BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Global AZ Media - ECPv6.15.17.1//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Global AZ Media
X-ORIGINAL-URL:https://globalazmedia.com
X-WR-CALDESC:Events for Global AZ Media
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/Phoenix
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0700
TZNAME:MST
DTSTART:20240101T000000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20250802T190000
DTEND;TZID=America/Phoenix:20250802T233000
DTSTAMP:20260428T063602
CREATED:20250721T014414Z
LAST-MODIFIED:20250721T014414Z
UID:20002-1754161200-1754177400@globalazmedia.com
SUMMARY:Shinedown + Bush at Phx Arena
DESCRIPTION:Multi-platinum band Shinedown Brent Smith [vocals]\, Zach Myers [guitar]\, Eric Bass [bass\, production]\, and Barry Kerch [drums] – have cemented their status as one of the most vital and forward-thinking powerhouses in modern rock. Their most ambitious and masterfully realized work to date\, their seventh studio album Planet Zero firmly places the group in the pantheon of artists capable of moving the culture forward on the strength of their singular vision\, uncompromising honesty\, and fierce commitment to constant evolution. The record-breaking band have achieved astronomical success while embodying the kind of creative dynamism that defies expectation and transcends boundaries. They were named #1 on Billboard’s Greatest Of All Time Mainstream Rock Artists Chart\, after notching the most ever #1s in the 40-year history of the Mainstream Rock Songs Chart with a string of consecutive #1 hit singles. Tickets at shinedown.com. \n \n \nAfter three decades\, well over 20 million records sold\, a GRAMMY® Award nomination\, 1 billion streams\, and a procession of #1 hits\, BUSH stand tall as rock outliers whose imprint only widens as the years pass. Turn on rock radio\, and it won’t be long before you hear “Glycerine” or “Machinehead.” On the big screen\, their music courses through blockbuster franchises such as John Wick. On the road\, they regularly pack amphitheaters and ignite festival stages. In 1994\, the group delivered their seminal debut\, Sixteen Stone. It notably achieved a six-times platinum certification\, remaining a pillar of modern rock. The triple-platinum follow-up\, Razorblade Suitcase\, bowed at #1 on the Billboard Top 200 and boasted “Swallowed\,” which garnered a GRAMMY® nomination in the category of “Best Hard Rock Performance.” Their catalog spans the platinum The Science of Things [1999] through Black and White Rainbows [2017]. Most recently\, 2020’s The Kingdom arrived to acclaim highlighted by “Flowers On A Grave” and “Bullet Holes.” Thus far\, they have notched 25 straight Top 40 hits on the Modern Rock and Mainstream Rock charts\, earning seven #1 entries – most recently\, 2022’s “More Than Machines”. As indefatigable as ever\, they’re still here too\, which brings us to their ninth full-length offering\, The Art of Survival. The twelve new tracks aren’t just the sound of a band surviving though; they’re the sound of a band bucking trends\, breaking ground\, and besting even their most celebrated canon. \n \nMost artists don’t top Rolling Stone’s Best Country Albums of the year list with their debut album. But most artists aren’t Morgan Wade\, who earned the top spot with her scathingly honest and raw 2021 LP Reckless. While Reckless\, and its Top 30 lead single “Wilder Days\,” busted down the doors and introduced Wade as a once-in-a-generation songwriter\, she now readies her anticipated follow-up project\, Psychopath\, arriving Aug. 25. An astounding 13-track LP\, Psychopath most excitingly finds Wade peeling back layers of her psyche like never before. Wade has been no stranger to the road throughout the first quarter of 2023 on her headlining NO SIGNS OF SLOWING DOWN TOUR\, which sold out 35 shows for more than 40\,000 tickets sold. A Virginia native\, Wade has broken away from the pack to become one of country music’s most compelling new voices. Possessed with a raw and unflinching voice anchored by a perfect tinge of twang; the rare ability to pen honest portraits of some of life’s most precious and painful and unpredictable moments; and an onstage vulnerability that so seamlessly breaks down the wall between fan and artist\, Wade has quickly made her mark on the country music scene — and the music world at large – with nominations for ACM New Female Artist of the Year\, Americana Music Association Emerging Act of the Year\, and CMT Breakthrough Female Video of the Year.
