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SUMMARY:BRING ME THE HORIZON at PHX Arena
DESCRIPTION:English rock band Bring Me the Horizon have made a steady progression from their death metal-inspired grindcore debut to melodic metalcore\, maturing into a pop-savvy headline act by the end of their first decade together. With each release — from 2006’s caustic Count Your Blessings to 2013’s mainstream breakthrough Sempiternal — they dialed back the blood-curdling screams and injected more melody until capturing an alt-metal balance on their 2015 international chart-topping effort That’s the Spirit. By 2019’s Amo\, they had incorporated elements of electronic and even hip-hop into their edgy\, genre-blurring blend. In 2020 Bring Me the Horizon issued Post Human: Survival Horror\, the first installment of an ambitious conceptual series. The follow-up\, Post Human: NeX Gen\, landed in 2024. \nThe group was formed in 2004 from the ashes of several Sheffield-based outfits\, with the 2003 Disney film Pirates of the Caribbean serving as the inspiration for the band’s name. Singer Oliver Sykes\, guitarists Lee Malia and Curtis Ward\, bassist Matt Kean\, and drummer Matt Nicholls initially established their own label\, Thirty Days of Night\, to release their debut EP\, 2005’s This Is What the Edge of Your Seat Was Made For. Upon signing to the higher-profile label Visible Noise (whose roster also included Bullet for My Valentine and Lostprophets)\, they reissued the EP to a wider audience. Bring Me the Horizon’s full-length debut\, Count Your Blessings\, appeared in October 2006\, with an American release following one year later courtesy of Epitaph Records. \nWith their second album\, Suicide Season\, Bring Me the Horizon moved in a more accessible direction and wound up cracking the U.K. album charts. Not everyone approved of the new sound\, though\, and Ward left the band in early 2009. His temporary replacement was Jona Weinhofen\, formerly a member of I Killed the Prom Queen. Weinhofen ended up staying with the band and the group returned to the studio with producer Fredrik Nordström in March 2010 to begin work on a third album. The resulting There Is a Hell\, Believe Me I’ve Seen It\, There Is a Heaven\, Let’s Keep … was released during the latter half of 2010\, several months after the band wrapped up their engagement with the Warped Tour. \nA fourth album\, the critically lauded Sempiternal\, arrived on Epitaph in 2013\, and peaked at number three on the U.K. albums chart. Around this time\, Weinhofen parted ways with the band and was replaced by Jordan Fish for their next effort\, which marked a stark departure from the sound they’d been honing since their debut. Released in 2015\, the loosely conceptual That’s the Spirit saw the group dropping some of their metalcore tendencies in lieu of a more melodic\, alt-metal approach\, capturing mainstream ears with the singles “Happy Song\,” “True Friends\,” and “Avalanche.” Their highest-performing effort to date\, the set topped charts across the globe\, peaking in the Top Three in their native England and in the U.S. Riding the success of Spirit\, the band staged an ambitious charity concert benefitting the Teenage Cancer Trust. Backed by the Parallax Orchestra and Simon Dobson\, the group set their hits to orchestral backing on 2016’s Live at the Royal Albert Hall. \nIn the summer of 2018\, Bring Me the Horizon continued down an increasingly experimental path with the mainstream-ready anthem “Mantra” and the surprisingly poppy “Medicine.” Both tracks landed on their sixth full-length effort\, Amo\, which was released in early 2019. Their first U.K. chart-topper\, Amo incorporated electronic dance elements and trap production\, featuring guest appearances by Dani Filth (Cradle of Filth)\, art-pop singer Grimes\, and rapper Rahzel. As the band toured the globe\, they joined a stacked roster of artists for the soundtrack to the video game Death Stranding\, contributing the track “Ludens.” At the close of 2019\, in addition to Amo receiving a Grammy nomination for Best Rock Album\, the group issued a surprise project titled Music to Listen To…. The experimental foray dabbled in electronic atmospherics\, ambient noise\, and trip-hop\, reimagining tracks from Amo in the process. Guests on the release include Halsey and Theresa Jarvis of Yonaka. \nIn early 2020\, the band quarantined in their home studios during the COVID-19 pandemic to record their next effort\, which was heavily influenced by global events. During the summer\, they issued “Parasite Eve” and the industrial-tinged “Obey\,” a collaboration with English upstart Yungblud. These tracks landed on 2021’s Post Human: Survival Horror\, the first installment of a proposed multi-part EP series. In addition to the previously released singles\, the set also included appearances by Babymetal (“Kingslayer”)\, Nova Twins (“1×1”)\, and Amy Lee of Evanescence (“One Day…”). The first taste of the follow-up\, the more melodic and anthemic “DiE4u\,” arrived that September. A string of high-profile collaborations marked the band’s 2022 output and included featured appearances with Ed Sheeran (“Bad Habits”)\, Machine Gun Kelly (“Maybe”)\, and Sigrid (“Bad Life”). \nContinuing the lead-up to their proposed Survival Horror sequel\, which was titled Post Human: NeX Gen\, the band spent 2023 touring and releasing more singles\, including “Lost\,” “Darkside\,” and “Amen!” with Daryl Palumbo (Glassjaw) and Lil Uzi Vert. At the end of the year\, longtime keyboardist Fish left the band. Weeks later\, the four-piece released “Kool-Aid\,” the sixth offering from NeX Gen. After a brief delay\, that sprawling effort finally arrived in May 2024\, featuring additional guests Aurora and Underoath. The album tackled dark emotional themes and featured genre-blurring hyperpop flourish\, pop-punk energy\, glitchy electronic chaos\, hardcore aggression\, death growls\, and pop choruses. \n \n \nAn industrial city situated in Northeastern Pennsylvania\, you could say Scranton quietly prides itself on a tried-and-true Rust Belt blue-collar work ethic. \nFor their fourth full-length album and first for Roadrunner Records Graveyard Shift\, Motionless In White—Chris Motionless [Vocals]\, Ricky Horror [Guitar]\, Ryan Sitkowski [Guitar]\, Ghost [Bass]\, and Vinny Mauro [Drums]—dug into the roots of their hometown’s pervasive attitude. \n“We’re a band that came out of the small town blue-collar spirit\,” affirms Chris. “We put ten years into growing this and working hard to do what we love the most. We look forward to putting in another ten. Both the area we come from and the fan base brought us to this point. Graveyard Shift is all about that work ethic. It’s been instilled in us. Early on\, we realized if you give the time and effort to chase a dream\, it’s possible to achieve it by the sheer amount of drive and passion you have.” \nSince 2006\, that ethos has fueled Motionless In White’s rise to the upper echelon of modern rock. Albums such as 2010’s Creatures and Infamous in 2012 would galvanize a rabid fan base around the quintet. During 2014\, Reincarnate reached