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DTSTART;TZID=America/Phoenix:20250906T193000
DTEND;TZID=America/Phoenix:20250906T233000
DTSTAMP:20260428T081030
CREATED:20250817T194807Z
LAST-MODIFIED:20250817T194807Z
UID:20077-1757187000-1757201400@globalazmedia.com
SUMMARY:Linkin Park + Jean Dawson at Phx Arena
DESCRIPTION:LINKIN PARK is the magnetic hub of an emotional and cultural community—staggering in scope\, intimate in connection\, and wholly unique. Blending sonic and visual inspiration under the name Xero\, later Hybrid Theory\, before finally settling on LINKIN PARK\, Mike Shinoda\, Chester Bennington\, Brad Delson\, Joseph Hahn\, Rob Bourdon\, and Dave “Phoenix” Farrell had no idea they were about to become the biggest rock band of their generation. In 2000\, they released their first full-length\, Hybrid Theory. Certified Diamond\, it became “the bestselling debut of the 21st century.” Seven seminal albums followed: Meteora\, Collision Course\, Minutes To Midnight\, A Thousand Suns\, LIVING THINGS\, The Hunting Party\, and One More Light. LINKIN PARK has received multiple GRAMMY Awards\, sold over 100 million albums worldwide\, and notched five #1 Billboard debuts. \nAfter the tragic loss of Bennington in 2017\, the band came to a devastating halt; their future obscured by grief and unanswered questions. Friendships led the way. Mike\, Brad\, Phoenix\, and Joe began making music together again. They met Emily Armstrong and Colin Brittain\, jam sessions organically morphed into recording\, and LP quietly crafted a collection of songs channeling the open-hearted spontaneity of starting over: FROM ZERO. Earning some of the highest critical praise of their career\, FROM ZERO peaked at #1 in 14 countries\, igniting the triumphant FROM ZERO WORLD TOUR and LINKIN PARK’s continuing artistic evolution. \n \n \nRapper and singer Jean Dawson is known for his lyrical and hypnotic genre-mashing blend of hip-hop\, trap\, and experimental indie rock. He garnered widespread buzz with his 2019 EP Bad Sports and quickly followed in 2020 with his debut full-length\, Pixel Bath. His sophomore album\, Chaos Now*\, arrived in 2022\, and Glimmer of God appeared in 2024. \nBorn in San Diego and raised in Tijuana\, Mexico\, Dawson was raised in a biracial Black and Mexican family\, and was first introduced to hip-hop by his parents. Growing up\, he crossed the border for several years to attend school before moving with his family back to San Diego. From a young age\, Dawson imbibed an eclectic mix of music\, driven in part by his older brother’s love of downloading and his own voracious musical appetite. By his teens\, he had developed a wide-ranging taste\, listening to artists like Jay-Z\, Kanye West\, N.E.R.D.\, and Nirvana\, as well as sundry other indie rock artists. He eventually discovered Bon Iver and Frank Ocean\, and began writing his own songs\, pushing his sound in more experimental directions. Working with producer/songwriter Lecx Stacy\, he recorded his 2019 debut EP\, Bad Sports. Included on the release were the tracks “Bull Fighter” and “’90s Green Screen.” \nIn October 2020\, Dawson issued Pixel Bath\, his first full-length studio album\, which included a guest feature from A$AP Rocky on the song “Triple Double.” In late 2021\, Dawson teamed with Mac DeMarco for collaborative track “Menthol*.” Shortly thereafter\, he released “Porn Acting*\,” the first single from his sophomore album\, Chaos Now*. “3 Heads*” and “Pirate Radio*” also preceded the record\, which was released in October 2022. The reflective “No Szns\,” a collaboration with SZA\, appeared in 2023. The following year brought the full-length Glimmer of God\, which included features by Lil Yachty and BONES.
URL:https://globalazmedia.com/event/linkin-park-jean-dawson-at-phx-arena/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20250914T183000
DTEND;TZID=America/Phoenix:20250914T233000
DTSTAMP:20260428T081030
CREATED:20250905T020735Z
LAST-MODIFIED:20250905T020735Z
UID:20154-1757874600-1757892600@globalazmedia.com
SUMMARY:Coheed and Cambria + Taking Back Sunday at Arizona Financial Theatre
DESCRIPTION:Ten albums in\, something changed for Coheed and Cambria. As singer\, guitarist\, and storyteller Claudio Sanchez began plotting out the sci-fi-inspired New York prog legends’ latest\, The Father of Make Believe\, he found himself writing more directly about his life and\, especially\, his career. Amid the wailing guitars\, cracking drums\, and Sanchez’ powerful voice — centering listeners throughout moments placid and pinwheeling — Coheed devotees will still find plenty of character work and references to the lore. But if you’re new here\, there’s no homework required to feel our host’s hopes\, fears\, battles\, and triumphs. Of course\, you may get drawn in anyway. Coheed — which includes Travis Stever (lead guitar)\, Josh Eppard (drums)\, and Zach Cooper (bass) — emerged in the early 2000s wedged between an emo renaissance and a metal revival. While their peers broke hearts and banged heads\, they crafted Game of Thrones-level fantasies around their Amory Wars storyline\, which unfurls across 78 planets known as Heaven’s Fence. Eight of the band’s albums thus far (plus a small galaxy of comics and novels) live in this space and so does The Father of Make Believe. It’s just that the sky is cracking\, revealing the hand behind the scene. In the past\, says Sanchez\, “I’ve kept the struggles of my life private. When I can’t express myself in words\, I express in worlds.” And yet\, as he assumes the role of main character\, Coheed are yet again finding new ways to bring us into their universe. \n \n \nThey’ve been making music together as a band for more than 20 years\, have sold millions of albums—and along the way\, amassed a devoted\, international fan base. But ask the members of Taking Back Sunday if they still feel a burning desire to make a powerful impact and connect in a big way\, and there’s not a moment of hesitation in the response. “I’m gonna try and conquer the world every time\,” says lead singer Adam Lazzara with a smile.” Adds drummer Mark O’Connell: ”When we’re writing songs\, the one thing we ask ourselves is\, ‘will it make people feel something?’ You try to make people feel emotion. That’s the one goal we went in with\, and I think we did it.” \nThis unrelenting pursuit of greatness lies at the heart of 152\, Taking Back Sunday’s long-awaited\, thrilling eighth studio album (and Fantasy Records debut) out October 27\, 2023. Written and refined over the course of several years\, the group’s first full-length offering since 2016’s Tidal Wave is a passionate\, melody-infused confessional from a band forever known for its honesty and vulnerability. The 10-track LP was produced by Tushar Apte (whom the band met through a mutual collaboration with DJ Steve Aoki) and mixed by Neal Avron (Twenty One Pilots\, Bleachers). \n“What Mark describes was the process for “Amphetamine Smiles\,” notes lead guitarist John Nolan. “When I brought that demo in\, the band was vocal about making changes but not from some negative motivation. You have to be able to trust and listen to try to make the song better. We all had to do that constantly throughout the process of making this album\, and it shows.” \n“I genuinely feel we’re the band that hasn’t stopped and keeps getting better\,” says Lazzara proudly of Taking Back Sunday’s unwavering creative spark. Adds bassist Shaun Cooper: “I really feel the sky’s the limit!” \nWhen Taking Back Sunday first sat down together in late 2019 to begin working in earnest on what became 152\, the band laid out some ground rules from the outset. They weren’t out to simply add more songs to their already-storied catalog\, but rather make a piece of art they could be proud of. “We sat down and said\, “Look\, nothing mediocre is gonna stay\,” recalls Lazzara. “So if you have a mediocre idea\, keep simmering on it.” \nTo that end\, so many of the songs that comprise 152 were workshopped like never before. As the band members explain\, over the years they’ve learned to love letting a piece of music develop from its initial idea all the way to its sometimes drastically-different finished form. It’s a journey \nthey’ve undoubtebly been on many times before when making previous albums\, but as they found out when making 152\, it’s one that continues to thrill them and keep things fresh. \nLazzara gets animated as he describes how so many songs on 152 morphed over the multi-year writing and recording process. Whether it was “S’old” transforming from a punky\, Green Day-style rocker into a slow-building\, emotion-dripping plea for acceptance\, or “I Am The Only One Who Knows You\,” which evolved from a galloping rock song into a beatific ballad\, so many of the songs that comprise 152 found Taking Back Sunday continually surprising one another with musical ideas in new and exciting ways. \n“You would think after 20 years we know what each other is going to do\,” offers Lazzara. “But there were so many times making this record where you would hear the initial idea and think\, ‘I know where this is going\,’ but then was super surprised where it ended up. It’s those kinds of surprises that make it so exciting. That’s why we all still want it so badly.” Adds Cooper: “If you can predict what each other is going to do\, then it just becomes a job. It’s not an artistic expression. You’re not trying to grow.” \nA major part of that growth is heard explicitly in 152’s unguarded lyrics: 20-plus years into Taking Back Sunday\, Lazzara and Nolan are peeling back the curtain like never before. From the heartfelt recollections of the album’s epic opener “Amphetamine Smiles\,” (We talked until the sun came up/It meant so much/we can’t remember what/You better save yourself before you try and save somebody else”)\, to the expressive yearning in lead single “The One” (“You were the one/Put me at ease/Brought out my best/I let you in/You ignored the mess/You didn’t mind”)\, listeners are invited into the songwriter’s collective heart. \n“It’s often hard to turn off those other voices in your head: ‘OK\, we gotta do what people expect. This is our lane\,’ explains Lazzara. “I have to step out of that skin. We learned with Tidal Wave that if it’s the four of us playing it’s going to sound like Taking Back Sunday. Once we really embraced that sentiment\, the world was our oyster. We were freed up to take chances.” \nOn the subject of the band’s renowned live performances\, O’Connell didn’t mince words. “There’s no question\, when it comes to the stage\, no one is getting left behind\,” he declared. “No one wants to be the weak link. We all want to step up our game up because we love it. The amount of effort we give on stage is crazy\, especially with Nathan Cogan Post\, who performs with us on the road. He’s a very big part of that effort as well. When you get a little older\, you don’t want to waste time\, time is what we got\, so let’s make the most of it.” \nWhen it came time to title the project\, 152 was the only option. A section of road in North Carolina between Highpoint\, Chapel Hill and Raleigh where the band and their friends would meet up as teenagers before seeing shows\, 152 has become synomynous with Taking Back Sunday and has appeared in some form on every one of their album covers. \n“We wanted something that represents us as a band and who we are now\,” says Cooper of the title. “The universe was pointing us in that direction. This is what we have to do.” Adds Lazzara\, “It was right there waiting for us. It was a nod to all our friends and our people.” \nRevitalized and unusually optimistic\, Taking Back Sunday is ready to embrace what lies ahead. “Normally it’s like\, this is working right now\, let’s just go with it and see what happens\,” admits Lazzara. “But the process of making this record has helped get me to a point where I’m looking ahead. I’m so excited about the possibilities. You’ve got to keep moving forward. We need to continue building onto this wonderful world.” \n \n \nBeneath the audible progress of Foxing’s 13 year career – from the chamber emo of debut The Albatross to the art pop of 2021’s Draw Down The Moon – has been a gradual movement towards self-sufficiency. Appropriately\, the quartet of vocalist Conor Murphy\, guitarist Eric Hudson\, drummer Jon Hellwig\, and bassist Brett Torrence chose to self-title their fifth LP simply\, Foxing. The album was entirely produced by the band and mixed by Hudson. The cover art was created by Murphy and Torrence\, and it is being released on the band’s own Grand Paradise label. \nDIY requires doing\, and Foxing was not an easy album to make. I share a studio space with the band and was an onlooker to the tedious two year process of its creation. I was jarred by explosive cheering as the band turned the basement hallway into a makeshift putting green during breaks. I overheard arguments that were decibels shy of shouting matches. It is fitting that tension is at the core of Foxing\, an album that balances hopefulness and nihilism\, the pastoral with the tumultuous. Whether oscillating between visceral noise rock & intimate bedroom cassette experiments on opener “Secret History” or cruising at the edge of collapse on “Barking\,” the dramatic dynamics that have long permeated Foxing’s music have never felt so extreme. Five albums into a discography defined by its own restlessness\, Foxing is a document of a band finding comfort in their own chaos.