URL:https://globalazmedia.com/event/shinedown-bush-at-phx-arena/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
ATTACH;FMTTYPE=image/webp:https://globalazmedia.com/wp-content/uploads/2025/07/Shinedown-at-Phx-Arena.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20250826T190000
DTEND;TZID=America/Phoenix:20250826T233000
DTSTAMP:20260428T063602
CREATED:20250801T022138Z
LAST-MODIFIED:20250801T022138Z
UID:20009-1756234800-1756251000@globalazmedia.com
SUMMARY:Pantera at Talking Stick Resort Amphitheatre
DESCRIPTION:One of the preeminent metal bands of the ’90s\, Texan powerhouse Pantera put to rest any and all remnants of the ’80s metal scene\, almost single-handedly demolishing any notion that hair metal\, speed metal\, power metal\, et al.\, were anything but passé. Loathe to admit it\, the Texas band had in fact been one of those ’80s metal bands\, releasing fairly unsuccessful (and later disowned) glam-inspired music throughout much of the decade. The about-face came in 1986 with the addition of vocalist Phil Anselmo\, who joined the classic\, core lineup of bassist Rex Brown\, drummer Vinnie Paul\, and guitarist Dimebag Darrell. After the release of 1988’s Power Metal\, the band pushed their sound to a new extreme with their major-label debut\, Cowboys from Hell (1990). Pantera’s mainstream breakthrough came next with Vulgar Display of Power (1992)\, their second major-label album\, which thrust the band to the forefront of the metal scene\, alongside such veteran bands as Metallica\, Megadeth\, Slayer\, and Anthrax\, as well as fellow up-and-comers Sepultura and White Zombie. By the time Pantera unleashed Far Beyond Driven (1994)\, after two long years of touring\, they were the most popular metal band in the land: the new album debuted atop the Billboard Top 200 as its lead single\, “I’m Broken\,” was getting massive airplay. \nAt the height of their popularity and influence\, Pantera began to self-destruct. Less than two months after the release of The Great Southern Trendkill (1996) — an album ridden with allusions to drug abuse and personal destruction — Anselmo overdosed on heroin after a homecoming concert in Texas\, and as tensions rose between him and his fellow bandmembers\, he began engaging with a growing list of side projects that kept him away from Pantera. A live album\, Official Live: 101 Proof (1997)\, was compiled for release when it became evident that no new studio album was forthcoming any time soon. One final studio album did result\, Reinventing the Steel (2000)\, but that was more or less it for the briefly reunited Pantera. The bandmembers once again went their separate ways\, forming such bands as Damageplan\, Down\, and Superjoint Ritual. \nThe end of an era for Pantera became official on December 8\, 2004\, when guitarist Dimebag Darrell was murdered on-stage by a deranged fan at a Damageplan show in Columbus\, Ohio. This much-publicized murder shone the spotlight back on Pantera for an extended moment\, and amid all of the emotional outpouring and tributes\, a consensus arose: in retrospect\, there was no greater metal band during the early to mid-’90s than Pantera\, who inspired a legion of rabid fans and whose oft-termed “groove metal” style bucked all prevailing trends of the day — from hair metal and grunge to nu-metal and rap-metal — and remains singular decades later\, as defined by the vocals of Anselmo as it is by the guitar of Dimebag. \nIn the years that followed\, Anselmo and Rex Brown continued work as Down\, while Vinnie Paul formed the supergroup Hellyeah with members of Mudvayne and Nothingface. A Pantera greatest hits compilation\, 1990-2000: A Decade of Domination\, landed in 2010. Before the band managed an oft-teased official reunion\, Paul died on June 22\, 2018. Surviving members Anselmo and Brown eventually teamed with Zakk Wylde and Charlie Benante\, playing as Pantera in a co-headlining spot with Judas Priest at the Monterrey Metal Fest in December 2022. That kicked off years of touring\, joining the lineups for Hell & Heaven Metal Fest\, Knotfest\, and Metallica‘s extensive M72 World Tour. ~ Jason Birchmeier\, Rovi \n \n \nFormed in 1992\, Amon Amarth became modern metal greats the hard way. The Swedes steadily