new heights\, bowing at #9 on the Billboard Top 200 and claiming #1 on Billboard’s Top Rock Albums Chart. The title track and lead single turned into a Top 20 Active Rock smash and notched 13.2 million YouTube views and 9.8 million Spotify streams. Simultaneously\, they have shared stages alongside everyone from Slipknot\, Korn\, and Breaking Benjamin to A Day To Remember and Marilyn Manson in addition to making arresting festival appearances at Warped Tour\, Aftershock\, Rock On The Range\, Rock Allegiance\, and beyond. \nIn 2016\, they entered a Los Angeles studio with producer and longtime collaborator Drew Fulk [Emmure\, Crown The Empire] to record what would become Graveyard Shift. \n“It was all about writing bigger\, better\, and more refined songs\,” exclaims the frontman. “On Reincarnate\, we felt like we had discovered our true identity. This record wasn’t so much centered on experimentation as it was on refinement. In the past\, I feel like I always placed the vocals second to music. This time\, there was a focus on trying to make sure the vocals had their big moments. That was a major key in really making Graveyard Shift separate from all of the other albums. I haven’t really been able to look back at anything I would’ve done differently or something I didn’t feel like I put my whole heart into here. I just feel incredibly confident about everything on the record.” \nMotionless In White introduced this latest body of work with the galloping gut punch of “570”—the area code of Scranton and something of an homage to home. In less than three months\, it amassed 3.1 million Spotify streams and amplified anticipation for the full-length’s impending arrival. \n“Last summer\, I had the opportunity to meet with a lot of fans on Warped Tour and have some very intense\, personal\, and deep discussions\,” recalls Chris. “I walked away from these meetings feeling energized. Whether the conversations were dark or uplifting\, I was ready to approach anything in my way with how I felt afterwards. Our current single\, ‘LOUD\,’ is a direct result of that energy. I wanted to encourage people to feel the same way. It’s definitely one of the more powerful and inspirational messages on the album.” \nThroughout its 12 tracks\, Graveyard Shift weaves together various personal vignettes. From embracing one’s dark side on “Necessary Evil” [feat. Jonathan Davis] to the hypnotic and humorous ode to Danny Elfman’s influential body of work\, “Not My Type (Dead As Fuck 2)\,” the record remains unpredictable at every turn. “Eternally Yours” signals a first for the group. \n“It’s our first true love song\,” Chris goes on. “There was a very poetic and romantic approach. That’s something\, as a lyricist\, I have been trying to explore more of within myself over the past few albums.  It’s a special song for all of us.” \n  \nScranton plays a subtle role in the overarching narrative itself. Chris can recall finding early inspiration in the city’s once fertile music scene\, which slowly dissipated over the years. At the same time\, he and his bandmates have transported that energy worldwide with Graveyard Shift. \n“I like to think we’re taking our favorite traits of this area on the road and showing the rest of the world what Scranton created out of all that great camaraderie\, those friendships\, and the memories\,” he says. “We all come from the same spot. It’s something I think many people all over the world can identify with. We’re not content to just sit still and let life happen. We want to show you can take the initiative\, go out there\, and make a difference for yourself. That rings throughout all of the songs and speaks to the true meaning of Graveyard Shift.” \nUltimately\, Motionless In White have the power to electrify a new love for rock music in the process. \n“We’re quite a simple band in terms of our intent\,” he leaves off. “Turn off your head\, detach from reality\, listen to the music\, and enjoy the songs. That’s what we’re encouraging. We want to give people something to latch on to away from life’s bullshit. I hope they walk away feeling their love for music was either restored or upheld.” \n \n \nThrough balancing even the most extreme dynamics\, The Plot In You consistently overturn and upend expectations. On any given track\, it might seem like they’re about to go one way\, but the band will turn on a dime and shift course before the crowd can even catch a breath. This uncanny element of surprise has entrenched the gold-selling Ohio quartet—Landon Tewers [vocals]\, Josh Childress [guitar]\, Ethan Yoder [bass]\, and Michael Cooper [drums]—on the cutting edge of heavy music. Whether it be threads of alternative\, electronic\, pop\, or R&B\, nothing is off limits\, and everything is fair game for their creative process. That process has continued to morph. Following a series of fan favorite releases\, the band made major waves with DISPOSE [2018]. “FEEL NOTHING” surged on social media as a viral phenomenon\, generating hundreds of millions of streams and picking up a gold certification from the RIAA. The musicians only maintained this momentum with Swan Song in 2021. Hysteria rated it “9-out-of-10.” Simultaneously\, they sold out shows coast-to-coast. During 2023\, the band kickstarted another era with Vol. 1. “Divide” generated 9 million Spotify streams right out of the gate followed by “Left Behind\,” exploding to the tune of 15.9 million Spotify streams. Upon the arrival of “Forgotten\,” Revolver praised it among the “6 Best New Songs Right Now.” \n \n \nLos Angeles-based singer Amira Elfeky combines nu-metal influences\, a brooding goth flair\, and emotional songwriting into a hard-hitting but accessible rock sound. The Connecticut native moved to California where she started working on songs inspired by 1990s alternative rockers like Nirvana and early-2000s nu-metallers like Deftones and Linkin Park. She released her first songs in 2023\, including “Tonight (demo)” and “Coming Down\,” which quickly caused a stir and resulted in her getting signed by Anemoia Records\, an imprint of Atlantic. In early 2024\, Elfeky released her first EP\, Skin to Skin. \nElfeky was born in Connecticut\, started playing the violin at an early age\, and was interested in every music class her school offered. At 15\, she moved to the Bay Area and discovered grunge and nu-metal. Through a “drummer wanted” ad\, she met Brandon Iljas\, and the pair started working on songs in his San Francisco bedroom studio\, but she wasn’t quite satisfied with the results. In Los Angeles\, Elfeky had the opportunity to work and record in the home of Ian Hunter\, founder of the Anemoia label\, and she refined her blend of blurry Deftones-style alternative metal and the dramatic goth rock of Evanescence. After “Tonight (demo)” was released in mid-2023 and featured on a new songs playlist\, she signed with the label and followed up with songs like “Coming Down” and “Everything I Do Is for You.” In February 2024\, she released a cover of System of a Down‘s “Lonely Day.” Elfeky’s first EP\, Skin to Skin\, was released in March 2024 and featured the new single “A Dozen Roses.”
