Artists You Need to Know. The rabid response to Shomo’s music demonstrated how many people related to his struggle for self-acceptance. Below (2021) topped the Rock and Alternative charts and several Best Rock/Metal Albums of the Year lists. As of 2023\, the Beartooth catalog boasts more than 1 billion streams across all platforms. \nBeartooth began as both bomb and balm\, an outright refusal to suffer in silence\, weaponizing radio-ready bombast\, delivering raw emotion mixed with noise-rock chaos. Other bands play the “devastating riffs and catchy hooks” game\, but this music is the difference between life and death\, and now\, a sort of life after death while still here. The band Forbes sees “inching towards a tipping point of becoming the latest arena headliner” is now one step closer. \n \n \nPlatinum-certified and twice GRAMMY-nominated Michigan rock powerhouse I PREVAIL — Brian Burkheiser (vocals)\, Eric Vanlerberghe (vocals)\, Steve Menoian (guitars/bass)\, Dylan Bowman (guitars)\, and Gabe Helguera (drums) — are back with TRUE POWER\, their third full-length offering on Fearless Records. \n \n \nThe real story hides below the surface and beneath the veneer. \nIf you disregard the façade\, peel back the layers\, and take a closer look\, you might get to the truth. The  Amity Affliction cocoon raw honesty in haunting hooks\, pummeling grooves\, and rapturous riffs. The Australian heavy alternative quartet—Joel Birch [vocals]\, Ahren Stringer [vocals\, bass]\, Dan Brown [lead guitar]\, and Jon Longobardi [drums]—unearth a powerful truth on their seventh full-length and debut for Pure Noise Records\, Everyone Loves You Once You Leave Them. \n“Social media is so fickle\,” asserts Joel. “The internet horde’s response is often\, ‘You’re a successful musician. There’s no way you can have depression. Fuck you!’ The other side isn’t always shown. This is a great job\, and we’re blessed. Like anything though\, it’s not all roses. After somebody dies\, you hear the mob say\, ‘Oh my God\, that artist was such an inspiration.’ I’m sick of the ignorant animosity towards mental illness in music or any profession for that matter. We have a platform. We have the opportunity to say something\, so that’s what we’re doing.” \n“Saying something” remains a reason why they consistently connect. Since emerging in 2008 on the debut Severed Ties\, the four-piece has preserved this bond. They served up two ARIA gold-certified albums\, Youngbloods [2010] and Chasing Ghosts [2012]\, and earned a platinum certification from ARIA for the seminal Let The Ocean Take Me [2014]. This Could Be Heartbreak [2016] marked the band’s second consecutive Top 30 debut on the Billboard Top 200\, while Misery [2018] elevated them to new critical heights with praise from Medium\, Alternative Press\, The Noise.\, and more. To date\, the group’s total stream tally has surpassed 200 million and counting. Meanwhile\, The Amity Affliction sold out countless headline shows and toured alongside many genre heavyweights. During 2019\, the musicians returned to Beltsville\, MD to record alongside Misery producer Matt Squire. \nThis time around\, they incorporated more guitar and embraced heavier tendencies. \n“We went back to our heavier side for the majority of the album\,” says Ahren. “We were trying to master the craft and write what we want to hear. Even though we’re older\, the maturity comes out a bit more with each record.” \n“We just got back to a more of rock guitar sound\,” agrees Joel. “We wrote naturally\, and it felt great.” \nThe bludgeoning “All My Friends Are Dead” introduced the record\, racking up 1.5 million Spotify streams within a month and receiving praise from the likes of Kerrang! On its heels\, the single “Soak Me In Bleach” vaults from gnashing grung-y guitar to a sweeping and soaring clean chant. \n“The imagery of ‘Soak Me In Bleach’ isn’t something we’d usually use\,” Ahren goes on. “It’s super dark\, but it’s got a boppy grunge vibe.” \nOn the other end of the spectrum\, the vulnerable “Aloneliness” stretches from electronic-infused emissions into a disarmingly dynamic chorus\, offsetting pop palatability with a heartbreaking confession. \n“It’s straight-up about being bipolar\,” reveals Joel. “It’s the constant struggle to figure out who I am now. It’s the morbid and negative part of my existence. Luckily for me\, I’ve got music. I have that daily releasee on tour. I don’t know what I’d do without it. There are individuals who aren’t that fortunate and are struggling to have some form of escapism.” \nFueled by a blast beat and a deluge of screams\, “Catatonia” cuts deep. “When we were recording Misery\, my friend killed himself\,” sighs Joel. “We were alone in Toronto. The weather was miserable. His death just hit me like a ton of bricks\, and I spent several hours on the floor unable to move.” \nElsewhere\, “Forever” sees Joel directly discuss his bipolar diagnosis and “the balancing act between happiness and despair” over an unpredictable sonic backdrop. “Coffin” closes tight on “leeches who want to suck the joy out of everything” with caustic ebbs and flows. \nIn the end\, The Amity Affliction get real on Everyone Loves You Once You Leave Them. \n“I want everyone to know there are others out there whose lives look amazing\, but they’re still struggling\,” Joel leaves off. “Mental illness is uncompromising and indiscriminate. You can’t help it. It’s not your fault. That’s it.” \n“I’d love for people to go on this journey with us\,” Ahren concludes. “Maybe it could make their day a little better. I live for music; it keeps me going. If we can do that for someone else\, that would be amazing.” \n \n \nContrast gives art dimension. The juxtaposition of two seemingly disparate elements sparks friction\, bringing life to any canvas. The Devil Wears Prada rely on contrast as they nimbly balance metallic turbulence\, hardcore spirit\, provocatively eloquent lyricism\, and melodic exorcism. In between these opposing extremes\, the