built a formidable reputation as a ferocious live band and\, as the years passed\, were increasingly recognised for their recorded achievements. Breakthrough releases like 2006’s With Oden On Our Side and 2008’s Twilight Of The Thunder God\, cemented their popularity throughout the metal world. Jomsviking (2015) hit the #1 spot in Germany’s official album chart and swiftly became their most successful worldwide release to date. Amon Amarth return to action in 2019\, with their biggest\, boldest and most bombastic musical statement to date. Amon Amarth – completed by vocalist Johan Hegg\, guitarists Olavi Mikkonen and Johan Söderberg\, bassist Ted Lundström and drummer Jocke Wallgren – know that expectations for their next move are at an all-time high. The excellent news is that the band’s 11th studio album\, the aptly-named Berserker\, is guaranteed to have all discerning metal fans punching the air with joy. Today\, Amon Amarth stand tall and unassailable: over 25 years into a career that has seen them evolve from humble origins in the dark\, dank rehearsal rooms of their native Tumba to their current status as explosive festival headliners and one of the metal world’s most widely adored bands. All of this and more has been captured in the band’s recent live DVD and documentary\, The Pursuit Of Vikings: 25 Years In The Eye Of The Storm.
URL:https://globalazmedia.com/event/pantera-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/2025/07/pantera-at-Talking-Stick-Resort-Amphitheatre.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20250827T190000
DTEND;TZID=America/Phoenix:20250827T233000
DTSTAMP:20260428T063602
CREATED:20250817T191602Z
LAST-MODIFIED:20250817T191602Z
UID:20069-1756321200-1756337400@globalazmedia.com
SUMMARY:The Offspring + Jimmy Eat World & New Found Glory at Talking Stick Amp
DESCRIPTION:The Offspring is perhaps the quintessential SoCal punk band of the 1990s — survivors of the 1980s hardcore scene who revamped themselves for the heavier alt-rock era. Dexter Holland and Noodles had been kicking around the Orange County scene since the mid-’80s\, adopting the name the Offspring as the band’s lineup firmed up toward the end of the decade. The group released their second album\, Ignition\, on Epitaph in 1992 but it was 1994’s Smash and its accompanying singles “Come Out and Play (Keep Em Separated)” and “Self Esteem” that pushed the band toward blockbuster national success. Shortly afterward\, the Offspring made the leap to the major labels and continued a streak of snotty\, satirical alt-rock hits such as “Pretty Fly (For a White Guy)” and “Why Don’t You Get a Job?” that kept the group squarely in the hard rock mainstream through the 2000s. By the dawn of the 2010s\, the Offspring had experienced several membership changes\, the first bit of turmoil that would extend through a decade marked by battles with record companies. The middle-aged Offspring reemerged in 2021 with Let the Bad Times Roll\, their first album since 2012’s Days Go By. They followed in 2024 with Supercharged. \nFeaturing Dexter Holland\, guitarist Kevin “Noodles” Wasserman\, bassist Greg Kriesel\, and drummer Ron Welty\, the Offspring released their self-titled debut album in 1989. Four years later\, their second album\, Ignition\, became an underground hit\, setting the stage for the across-the-board success of 1994’s Smash. The Nirvana soundalike “Come Out and Play\,” the first single from the album\, became an MTV hit in the summer of 1994\, paving the way to radio success. The Offspring were played on both alternative and album rock stations\, confirming their broad appeal. “Self Esteem\,” the second single\, followed the same soft verse/loud chorus formula and stayed on the charts nearly twice as long as “Come Out and Play.” The group got offers from major labels yet chose to stay with Epitaph. While they were able to play arenas in the U.S.