URL:https://globalazmedia.com/event/bring-me-the-horizon-at-phx-arena/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
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CREATED:20251010T012447Z
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SUMMARY:Mastodon at The Arizona State Fair
DESCRIPTION:Atlanta’s Mastodon are one of the most original and influential American metal bands to appear in the 21st century. Their wide-angle progressive approach encompasses stoner and sludge metal\, punishing hardcore and metalcore\, neo-psych\, death metal\, and more. The group’s playing style incorporates technically complex guitar riffs\, lyric hooks\, long\, melodic instrumental passages\, and intricate\, jazz-influenced drumming with syncopated time signatures. Their second album\, 2004’s Leviathan\, was a concept set based on Moby Dick\, Herman Melville‘s iconic novel of whaling and obsession\, and became the band’s commercial breakthrough. The record is regarded critically as one of the most important albums in genre history. 2011’s conceptual The Hunter reflected the band’s embrace of prog; it channeled disparate influences ranging from King Crimson to Opeth. 2017’s Emperor of Sand debuted inside the Top Ten and was nominated for a Grammy for Best Rock Album — the single “Sultan’s Curse” took one home for Best Metal Performance. Change and evolution (Mastodon’s raison d’être) are as integral to their musical identity as their personnel. 2020 saw the issue of Medium Rarities\, featuring live cuts\, covers\, and instrumentals. In 2021\, Mastodon returned to proper studio recording with the double-length Hushed and Grim\, and in 2024\, they teamed up with Lamb of God on the single “Floods of Triton.” \nMastodon formed in 1999 around the talents of guitarist Bill Kelliher\, drummer Bränn Dailor\, bassist/vocalist Troy Sanders\, and guitarist/vocalist Brent Hinds. One of the more notable New Wave of American Heavy Metal acts\, a genre spawned in the mid-’90s by bands like Pantera\, Biohazard\, and Machine Head\, Mastodon’s innovative\, lyrically astute blend of metal subgenres helped position the band as one of the pre-eminent metal acts of the early 21st century. \nFormed out of a mutual admiration for the Melvins\, Black Sabbath\, Neurosis\, and Thin Lizzy\, Mastodon signed with Relapse Records (Today Is the Day\, Dillinger Escape Plan\, Coalesce) in 2001 on the strength of a four-song demo. The EP Lifesblood arrived that same year\, followed by the group’s full-length debut\, Remission\, in 2002. The album made positive waves in the metal community\, but it wasn’t until 2004’s Leviathan that the band’s eclectic brand of proto-metal began to enter the bloodstream of the entire music community. As polished and melodic as it was brutal and genre-defying\, Leviathan\, loosely based on Herman Melville‘s Moby Dick\, signaled a turning point in Mastodon’s career\, appearing on critics’ year-end Top Ten lists across the musical spectrum. Leviathan also featured a guest vocal appearance from Neurosis‘ frontman Scott Kelly\, which marked the beginning of a tradition: He has appeared on each of the band’s full-length recordings ever since. \nMastodon’s newfound popularity eventually landed them a deal with Warner Bros.\, but not before fulfilling their contract with Relapse in 2006 with Call of the Mastodon\, a remastered version of the group’s first two demo EPs\, and Workhorse Chronicles\, a DVD that chronicled the band’s story thus far with interviews and concert footage. Their third album\, Blood Mountain\, debuted at number 32 on the Billboard charts and received a Grammy nomination in the Best Metal Performance category for the song “Colony of Birchmen.” Blood Mountain marked the group’s highest chart peak to date and set the stage for its long-awaited 2009 follow-up Crack the Skye. In 2011\, the band released the CD/DVD package Live at the Aragon\, which was recorded in Chicago during the Crack the Skye tour. Mastodon quickly followed with new material\, taking a step back from their more prog-oriented approach on their fifth studio album\, The Hunter. It gave them huge commercial success\, hitting number ten on the Billboard charts. \nLater in 2011\, Troy Sanders took some time out from the band\, forming the metal supergroup Killer Be Killed with Dillinger Escape Plan vocalist Greg Puciato\, Soulfly‘s Max Cavalera\, and former Mars Volta drummer Dave Elitch. He worked with the group on and off for the next few years; their debut album was eventually released in 2014. Mastodon was still a priority\, however. After touring Europe and South America in 2012\, they started work on their sixth album the following year with producer Nick Raskulinecz. The record\, eventually titled Once More ‘Round the Sun\, was released in June 2014\, preceded by the sludgy single “High Road.” \nOver the next two years\, several of the bandmembers’ relatives suffered from cancer. Sanders’ wife\, Jeza\, received treatment for breast cancer\, recovering in 2015; the following year\, Kelliher’s mother died of a brain tumor and Dailor‘s mother also received a diagnosis. These traumatic experiences informed the lyrics of the band’s seventh album\, Emperor of Sand\, produced by Brendan O’Brien and released in 2017. Its concept\, revolving around the curse placed on a wandering traveler by a desert ruler\, was acknowledged by Dailor in interviews as a metaphor for cancer. The late summer of 2020 saw the release of Medium Rarities\, a stopgap compilation of instrumentals\, live tracks\, and covers. Led by the previously unissued single “Fallen Torches” (recorded with Neurosis‘ Kelly as guest vocalist)\, the 16-song set included readings of Feist‘s “A Commotion\,” Metallica‘s “Orion\,” Flaming Lips‘ “A Spoonful Weighs a Ton\,” and “Atlanta” with guest Gibby Haynes. The comp also included “White Walker\,” their contribution to the HBO series Game of Thrones. \nIn October 2021\, Mastodon issued the sprawling\, double-length Hushed and Grim. Produced by David Bottrill (Tool\, Rush\, Peter Gabriel) the 15-track set was penned and recorded over the course of a year. Its stylistic palette crisscrossed death and sludge metal\, alt and hard rock\, psychedelia\, punk\, and prog. In 2024\, the band issued the kinetic single “Floods of Triton\,” a collaboration with tourmates Lamb of God\, celebrating the 20th anniversary of their classic albums Leviathan and Ashes of the Wake. ~ James Christopher Monger & John D. Buchanan\, Rovi \n \n 
URL:https://globalazmedia.com/event/mastodon-at-the-arizona-state-fair/
LOCATION:Arizona State Fairgrounds\, 1826 W McDowell Rd\,\, Phoenix\, AZ\, 85007\, United States