band—Mike Hranica [vocals]\, Jeremy DePoyster [guitar\, vocals]\, Kyle Sipress [guitar]\, Jonathan Gering [keys\, synths\, programming\, production]\, Giuseppe Capolupo [drums]\, and Mason Nagy [bass]—have fashioned an ever-evolving signature style buttressed by layers of sonic hues. Such dynamic divergence defines the group’s eighth full-length offering\, Color Decay [Solid State]. \n“It’s about contrast\,” observes Mike. “We’ve really tried to create individualism within the songs and make them distinct. The title references the disintegration and discoloration we experience from daily struggles. Those feelings come with mental health\, getting older\, and dealing with it. We confront these fights over a lengthy period of time. This record goes up and down\, which I’ve always liked for an LP. You will want to listen to it from front-to-back.” \n“It’s a transparent look inward at what it’s like to be a mid-30-year-old trying to find a balance\,” Jeremy adds. “You have to work\, hang out with your family\, pay attention to your friendships\, and still take care of yourself. The music is the moment you can be your total self though. It’s a safe place to release those emotions that are hard to open up about.” \nThey’ve harbored this space since forming in 2005. Speaking to the band’s growing influence\, fans voted 2009’s With Roots Above and Branches Below one of the “5 Greatest Metalcore Albums” in a Revolver poll as the outlet christened it “a true metalcore landmark.” The group have notched six consecutive Top 5 debuts on the Billboard Top Hard Rock Albums Chart\, including Dead Throne [2011]\, 8:18 [2013]\, Space EP [2015]\, Transit Blues [2016]\, The Act [2019]\, and ZII EP [2021]. The latter served as a sequel to one of their most beloved projects 2010’s Zombie EP. Upon arrival\, mxdwn applauded ZII as “phenomenal\,” and Metal Injection went as far as to claim\, “This mini-concept has outlived the zombie revival.” In the wake of the EP\, the group exceeded a-quarter-of-a-billion cumulative streams and views. \nDuring 2021\, the musicians decamped to remote hideaways together in Wisconsin and Desert Hot Springs\, California. This time around\, Jon took the reins as producer\, collaborating closely to assemble a rich sonic architecture for what would become Color Decay. \n“We feel very comfortable in the process we’ve established by working with a producer who’s literally in our band\,” smiles Jeremy. “Mike and I have been doing this for 17 years now. Jon took on the role of project leader and figured out how to extract the best parts from everyone and put them into a unified piece. He excelled on ZII and pulled an amazing story out of Mike. It turned into a super collaborative project. We articulated these dark themes and melodies and connected them musically.” \n“We created a lot of momentum with ZII and felt very rewarded by the positive experience\,” Mike adds. “It steamrolled into these new songs. I tried to paint with a broad brush and did my best to color the vision.” \nThey initially teased out the record with “Watchtower” and “Sacrifice\,” generating excitement and anticipation. Setting the stage for Color Decay\, a driving riff uplifted by luminous keys gives way to a subdued verse on the single “Salt.” Melodic vocals hover above an otherworldly soundscape before snapping back into a hypnotic hook\, “Pour the salt into the wounds\, let the rain wash over you.” \n“It’s a resignation to suffering\,” Mike notes. “It essentially says\, ‘I’m already beaten down\, so keep pouring salt into the wound. Why not?’ It’s a realistic reaction. Go ahead. Push me off the edge now.” \nThen\, there’s “Time.” An airy intro bleeds into a pummeling groove punctuated by vicious vocals before eventually spiraling towards what Mike describes as “the goth dance party.” \n“As much as the songs look inward\, there are some bigger narratives\,” the frontman goes on. “I wanted to blow the ceiling off what I view as the cliches within heavy music. Sonically\, ‘Time’ goes to some awesome places. In real life\, time itself moves incredibly fast\, but it moves incredibly slow. The song addresses that.” \n“Broken” translates tense emotions into a cathartic chorus\, “I know I’ve got my problems.” \n“Jon struggles with anxiety\, and most of the guys in the band do to a certain degree\,” Jeremy states. “A lot of the lyrics detail a very personal experience with anxiety. The content is relatable\, but it’s in another lane for us.” \nWarbling vocals groan between menacing synths and crunching distortion on the head-bashing “Hallucinate.” Mike screams\, “I’d do anything for some kind of relief.” \n“I was reading The Morning Star\,” Mike reveals. “It switches between these different perspectives. One of them belongs to a nurse who’s taking care of a patient struggling with a brain tumor. As the tumor expands in your brain\, it can cause pain and hallucinations. The track is essentially about a person hallucinating alone in a hospital bed and seeing these horrific images.  It’s a narrative song\, and its industrial nature really spoke to me. I don’t think it’s like anything we’ve ever done before.” \nColor Decay concludes with the heart-wrenching finale “Cancer.” Guitar marches underneath a searing refrain\, “I hope that it’s cancer and not something else\, because I don’t need anymore things I don’t want to talk about.” \n“One of Jon’s heroes passed away and the first thing he thought was\, ‘I hope he died peacefully rather than from suicide or a drug overdose’\,” says Mike. “It’s an introspective look at how difficult it can be to watch your heroes pass away from all of these terrible ways and the guilt of this immediate thought about how this person died.” \nBy contrasting these extremes\, The Devil Wears Prada achieve balance like never before. \n“There’s a focus to the album we haven’t had in a very long time\,” Jeremy leaves off. “Coming out of the last 2 years\, we’ve reflected on what is important to us—playing in this group and performing live. This record proves we’re not going anywhere. In our minds\, we’re very focused on continuing to deliver the best possible music we can.” \n“We fought so hard for this\, and this album represents where we’re at now\,” Mike concludes. “We’ll die on the hill of being The Devil Wears Prada. I believe you can define our band by Color Decay.” \n \n 