URL:https://globalazmedia.com/event/coheed-and-cambria-taking-back-sunday-at-arizona-financial-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85003\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20250916T193000
DTEND;TZID=America/Phoenix:20250916T233000
DTSTAMP:20260428T081030
CREATED:20250826T004804Z
LAST-MODIFIED:20250826T004804Z
UID:20089-1758051000-1758065400@globalazmedia.com
SUMMARY:Nine Inch Nails at Phx Arena
DESCRIPTION:Pulling the harsh sounds of industrial rock into the mainstream\, Trent Reznor and his band Nine Inch Nails became the face of industrial music in the ’90s with “Head Like a Hole\,” “Closer\,” and “Hurt” becoming hits and The Downward Spiral (1994) and The Fragile (1999) topping the charts. Nominated for over a dozen Grammys\, NIN won Best Metal Performance awards in 1992 and 1996 for two tracks — “Wish” and “Happiness in Slavery” — from their metallic EP Broken. Extending into the 2000s\, Reznor maintained his chart success\, even as the band’s style shifted to incorporate atmospheric electronic elements influenced by his Oscar-winning film scores. In 2016\, after decades as the only official member of the band\, he welcomed English producer Atticus Ross — his longtime film scoring partner and bandmate in side project How to Destroy Angels — as NIN’s official second member. Over the next five years\, the duo enjoyed a prolific period that saw additional new film scores as well as NIN projects like 2018’s Bad Witch LP and a continuation of their ongoing instrumental Ghosts series which saw two new entries in 2020’s Ghosts V: Together and Ghosts VI: Locusts. \nMichael Trent Reznor was born May 17\, 1965\, in New Castle\, Pennsylvania and raised in Mercer\, a small town outside Pittsburgh. His parents divorced when he was six and he was raised by his maternal grandparents. As a child\, Reznor had already developed a keen interest in music. He learned to play piano\, tenor sax\, and tuba\, playing in his school’s jazz and marching bands while also acting in high-school productions of Jesus Christ Superstar and The Music Man. Outside of the classical sphere\, his biggest rock influence was Kiss\, whose theatricality and live shows would later inform NIN’s acclaimed stage production. While studying music and computer engineering at local Allegheny College\, he was a fleeting member of new wave outfit Option 30\, contributing vocals and keyboards before parting ways with the band when he dropped out of school to pursue music full-time. He packed up and moved to Cleveland\, Ohio with his friend Chris Vrenna\, who later became a founding member of the first incarnation of NIN. \nWhile in Cleveland\, Reznor was drawn to new wave and the industrial sounds of Ministry and Skinny Puppy. He gigged around town for a few years\, playing in cover band the Urge before joining the Innocent as their keyboardist. The latter band released a single full-length\, 1985’s Livin’ in the Street (Red Label Records)\, before Reznor quit. He soon hooked up with synth pop group Exotic Birds\, contributing keys\, programming\, and backing vocals\, while also recruiting Vrenna on drums. Despite their brief run together\, Reznor appeared with the band in the 1987 Michael J. Fox/Joan Jett film Light of Day as a fictional band dubbed The Problems. His final roles in the local keyboardist circuit were with pop outfit Slam Bamboo — they issued a single “White Lies”/”Cry Like a Baby” in 1988 — and new wavers Lucky Pierre\, whose vocalist Kevin McMahon would later form Prick\, one of the first signees to Reznor‘s future record label\, Nothing Records. \nDuring these stints\, Reznor continued to work on his own material while employed as an assistant engineer and handyman at Cleveland’s Right Track studio. When the shop closed for the day\, owner Bart Koster allowed Reznor to use the facilities for free. The seeds from these early recording sessions — on which he played keyboards\, drums\, guitars\, and samplers himself — would grow into Nine Inch Nails’ first demo\, Purest Feeling. After making NIN’s live debut as tour openers for Skinny Puppy\, Reznor shopped the demo tape around the U.S.\, landing a deal with indie label TVT Records. Reznor quickly returned to the studio to polish existing Purest Feeling tracks and record some new songs. The result\, 1989’s Pretty Hate Machine\, presented a dark\, synth-soaked vision of industrial that was also hook-heavy and accessible. Combined with a lyrical focus on sex\, self-loathing\, betrayal\, angst\, and religion\, these attributes would become hallmarks of Reznor‘s early-era material. Pretty Hate Machine only peaked at number 75 on the Billboard 200\, but a burgeoning cult following helped maintain its chart presence and sales. Buoyed by radio and MTV airplay for singles “Down in It” and “Head Like a Hole\,” it became the first independent release to receive platinum certification to date. \nPromotion of Pretty Hate Machine kept the band (then primarily composed of Reznor\, Richard Patrick\, Chris Vrenna\, and various drummers/keyboardists) on the road for years\, spreading NIN’s fan base across genre lines by not only opening for Skinny Puppy\, but also alternative/goth acts the Jesus and Mary Chain and Peter Murphy of Bauhaus. Their American reach expanded in 1991 when they joined inaugural Lollapalooza tour\, playing alongside Siouxsie and the Banshees\, Living Colour\, Violent Femmes\, Rollins Band\, Lords of Acid\, Jane’s Addiction\, and more. Days after the conclusion of Lollapalooza\, NIN shipped off to Europe\, opening a pair of shows for Guns N’ Roses and penetrating the German industrial market. \nWhen NIN returned to the U.S.\, Reznor became embroiled in a lengthy legal feud with TVT\, which was eager to pump out another\, similar-sounding hit album\, constricting his creativity in the process. In secret\, he signed a new deal with Interscope Records and created the vanity label Nothing Records. The band relocated to a new studio in Los Angeles and began recording a batch of aggressive songs inspired by punk and metal. With production by Flood and drumming by Martin Atkins and Vrenna\, the Broken EP landed in September 1992\, peaking inside the Top Ten on the Billboard 200. In addition to the Grammy-winning single “Wish\,” the effort also included covers of Adam and the Ants‘ “(You’re So) Physical” and Reznor‘s collaboration with Pigface\, “Suck.” Reznor enhanced his reputation as a provocateur with a widely banned music video for “Happiness in Slavery\,” which depicted S&M performance artist Bob Flanagan being torn apart by a machine. There was also a near-mythical\, long-form clip for Broken that was never officially released commercially due to its graphic content (a torture victim is dismembered while viewing NIN videos). Bootleg versions became a prized fan commodity and a remastered version found its way onto the Internet in 2006. The Broken era came to a close with NIN’s first remix EP\, Fixed. \nStill based in the Los Angeles studio dubbed Le Pig — coincidentally built in the same house where actress Sharon Tate was murdered by Charles Manson‘s followers in 1969 — Reznor began work on the highly anticipated follow-up to Pretty Hate Machine. A concept album centered on the protagonist’s titular descent into self-destruction\, The Downward Spiral arrived in March 1994 and debuted at number two. Widely considered to be Reznor‘s masterwork\, The Downward Spiral is often cited as one of the most important albums of the ’90s\, presenting a bleak\, nihilistic version of NIN that would nonetheless break the band into the mainstream. Hit single “Closer” was a staple on both MTV and radio\, despite its graphic music video and lyrical content\, while “Hurt” became a live fixture for NIN\, receiving a second life in 2003 through Johnny Cash‘s stripped-down cover version. \nThe Downward Spiral was anything but