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SUMMARY:Judas Priest + Alice Cooper at Talking Stick Resort Amphitheatre
DESCRIPTION:Judas Priest are one of the most influential and long-lasting heavy metal groups of all time. Emerging at the dawn of the New Wave of British Heavy Metal\, Priest combined straightforward rock & roll muscle with a more theatrically minded performance presence. This sound was made more unique by the dynamic banshee wail of Rob Halford and the vicious dual-lead guitar attack of Glenn Tipton and K.K. Downing. While issuing metal anthems like “Breaking the Law\,” “Living After Midnight\,” and “You’ve Got Another Thing Coming\,” Judas Priest set the pace for the genre from 1975 until 1985 with iconic albums like British Steel (1980)\, Screaming for Vengeance (1982)\, and Defenders of the Faith (1984)\, and helped lay the groundwork for speed and death metal. The group struggled after Halford‘s departure in the early ’90s but were restored to prominence in the 2000s upon his return\, issuing a string of acclaimed efforts — Angel of Retribution (2005)\, Nostradamus (2010)\, Redeemer of Souls (2014)\, and the U.S. and U.K. Top Five-charting Firepower (2018) — that skillfully married melody\, pageantry\, and force. Judas Priest were inducted into the Rock & Roll Hall of Fame in 2022\, two years before the arrival of Invincible Shield\, their 19th studio LP. \nFormed in Birmingham\, England\, in 1970\, the group’s core members were guitarist K.K. Downing and bassist Ian Hill. Joined by Alan Atkins and drummer John Ellis\, the band played their first concert in 1971. Atkins’ previous group was called Judas Priest\, yet the members decided it was the best name for the new group. The band played numerous shows throughout 1971. During the year\, Ellis was replaced by Alan Moore; by the end of the year\, Chris Campbell replaced Moore. After a solid year of touring the U.K.\, Atkins and Campbell left the band in 1973 and were replaced by vocalist Rob Halford and drummer John Hinch. They continued touring\, including a visit to Germany and the Netherlands in 1974. By the time the tour was completed\, they had secured a record contract with Gull\, an independent U.K. label. Before recording their debut album\, Judas Priest added guitarist Glenn Tipton. \nRocka Rolla was released in September 1974 to almost no attention. The following year\, they gave a well-received performance at the Reading Festival and Hinch departed the band; he was replaced by Alan Moore. Later that year\, the group released Sad Wings of Destiny\, which earned some positive reviews. However\, the lack of sales was putting the band in a dire financial situation\, which was remedied by an international contract with CBS Records. Sin After Sin (1977) was the first album released under that contract; it was recorded with Simon Phillips\, who replaced Moore. The record received positive reviews and the band departed for their first American tour\, with Les Binks on drums. \nWhen they returned to England\, Judas Priest recorded 1978’s Stained Class\, the record that established them as an international force in metal. Along with 1979’s Hell Bent for Leather (Killing Machine in the U.K.)\, Stained Class defined the nascent New Wave of British Heavy Metal movement. A significant number of bands adopted Priest’s leather-clad image and hard\, driving sound\, making their music harder\, faster\, and louder. After releasing Hell Bent for Leather\, the band recorded the live album Unleashed in the East (1979) in Japan; it became their first platinum album in America. Les Binks left the band in 1979; he was replaced by former Trapeze drummer Dave Holland. Their next album\, 1980’s British Steel\, entered the British charts at number three\, launched the hit singles “Breaking the Law” and “Living After Midnight\,” and was their second American platinum record; Point of Entry\, released the following year\, was nearly as successful. \nAt the beginning of the ’80s\, Judas Priest was a top concert attraction around the world\, in addition to being a best-selling recording artist. Featuring the hit single “You’ve Got Another Thing Comin’\,” 1982’s Screaming for Vengeance marked the height of their popularity\, peaking at number 17 in America and selling over a million copies. Two years later\, Defenders of the Faith nearly matched its predecessor’s performance\, yet metal tastes were beginning to change\, as Metallica and other speed/thrash metal groups started to grow in popularity. That shift was evident on 1986’s Turbo\, where Judas Priest seemed out of touch with current trends; nevertheless\, the record sold over a million copies in America on the basis of name recognition alone. However\, 1987’s Priest…Live! was their first album since Stained Class not to go gold. Ram It Down (1988) was a return to raw metal and returned the group to gold status. Dave Holland left after this record and was replaced by Scott Travis for 1990’s Painkiller\, arguably the band’s heaviest set to date. Like Ram It Down\, Painkiller didn’t make an impact outside the band’s die-hard fans\, yet the group were still a popular concert act. \nIn the early ’90s\, Rob Halford began his own thrash band\, Fight\, and soon left Judas Priest. In 1996\, following a solo album by Glenn Tipton\, the band rebounded with a new young singer\, Tim “Ripper” Owens (formerly a member of a Priest tribute band and of Winter’s Bane). They spent the next year recording Jugulator amidst much self-perpetuated hype concerning Priest’s return to their roots. The album debuted at number 82 on the Billboard album charts upon its release in late 1997. Halford had by then disbanded Fight following a decrease in interest and signed with Trent Reznor‘s Nothing label with a new project\, Two. In the meantime\, the remaining members of Judas Priest forged on with ’98 Live Meltdown\, a live set recorded during their inaugural tour with Ripper on the mike. Around the same time\, a movie was readying production to be based on Ripper‘s rags-to-riches story of how he got to front his all-time favorite band. Although Priest was originally supposed to be involved with the film\, they ultimately pulled out\, but production went on anyway without the band’s blessing (the movie\, Rock Star\, was eventually released in the summer of 2001\, starring Mark Wahlberg in the lead role). Rob Halford in the meantime disbanded Two after just a single album\, 1997’s Voyeurs\, and returned to his metal roots with a quintet simply named Halford. The group issued their debut in 2000\, Resurrection\, following it with a worldwide tour that saw the new group open Iron Maiden‘s Brave New World U.S. tour and issue a live set one year later (which included a healthy helping of Priest classics) — Live Insurrection. \nIn 2001 the Ripper-led Priest released a new album\, Demolition\, and Priest’s entire back catalog for Columbia was reissued with remastered sound and bonus tracks. In 2003 the band — including Halford — collaborated on the liner notes and song selections for their mammoth career-encompassing box Metalogy\, a collaboration that brought Halford back into the fold. Owens split from the group amicably in 2003\, allowing the newly reunited heavy metal legends to plan their global live concert tour in 2004 (including a set alongside Black Sabbath at Ozzfest)\, with their 16th studio album\, Angel of Retribution\, to be released the following year. In 2008\, the band released Nostradamus\, a sprawling\, two-disc conceptual piece that charted the life and times of the famous French seer and that hit the Top 30 across Europe and in the U.S. (number 11) and Australia (number 17). 