URL:https://globalazmedia.com/event/summer-of-loud-tour-2025-at-talking-stick-resort-amphitheatre/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
ATTACH;FMTTYPE=image/webp:https://globalazmedia.com/wp-content/uploads/2025/06/The-Summer-of-Loud-Tour-2025.webp
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20250706T190000
DTEND;TZID=America/Phoenix:20250706T233000
DTSTAMP:20260428T122506
CREATED:20250619T234348Z
LAST-MODIFIED:20250619T234448Z
UID:19868-1751828400-1751844600@globalazmedia.com
SUMMARY:Kesha & Scissor Sisters at Talking Stick Resort Amphitheatre
DESCRIPTION:A brash and driven Grammy-nominated pop singer and songwriter\, Kesha went straight to the top of the Billboard Hot 100 in 2009 with her breakthrough recording\, a feature spot on Flo Rida‘s “Right Round.” Her own major-label debut\, Animal\, followed a year later and made her a bona fide star\, showcasing her exuberant electro pop sound and reaching number one in the U.S. and Canada behind the international party-time hit “TiK ToK.” The album spawned three more Top Ten singles as well as the Get Sleazy Tour\, her first as a headliner. A second solo number one\, “We R Who We R\,” was included on the 2010 EP Cannibal\, and she reached the Top Ten of the Billboard 200 for the third time straight with her second full-length\, 2012’s Warrior. A more rock-influenced effort\, it found space for a previous collaborator\, Wayne Coyne of the Flaming Lips\, punk godfather Iggy Pop\, and the indie pop band Fun. She had another Hot 100-topping single a year later with “Timber\,” a collaboration with Pitbull. After a series of legal battles with her longtime producer\, Dr. Luke that involved claims of physical and emotional abuse and business-related mistreatment\, Kesha returned with her third album\, Rainbow\, in 2017. Its themes of self-empowerment hit number one in the U.S.\, Canada\, and across Europe. She again hit the Top Ten of the Billboard 200 with 2020’s upbeat High Road and collaborated with producer Rick Rubin on 2023’s Gag Order. In 2024\, the single “Joyride” heralded the arrival of her sixth album and the launch of her own independent Kesha Records. \nKesha Rose Sebert was born in Los Angeles but moved to Nashville when she was four\, where her mother — a longtime songwriter — had inked a publishing deal. (Over a decade prior to that\, Pebe Sebert‘s biggest success had come with “Old Flames Can’t Hold a Candle to You\,” originally recorded by Joe Sun and later by Dolly Parton.) Before finishing high school\, Kesha returned to L.A. for the sake of jump-starting her own music career\, despite being set up to study psychology at Columbia. She soon met Dr. Luke\, the co-writer and co-producer of Kelly Clarkson‘s “Since U Been Gone” (among several other hits)\, who was impressed with her demo recordings. Kesha penned the Veronicas‘ “This Love” and later contributed background vocals to Britney Spears‘ “Lace and Leather\,” both of which were released in 2008. The biggest turning point came one year later\, when she was tapped to contribute vocals to Flo Rida‘s Dr. Luke-produced “Right Round\,” a number one Hot 100 hit. \nKesha subsequently signed to RCA\, and her debut album Animal — featuring collaborations with Dr. Luke\, Max Martin\, and Benny Blanco — was released in early 2010. Animal proved to be a big hit\, reaching the top of the Billboard 200 and spinning off the number one single “TiK ToK.” The nine-song EP Cannibal appeared at the end of the year. Its single\, “We R Who We R\,” became her second chart-topper\, and “Blow” also reached the Top Ten. Cannibal was followed in 2011 by another stopgap release\, I Am the Dance Commander + I Command You to Dance: The Remix Album. In 2012\, she was called upon by rocker Wayne Coyne for The Flaming Lips & Heady Fwends\, a collaborative album that partnered Kesha with Biz Markie on the track “2012 (You Must Be Upgraded).” \nDr. Luke was back on board for her second official album\, Warrior\, but the more rock-influenced effort also found space for Coyne\, punk godfather Iggy Pop\, and the indie pop band Fun. Preceded by the Billboard Top Ten single “Die Young\,” Warrior was released in December 2012 and reached the Top Ten of the albums chart. Two other singles hit the Top 40: “C’Mon” and “Crazy Kids.” Kesha toured North America in 2013 as part of a co-headlining bill with Pitbull\, and the duo also recorded a single together\, “Timber\,” which became Kesha’s third number one hit. \nEarly in 2014\, she entered rehab for treatment of bulimia nervosa\, a period that included writing and recording over a dozen songs for her third studio album. That June\, she began a stint as a celebrity expert on the ABC singing competition Rising Star alongside Ludacris and Brad Paisley. In late 2014\, Kesha sued Dr. Luke for an array of charges\, including sexual assault\, harassment\, emotional abuse\, and bad business practices; she also sought release from her contract with Dr. Luke’s Kemosabe label. Although the courts initially rejected her claims\, wide public support for Kesha caused Kemosabe to release her from her contract in early 2016. \nHer return to performing came in April 2016\, when she took the stage at Coachella to perform “True Colors” during Zedd‘s set. The studio version was released at the end of the month. Following her own world tour in the summer of that year\, Kesha returned to the studio to complete work on her long-awaited third LP\, Rainbow. “Praying\,” its lead single\, was released in July 2017\, with the album arriving a month later; it debuted at number one on the Billboard 200. More singles