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DTSTART;TZID=America/Phoenix:20260301T193000
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CREATED:20260220T010701Z
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SUMMARY:Cardi B at Mortgage Matchup Center
DESCRIPTION:Rapper and entertainer Cardi B draws from a seemingly never-ending supply of confidence\, charisma\, and evisceratingly sharp flows. She broke through in 2017 with her debut commercially released single\, “Bodak Yellow\,” topping the Billboard Hot 100 and becoming the first female rapper to do so in nearly two decades. Her 2018 debut studio album\, Invasion of Privacy\, followed shortly thereafter\, reaching number one and breaking additional records with the summer smash “I Like It.” The record also made her the first solo female rapper to win a Grammy for Best Rap Album. Heading into the next decade\, Cardi continued to dominate with chart-topping singles like 2020’s “WAP” with  and 2021’s “Up.” She again teamed with  for 2023’s “Bongos” before joining  for 2024’s “Puntería” and teasing her sophomore album with “Enough (Miami).” \nSpitting raw and aggressive rhymes in the tradition of \, \, and \, the former stripper and social media star born  made her television debut in late 2015 on VH1’s Love & Hip Hop: New York\, joining a cast that also included fellow New York rapper . A year later\, she made her musical debut alongside dancehall singer  on ‘s “Boom Boom” single. The solo single “Cheap Ass Weave” and the mixtape Gangsta Bitch Music\, Vol. 1 soon followed in early 2016. Two more singles\, “Foreva” and “Wash Poppin’\,” arrived that summer. A second mixtape\, Gangsta Bitch Music\, Vol. 2\, was released in early 2017. \nThat same year\, Cardi B signed with  and scored a hit with the single “Bodak Yellow\,” which climbed to the top spot of the Billboard Hot 100 in late September; it made her the first solo female rapper to do so since 1998. Her chart run continued with features on ‘s “No Limit” and ‘ “MotorSport\,” two additional Top Ten hits that crowned Cardi as the first female rapper to have her first three entries land in the Top Ten of the Hot 100 and Hot R&B/Hip-Hop Songs charts. After the release of her single “Bartier Cardi” with \, Cardi hopped onto a remix of ‘ “Finesse.” The new jack swing revival track soared to number three in the U.S. and topped charts across the globe. With these singles\, Cardi became the first woman in history to have five simultaneous Top Ten singles on the R&B/Hip-Hop Songs chart. \nHer official debut studio album\, Invasion of Privacy\, arrived in spring 2018. Including her two breakthrough singles\, the effort also featured appearances by  (“Drip”)\,  (“Best Life”)\,  (“Ring”)\,  (“I Do”)\,  (“She Bad”)\, and  and  on “I Like It.” The latter track was issued as a single and made a steady climb to the top of the Hot 100 in July 2018\, making Cardi the first female rapper to achieve two number ones. That summer\, she was also featured on hit singles with  (“Dinero”) and  (“Girls Like You”). To cap her banner year\, she was nominated for multiple Grammy Awards and Invasion of Privacy was included on numerous year-end critics’ lists. The album went on to win a Grammy for Best Rap Album\, making Cardi the first solo female rapper to achieve the honor. The next year\, she was nominated again in the category of Best Rap Performance for her  collaboration “Clout.” \nIn August 2020\, she topped the Billboard Hot 100 singles chart with the song “WAP\,” a collaboration with . Six months later\, Cardi landed another smash hit with 2021’s “Up\,” a drill-inspired solo single that earned global success and topped four different Billboard charts. That same year\, she contributed to hits by  (“Wild Side”) and  (“Rumors”) before returning in 2022 with the  and  collaboration “Hot Shit.” “Bongos\,” a second collaboration with \, arrived in September 2023 as the fourth single off Cardi’s sophomore album. It landed at number 13 on the Hot 100. That same month\, the duo performed the song at the MTV Music Video Awards ceremony. A fifth single\, the DJ SwanQo\, \, and Romano-produced “Enough (Miami)\,” appeared in March 2024. That same month\, Cardi joined  for the single “Puntería\,” off the “Hips Don’t Lie” singer’s 12th album\, Las Mujeres Ya No Lloran. ~ Neil Z. Yeung\, Rovi \n \n 