\, their success didn’t translate in foreign countries. Nevertheless\, the band’s popularity continued to grow in America\, as “Gotta Get Away” became another radio/MTV hit in the beginning of 1995. The Offspring recorded a version of the Damned‘s “Smash It Up” for the Batman Forever soundtrack in the summer of that year; it kept the group on the charts as the bandmembers worked on their third album. \nFollowing a prolonged bidding war and much soul-searching\, the Offspring decided to leave Epitaph Records in 1996 for Columbia. The move was particularly controversial within the punk community\, and many artists on the Epitaph roster\, including Pennywise and owner Brett Gurewitz\, criticized the band. After much delay\, the Offspring finally released their Columbia debut\, Ixnay on the Hombre\, in February of 1997. Expectations for the record were high and it did receive good reviews\, but Ixnay on the Hombre failed to become a crossover hit on the level of Smash\, and the group also lost a significant portion of its hardcore punk audience due to the album’s major-label status. Americana followed in 1998\, scoring the hit “Pretty Fly (For a White Guy).” In mid-2000\, the Offspring made controversial headlines with their decision to offer Conspiracy of One free of charge on the Internet prior to the initial November release date. Sony Music did not adhere to such a move and threatened a lawsuit\, so the band nixed the plan to release the album in such a manner. Individual singles\, however\, were made available on the band’s official website and other music-related sites such as MTV Online. \nThe Offspring returned in 2003 with Splinter. The album was released through Columbia\, proving the band’s flouting of the record biz hadn’t soured the major labels. It also featured the single “Hit That\,” which returned to the smarmy\, pop-referential feel of “Pretty Fly.” The Offspring toured the world in support of Splinter\, and in the process they hit nearly every continent at least once. They returned in June 2005 with a greatest-hits set; in addition to their major hits\, it included the new track “Can’t Repeat.” In 2008\, after several delays\, the band released its first studio release in four-and-a-half years\, the highly anticipated Rise and Fall\, Rage and Grace. While touring for in support\, the Offspring set to work writing new material and recording when they could. After three years of work\, their ninth album\, Days Go By\, arrived in the summer of 2012. \nThe Offspring then entered an extended period of touring\, recording\, lineup changes\, and battling their record label. Summer Nationals\, a digital EP of covers\, appeared in 2014\, the same year they negotiated a deal for the rights to the music they made at Columbia; in 2016\, they sold these masters and all their publishing rights to Round Hill. The Offspring began working on a new album in earnest in 2018\, reuniting with producer Bob Rock. The resulting Let the Bad Times Roll appeared on Concord in the spring of 2021\, its release delayed due to the COVID-19 pandemic. Upon release\, the set topped charts in Austria\, the U.K.\, and the U.S. Seizing their newfound momentum\, they returned to the studio after touring concluded\, delivering their eleventh album Supercharged in 2024. \n \n \nEmerging as a trailblazing name in the mid-’90s emo scene\, Jimmy Eat World eventually found a larger audience by embracing a blend of alternative rock and power pop that targeted the heart as well as the head. The band’s influence widened considerably with 1999’s Clarity — an album that has since emerged as a landmark of the emo genre — but it was the follow-up\, 2001’s Bleed American\, and the infectious single “The Middle” that broke them into the commercial rock mainstream. The emo label proved difficult to shake throughout the 2000s\, even when subsequent Top Ten albums Futures (2004) and Chase This Light (2007) did little to evoke the hard-edged sensitivity of Clarity\, but Jimmy Eat World still remained a league above the generation of genre torchbearers they helped spawn. Settling into comfortable veteran status in the 2010s\, the band continued to issue reliable Top 20 efforts\, rounding out the decade with their tenth album\, 2019’s Surviving. \nJimmy Eat World formed during 1993 in the Phoenix suburb of Mesa\, Arizona. Jim Adkins (vocals/guitar) and Zach Lind (drums) met while attending Mountain View High School; years of playing in local bands had also introduced them to locals Tom Linton (guitar/vocals) and Mitch Porter (bass). The four musicians