followed\, including “Learn to Grow” and “Woman\,” the latter of which hit the top of the U.S. Dance Club Songs chart. In January 2018\, Kesha picked up two Grammy nominations\, including Best Pop Vocal album for Rainbow\, and Best Pop Solo Performance for “Praying.” Later that year\, she released the single “Here Comes the Change\,” which was used to promote the Ruth Bader Ginsberg biopic On the Basis of Sex. “Best Day\,” a cut for the Angry Birds 2 movie soundtrack\, followed in 2019. \nA return to the joyful pop of her early career\, her fourth studio album High Road arrived in January 2020. Buoyed by the lead single “Raising Hell\,” featuring Big Freedia\, the album debuted at number seven on the Billboard 200. It spawned several more singles\, including “My Own Dance\,” “Tonight\,” and “Resentment\,” the latter featuring Brian Wilson\, Sturgill Simpson\, and Wrabel. The following year\, the singer headlined her Kesha Live Tour. She also joined Sam Feldt for his song “Stronger.” \nIn May 2023\, Kesha delivered her fifth studio album\, Gag Order. Largely produced by Rick Rubin\, the album found her continuing to process the upheaval of her lawsuit against Dr. Luke and her inability to comment publicly on the case. Included on the album were the tracks “Eat the Acid” and “Fine Line\,” which were released in tandem as the lead singles. It reached 14 on the Top Alternative Albums chart and cracked the Billboard 200. The Zhone-produced “Joyride” appeared in July 2024 as the first single released off the singer’s sixth album and the first on her own independent Kesha Records. A second single\, the power ballad “Delusional\,” followed that November around the same time as her cover of Lindsay Buckingham‘s 1983 hit “Holiday Road.” In early 2025\, she also contributed the song “Dear Me” to the soundtrack to the documentary Diane Warren: Relentless. \n \n \nA genre- and gender-defying mix of rock\, pop\, and dance inspired by burlesque\, drag queens\, and glam rock\, New York’s Scissor Sisters made a splash in late 2003/early 2004 with their neon-bright reimagining of Pink Floyd‘s “Comfortably Numb\,” the B-side to the band’s first single\, “Electrobix.” The song made quite a name for the band\, which featured singers Jake Shears and Ana Matronic\, keyboardist/bassist Babydaddy\, guitarists Del Marquis and Derek G\, and drummer Paddy Boom: along with becoming the calling card that got the band signed to spotify:search:label%3A%22Polydor%22 in the U.K.\, “Comfortably Numb” was heralded Single of the Month by Dazed and Confused and Jockey Slut magazines\, named an Essential New Tune by Pete Tong on Britain’s Radio 1\, and also received considerable play by DJs including Felix Da Housecat and Tiga. Scissor Sisters (whose name is slang for a lesbian sex act) came from the cutting edge of New York’s nightlife and gay culture\, incorporating elements of burlesque and drag shows\, as well as performance art\, into their theatrical live shows. This was the perfect setting for their music\, which gleaned the best of Elton John\, Bee Gees\, The B-52’s\, David Bowie\, and many other artists with a campy sense of humor and impeccable style. 
 After proving themselves one of the city’s most dynamic live acts\, Scissor Sisters won over British and European audiences on a tour early in 2004 that coincided with the release of their self-titled debut album. That March\, they returned stateside for a South by Southwest gig with Junior Senior and The B-52’s before returning to the U.K. to tour with Duran Duran in support of the “Take Your Mama Out” single. The band continued to have a busy spring and summer\, launching its first U.S. tour in May — coinciding with the stateside release of Scissor Sisters — and returning to Europe in June and July. These dates included two gigs supporting Scissor Sisters’ spiritual and musical godfather\, Elton John\, as well as appearances at festivals such as Glastonbury\, T in the Park\, Roskilde\, and the Montreux Jazz Festival. Late that year\, Scissor Sisters were nominated for a Grammy for Best Dance Record for “Comfortably Numb.” The band kept busy with touring and producing remixes during 2005\, and returned with new material in fall 2006\, when the single “I Don’t Feel Like Dancin'” hit number one in England. The band’s subsequent album\, Ta-Dah\, also topped the charts in Great Britain. In 2008\, Paddy Boom left the group and was replaced by Randy Schrager. After completing and then scrapping an entire set of songs\, Scissor Sisters worked with producer Stuart Price for their third album\, Night Work\, which was released in 2010 and preceded by the power ballad “Fire with Fire.” Guests such as Pharrell Williams\, Calvin Harris and Azealia Banks gave an edge to 2012’s Magic Hour. ~ Heather Phares\, Rovi \n \n 
URL:https://globalazmedia.com/event/kesha-scissor-sisters-at-talking-stick-resort-amphitheatre/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
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DTSTART;TZID=America/Phoenix:20250712T190000
DTEND;TZID=America/Phoenix:20250712T233000
DTSTAMP:20260428T122506
CREATED:20250622T201311Z
LAST-MODIFIED:20250622T201311Z
UID:19878-1752346800-1752363000@globalazmedia.com
SUMMARY:Katy Perry at Phoenix Arena