URL:https://globalazmedia.com/event/cardi-b-at-mortgage-matchup-center/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, 85004\, United States
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DTSTART;TZID=America/Phoenix:20260306T190000
DTEND;TZID=America/Phoenix:20260306T233000
DTSTAMP:20260427T100556
CREATED:20260211T005959Z
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SUMMARY:Nine Inch Nails at Desert Diamond 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 \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-desert-diamond-arena/
LOCATION:Desert Diamond Arena\, 9400 W Maryland Ave\, Glendale\, AZ\, 85305\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20260310T193000
DTEND;TZID=America/Phoenix:20260310T233000
DTSTAMP:20260427T100556
CREATED:20260221T015431Z
LAST-MODIFIED:20260221T015431Z
UID:20417-1773171000-1773185400@globalazmedia.com
SUMMARY:Black Label Society at Arizona Financial Theatre
DESCRIPTION:Black Label Society bandleader  wields his guitar like a Viking weapon\, bashing out thick riffage and squeezing out expressive squeals as if the glory of his Berserker brotherhood depends upon every single note\, which of course\, it does. Charismatic beast and consummate showman\, Wylde puts his massive heart and earnest soul on display with unbridled\, unchained\, animalistic passion in Black Label Society\, whether it’s a crushingly heavy blues-rock barnstormer or a piano-driven ode to a fallen brother. Each Black Label Society album is another opportunity to top the one before it\, but like AC/DC or The Rolling Stones\, BLS isn’t here to reinvent the wheel. If it ain’t broke\, don’t fix it. It’s a brand we can trust. Mighty missives like \, \, \, \,  and  have amassed millions of downloads and streams. They are the soundtracks to sweat soaked revelry\, jubilant evenings that descend into bewildering mornings\, and adrenaline fueled sports. \, the band’s tenth full-length studio album and follow-up to Billboard Top 5 entries  and \, Black Label Society submit new anthems like  the bluesy  and Southern-fried  to the BLS faithful; 12 unstoppable tracks to add to that lifestyle soundtrack. \n \n \nDark Chapel\, fronted by guitarist/singer Dario Lorina (Black Label Society)\, blends precise guitar work\, sludgy grooves\, melodic hooks with bluesy touches and grunge allure. Dark Chapel’s 2025 debut LP\, *Spirit in the Glass* (MNRK Heavy)\, balances heavy\, ethereal\, and passionate elements. \nDario Lorina began his professional career at 16 as the touring guitarist with the late Jani Lane (ex-Warrant) and later joined Lizzy Borden. In 2014 he notably joined Black Label Society\, logging thousands of miles on the road with the band\, shredding alongside Zakk Wylde on 2021’s Doom Crew Inc. and accompanied the Black Label Society mastermind and six-string legend on the cover of Guitar World. Dario also unleashed two instrumental solo albums through Shrapnel Records\, namely Dario Lorina (2013) and Death Grip Tribulations (2017) before assembling Dark Chapel in 2024. \nThe album’s first single\, “Glass Heart\,” combines gritty vocals and searing riffs\, while “Hollow Smile” explores internal battles with thrash-inspired rhythms. Other tracks like “Corpse Flower” evoke gothic imagery\, and “Dead Weight” delivers emotional blues. “All That Remains” pays tribute to a lost friend\, and “Bullet In Our Chamber” channels Bukowski’s idea of being consumed by passion. Dark Chapel’s debut captivates with raw emotion and dynamic storytelling
URL:https://globalazmedia.com/event/black-label-society-at-arizona-financial-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85003\, United States
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DTSTART;TZID=America/Phoenix:20260320T200000
DTEND;TZID=America/Phoenix:20260320T233000
DTSTAMP:20260427T100556
CREATED:20260319T015344Z
LAST-MODIFIED:20260319T015344Z
UID:20574-1774036800-1774049400@globalazmedia.com
SUMMARY:Snow Tha Product at The Van Buren