for the band\, launching them further into the public consciousness and prompting an industry push for soundalikes Gravity Kills\, Stabbing Westward\, and Filter on rock radio. NIN promoted the effort with the Self Destruct Tour\, which featured Vrenna on drums\, James Woolley on keyboards\, Robin Finck on guitar\, and Danny Lohner on bass. Already a formidable concert presence\, NIN’s reputation grew with chaotic performances that often ended in destroyed equipment and serious injuries. That intense commitment to their live show reached into American living rooms in the summer of 1994 with their show-stealing\, mud-covered set from Woodstock ’94\, which won them another Grammy for the live recording of “Happiness in Slavery.” After the release of the remix album Further Down the Spiral\, NIN continued to tour\, supported by then-newcomers Marilyn Manson\, before joining major influence David Bowie on the co-headlining Dissonance Tour. \nDuring this period\, Reznor took his first step into the world of film\, assembling the soundtrack to Oliver Stone‘s controversial movie Natural Born Killers\, which included the previously unreleased NIN song “Burn\,” as well as edits of “Something I Can Never Have” and “A Warm Place.” Another track\, a cover of Joy Division‘s “Dead Souls\,” was featured on the soundtrack for The Crow. Reznor also contributed vocals to Tori Amos‘ “Past the Mission” from her album Under the Pink. \nAfter the conclusion of the Spiral era\, NIN entered a period of hibernation. Although Reznor remained active — producing Marilyn Manson‘s breakthrough sophomore effort\, Antichrist Superstar\, and contributing the NIN single “The Perfect Drug” to the Reznor-produced soundtrack to David Lynch‘s Lost Highway — a growing case of writer’s block\, struggles with drug and alcohol addiction\, and public pressure put a hold on album number three. Encamped at the newly constructed Nothing Studios in New Orleans\, a reclusive Reznor spent five years crafting that follow-up\, which arrived in 1999. \nInfluenced by the passing of Reznor‘s maternal grandmother\, the deterioration of his friendship with Manson\, and his increasing addictions\, the conceptual double-disc opus The Fragile debuted at the top of the charts and was certified double platinum within months. Meticulously produced by Reznor and Alan Moulder\, the album included singles “We’re in This Together\,” “The Day the World Went Away\,” “Into the Void\,” and “Starfuckers\, Inc.” The remix LP Things Falling Apart featured interpretations of Fragile tracks\, as well as the unreleased “10 Miles High” and Gary Numan cover “Cars.” On the supporting Fragility tour\, the NIN lineup featured Reznor\, Finck\, and Lohner\, as well as newcomers Charlie Clouser on keyboards and Jerome Dillon on drums. That trek spawned a tour documentary titled And All That Could Have Been\, which was accompanied by a live recording and limited-edition EP\, Still\, which featured stripped-down versions of NIN deep cuts\, as well as previously unreleased recordings from the era. \nToward the end of the Fragile years\, Reznor entered rehab after an unexpected overdose in London\, putting NIN on hold until they returned in 2005. Sober and refocused\, Reznor inaugurated this new chapter with an equally hungry release\, fourth LP With Teeth. \nUnlike prior albums\, With Teeth traded gloom\, frustration\, and pain for outward aggression\, matured emotions\, and Reznor‘s first attempts at sociopolitical commentary\, also marking a turning point for NIN that informed the vocal delivery\, production\, and collaborative spirit of the band into the next decade. In addition to production by Reznor and Moulder\, the taut set featured programming by Atticus Ross and live percussion by Dave Grohl. In addition to being the band’s second straight number one\, With Teeth also included a trio of chart-topping singles: “The Hand That Feeds\,” “Only\,” and “Every Day Is Exactly the Same.” A lengthy tour — featuring the lineup of Reznor\, bassist Jeordie White (aka Marilyn Manson‘s Twiggy Ramirez)\, keyboardist Alessandro Cortini\, guitarist Aaron North\, and drummers Josh Freese/Jerome Dillon — accompanied the release\, documented on 2007’s Beside You in Time. \nWhile the first decade of NIN’s existence was marked by mystery and long periods of silence between major releases\, the reinvigorated outfit began churning out material in earnest after With Teeth. In early 2007\, a multimedia promotional effort was rolled out to earnest fans who deciphered clues found on T-shirts\, websites\, and strategically placed USB drives placed hidden throughout Europe. Part of a high-concept alternate reality game\, they revealed a fictional story of a future dystopian America and a burgeoning resistance movement\, all of which was inspired by George W. Bush‘s presidency and the post-9/11 Iraq invasion. This overtly political concept was at the core of Year Zero\, which arrived in April on Interscope Records. Delving deeper into digital soundscapes\, Reznor was once again joined by Ross\, who was promoted from assistant to producer (a position he would hold until becoming an official member of NIN a decade later). The promotional tour took the band through Europe\, Australia\, the U.S.\, and Asia\, notable for featuring NIN’s first stop in mainland China at the Beijing Pop Festival that September. While a television show and movie were planned to accompany the Year Zero story\, those never came to fruition. The album cycle closed with Year Zero Remixed\, which featured reinterpretations by Ladytron\, Bill Laswell\, the Faint\, and rapper Saul Williams\, whose third effort\, 2007’s The Inevitable Rise and Liberation of NiggyTardust!\, was produced by Reznor. \nDuring this prolific period\, NIN also released the four-part ambient instrumental album Ghosts I-IV — released on Reznor‘s new label\, The Null Corporation — as well as the surprise album The Slip. Both 2008 efforts were available for free in their digital formats. While The Slip charted outside the Top Ten on the Billboard 200 and the single “Discipline” became another rock chart hit\, Ghosts was nominated for a pair of Grammy Awards (and the track “34 Ghosts IV” would crash the mainstream in an interesting way in 2019). Continuing the direct-to-fans approach\, NIN later provided live footage from their accompanying Lights in the Sky tour to online fans\, who stitched the pieces together to create a documentary dubbed Another Version of the Truth. \nThe next year\, NIN embarked on another trek\, the forebodingly dubbed Wave Goodbye tour. When the journey concluded\, the band entered an official extended hiatus\, during which time Reznor and Ross focused on film scores for director David Fincher (2010’s Oscar-winning The Social Network\, 2011’s The Girl with the Dragon Tattoo\, and 2014’s Gone Girl). The pair also formed a side project with Reznor‘s wife\, Mariqueen Maandig\, called How to Destroy Angels. Essentially NIN with a female vocalist\, the outfit released a pair of EPs in 2010 and 2012\, as well as a full-length album in 2013. Months after the conclusion of their first tour\, NIN returned with their eighth album. \nThe Grammy-nominated Hesitation Marks (Columbia/The Null Corporation) was issued in August 2013. Produced by Reznor\, Ross\, and Moulder\, it debuted at number three on the charts and included the Top Ten single “Came Back Haunted” as well as “Copy of A” and “Everything.” Guest collaborators on the album included Pino Palladino\, Lindsey Buckingham\, and Adrian Belew. The ensuing Tension arena tour featured backup vocalists Lisa Fischer and Sharlotte Gibson alongside another revamped lineup that included Reznor\, Finck\, Cortini\, Palladino\, drummer Ilan Rubin\, and guitarist Josh Eustis. NIN extended the Hesitation Marks cycle into 2014 with a co-headlining tour with fellow ’90s mainstays