DESCRIPTION:Flirting with the aplomb of an assassin\, Katy Perry created a distinctly new millennial pop persona: a Disney princess as imagined by Madonna. Perry enjoyed tweaking the sensibilities of a straitlaced audience — she sneered on her first single\, “Ur So Gay” (punch line: “and you don’t even like boys”)\, she gasped “I Kissed a Girl” and she liked it — and her stylish provocations certainly put her on the pop culture radar\, but the reason she stayed there was because of her knack for blending pop conventions with trends. This talent reached its apex on 2010’s Teenage Dream\, a blockbuster sophomore set that generated hits as diverse as its dreamily romantic title track\, the cotton-candy summertime pop of “California Gurls\,” and the steely EDM variant “Firework.” As her career progressed\, she cannily tempered her risqué moves\, adding the empowerment anthem “Roar” to her repertoire while still finding space for dance club hits like “Dark Horse.” Perry broadened her audience with film cameos and a stint as a judge on American Idol\, projects that kept her in the spotlight while easing her transition from pop diva to showbiz staple. Even with her diversified résumé\, Perry continued to tackle a variety of pop styles\, either on such solo albums as 2020’s Smile or as a duet partner\, where she’d alternate between a collaboration with the Swedish DJ Alesso and country-pop singer Thomas Rhett. In 2024\, she heralded her seventh album\, 143\, with the clubby feminist anthem “Woman’s World.” \nPerry’s success was so sudden in 2008 it seemed as if she was an overnight success when the opposite was true. The daughter of Pentecostal pastors\, she was born Katheryn Elizabeth Hudson on October 25\, 1984\, in Santa Barbara\, California. Raised by born-again parents\, Katy was initially attracted to gospel music\, sometimes sneaking pop music in to balance the inspirational tunes\, but when she first started singing it was in the church. She picked up the guitar at the age of 13 and started writing songs\, pursuing a music career in earnest when she was 15. Earning the attention of CCM artists Jennifer Knapp and Steve Thomas\, Katy headed out to Nashville in 2001\, where she cut demos and eventually secured a contract with Red Hill Records. \nRed Hill released Katy Hudson\, a record targeted at a Christian/inspirational demographic\, in February 2001\, but it didn’t garner much attention and was ultimately buried once the label was shuttered at the end of the year. In the wake of the album’s failure\, Perry transitioned toward pop music\, relocating to Los Angeles and working with producer Glen Ballard\, chief collaborator with Alanis Morissette\, one of Perry’s biggest inspirations. As she abandoned Christian music\, she also abandoned her surname Hudson\, choosing to use her mother’s maiden name\, Perry\, instead. \nBallard signed Perry to his Island/Def Jam-distributed label Java in 2004\, but once the producer’s imprint severed ties with its parent company\, Perry and the album were dropped. Next up\, she signed to Columbia Records\, where she worked on a record for two years\, collaborating with the likes of Max Martin\, Dr. Luke\, the Matrix\, Desmond Child\, and Butch Walker\, but just as the album was reaching the finish line in 2006\, she was dropped from Columbia. Perry continued to soldier forth\, working as a backup singer for hire (she can be heard on Mick Jagger‘s “Old Habits Die Hard” from the soundtrack to 2004’s Alfie)\, and recording a full album with the production team the Matrix\, only to find that album also scrapped. \nShe finally had a song called “Simple” released on the soundtrack to 2005’s The Sisterhood of the Traveling Pants\, but her next big break arrived in 2007\, when Jason Flom signed her to Capitol. Once again\, Perry headed into the studio to create a would-be blockbuster — Ballard\, Dr. Luke\, and Butch Walker all returned\, with Dave Stewart\, Greg Wells\, and S*A*M* & Sluggo also showing up — but this time everything fell into place for the singer. First came the deliberately controversial “Ur So Gay\,” released as a video and digital single\, and it gained enough attention that by spring of 2008\, Madonna was calling it her current “favorite song.” By that point\, Perry’s first real single was scheduled for release: “I Kissed a Girl.” Also vaguely scandalous\, “I Kissed a Girl” became a smash and headed all the way to the top of the Billboard Hot 100. Her debut\, One of the Boys\, followed in June 2008\, and it was also a success\, supported by the Top Ten hit “Hot N Cold\,” along with “Thinking of You” and “Waking Up in Vegas.” One of the Boys was a big enough hit that the shelved album Perry had recorded with the Matrix back in 2004 saw a release in January 2009\, but it didn’t do much. \nPerry supported One of the Boys with media appearances and steady tours\, including an appearance on the 2008 Warped Tour and her own headlining Hello Katy jaunt in 2009. A stopgap MTV Unplugged album appeared in November 2009\, by which time Perry was hard at work on her second album\, Teenage Dream. Preceded by the frothy single “California Gurls\,” Teenage Dream was an international smash\, generating no less than five consecutive number one singles in the U.S.: “California Gurls\,” “Teenage Dream\,” “Firework\,” “E.T.” (which featured Kanye West)\, and “Last Friday Night (T.G.I.F.).” This success set a couple precedents: she was the first female artist ever to achieve such a run of number ones and the first artist since Michael Jackson to have so many singles from an individual album reach the pole position. In 2012\, the album was expanded to Teenage Dream: The Complete Confection\, which contained a new single in “Part of Me\,” which also topped the charts. During this entire cycle\, Perry was a constant pop culture presence\, undergoing an international tour\, appearing in cameos all over television\, courting mild social media controversies\, creating fragrances\, and filming the documentary Katy Perry: Part of Me\, which appeared in theaters in July 2012. \nAs the Teenage Dream juggernaut wrapped up\, Perry turned her attention to recording her third album. Appearing in October 2013\, Prism signaled a more mature Katy Perry\, something that was apparent from its motivating first single\, “Roar.” Prism received a lift from its third single\, “Dark Horse\,” which became her ninth number one (“Unconditionally” didn’t crack the Top Ten)\, and it was followed by “Birthday” and “This Is How We Do\,” both released as she supported the album with an international tour. The highlight of that tour was her appearance at the half-time show for 2014’s Super Bowl XLIX\, where she performed with Missy Elliott and