DESCRIPTION:Singer\, rapper and actress are just a few of the many ways you can begin to describe musical powerhouse\, Snow Tha Product. Born Claudia Feliciano\, the Grammy nominated bilingual rapper has garnered massive recognition following her bright melodic hits\, collaborative projects and heavy social media presence. Born in San Jose and raised in San Diego\, the rapper first emerged into the public eye\, after capturing the attention of Latin pop artist Jaime Kohen who featured her on his 2009 hit “Alguien.” Pushing her musical career even further\, she signed with major-label Atlantic in 2013 where she released hits\, “Play” “Doing Fine\,” and “Hola”. In 2016\, Snow her eight-track EP\, Half Way There and was featured on The Hamilton Mixtape along with rappers K’naan\, Riz MC\, and Residente on the track “Immigrants (We Get the Job Done)” which music video won a VMA in 2017. Since then\, she has released hits “Bilingue\,” “Say Bitch” and her most recent viral track “BZRP Music Sessions #39” alongside Argentine DJ BZRP has garnered over 147 million views and a Latin Grammy nomination. Snow’s song “Esto No A Terminando” was featured in the blockbuster film The Forever Purge and she recently just collaborated with the multi talented rapper Ludacris and producer Drumma Boy on “I Said What I Said.” Along with a trailblazing musical career\, Snow has garnered massive recognition through her YouTube vlog everydaydays and starring role as “Lil’ T” on USA Network’s massive hit Queen of the South
URL:https://globalazmedia.com/event/snow-tha-product-at-the-van-buren/
LOCATION:The Van Buren\, 401 W. Van Buren St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2026/03/Snow-Tha-Product-at-The-Van-Buren.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20260321T200000
DTEND;TZID=America/Phoenix:20260321T233000
DTSTAMP:20260427T100556
CREATED:20260222T222453Z
LAST-MODIFIED:20260222T222453Z
UID:20423-1774123200-1774135800@globalazmedia.com
SUMMARY:Puscifer at Arizona Financial Theatre
DESCRIPTION:Puscifer is a band of three creative confidants\, namely Mat Mitchell\, Carina Round\, and Maynard James Keenan\, who fuse music\, performance\, and visual art into a singular experience. Over the years\, Puscifer has carved an indelible mark on the cultural landscape\, releasing a series of acclaimed albums\, selling out famed venues\, appearing on the lineups of Coachella\, Bonnaroo\, and other major festivals\, and even curating their own touring festival\, Sessanta. They’ve provided what was essentially the soundtrack to the first season of “Yellowstone\,” and their albums regularly land on the top 30 of the Billboard Top 200. They’ve made memorable appearances on “Jimmy Kimmel Live!” and the “The Late Show\,” bringing their signature blend of precision\, wit\, and theatricality to late night television. \nPuscifer has also welcomed a revolving door of collaborators\, from musicians like Greg Edwards\, Gunnar Olsen\, and Sarah Jones to remixers including Trent Reznor\, Atticus Ross\, Phantogram\, and Sir Mix-A-Lot\, as well as actors Bob Odenkirk and Milla Jovovich. It’s also a universe for the (mis)adventures of original characters: Billy D\, (his wife) Hildy Berger\, Major Douche\, and Special Agent Dick Merkin. More than a band\, Puscifer is a creative ecosystem; a boundary-pushing collective where sound\, story\, and spectacle collide \n \n  \n  \n \nDave Hill is a comedian\, writer\, actor\, and musician. He has appeared on Unbreakable Kimmy Schmidt\, Joe Pera Talks with You\, Inside Amy Schumer\, @midnight\, Full Frontal with Samantha Bee\, The Tick and The Jim Gaffigan Show among others. Dave has also starred in his own TV series\, The King of Miami\, on the MOJO Network\, which was cancelled even though Dave really liked it. \nDave is a regular contributor to public radio’s This American Life and Live from Here with Chris Thile and also hosted his own radio show\, The Goddamn Dave Hill Show\, on WFMU in Jersey City\, New Jersey for five years. Dave also hosts the podcasts Dave Hill’s Podcasting Incident\, So…You’re Canadian\, and History Fluffer. Dave performs live comedy in theaters\, prisons\, and basements all over the world. \nDave plays guitar and sings in his own rock band\, Valley Lodge\, whose song “Go” is the theme song for HBO’s Last Week Tonight with John Oliver in addition to fronting Painted Doll with Chris Reifert (Autopsy\, Death). He is also the founding member of Witch Taint (go to www.theblackmetaldialogues.com for more info). \nDave has written for The New York Times\, The Paris Review\, Salon\, GQ\, and McSweeney’s among other publications\, and is author of three books\, Parking the Moose (2019 Doubleday Canada/Penguin Random House)\, Dave Hill Doesn’t Live Here Anymore (2016 Blue Rider Press\, and Tasteful Nudes:…and Other Misguided Attempts at Personal Growth and Validation (2012 St. Martin’s Press).