Soundgarden. That same year\, NIN were nominated for induction into the Rock and Roll Hall of Fame. \nThe following year\, NIN began the rollout of remastered reissues of past albums. The Fragile appeared in instrumental form exclusively on a streaming platform\, with an accompanying collection of instrumental\, alternate\, and unreleased songs collected as The Fragile: Deviations 1. After the completion of scores for Before the Flood and Patriots Day\, Reznor announced a multi-year project that resulted in a NIN EP/short album trilogy\, which started with late 2016’s Not the Actual Events. A return to the abrasive industrial of the band’s earlier days\, the five-song set featured the brooding track “She’s Gone Away” and special guests Mariqueen Maandig\, Dave Grohl\, and Dave Navarro. Also\, after decades of NIN liner notes reading “Nine Inch Nails is Trent Reznor\,” it was announced that Ross had become a permanent member of the band. \nIn the summer of 2017\, the second installment of the series arrived. Add Violence debuted in the Top 20 and spawned the radio hit “Less Than\,” which climbed the Mainstream Rock and Alternative Songs charts. A year later\, the trilogy ended with Bad Witch\, which was officially issued as the band’s ninth album. Notable for lead single “God Break Down the Door” — featuring jazz saxophone and Reznor singing with a Bowie-esque croon — Bad Witch also included vocals from the Cult‘s Ian Astbury and Mariqueen Maandig on “Shit Mirror.” In support of the effort\, NIN embarked on a 2018 tour dubbed Cold and Black and Infinite\, which reunited Reznor with the Jesus and Mary Chain after opening for them almost three decades prior. \nIn 2019\, NIN experienced a pop culture resurgence\, reaching a fresh audience through some unlikely sources. In addition to a savvy pairing with Captain Marvel — which saw the titular superhero donning a vintage NIN shirt throughout much of the film — the band returned to the charts through a clever cover (a pop makeover of “Head Like a Hole” called “On a Roll\,” which was performed by fictional pop star Ashley O\, depicted by Miley Cyrus) and a strategic sample (Lil Nas X‘s use of “34 Ghosts IV” in his record-breaking hit single “Old Town Road\,” which later made Reznor and Ross Country Music Award winners). To close the year\, the pair crafted a trio of very NIN-esque scores for the HBO series Watchmen. \nAt the start of the 2020s\, as the world was in the grip of a global pandemic\, NIN revived their Ghosts series with the sequels Ghosts V: Together and Ghosts VI: Locusts\, nearly two-dozen additions to the series inspired by the need for connection in an uncertain time. NIN were also inducted into the Rock & Roll Hall of Fame as part of the Class of 2020 (by Iggy Pop no less)\, which would be celebrated years later as the pandemic eased. In the interim\, Reznor and Ross won another Oscar for their score to the animated film Soul\, hopped onto HEALTH‘s song “Isn’t Everyone\,” and produced Halsey‘s Grammy-nominated If I Can’t Have Love\, I Want Power. In 2022\, NIN were finally able to celebrate their Rock Hall induction with a historic hometown show in Cleveland that featured a surprise encore featuring Richard Patrick\, Chris Vrenna\, Danny Lohner\, Alessandro Cortini\, Robin Finck\, Ilan Rubin\, and Charlie Clouser. In addition to performing a selection of early NIN classics\, they even performed Filter‘s “Hey Man Nice Shot.” \nWhile NIN remained quiet through 2023\, Reznor and Ross appeared on Fever Ray‘s “Even It Out” from Radical Romantics and they crafted scores for Bones and All\, Empire of Light\, Teenage Mutant Ninja Turtles: Mutant Mayhem\, The Killer\, and Challengers. ~ Neil Z. Yeung\, Rovi \n \n \n \nBOYS NOIZE (Alex Ridha) builds worlds\, then builds bridges between them. Propelled by an infatuation with sonic invention and a prescience for subculture\, the German-Iraqi artist\, DJ and producer has developed a peerless practice that is both deeply informed by electronic music history and determinedly transcending conventions. As an international festival headliner and A-list producer\, BOYS NOIZE embodies the transformation and expansion of 21st century techno\, house and electro into the current zeitgeist\, and he has the GRAMMY win to prove it. Yet as a Berliner and lifelong DJ\, he remains dedicated to the underground\, regularly flexing the decks at techno meccas and experimenting through a multiplicity of multi-genre aliases. Some fans find BOYS NOIZE through his productions for A$AP ROCKY and FRANK OCEAN\, or his film scores for OLIVER STONE’s “Snowden”; through his house hit “Mvinline”\, or his collaborative projects OCTAVE MINDS and DOG BLOOD with SKRILLEX\, as well as an EP and OFF-WHITE capsule collection with VIRGIL ABLOH; through his remixes for DAFT PUNK\, YEAH YEAH YEAHs and DEPECHE MODE\, his features with RICO NASTY\, PUSSY RIOT and KELSEY LU\, or reworks of SHYGIRL\, SEGA BODEGA and SOPHIE; through this year’s blazing run of 140+ bpm techno tracks and remixes\, or the massive “Fine Day Anthem” with SKRILLEX. BOYS NOIZE’s most important collaboration of all\, however\, is with the ravers that join him across the globe from basements to warehouses to the main stage.
URL:https://globalazmedia.com/event/nine-inch-nails-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/2025/08/Nine-Inch-Nails-at-Phx-Arena.webp
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20250921T190000
DTEND;TZID=America/Phoenix:20250921T233000
DTSTAMP:20260428T081030
CREATED:20250905T022911Z
LAST-MODIFIED:20250905T022911Z
UID:20159-1758481200-1758497400@globalazmedia.com
SUMMARY:Chevelle + Asking Alexandria & Dead Poet Societ at Arizona Financial Theatre
DESCRIPTION:CHEVELLE is the understated musical powerhouse who have continually delivered rock anthems for the past 24 years. 7 number one hits\, 17 songs reaching the top 10 charts\, over 4 million records sold in the USA and many more worldwide. Platinum and gold albums across their 8 studio records and successful live CD and two live DVD releases completes their extensive body of work to date. It’s all credit to their continuing dedication to be true to their craft\, the genre and their fans. Chevelle’s last two album releases\, La Gargola and The North Corridor both debuted #1 on the Billboard rock charts and #3 and #8 respectively\, on the Billboard top 200 charts. With no signs of this Chicago alternative rock trio slowing down any time soon\, their numerous chart-topping releases have certainly earned this band a place in American rock music history. After more than two decades together\, numerous releases\, and countless worldwide tours\, the band consisting of brothers\, Pete Loeffler [guitars\, vocals] and Sam Loeffler [drums]\, have confidently sailed through decades of uncharted waters and have emerged with a collection that’s equally intricate and intimate. \n \n \nMetal Hammer declared See What’s On The Inside (2021)\, “an outrageously infectious ode to classic rock.” Forbes noted the album’s visceral connection to early Asking Alexandria influences like Guns N’ Roses\, Metallica\, and Pantera. After “Alone Again” hit No. 1 on Active Rock\, “Never Gonna Learn” (from the 2022 E.P. of the same name) went to No. 6. The band boasts over 1.4B combined streams and over 700 million views of their music videos on YouTube. Asking Alexandria offers reverence to touchstone icons like Led Zeppelin\, AC/DC\, and Queen\, with a relentless urgency harkening back to their early days as metalcore upstarts. In 2023\, long-time comrades Ben Bruce (lead guitar)\, Danny Worsnop (vocals)\, Cameron Liddell (guitar)\, Sam Bettley (bass)\, and James Cassells (drums) ride a creative high with their forthcoming eighth studio album kicked off by the immediate success of the arresting\, catchy\, and sober “Dark Void.” “With the world seemingly getting darker