Lenny Kravitz. \nTwo years later\, Perry made her comeback with another major sporting event: the 2016 Rio Summer Olympics. Her single “Rise” was honored as the official anthem for the games; it peaked at 11 on Billboard’s Hot 100. Perry next released “Chained to the Rhythm\,” a single co-written with Sia Furler and co-produced by Max Martin\, in February 2017. Another single — “Bon Appetit” featuring Migos — appeared before the June release of Witness\, an album that emphasized EDM-inspired dance-pop. Perry returned with a holiday single\, the family-inspired “Cozy Little Christmas\,” in December 2018. \nEarly in 2019\, she collaborated with Zedd on his single “365” and appeared on a hit remix of Daddy Yankee‘s smash “Con Calma” before issuing her solo single “Never Really Over” in May 2019. “Never Really Over” climbed to 15 on the Billboard Top 40\, setting the stage for a series of digital singles that arrived before the August 2020 release of her sixth album\, Smile. Featuring production by the Monsters & Strangerz\, Zedd\, Carolina Liar\, and others\, the set hit number five on the Billboard 200 and generated another Top 40 single in “Daisies.” \nPerry released a flurry of singles in 2021\, starting with “Electric\,” a song taken from Pokemon 25: The Album. From there\, she issued a cover of the Beatles‘ “All You Need Is Love” that doubled as a soundtrack to a Gap advertising campaign\, plus “When I’m Gone\,” a bright\, danceable single cut in collaboration with DJ Alesso. In 2022\, Perry appeared on “Where We Started\,” a ballad by country-pop singer Thomas Rhett\, and in 2023 she issued a 15th Anniversary Edition of One of the Boys\, which included two bonus tracks. The dance-oriented feminist anthem “Woman’s World” arrived in July 2024 as the lead single off the singer’s seventh full-length album\, 143. 143\, set to be released in September of that year\, included production from Stargate\, Dr. Luke\, and Max Martin\, and boasted guest features from 21 Savage\, JID\, Doechii\, and Kim Petras. \n \n \nIn 2011\, Rebecca Black’s viral hit “Friday” reached more than 150 million people worldwide and became the fastest-growing song and video that year; but it was not until 2021 that Rebecca Black solidified her stamp on pop culture. Ten years since her first release\, Rebecca Black delivered a six-track hyperpop-infused sonic journey titled “Rebecca Black Was Here” – and her 1.5 Million YouTube subscribers are screaming and streaming. This year\, the RIAA Gold-selling singer\, songwriter\, and queer creator sold-out her debut headline tour across North America\, celebrating her first project in 10 years\, ‘Rebecca Black Was Here’ which is nominated for “Best Self Released Record of the Year” at A2IM’s Liberia Awards on June 16th in New York City\, and the queer pop idol brought the “Rebecca Black Is Here” tour to the UK and Europe in May\, after taking over Coachella weekend 1\, teasing the live experience across a string of appearances in the Palm Springs. Her new music collaborations include “Yoga” with bbno$\, “heart2” with Umru & Petal Supply\, and a feature on MØ’s “New Moon”. In her leisure\, Rebecca advocates for anti-bullying\, mental health initiatives\, and the LGBTQ+ community\, across recent partnerships with the AdCouncil\, GLAAD\, and Best Buddies. \n \n 
URL:https://globalazmedia.com/event/katy-perry-at-phoenix-arena/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
ATTACH;FMTTYPE=image/webp:https://globalazmedia.com/wp-content/uploads/2025/06/Katy-Perry-at-Phoenix-Arena.webp
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DTSTART;TZID=America/Phoenix:20250726T190000
DTEND;TZID=America/Phoenix:20250726T233000
DTSTAMP:20260428T122506
CREATED:20250716T011344Z
LAST-MODIFIED:20250716T011344Z
UID:19988-1753556400-1753572600@globalazmedia.com
SUMMARY:Volbeat + Halestorm at Talking Stick Resort Amphitheatre
DESCRIPTION:Volbeat\, consisting of Michael Poulsen (vocals\, guitar)\, Kaspar Boye Larsen (bass)\, and Jon Larsen (drums) have earned more than 143 platinum and gold certifications around the globe\, and scored ten #1 songs on the Billboard Mainstream Rock airplay chart\, the most ever for a band based outside North America. For their ninth album\, God Of Angels Trust\, Poulsen threw caution to the wind\, paying little heed to traditional songwriting in the search for something more immediate and surprising. God Of Angels Trust is a punchy\, crunchy album that’s undeniably Volbeat\, yet marches to a fresh new metallic and melodic energy. From Poulsen’s more instinctual songwriting came more anthemic\, tuneful\, and instantly recognizable rhythms and hooks. The band tracked the album with longtime producer Jacob Hansen in the fall of 2024. To keep the music sounding urgent and immediate\, Volbeat recorded live in the studio\, playing as few takes as possible before moving from one song to the next. Just thirteen days after they started working with Hansen\, Volbeat were finished. As a result\, God Of Angels Trust sounds as fleshed out\, eclectic\, and fulfilling as albums that have taken ten times longer (or more) to create. In the end\, creating such a strong album so quickly was a tremendous challenge that demanded Zen-like calm\, a joy for exploration\, maximal creativity\, and razor-sharp concentration to pull off. \n \n \nLed by charismatic vocalist/guitarist Lzzy Hale\, Pennsylvania-based post-grunge/metal quartet Halestorm are one of the most successful hard rock groups of the early 21st century. With an aggressive yet hook-heavy sound that has become a fixture of American rock radio\, Halestorm have toured restlessly\, playing hundreds of shows per year and sharing the stage with nearly all of the popular American hard rock acts of their era. In 2013\, the band took home a Grammy Award for Best Hard Rock/Metal Performance for the single “Love Bites (So Do I)\,” which appeared on their sophomore studio effort\, The Strange Case Of…. Subsequent efforts Into the Wild Life (2015)\, Vicious (2018)\, and Back from the Dead (2022) have shown the group to be equally adept at muscular hard rockers and piano-driven power ballads\, and their sound has branched out to include elements of dance music and pop-country. \nSiblings Elizabeth and Arejay Hale\, the core members of Halestorm\, formed the group in late 1997 near York\, Pennsylvania\, with Arejay on drums and Elizabeth on vocals and keyboard. Wanting to expand their sound\, the duo invited their father\, Roger\, to play bass with the band. Shortly after their first professional gig in 1998 at the Blue Mountain Coffee House in Hershey\, Pennsylvania\, Halestorm added various guitar players and released an EP\, 1999’s (Don’t Mess with The) Time Man. More lineup changes occurred\, but Halestorm finally solidified with Elizabeth (who was by then going by Lzzy) on vocals and guitar\, Josh Smith on bass\, Arejay on drums\, and Joe Hottinger on guitar. The band caught the attention of producer David Ivory as well as Atlantic Records — both were involved in the group’s major-label debut\, 2006’s One and Done\, a five-song EP recorded live at a show in Philadelphia. They would finally make their full-length studio debut in 2009 with the eponymous Halestorm\, all the while maintaining a rigorous touring schedule that would see them playing upwards of 250 shows a year. \nThe following year\, Halestorm released the concert recording Live in Philly 2010\, and Reanimate: The Covers EP appeared in 2011\, featuring the band’s takes on songs by Heart\, Guns N’ Roses\, and Lady Gaga. Their sophomore album\, The Strange Case Of…\, followed in 2012\, and the single “Love Bites (So Do I)” earned the group a Grammy Award for Best Hard Rock/Metal Performance. Reanimate 2.0 was released in 2013\, this time finding the band tackling Fleetwood Mac\, Daft Punk\, and Marilyn Manson. Halestorm’s eclectic third studio long-player\, the Jay Joyce-produced Into the Wild Life\, was released in April 2015\, and was preceded by the single “Apocalyptic.” The live EP Into the Wild Live: Chicago arrived in 2016\, followed in early 2017 by their third covers set\, Reanimate 3.0\, which featured songs by Whitesnake\, Metallica\, and Soundgarden. Vicious\, the band’s fourth studio long-player\, followed in July 2018 and earned the group a Best Rock Performance Grammy nomination for the single “Uncomfortable.” 2020 saw Halestorm issue Reimagined\, a six-song EP that featured stripped-down versions of five fan favorites and a cover of “I Will Always Love You.” \nTwo years later\, they unveiled their fifth long-player\, Back from the Dead. Produced by Nick Raskulinecz with co-production by Scott Stevens\, the 11-song set included “The Steeple” and “Back from the Dead\,” the latter of which became Halestorm’s sixth single to reach number one on the Active Rock charts. A deluxe edition of the album with seven new tracks arrived later that December. \n \n \nCaptivating bangers like “Engine 45\,” “Avalanche\,” “Aftermath\,” “Wash It Away\,” and “Pressure Point” are anthems for outcasts. Since its formation in El Segundo\, California\, The Ghost Inside has inspired international audiences with passion and determination. Tremendous obstacles never dampened their energy. The Ghost Inside is stronger than ever. \nThe lesson isn’t only about strength through adversity. In recent years\, vocalist Jonathan Vigil\, guitarists Zach Johnson and Chris Davis\, bassist Jim Riley\, and drummer Andrew Tkaczyk learned an esoteric truth about tranquility. As the axiom says\, it’s the journey\, not the destination\, a theme throughout the band’s dynamic sixth album\, Searching for Solace. \nThe Ghost Inside merges the New Wave of American Metalcore’s proficiency with punk’s urgency\, building a bridge between more aggressive sounds and thoughtful messaging. Melody is another constant\, explored to dizzying new heights in Searching for Solace. \nFury and the Fallen Ones (2008) and Returners (2010) preceded The Ghost Inside’s breakthrough album on Epitaph\, Get What You Give (2012). Goodwill\, momentum\, and engaging live performances continued behind the conceptually driven Dear Youth (2014).
URL:https://globalazmedia.com/event/volbeat-halestorm-at-talking-stick-resort-amphitheatre/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
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DTSTART;TZID=America/Phoenix:20250727T200000
DTEND;TZID=America/Phoenix:20250727T233000
DTSTAMP:20260428T122506
CREATED:20250708T004918Z
LAST-MODIFIED:20250708T004918Z
UID:19887-1753646400-1753659000@globalazmedia.com
SUMMARY:The Rose: Once Upon A WRLD at Mullett Arena
DESCRIPTION:The Rose is a Korean alt-pop band comprised of four talented members: vocalist and guitarist Woosung\, vocalist/multi-instrumentalist Dojoon\, bassist Jaehyeong\, and drummer Hajoon. Renowned since their inception for electrifying performances\, The Rose quickly became one of Korea’s most sought-after groups\, delivering a series of critically acclaimed albums that resonated with fans worldwide. \nThe Rose’s first full-length album HEAL was inspired by the transformative power of music and the stories shared by both their fans and themselves. HEAL soared to #4 on Billboard’s Heatseekers Chart\, while their accompanying HEAL Together World Tour drew an overwhelming crowd of over 100\,000 attendees. \nNow\, with their highly anticipated second full-length album DUAL\, The Rose takes their music to new heights. Building upon the emotional honesty and vulnerability showcased in HEAL\, this latest offering explores the profound concept of ‘balance.’ Seamlessly merging light and dark elements\, The Rose masterfully weaves emotions and sounds\, capturing the dualistic essence that defines their music. \nDriven by unwavering dedication to their fans and the unbreakable bond of their friendship\, The Rose continues to push their artistic boundaries\, captivating audiences worldwide with their soul-stirring music and unforgettable performances.