URL:https://globalazmedia.com/event/puscifer-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/2026/02/Puscifer-at-Arizona-Financial-Theatre-2026.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20260321T200000
DTEND;TZID=America/Phoenix:20260321T233000
DTSTAMP:20260427T100556
CREATED:20260310T015248Z
LAST-MODIFIED:20260310T015248Z
UID:20550-1774123200-1774135800@globalazmedia.com
SUMMARY:Snoop Dogg at Gila River Resort & Casino
DESCRIPTION:One of the most iconic figures to emerge from the early-’90s G-funk era\, Snoop Dogg has evolved beyond his gangsta rap beginnings to become a lovable pop culture fixture with forays into television\, movies\, football coaching\, and wrestling while expanding his musical reach far beyond his primary genre. Introduced through ‘s Top Five rap hit “Deep Cover” (1992)\, Snoop quickly became one of the most famous stars in rap\, partially due to his drawled\, laconic rhyming\, and the realistic violence implied in his lyrics. His own Doggystyle (1993) become the first rap debut album to enter the Billboard 200 at number one\, and featured the Top Ten pop hits “What’s My Name” and “Gin and Juice.” After the popularity of gangsta rap waned in the late ’90s\, he proved himself to be a masterful chameleon\, riding his pot-loving image in various directions that helped buoy his career through the 2000s. His biggest hits as a lead artist during the first decade of the 21st century included “Beautiful” (2003) and the chart-topping “Drop It Like It’s Hot” (2004)\, and he was also featured on a slew of major hits by fellow rappers\, R&B crooners\, and pop groups alike. The 2010s saw him branch out into reggae (2013’s Reincarnated)\, house (as a DJ)\, and gospel (2018’s Bible of Love)\, but he has remained hip-hop at his core\, releasing projects in the 2020s such as The Algorithm (2021)\, his first album as executive creative consultant for \, and BODR (2022)\, which marked a return to \, his first label home. In 2024\, Snoop released his 20th studio album\, the -produced Missionary. \nNicknamed Snoop by his mother because of his appearance\, Calvin Broadus was raised in Long Beach\, California\, where he frequently had trouble with the law. Not long after his high school graduation\, he was arrested for possession of cocaine\, beginning a period of three years when he was often imprisoned. He found escape from a life of crime through music. Snoop began recording homemade tapes with his friend \, who happened to be the stepbrother of ‘s .  gave a tape to \, who was considerably impressed with Snoop’s style\, and began collaborating with the rapper. \nWhen  decided to make his tentative first stab at a solo career in 1992 with the theme song for the film Deep Cover\, he had Snoop rap with him. “Deep Cover” started a buzz about Snoop that escalated into full-fledged mania when  released his own debut album\, The Chronic\, on  late in 1992. Snoop rapped on The Chronic as much as \, and his drawled vocals were as important to the record’s success as its P-Funk-inspired bass grooves. ‘s singles “Nuthin’ But a ‘G’ Thang” and “Dre Day\,” which prominently featured Snoop\, became Top Ten pop crossover hits in the spring of 1993\, setting the stage for Snoop’s much-anticipated debut album\, Doggystyle. While he was recording the album with  in August\, Snoop was arrested in connection with the drive-by shooting death of Phillip Woldermarian. According to the charges\, the rapper’s bodyguard\, McKinley Lee\, shot Woldermarian as Snoop drove the vehicle; the rapper claimed it was self-defense\, alleging that the victim was stalking Snoop. Following a performance at the MTV