joined forces and derived the band’s moniker from an argument between Linton’s younger brothers\, Ed and Jimmy. The two siblings were prone to fighting\, with the heavyset Jimmy usually emerging as the victor. One day\, a revengeful Ed resorted to drawing a picture of his heavyset older brother shoving the entire world into his mouth. The caption “Jimmy Eat World” was printed beneath\, and the band deemed it a perfect fit. Citing influences like Rocket from the Crypt\, early Def Leppard\, the Jesus and Mary Chain\, Fugazi\, and the Velvet Underground\, Jimmy Eat World outfitted themselves as a punk rock act and began playing small shows in the Phoenix valley. \nOver the course of 1994 and early 1995\, Jimmy Eat World released several EPs and singles on Wooden Blue Records\, an imprint based in the nearby town of Tempe. Limited-edition pressings of “One\, Two\, Three\, Four\,” “Back from the Dead Mother Fucker\,” and split EPs with Christie Front Drive\, Emery\, and Blueprint would later run out of print\, as would the band’s self-titled debut album. Their audience was steadily growing\, and Capitol Records responded by signing Jimmy Eat World in mid-1995\, when bandleaders Adkins and Linton were only 19 years old. Porter soon exited the group; Linton’s best mate since seventh grade\, bassist Rick Burch\, was enlisted as a replacement\, and the band marked their major-label debut with the release of 1996’s Static Prevails. \nThree years passed; by 1999\, Jimmy Eat World had officially transformed themselves into an emo outfit with the release of their intricate sophomore album\, Clarity. The record marked Adkins‘ first time as the group’s lead singer and principal songwriter\, two roles that Linton had previously handled. Unfortunately\, Capitol Records had also experienced some significant changes\, ultimately culminating in the departure of president Gary Gersh — the same man who signed Jimmy Eat World in 1995. Capitol‘s new management balked at Clarity’s sensitive sound and started to shelve the album; it wasn’t until several key radio stations (including L.A.’s influential KROQ) started airing the song “Lucky Denver Mint” that the label relented and released Clarity in February 1999. “Lucky Denver Mint” proved to be popular on the radio and in the movies\, where it scored a spot in the Drew Barrymore comedy Never Been Kissed. Jimmy Eat World’s fan base continued to grow\, but their relationship with Capitol progressively soured. After the label shelved the band’s third LP\, Jimmy Eat World decided to leave the label\, and Capitol was happy to let them go. \nMeanwhile\, Jimmy Eat World’s music was attracting an audience overseas\, where Clarity had become a hit in countries like Germany. The band responded by financing and promoting a tour throughout the European continent. Singles\, a collection of unreleased B-sides and rarities\, was issued that same year on the independent label Big Wheel Recreation. A split EP with Australian rockers Jebediah was also released\, and the group scraped together the profits from those ventures before entering the studio to record Bleed American (whose title would later be changed to Jimmy Eat World after the events of September 11\, 2001). Enlisting the help of Clarity’s producer\, Mark Trombino\, the band independently created the record that would effectively launch their high-profile careers. Jimmy Eat World then used the completed product to land a contract with Dreamworks\, who released the album in July 2001. While the hard-hitting title track did moderately well\, it was the record’s second single\, “The Middle\,” that landed Jimmy Eat World a spot on the pop/rock map. Featuring a video filled with scantily clad teenagers\, the song also enjoyed heavy exposure on MTV\, where a younger audience latched onto the band’s summery appeal. A year after its release\, Jimmy Eat World was still a fixture on the Billboard charts and modern rock radio. A third single\, “Sweetness\,” was released in summer 2002\, and “A Praise Chorus” followed soon after\, allowing the album to go platinum. \nAfter the Dreamworks label closed its doors in January 2004\, Jimmy Eat World shifted their operations over to Interscope for the release of their fifth