2009’s Touch of Evil: Live included a rendition of their 1977 song “Dissident Aggressor” that won the Grammy for Best Metal Performance. Before their next tour commenced\, founding member Downing left the band over differences with the other members and their management; he was replaced by Richie Faulkner. \nPriest worked on their new album during the tour\, which ran until 2012. The record’s release was delayed several times\, but it would eventually see the light of day in July 2014. Entitled Redeemer of Souls\, it was described by Priest as a traditional\, crowd-pleasing return to their roots\, and went on to become the group’s first Top Ten album in the U.S.\, landing at the number six slot on the Billboard 200 chart. A lengthy tour followed\, and in early 2016 Priest issued the concert album Battle Cry\, which featured highlights from their August 1\, 2015 performance at Germany’s Wacken Festival. \nJudas Priest began loosely demo’ing ideas for their 18th studio album in 2016\, but they didn’t enter the studio as a band until a year later. They revisited their original\, organic way of recording\, with the entire band playing together at the same time in the studio. They underscored this by enlisting producers Tom Allom — who worked on all the band’s records from 1979 through 1988 — and Grammy-winning veteran Andy Sneap. In February 2018\, guitarist Tipton — diagnosed with Parkinson’s disease a decade earlier — announced that it had progressed to the point where he had to retire from touring. Sneap would fill his slot on the road. Firepower was issued that March and soared to number five in the U.K.\, making it their first Top Ten album there since British Steel. It was accompanied by tours including a North American run with Deep Purple. They only took a break from touring when forced off the road by the COVID-19 pandemic in 2020\, and then by Faulkner’s ill health in 2021. They were able to launch their delayed 50th anniversary tour of the U.S in early 2022\, which they followed with dates worldwide throughout the rest of the year. That November\, the lineup of Rob Halford\, Glenn Tipton\, Ian Hill\, and Scott Travis were inducted into Rock & Roll of Hall Fame. \nJudas Priest continued to take their show on the road into 2023 with a schedule that included co-headlining California’s PowerTrip Music Festival with AC/DC. That October\, they released “Panic Attack\,” the lead single from their 19th studio album\, Invincible Shield. The album was once again produced by guitarist Sneap (who also produced Firepower) and was released in March of 2024. ~ Stephen Thomas Erlewine & Greg Prato\, Rovi \n \n \nThe man (and the band) who first brought shock rock to the masses\, Alice Cooper became one of the most successful and influential acts of the ’70s with their gritty but anthemic hard rock and a live show that delivered a rock & roll chamber of horrors\, thrilling fans and cultivating outrage from authority figures (which made fans love them all the more). The name Alice Cooper originally referred to both the band and its lead singer (born Vincent Furnier)\, as they played dark\, eccentric\, psychedelic rock on their first two albums\, Pretties for You (1969) and Easy Action (1970). After a spell in Detroit where they soaked up the high-energy influence of the Stooges and the MC5\, Alice Cooper scored breakthrough hits in 1971 with “I’m Eighteen” and the album Love It to Death\, in which the group finally stumbled upon the formula that made them stars\, blending tough\, dirty\, guitar-fueled hard rock with Cooper’s sneering vocals and lyrics that were by turns relatable (“I’m Eighteen\,” “Body”) and willfully spooky (“Black Juju\,” “The Ballad of Dwight Frye”). Coupled with a live show that included snakes\, electric chairs\, fake blood\, and mock hangings\, Alice Cooper had something to offend everyone\, and from 1971’s Killer to 1973’s Billion Dollar Babies\, they could seemingly do no wrong. Following the commercial and critical disappointment of 1973’s Muscle of Love\, the Alice Cooper band broke up\, and Alice went forward as a solo act\, delivering a cleaner and more professional variation on the themes of his early ’70s hits\, while the band attempted to continue as Billion Dollar Babies\, with little success. Cooper’s glossy 1975 solo debut\, Welcome to My Nightmare\, was a massive hit\, and his shows became even more elaborate as he became a regular fixture on television\, but subsequent solo releases saw his following dwindle until 1989’s Trash and 1991’s Hey Stoopid\, where he blended his trademark sound with hair metal arrangements and production and gained a new audience. Cooper’s dedicated fan base kept him in the game long after his ’70s peak\, touring regularly and releasing albums like 2021’s high-spirited Detroit Stories and 2023’s tightly wound\, live-sounding set Road. \nVincent Furnier formed his first group\, the Earwigs\, as an Arizona teenager in the early ’60s. Changing the band’s name to the Spiders in 1965\, the group was eventually called the Nazz (not to be confused with Todd Rundgren‘s band of the same name). The Spiders and the Nazz both released local singles that were moderately popular. In 1968\, after discovering there was another band with the same name\, the group changed its name to Alice Cooper. According to band legend\, the name came to Furnier during a Ouija board session\, where he was told he was the reincarnation of a 17th century witch of the same name. Comprised of vocalist Furnier — who would soon begin calling himself Alice Cooper — guitarist Mike Bruce\, guitarist Glen Buxton\, bassist Dennis Dunaway\, and drummer Neal Smith\, the group moved to California in 1968. There they met Shep Gordon\, who became their manager\, and Frank Zappa\, who signed Alice Cooper to his Straight Records imprint. \nAlice Cooper released their first album\, Pretties for You\, in 1969. Easy Action followed early in 1970\, but failed to chart. The group’s reputation in Los Angeles was slowly shrinking\, so the band moved to Furnier’s hometown of Detroit. For the next year\, the group refined their bizarre stage show. Late in 1970\, the group’s contract was transferred to Straight‘s distributor Warner Bros.