and darker\, so many of us struggle with anxiety\, depression\, loneliness\,” Bruce says of the next album’s themes. “We are all on our own journey with unique challenges\, but we have our inner strength to fall back on.” Even as their creative ambitions continue to grow\, that transcendent connection between Artist Audience remains the essential lifeblood pumping through the heart of Asking Alexandria. From personal struggles to career highs and everything in between\, this band truly understands. \n \n \nA perfect symbol for Dead Poet Society is the “shitty old seven-string” that guitarist Jack Collins bought at a mall back in high school. \n“Our former bass player actually took a soldering iron and soldered the frets off\,” he recalls. “You couldn’t play it normally at all. I thought it was going to be a great idea. Years later it was sitting in my closet\, and I decided to pick it up again because I got really bored. It became the new way for us to write music — it opened up a door into this whole new world we discovered.” \n“It was like\, ‘This is the guitar\,’ he adds. “It’s like taking something broken and creating art out of it.” \nWith its wonky intonation\, the instrument can’t produce traditional chords or scales — an unlikely choice for a rock band with such strong commercial potential. Collins and frontman Jack Underkofler are a factory of hooky riffs\, even at their most detuned and menacing; and the latter barks and coos with a crystalline purity that recalls Jeff Buckley and Muse’s Matt Bellamy. \nThat contrast is crucial to the band’s debut LP\, -!- out February 12\, 2021 via Spinefarm Records. Take the bruising belter “Been Here Before\,” which pairs a stadium-sized chorus with angular guitars and Dylan Brenner’s blown-out fuzz bass; “I Never Loved Myself Like I Loved You” opens with the fidelity of an iPhone demo before blooming into a cinematic dream-pop singalong anchored by Will Goodroad’s rim-click drum groove. Brenner is a new addition to the lineup\, but his experience as the band’s touring stand-in for the duration of their career has made him a natural fit. \nIt’s no surprise that Dead Poet Society like screwing with rock conventions — that’s been their aim since forming in 2013 as students at Boston’s Berklee College of Music. Hilariously\, at least in retrospect\, it did take them a bit to find common ground. \n“My best friend drummed for them\, and I convinced him to leave the band\,” Underkofler says with a laugh. “Six months later\, Jack asked me to sing on a couple songs they’d written. My apprehension came from the fact that they were kind of a meme for being one of the worst bands at school. I kind of tried to push away — our old bassist just kept asking me\, ‘Do you want to write with us?’ One day he showed up on my door step and I was like\, ‘Fuck.’ After I wrote my first song with them [“145″]\, I was like\, ‘I think there’s something here.’” \nThe newly solidified quartet quickly developed a chemistry: Underkofler and Collins had a mutual love of Coldplay\, but their tastes sprawled over time along with drummer Will Goodroad: heavy acts like Royal Blood and Led Zeppelin\, modern art-pop artists like St. Vincent\, even hip-hop experimentalists like Tyler\, the Creator. Not all of those influences are detectable on the largely self-produced -!-\, which features a handful of tracks co-helmed by studio veteran Alex Newport. But that eclecticism makes sense\, given their distaste for most modern rock. \n“It’s just lame\,” Collins says. “It has been for like 10 years. I think that’s because people are paying too much umbrage to classic rock — there’s this ‘passing of the torch’ thing that I think is just bullshit. Heavy music is the way we communicate — it happens to be rock music\, but the expression itself and what we’re trying to say and how we want to make people feel is unique. That’s what bands used to do\, and I think that’s what a lot of hip-hop artists do nowadays.” \n“Our goal\,” he emphasizes\, “is to make someone feel something they haven’t felt before.”
URL:https://globalazmedia.com/event/chevelle-asking-alexandria-dead-poet-societ-at-arizona-financial-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2025/09/Chevelle-Asking-Alexandria-Dead-Poet-Societ-at-Arizona-Financial-Theatre.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20250924T183000
DTEND;TZID=America/Phoenix:20250924T233000
DTSTAMP:20260428T081030
CREATED:20250910T004901Z
LAST-MODIFIED:20250910T004901Z
UID:20170-1758738600-1758756600@globalazmedia.com
SUMMARY:Falling in Reverse at Talking Stick Resort Amphitheatre
DESCRIPTION:FALLING IN REVERSE return with 2024’s Popular Monster\, the postmodern trailblazer’s first full-length in seven years. The album arrives armed with no less than three RIAA-certified gold singles (“ZOMBIFIED\,” “Voices in My Head\,” “Watch the World Burn”)\, the double-platinum title track\, a reimagined nü-metal classic\, and six brand new anthems of furious metal\, melody\, and hip-hop. \nPopular Monster is a defiant statement and triumphant victory for singer\, songwriter\, bandleader\, and provocateur Ronnie Radke\, who invented Falling In Reverse inside a prison cell. \nRadke fills the fifth full-length from Falling In Reverse with invincible and irresistible songs that resonate across generations and genres. Co-produced with longtime collaborator Tyler Smyth (I Prevail\, Skillet\, Lights)\, Popular Monster is full of confessional angst\, bravado\, and clever wordplay. \nRonnie formed a series of pop-punk bands in Las Vegas as a teenager\, culminating in the creation of Escape The Fate. The metalcore group’s meteoric rise coincided with the singer’s spiral into addiction. By the time he was sentenced to two years in prison\, the band he started had moved on without him. Some fans\, critics\, and industry types figured his story would end there. \n \n \nSlaughter To Prevail is pushing heavy music to new extremes\, delivering unapologetically hard modern metal while smashing expectations\, and becoming one of the most talked about bands in heavy music in the process. \nSlaughter To Prevail’s journey began in the most unlikely of ways: two musicians from completely different worlds. Alex Terrible\, forging his monstrous vocals from a small bedroom in the cold\, rural Russian city of Yekaterinburg\, crossed paths online with guitarist Jack Simmons\, who sharpened his craft in a quiet town on the outskirts of Essex\, UK. What started as a distant collaboration quickly turned into a brotherhood\, as their exchanges of ideas took shape\, songs were formed and it became apparent to Jack and Alex that they were on to something special. \nAll of this momentum leads to “Grizzly”\, their most anticipated release yet. Featuring the already released singles ‘Conflict\,’ ‘Viking\,’ ‘1984\,’ ‘Behelit\,’ and ‘Kid of Darkness\,’ the album is a relentless assault\, balancing raw aggression with massive\, unforgettable catchiness. \nThis is Slaughter To Prevail’s moment. “Grizzly” is the culmination of everything they have built\, a defining record that cements their place at the top of modern heavy music. \n \n \nHollywood Undead hail from the streets of Hollywood\, California\, mixing brash hip-hop\, rock\, and minor metalcore touches with cocky posturing. With their colorful pseudonyms and unique hockey goal tender-inspired masks\, the band debuted in 2008 with Swan Songs\, but didn’t hit their commercial stride until the release of their 2011 sophomore effort\, American Tragedy\, which cracked the Top Ten on the Billboard 200 chart. Subsequent outings like Notes from the Underground (2013)\, Five (2017)\, the two-volume New Empire (2020)\, and Hotel Kalifornia\, performed just as well\, if not better\, cementing the group’s reputation as one of rapcore’s leading lights. \nOwing much of their popularity and exposure to the social networking