album. Futures was released in October 2004 and debuted at number six on the Billboard charts\, eventually going gold on the strength of the Top 40 hit “Pain.” The Stay on My Side Tonight EP appeared one year later\, featuring a Heatmiser cover and several tracks that had been axed from the Futures track list. Jimmy Eat World continued to tour in support of the album before entering the recording studio with Butch Vig (Nirvana\, Smashing Pumpkins\, Garbage). With Vig behind the controls\, Jimmy Eat World recorded their sixth studio LP\, Chase This Light. The leadoff single\, “Big Casino\,” was released in August 2007\, and the album followed in October. Before the release of their next record\, the band embarked on a ten-year anniversary tour celebrating Clarity. \nIn 2010\, Jimmy Eat World issued their seventh album\, Invented (Dine Alone)\, which saw the return of Trombino as producer. This release marked the first instance since their self-titled debut with original vocalist Linton taking over primary vocal duty (on “Action Needs an Audience”). Singer/songwriter Courtney Marie Andrews provided backing vocals for a handful of tracks on Invented and joined the band on tour. Damage (RCA Records) arrived in 2013\, this time with Alain Johannes (Queens of the Stone Age\, No Doubt) at the helm. The next year\, the group took to the road once again to celebrate another milestone: the ten-year anniversary of Futures. \nThe band’s ninth album landed in late 2016. Produced by Justin Meldal-Johnsen (Nine Inch Nails\, Paramore)\, Integrity Blues featured the singles “Get Right” and “Sure and Certain.” Well-received\, the record reached the Top 20 of the U.S. Billboard 200\, and peaked at number four on the U.S. Alternative Albums chart. In 2019\, Jimmy Eat World returned with their tenth set\, Surviving\, which was also produced by Meldal-Johnsen. More uptempo than Integrity Blues\, the album dealt with themes of self-acceptance and sobriety\, including tracks such as “All the Way (Stay)” and “Congratulations\,” featuring vocals by Davey Havok (AFI\, Blaqk Audio). In 2022\, the band issued the stand-alone singles “Something Loud” and “Place Your Bets.” \nThe next year\, the band toured the U.S. with Manchester Orchestra. To promote the jaunt\, they covered each other’s songs\, with Jimmy Eat World sharing their take on “Telepath” from Manchester Orchestra‘s The Million Masks of God (and the latter band tackling “Table for Glasses” from Clarity). ~ Andrew Leahey\, Rovi \n \n \nAs New Found Glory can attest\, life moves quickly. Just three years after forming in Coral Springs\, Florida\, in 1997\, the group were fast-tracked from local upstarts to mainstream stars on the back of ebullient pop melodies and hardcore-tinged breakdowns\, setting off a blast of pop-punk dynamite that still lights the torch for modern acts more than two decades later. They became the voice of an underground movement\, spurring iconic gold and platinum records (2000’s New Found Glory\, 2002’s Sticks & Stones\, and 2004’s Catalyst)\, countless MTV appearances\, an entire subgenre (easycore) and sold-out tours the world over. \nBut\, as the band have also learned\, everything can get upended in the blink of an eye. In December 2021\, fresh off the celebratory Pop Punk’s Still Not Dead Tour in support of their 10th album\, Forever + Ever x Infinity\, guitarist Chad Gilbert was found unresponsive in bed at home\, rushed to a local hospital\, and diagnosed with an 8-inch cancerous tumor\, a rare pheochromocytoma. Hospital stays\, surgery\, and a long road to recovery followed – but\, in typical New Found Glory fashion\, so did the songs. \nThe band’s new acoustic album\, Make The Most Of It (Revelation Records)\, tackles the last year head-on with their most emotional and cathartic collection of songs to date. The album is a rumination on what it means to grieve\, to live\, to approach every day with appreciation and a sense of fulfillment.
URL:https://globalazmedia.com/event/the-offspring-jimmy-eat-world-new-found-glory-at-talking-stick-amp/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
ATTACH;FMTTYPE=image/png:https://globalazmedia.com/wp-content/uploads/2025/08/New-Found-Glory-1.png
END:VEVENT
END:VCALENDAR