\, and they began recording their third album with producer Bob Ezrin. With Ezrin’s assistance\, Alice Cooper developed their classic heavy metal crunch on 1971’s Love It to Death\, which featured the number 21 hit single “Eighteen”; the album peaked at number 35 and went gold. The success enabled the group to develop a more impressive\, elaborate live show\, which made them a highly popular concert attraction across the U.S. and eventually the U.K. Killer\, released late in 1971\, was another gold album. \nReleased in the summer of 1972\, School’s Out was Alice Cooper’s breakthrough record\, peaking at number two and selling over a million copies. The title song became a Top Ten hit in the U.S. and a number one single in the U.K. Billion Dollar Babies\, released the following year\, was the group’s biggest hit\, reaching number one in both America and Britain; the album’s first single\, “No More Mr. Nice Guy\,” became a Top Ten hit in Britain\, peaking at number 25 in the U.S. Muscle of Love appeared late in 1973\, yet it failed to capitalize on the success of Billion Dollar Babies. After Muscle of Love\, Furnier and the rest of Alice Cooper parted ways to pursue other projects. Having officially changed his name to Alice Cooper\, Furnier embarked on a similarly theatrical solo career; the rest of the band released one unsuccessful album under the name Billion Dollar Babies\, while Mike Bruce and Neal Smith both recorded solo albums that were never issued. In the fall of 1974\, a compilation of Alice Cooper’s five Warner albums\, entitled Alice Cooper’s Greatest Hits\, became a Top Ten hit. \nFor his first solo album\, Welcome to My Nightmare\, Cooper hired Lou Reed‘s backing band from Rock ‘N’ Roll Animal — guitarists Dick Wagner and Steve Hunter\, bassist Prakash John\, keyboardist Joseph Chrowski\, and drummer Penti Glan — as his supporting group. Released in the spring of 1975\, the record was similar to his previous work and became a Top Ten hit in America\, launching the hit acoustic ballad “Only Women Bleed.” Its success put an end to any idea of reconvening Alice Cooper the band. Its follow-up\, 1976’s Alice Cooper Goes to Hell\, was another hit\, going gold in the U.S. After that album\, Cooper’s career began to slip\, partially due to changing trends and partially due to his alcoholism. Cooper entered rehab in 1978\, writing an album about his treatment called From the Inside (1978) with Bernie Taupin\, Elton John‘s lyricist. During the early ’80s\, Cooper continued to release albums and tour\, yet he was no longer as popular as he was during his early-’70s heyday. \nCooper made a successful comeback in the late ’80s\, sparked by his appearances in horror films and a series of pop-metal bands that paid musical homage to his classic early records and concerts. Constrictor\, released in 1986\, started his comeback\, but it was 1989’s Trash that returned Cooper to the spotlight. Produced by the proven hitmaker Desmond Child\, Trash featured guest appearances by Jon Bon Jovi\, Richie Sambora\, and most of Aerosmith; the record became a Top Ten hit in Britain and peaked at number 20 in the U.S.\, going platinum. “Poison\,” a midtempo rocker featured on the album\, became Cooper’s first Top Ten single since 1977. After the release of Trash\, he continued to star in the occasional film\, tour\, and record\, although he wasn’t able to retain the audience he’d recaptured with Trash. Still\, 1991’s Hey Stoopid and 1994’s The Last Temptation were generally solid\, professional efforts that helped Cooper settle into a comfortable cult status without damaging the critical goodwill surrounding his ’70s output. After a live album\, 1997’s Fistful of Alice\, Cooper returned on the smaller Spitfire label in 2000 with Brutal Planet\, and Dragontown a year later. The Eyes of Alice Cooper appeared in 2003 and found Cooper and company playing a more stripped-down brand of near-garage rock. Dirty Diamonds from 2005 was nearly as raw and hit the streets around the same time Cooper premiered his syndicated radio show Nights with Alice Cooper. Three years later he returned with Along Came a Spider\, a concept album that told the story of a spider-obsessed serial killer. In 2010\, he released the live album Theatre of Death\, along with a download-only EP of redone Cooper classics titled Alice Does Alice. 2011’s Welcome 2 My Nightmare\, a sequel to his 1975 conceptual classic of the same name (minus the 2)\, was recorded with longtime co-conspirator Bob Ezrin\, and featured 14 brand-new cuts that spanned multiple genres and relied on the talents of a host of previous members of the Alice Cooper band (including Steve Hunter)\, as well as a guest spot from pop superstar Ke$ha. The same year\, he was awarded the Kerrang! Icon Award. \nAdvancing years didn’t prevent Cooper from maintaining a hectic schedule\, and by 2012 he was touring with Iron Maiden and headlining Bloodstock Open Air. Aside from his musical pursuits\, he also starred in Tim Burton’s adaptation of Dark Shadows\, playing himself alongside Helena Bonham Carter\, Johnny Depp\, and Michelle Pfeiffer. He returned to touring in 2014 as the opening act for Mötley Crüe‘s final tour\, and the following year he unveiled a new supergroup called Hollywood Vampires\, which included Johnny Depp and Joe Perry. They subsequently released an album of rock covers. He reunited with Ezrin yet again for his 27th studio record. Paranormal was released in 2017\, featuring contributions from ZZ Top‘s Billy Gibbons\, Deep Purple‘s Roger Glover\, and U2‘s Larry Mullen\, alongside original bandmembers Smith\, Dunaway\, and Bruce. The album was also released in a special edition with a bonus disc of live material. Early the following year\, an EP was released\, centered around Paranormal single “The Sound of A\,” which included a handful of live cuts from his 2017 tour. In August 2018\, Cooper released A Paranormal Evening at the Olympia Paris\, a live album drawn from his European tour in support of the Paranormal album. A 2019 EP\, Breadcrumbs\, saw Cooper paying tribute to his hometown of Detroit with songs written about his early garage rock heroes. He continued the Detroit homage on his next full length\, 2021’s Detroit Stories. In addition to many new