website MySpace\, the group started as the musical project of J-Dog and Tha Producer in June 2005. They uploaded some new music to their profile and very quickly started amassing song plays and online friends with tracks about drinking\, sex\, and emo kids. “The gang\,” as the guys liked to refer to themselves\, grew to include six members: J-Dog and Tha Producer alongside Charlie Scene\, Johnny 3 Tears (formerly called the Server)\, Funny Man\, and Da Kurlzz. As the band’s online profile steadily increased\, MySpace head honcho Tom Anderson wasn’t immune and wound up featuring Hollywood Undead’s song “No. 5” on MySpace’s first compilation album\, in addition to giving them the distinction of being the first act signed to the site’s new record label (distributed by Interscope) in 2005. \nSwan Songs finally appeared in 2008 on A&M/Octone Records. A year later\, that label released an album of B-sides\, live tracks\, and covers titled Desperate Measures. In 2010\, vocalist Aron “Deuce” Erlichman left the group; he was replaced by Daniel “Danny” Murillo\, a former contestant on American Idol and lead singer of Lorene Drive. After shows with Avenged Sevenfold on The Nightmare After Christmas Tour\, Hollywood Undead released their sophomore album\, American Tragedy\, in April of 2011\, and the album debuted in the Top Five of Billboard’s Top 200. The following November\, A&M/Octone Records released a remix version of the record called American Tragedy Redux\, which featured mixes by Andrew W.K.\, Borgore\, and KMFDM\, among others. \nIn January of 2013\, after embarking on The Underground Tour\, Hollywood Undead released their third studio album\, Notes from the Underground\, which proved to be their highest-charting outing to date\, landing at the number two spot on the Billboard Top 200 and soaring to number one on the Canadian albums chart. Their hotly anticipated fourth studio album\, Day of the Dead\, arrived in March 2015\, and was preceded by the singles “Usual Suspects\,” “Gravity\,” “How We Roll\,” and the explosive title cut. The band returned to the studio in late 2016 to record its fifth studio album\, Five. With their contract with Interscope finished\, Hollywood Undead set up their own label\, Dove & Grenade Media\, in collaboration with BMG to release the album. The first single\, “California Dreaming” — a scathing look at the inequalities between the two sides of Los Angeles culture — was released in mid-2017\, with the full-length Five arriving later that October. In 2018 the Undead released the standalone single “Gotta Let Go\,” a summery blast of feel-good nostalgia about letting go of pain. The EP Psalms also arrived that year. Two years later\, the band released their sixth album\, New Empire\, Vol. 1. A deliberate attempt to change their sound\, it was heavier than before\, with more electronic elements. The like-minded sequel\, New Empire\, Vol. 2.\, arrived in 2020. In 2022\, the band issued their eighth full-length effort\, the confident and earworm-friendly Hotel Kalifornia. Two years later\, they inked a deal with Sumerian Records and issued “Hollywood Forever\,” an anthem written to honor their legions of fans. \n \n \nPoint North are an American band based in Los Angeles\, California consisting of Jon Lundin (vocals)\, Andy Hershey (guitar) and Sage Weeber (drums). The band is signed to Hopeless records and released their debut album Brand New Vision in August of 2020\, featuring popular song Into The Dark. To date\, the band have only headlined once on a sold North American tour in April 2022. \nPoint North dropped their sophomore record Prepare For Despair in August of 2023. The album is said to feature a heavier sound from the trio\, touching upon themes including mental health issues. From this album\, the band’s second radio single Below The Belt\, featuring Set It Off impacted rock radio on October 17th 2023 and was most added in the country.
URL:https://globalazmedia.com/event/falling-in-reverse-at-talking-stick-resort-amphitheatre-2/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, AZ\, 85035\, United States
ATTACH;FMTTYPE=image/webp:https://globalazmedia.com/wp-content/uploads/2025/09/Falling-in-Reverse-at-Talking-Stick-Resort-Amphitheatre-2.webp
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20250928T190000
DTEND;TZID=America/Phoenix:20250928T233000
DTSTAMP:20260428T081030
CREATED:20250903T005909Z
LAST-MODIFIED:20250903T005909Z
UID:20146-1759086000-1759102200@globalazmedia.com
SUMMARY:Marilyn Manson at The Van Buren
DESCRIPTION:Marilyn Manson is a perpetually controversial presence and one of the key figures in aggressive\, boundary-challenging rock music. Manson became a mainstream antihero in the 1990s — much to the chagrin of conservative politicians\, religious leaders\, and concerned parents — ruffling feathers and shocking the masses with his dark brand of glam-influenced industrial metal\, outspoken social commentary\, and incendiary live shows. The self-proclaimed “Antichrist Superstar\,” he peddled a disquieting vision of society that focused on sex\, drugs\, violence\, politics\, and organized religion\, which pushed many of his singles — including “The Dope Show\,” “The Beautiful People\,” and a cover of Eurythmics‘ “Sweet Dreams (Are Made of This)” — into the upper reaches of the modern rock charts during the late ’90s and early 2000s. During his band’s commercial peak\, the conceptual triptych of Antichrist Superstar\, Mechanical Animals\, and Holy Wood won him a legion of die-hard fans while also attracting media attention and cultural notoriety. Following 2003’s The Golden Age of Grotesque\, Manson entered his next era with a trio of releases that marked a downturn in mainstream popularity and sales. However\, at the turn of the following decade\, he staged a late-era comeback with a string of critically acclaimed albums: The Pale Emperor (2015)\, Heaven Upside Down (2017)\, and We Are Chaos (2020). After a series of abuse allegations came to light and he was dropped by his label and longtime manager\, Manson remained out of the public eye until 2024\, when he returned with his 12th album\, One Assassination Under God: Chapter 1. \nBorn Brian Warner\, Manson was raised in Canton\, Ohio. At the age of 18\, he relocated to Tampa Bay\, Florida\, where he worked as a music journalist. In 1989\, he became friends with guitarist and fellow outsider Scott Mitchell Putesky; the two soon decided to form a band\, with Putesky rechristening himself Daisy Berkowitz and Warner adopting the name Marilyn Manson. With the addition of bassist Gidget Gein and keyboardist Madonna Wayne Gacy\, the group — originally dubbed Marilyn Manson & the Spooky Kids — began self-releasing cassettes and playing gigs\, their gothic stage shows notable for Manson’s elaborate makeup and homemade special effects. Jettisoning their drum machine in favor of Sara Lee Lucas\, the band’s sound began taking on a harder edge\, and by 1992 they were among the most popular and notorious acts in the South Florida underground. \nIn 1993\, Nine Inch Nails‘ Trent Reznor came calling\, offering both a contract with his Nothing Records label as well as the chance to open for NIN the following spring; Manson accepted both offers\, and the group’s debut LP\, Portrait of an American Family\, appeared during the summer of 1994. With new bassist Twiggy Ramirez replacing Gein\, the band’s notoriety soared. Most infamously\, during an appearance in Salt Lake City\, Manson ripped apart a copy of the Book of Mormon while on-stage. The Church of Satan’s founder\, Anton LaVey\, also bestowed upon him the title of “Reverend\,” further stoking conservatives’ fears. Manson’s cult following continued to swell\, and the band broke into the mainstream with the release of 1995’s Smells Like Children EP\, propelled by their enduring hit cover of Eurythmics‘ “Sweet