URL:https://globalazmedia.com/event/the-rose-once-upon-a-wrld-at-mullett-arena/
LOCATION:Mullett Arena\, 411 S. Packard Drive\, Tempe\, AZ\, 85287\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2025/07/the-rose-at-Mullett-Arena.jpg
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DTSTART;TZID=America/Phoenix:20250729T190000
DTEND;TZID=America/Phoenix:20250729T233000
DTSTAMP:20260428T122506
CREATED:20250716T235221Z
LAST-MODIFIED:20250716T235221Z
UID:19996-1753815600-1753831800@globalazmedia.com
SUMMARY:Architects at The Van Buren
DESCRIPTION:Architects\, a versatile metalcore group based out of Brighton\, England\, employ a lethal amalgam of breakdown-heavy hardcore\, symphonic screamo\, death metal\, and ambient post-metal. That sonic malevolence is conducted from a platform built on veganism and environmental activism\, with influences ranging from Hatebreed and Shadows Fall to Bring Me the Horizon. Emerging in 2006 as a punishing\, no-frills metalcore act\, the band expanded their sound on 2011’s The Here and Now\, adopting a more melodic — though still punishing — and less predictably structured approach to the genre\, which they perfected on 2016’s critically lauded All Our Gods Have Abandoned Us. Heading into the next decade\, the group continued to refine their more varied sound\, delivering immaculately crafted efforts like The Classic Symptoms of a Broken Spirit (2022) and The Sky\, The Earth & All Between\, rooted in expressive and expansive\, stadium-ready metalcore. \nArchitects recorded their debut album\, Nightmares\, in 2006 with a lineup consisting of twin brothers Tom (guitar) and Dan Searle (drums)\, Tim Hillier-Brook (guitar)\, Tim Lucas (bass)\, and Matt Johnson (vocals)\, but the latter was replaced on-stage by new frontman Sam Carter in January 2007 during the last show of the band’s subsequent tour. Later that year\, they recorded their sophomore effort\, Ruin (introducing new bass player Ali Dean)\, and signed a worldwide deal with Century Media for its re-release in 2008. Their first American tour was next on the agenda\, and saw the group joining Suicide Silence\, Beneath the Massacre\, and the Tony Danza Tapdance Extravaganza\, among other bands. \nUpon their return to England\, Architects recorded their third album\, Hollow Crown\, which arrived in 2009. They took their sound in a relatively subdued\, post-hardcore direction on their fourth album\, 2011’s Here and Now\, but transitioned back to a heavier sound the following year on Daybreaker. The band continued to expand their limits\, pushing things in both extreme and ambient directions on their sixth album\, Lost Forever // Lost Together\, which appeared in 2014. Two years later\, they issued the critically acclaimed and uncompromising All Our Gods Have Abandoned Us\, which they described as their “heaviest and darkest work” to date. It would be the final recording for founding guitarist and primary songwriter Tom Searle\, who passed away in August of that year after a battle with cancer. \nSeptember 2017 saw the band issue the single “Doomsday\,” which evolved from a song that was partially written by Searle before his passing. It appeared on the group’s eighth studio long-player\, Holy Hell\, that was released the following year. That album was the first to feature new guitarist Josh Middleton (Sylosis)\, who had filled in on tour. He co-produced and contributed to the writing on Architects’ ninth album\, For Those That Wish to Exist\, released in February 2021. The record deals with climate change and features guest vocals from members of Parkway Drive\, Royal Blood\, and Biffy Clyro. Unable to tour during the COVID-19 pandemic\, the band filmed an elaborate livestream performance of the album at Abbey Road Studios and released it as a live album in March of the following year. \nAfter having made their previous LP remotely during the pandemic\, Architects were able to return to the studio as a unit\, capturing a more spontaneous live energy on their tenth album\, The Classic Symptoms of a Broken Spirit\, which appeared in October 2022 and reached number one on the U.K. Rock & Metal Albums Chart. Looking to capture the discordant zeitgeist of the decade\, 2025’s The Sky\, The Earth & All Between marked a return to the punitive heaviness of earlier efforts\, highlighting the era’s tribalism and divisiveness with a set of songs — including collaborations with House of Protection and Amira Elfeky — that played to all of their strengths. \n \n \nDetermination and steadfast dedication have defined ERRA’s path\, forging a unique connection with an ever-growing audience\, without the advantages of traditional recognition. On their career-defining\, self-titled fifth studio album ERRA\, the band confront depression\, anxiety and desperation throughout. They take listeners on a near-out-of-body journey to Aokigahara\, the infamous Suicide Forest of Japan; into episodic storytelling that would make Black Mirror writers proud; and into the literary works of Cormac McCarthy and Hubert Selby Jr. \nAs their music finds the balance between the crushingly heavy and the headily melodic\, its members seek to find harmony between the needs of the individual and the natural flow of this shared reality. ERRA\, as a band of brothers and creative force\, strive to live in alignment with the present moment. ERRA\, the album\, represents redemption for the band\, who emerged from the creative process with renewed focus\, confidence\, and certainty of self. \n \n 
URL:https://globalazmedia.com/event/architects-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2025/07/Architects-at-the-van-buren.jpg
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