songs of his own\, the album included covers of Bob Seger\, Detroit indie mainstays Outrageous Cherry\, and the Velvet Underground‘s “Rock & Roll” presented in the style of Mitch Ryder & The Detroit Wheels‘ 1971 rendition. The LP peaked at number 47 on the Billboard 200 and at number seven on the Top Independent Albums chart. The following year saw the release of the concert album Detroit Stories/Paranormal/A Paranormal Evening with Alice Cooper at The Olympia\, Paris. In August of 2023\, Cooper released a new album\, Road. This set of new\, guitar-heavy tunes sought to capture the power his band had in an on-stage setting. In addition to the album’s live sound\, Road was held together by the loose conceptual theme of situations unique to the rock & roll touring life. The album fared well on the Billboard charts\, making the Hard Rock Top Ten\, while topping the U.K.’s Rock and Metal chart. Tours with Mötley Crüe\, Def Leppard\, and Rob Zombie followed. Cooper’s 2024 output was mainly archival\, though he did issue a new acoustic recording of his 1973 cut “Teenage Lament ’74” as part of a deluxe reissue of its parent album\, Muscle of Love. ~ Stephen Thomas Erlewine & Mark Deming\, Rovi \n \n \nOne of the first punk-metal fusion bands\, Corrosion of Conformity were formed in North Carolina by guitarist Woody Weatherman during the early ’80s. In their early years\, C.O.C. became known for their aggressive sound\, intelligent political lyrics\, and willingness to break away from both hardcore and metal conventions. In the ’90s\, their shift to a more stripped-down\, deliberate sound — sort of Black Sabbath filtered through the Deep South — brought them enough in line with the alt-metal Zeitgeist to bring them a measure of mainstream popularity. \nC.O.C. debuted in 1983 with the thrashy\, Black Flag-influenced Eye for an Eye\, featuring a lineup of Weatherman\, drummer Reed Mullin\, vocalist Eric Eycke\, and bassist Mike Dean. They began to build up a cult following with 1985’s Animosity\, but their label at the time\, Death\, grew tired of their internal instability — lineup changes found Eycke replaced by vocalist Simon Bob — and dropped them following 1987’s Technocracy. It took several years for a new lineup to come together — featuring Weatherman\, guitarist Pepper Keenan\, Mullin\, vocalist Karl Agell\, and bassist Phil Swisher — but when it did\, the result was 1991’s Blind\, a powerful\, focused\, more metallic record that increased their audience by leaps and bounds. Agell was fired following its success\, and he and Swisher went on to form Leadfoot; meanwhile\, Keenan became the full-time lead vocalist on 1994’s even more Sabbath-esque Deliverance\, which also featured the return of original bassist Mike Dean. During 1995\, Keenan took a short detour into the Southern metal supergroup Down (which also featured Pantera‘s Phil Anselmo and members of Crowbar). \nThanks to a shift in popular taste in favor of the ultra-heavy brand of alternative metal\, the group had helped pioneer\, C.O.C. found themselves with a larger audience than ever before when they released 1996’s Wiseblood\, which continued and expanded their rock radio success. After a lengthy break from recording and a world tour with Metallica\, C.O.C. returned with a new album in the fall of 2000\, titled America’s Volume Dealer. Another break ensued\, resulting in the release of the live recording Live Volume in 2001. It wasn’t until April of 2005 that the band regrouped for the hard-hitting and complex In the Arms of God. C.O.C. went on hiatus\, with the members working on various side projects until 2010\, when drummer Reed Mullin rejoined the band\, reuniting the Animosity lineup while Pepper Keenan continued working with his other band\, Down. The remaining trio began work on new material\, and in 2012 released their eighth album\, the eponymous Corrosion of Conformity\, on Candlelight Records. Their ninth album\, aptly titled IX\, arrived in 2014. Shortly after the latter LP’s release\, C.O.C. reunited with Keenan and began work on their tenth studio long-player\, No Cross No Crown\, which dropped in January 2018. The band announced the death of Reed Mullin on January 27\, 2020. ~ Steve Huey\, Rovi \n \n 
URL:https://globalazmedia.com/event/judas-priest-alice-cooper-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:20251025T190000
DTEND;TZID=America/Phoenix:20251025T203000
DTSTAMP:20260428T015455
CREATED:20251019T181300Z
LAST-MODIFIED:20251019T181300Z
UID:20215-1761418800-1761424200@globalazmedia.com
SUMMARY:The Cult at The Arizona State Fair
DESCRIPTION:Fronted by vocalist Ian Astbury and featuring guitarist Billy Duffy\, the Cult evolved from a Gothic post-punk outfit in 1984\, transforming themselves into England’s leading hard rock revivalist act. Their image combined the pseudo-mysticism and Native American cultural obsessions of the Doors with the guitar orchestrations of Led Zeppelin\, and the three-chord crunch of AC/DC\, with blended traces of post-punk goth rock. Their 1984 debut Dreamtime performed well\, but follow-up Love amplified their hard rock direction and chart success with breakout single “She Sells Sanctuary.” 1987’s Rick Rubin-produced Electric\, was their hardest record yet and went Top 40 stateside thanks to the smash singles “Lil’ Devil\,” “Love Removal Machine\, and “Wildflower.” 1989’s\, Sonic Temple became their most successful album\, peaking at ten in America behind single “Edie (Ciao Baby).” The spoils of success began tearing at the members\, and they disbanded in 1995. Astbury and Duffy resurrected the Cult for 2001’s Beyond Good and Evil. Subsequent efforts included Born Into This (2007)\, Choice of Weapon (2012)\, and Under the Midnight Sun (2022). \nThe origins of the Cult lie in the Southern Death Cult\, a goth rock outfit formed by vocalist Ian Astbury (born May 14\, 1962) in 1981. Astbury was the son of a merchant navy man\, which meant he moved frequently during his youth; at one point in his childhood\, his family lived in Canada\, where the young Astbury became fascinated with Native Americans\, who would become a recurring theme in his songwriting. Astbury eventually settled in Bradford\, Yorkshire\, where he met a group comprising David Burrows (guitar)\, Barry Jepson (bass)\, and Haq Quereshi (drums). Ian joined the group as its lead vocalist (performing with the last name of “Lindsay\,” which was his mother’s maiden name) and had the group renamed the Southern Death Cult. By only their fifth concert\, the band was attracting audiences of 2\,000. In December 1982\, the Southern Death Cult released their first single — the double A-side “Moya”/”Fatman” — and the following month\, they supported