Dreams (Are Made of This).” Berkowitz quit a short time later and was replaced by guitarist Zim Zum\, and the revised group saw their next LP\, 1996’s conceptual opus Antichrist Superstar\, debut at the number three spot on the pop album charts and sell nearly two million copies in the U.S. alone. Produced by Trent Reznor\, the multi-platinum Antichrist Superstar became the band’s most influential and defining statement. As Manson’s popularity grew\, so did the furor surrounding him. His concerts were regularly picketed by civic groups\, and his music was the subject of widespread attacks from right-wing and religious fronts. \nManson continued to court controversy in 1998 with the glam-inspired Mechanical Animals\, which included cover art depicting the singer as a naked androgynous alien. The album became the band’s first to top the charts and spawned the singles “The Dope Show” and “I Don’t Like the Drugs (But the Drugs Like Me).” While the resulting tour yielded a live album\, Last Tour on Earth\, the trek was cut short in early 1999 after the band was erroneously blamed for influencing the perpetrators of the Columbine High School massacre. Out of respect for the public\, the group retreated from the spotlight and returned to the studio. \nThe third and final part of a thematic album triptych\, Holy Wood (In the Shadow of the Valley of Death) arrived at the end of 2000\, just barely missing the Top Ten. One of Manson’s most sprawling conceptual pieces\, the politically charged Holy Wood included the singles “Disposable Teens” and “The Fight Song.” The band returned to the road and toured to support the album during much of 2001. That December\, Manson’s version of “Tainted Love” appeared on the Not Another Teen Movie soundtrack\, becoming an unexpected European chart hit. \nFreed from the mythology of his prior trio of albums\, Manson found inspiration for his fifth effort in the sounds of burlesque\, cabaret\, and the excess of Weimar-era Germany. Longtime bassist Twiggy Ramirez amicably left the group before recording and his spot was filled by Tim Skold (ex-KMFDM). The result was 2003’s The Golden Age of Grotesque\, which spent a week atop the album charts and ended up on several critics’ year-end Top Ten lists. The singles “This Is the New Shit” and “Mobscene” also became live staples for years to come\, debuted on the accompanying Grotesk Burlesk tour. As the Grotesque period drew to a close\, so too did the stints of longtime members Madonna Wayne Gacy and John 5\, who left the group between album releases. The following year\, another symbolic end to the era arrived in the form of a greatest-hits affair titled Lest We Forget. The collection covered the band’s career highlights — from Portrait‘s first single\, “Get Your Gunn\,” to a 2004 cover version of Depeche Mode‘s “Personal Jesus” — and earned gold status in multiple countries. At this point\, Manson began to branch out from music\, displaying his watercolor paintings at art exhibitions\, dabbling in filmmaking\, and producing his own absinthe. \nWith the curtains closed on his peak mainstream period\, Manson’s output also took an inward turn\, thematically shifting from the grandiose concepts of his peak mainstream period to more personal statements. This next stage began with 2007’s Eat Me\, Drink Me. Debuting a darker emotional perspective and an increase in singing\, the record was written\, performed\, and produced entirely by Manson and Skold. Landing in the Billboard 200’s Top Ten\, the set included the singles “Heart-Shaped Glasses” and “Putting Holes in Happiness.” Skold parted with Manson shortly thereafter and was replaced by returning member and right-hand man Twiggy Ramirez. Manson and Ramirez then began writing material for the band’s seventh studio album\, The High End of Low\, which arrived in spring 2009 and reached number four on the charts. \nIn 2011\, during preparation for the release of the band’s eighth studio album\, longtime drummer Ginger Fish announced he had left the group. On his own\, Manson forged ahead\, premiering Born Villain\, a short film directed by Shia La Beouf that served as support for his forthcoming album of the same name. One of his lowest-performing albums to date\, Born Villain featured the track “No Reflection\,” which managed to become his highest-charting single in almost a decade. \nDespite the creative musical slump\, Manson remained busy with other exploits\, furthering his acting career with film and television roles\, including a fortuitous appearance on the show Californication\, where he met score composer Tyler Bates (Guardians of the Galaxy\, John Wick\, 300). The pair hit it off and began recording what would become Manson’s big comeback. His ninth album overall\, The Pale Emperor was released in January 2015 on Loma Vista in the U.S. and Cooking Vinyl internationally. Favored by critics as one of the band’s best late-era efforts\, the blues-rock-inspired album peaked in the Top Ten of the Billboard 200 and topped the Hard Rock chart. Capitalizing on the creative momentum\, Manson and Bates extended their partnership in 2017 with another collaboration. Originally titled Say10\, Heaven Upside Down — Manson’s tenth album — featured the singles “We Know Where You F*cking Live” and “Kill4Me.” The set placed Manson back on the pop Top Ten and was supported by extensive touring\, including a summer jaunt that reunited Manson with fellow shock-rock veteran Rob Zombie. At the start of their joint tour\, Manson issued a cover of the song “Cry Little Sister” and a duet with Zombie covering the Beatles‘ “Helter Skelter.” More cover singles arrived in 2019\, namely “God’s Gonna Cut You Down” and “The End” by the Doors. \nThe 2020s were ushered in by Manson’s 11th full-length\, We Are Chaos\, which was produced by outlaw country musician Shooter Jennings. Released that September\, the set yielded the singles “Don’t Chase the Dead” and the title track. Months later\, in January 2021\, multiple allegations of abuse against Manson were made public. Subsequently\, he was dropped by Loma Vista\, his talent agency\, and his manager of 25 years. He was also removed from scheduled appearances on television shows American Gods and Creepshow. Keeping out of the spotlight over the next few years\, he returned in 2024\, opening a tour with Five Finger Death Punch and issuing a handful of singles (“Raise the Red Flag\,” “As Sick as the Secrets Within\,” and “Sacrilegious”) which appeared on his 12th studio set\, One Assassination Under God: Chapter 1. \n \n \n \nWhen the universe aligns\, magic happens. This was certainly the case when Shavo Odadjian\, the legendary bass player of System of a Down\, crossed paths with producer and multi-instrumentalist Morgoth at a party on 2.22.22. Their initial sessions were a spontaneous combustion of creativity\, transforming from a potential solo venture into a full-fledged band. “We wrote a song right away. It wasn’t like any writing session I had been part of before\, riffs were just flowing out of me without me even having to try. Every time I felt like I couldn’t write anything. Morgoth would hand me a guitar and say\, “go\, go\, go”. I needed that\, you know? I needed someone to push me when I wasn’t pushing myself. ” Shavo recalls. As music continued to pour out in torrents\, with Shavo writing and performing all the guitar and bass parts and Morgoth producing and providing the beats\, atmospherics and FX\, Morgoth suggested they turn it into a Shavo solo project. However\, with his eye now firmly set on the live arena\, Shavo decided to create a full band.
URL:https://globalazmedia.com/event/marilyn-manson-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/webp:https://globalazmedia.com/wp-content/uploads/2025/09/Marilyn-Manson-at-The-Van-Buren.webp
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END:VCALENDAR