Bauhaus on tour. Though the group’s future was looking bright\, Astbury pulled the plug on the band because he was frustrated with the positive articles he was receiving in the press. The remaining three members joined Getting the Fear\, which eventually became Into a Circle; in the late ’80s\, Quereshi became a member of Fun^Da^Mental. All of the Southern Death Cult recordings were eventually released in 1986. \nFollowing the breakup\, Astbury shortened the name of the group to Death Cult and recruited guitarist Billy Duffy — who had previously played with Morrissey in the pre-Smiths band the Nosebleeds\, as well as Theatre of Hate — and drummer Ray Mondo and bassist Jamie Stewart\, who had previously played with Ritual. Death Cult released an eponymous EP in the summer of 1983; on the EP\, Astbury reverted back to his given name. Later in the year\, Mondo was replaced by Nigel Preston\, who had previously played with Duffy in Theatre of Hate; coincidentally\, Mondo became the drummer for Preston’s previous group\, Sex Gang Children. \nIn early 1984\, the bandmembers decided to excise “Death” from the title\, fearing that the word gave them the misleading appearance of being a goth band. Where both Southern Death Cult and Death Cult had been overtly influenced by post-punk\, the Cult were a heavy hard rock band with slight psychedelic flourishes. Dreamtime\, the group’s first album\, was released in the fall of 1984\, accompanied by the single “Spiritwalker.” Dreamtime reached number 21 on the U.K. charts. In the spring of 1985\, Preston left the group. For the group’s summer single\, “She Sells Sanctuary\,” the band was joined by Big Country‘s drummer\, Mark Brzezicki. “She Sells Sanctuary” became a major U.K. hit\, peaking at number 15. During the recording of the group’s second album\, drummer Les Warner joined the group. Love\, released in the fall of 1985\, continued the hard rock direction of its teaser single and became a number four hit in Britain. \nFor their third album\, the Cult shuffled their lineup — Stewart moved to rhythm guitar\, while former Zodiac Mindwarp bassist Kid Chaos joined the lineup — and hired Rick Rubin as producer\, and the result\, Electric\, was their hardest\, heaviest record to date. The first single from the album\, “Love Removal Machine\,” became a number 18 hit in the spring of 1987\, while the album itself reached number four in the U.K. upon its April release. Later that year\, Electric gained the Cult a fan base in America\, and the album cracked the U.S. Top 40. \nIn 1988\, the group fired Chaos and Warner\, replacing the latter with Matt Sorum; the band failed to hire another bassist. The new lineup released Sonic Temple\, which would prove to be the band’s most successful effort. The hit single “Fire Woman” helped propel the album into the American Top Ten\, and within no time\, the Cult were seen hanging out with the likes of Mötley Crüe and Aerosmith\, as well as supporting Metallica on the Damaged Justice tour. Though the group was experiencing its best sales\, it was fraying behind the scenes due to infighting and substance abuse. By the time they recorded their follow-up to Sonic Temple\, Sorum had left to join Guns N’ Roses and Stewart had quit; they were replaced by drummer Mickey Curry and bassist Charlie Drayton. The resulting album\, Ceremony\, was released in the fall of 1991 to weak reviews and disappointing sales. \nFollowing the release of Ceremony\, the group took a break for the next three years. In 1993\, the band released the U.K.-only hits compilation Pure Cult\, which debuted at number one. By summer 1993\, the Cult had a new rhythm section\, featuring former Mission bassist Craig Adams\, second guitarist Mike Dimkich (Channel 3)\, and drummer Scott Garrett. This lineup recorded The Cult\, which was released in late 1994 to poor reviews and sales. In spring 1995\, the Cult disbanded\, with Ian Astbury forming the Holy Barbarians later in the year. Billy Duffy briefly played with Miles Hunt‘s Vent 414 before leaving to pursue a solo project. In 2000\, the band’s catalog was remastered and reissued\, and Pure Cult was released in the U.S. (despite a similar compilation\, High Octane Cult\, having appeared four years earlier). It was followed by Rare Cult\, a six-disc box set of rarities. \nA new Cult\, with Matt Sorum\, Martyn LeNoble\, and Chris Wyse joining Astbury and Duffy\, made their debut in June 1999 at the Tibetan Freedom Festival. This band produced the 2001 album Beyond Good and Evil before the Cult were retired again\, as Astbury joined former Doors members Robbie Krieger and Ray Manzarek in the Doors of the 21st Century (later renamed Riders on the Storm). In 2007\, it was announced that Astbury had left the band to rejoin Duffy in a new version of the Cult\, with Chris Wyse on bass and John Tempesta on drums. They signed to Roadrunner and released Born Into This in 2008\, which they promoted over the next few years on their highly publicized Love Live tour. They returned to the studio in 2011 after inking a deal with Cooking Vinyl Records and released their ninth studio album\, Choice of Weapon\, the following year. \nIn 2013\, Duffy announced in an interview that the Cult were working on new material for 2015. However\, personnel changes put a bit of a damper on the band’s plans: after 20 years\, Dimkich left to play with Bad Religion and Wyse left for Ace Frehley‘s band. Longtime friend James Stevenson took the second guitar chair\, while Grant Fitzpatrick took over on bass to play the band’s 2014 world tour. Jane’s Addiction bassist Chris Channey came on board in the studio for the band’s tenth studio album. With Bob Rock producing\, the Cult completed Hidden City in 2015. The first two singles\, “Dark Energy” and “Deeply Ordered Chaos\,” were issued in November and December\, respectively\, with a third\, “Hinterland\,” appearing in January of 2016. The album followed in February of that year. \nFollowing two world tours\, and summers spent playing sheds and festivals on both sides of the Atlantic\, the Cult took a well-deserved breather extended by the onset of the COVID-19 pandemic. In July 2022\, they quietly released the video single for “Give Me Mercy.” In October they released the full-length Under the Midnight Sun. Produced by Tom Dalgety (Pixies\, Ghost) it appeared from hard rock indie Black Hill Records\, offering eight tracks that also included a second single in “A Cut Inside.” ~ Stephen Thomas Erlewine
URL:https://globalazmedia.com/event/the-cult-at-the-arizona-state-fair/
LOCATION:Arizona State Fairgrounds\, 1826 W McDowell Rd\,\, Phoenix\, AZ\, 85007\, United States
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