Music Awards in September 1993\, he turned himself in to authorities. \nAfter many delays\, Doggystyle was finally released on  in November of 1993\, and it became the first rap debut album to enter the charts at number one. Despite reviews that claimed the album was a carbon copy of The Chronic\, the Top Ten singles “What’s My Name?” and “Gin & Juice” kept Doggystyle at the top of the charts during early 1994\, as did the considerable controversy over Snoop’s arrest and his lyrics\, which were considered exceedingly violent and sexist. During an English tour in the spring of 1994\, tabloids and a Tory minister pleaded for the government to kick the rapper out of the country\, largely based on his arrest. Snoop exploited his impending trial by shooting a short film based on the Doggystyle song “Murder Was the Case” and releasing an accompanying soundtrack\, which debuted at number one in 1994. By that time\, Doggystyle had gone quadruple platinum. \nSnoop spent much of 1995 preparing for the case\, which finally went to trial late in the year. In February 1996\, he was cleared of all charges and began working on his second album\, this time without  as producer. Nevertheless\, when The Doggfather was finally released in November 1996\, it bore all the evidence of a -produced G-funk record. The album was greeted with mixed reviews\, and it initially sold well\, but it failed to produce a hit along the lines of “What’s My Name?” or “Gin & Juice.” Part of the reason for the moderate success of The Doggfather was the decline of gangsta rap. \, who had become a friend of Snoop’s during 1996\, died weeks before the release of The Doggfather\, and  had left  to his partner Suge Knight\, who was indicted on racketeering charges by the end of 1996. Consequently\, Snoop’s second album got lost in the shuffle\, stalling at sales of two million\, which was disappointing for a superstar. \nPerhaps sensing something was wrong\, Snoop began to revamp his public image\, moving away from his gangsta roots toward a calmer lyrical aesthetic. He also began making gestures toward the rock community\, signing up to tour with Lollapalooza 1997 and talking about two separate collaborations with  and . The solo Da Game Is to Be Sold Not to Be Told\, Snoop’s first effort on \, followed in 1998; No Limit Top Dogg appeared a year later\, and Dead Man Walkin’ the year after that. Tha Last Meal followed in December of that same year. The heavy release schedule resulted in varying musical quality from album to album\, but by the turn of the century\, Snoop had become such a cultural phenomenon that his albums became almost secondary to the personality behind them. An autobiography appeared in 2001\, followed by a stream of movie roles in several high-profile pictures. Late in 2002\, Snoop released his first album for \, Paid tha Cost to Be da Bo$$. He then switched to  for 2004’s R&G (Rhythm & Gangsta): The Masterpiece. The hit album spawned Snoop’s first number one single\, the -produced “Drop It Like It’s Hot\,” as well as the hit “Signs” with  and . R&G was followed a year later by Welcome to tha Chuuch: Da Album\, a collection of tracks from the Welcome to the Chuuch mixtape series. That same year\, he hosted a West Coast peace summit in hopes of squashing all beefs. \nIn 2006\, he appeared on ‘s Cali Iz Active and ‘s Laugh Now\, Cry Later. Toward the end of the year\, the intentionally leaked “My Peoples” freestyle appeared. The track paid tribute to many of those involved in Cali’s Latin rap community\, so it was no big surprise when “Vato\,” with ‘s \, became his next album’s lead-off single. The hard and very G-funk Tha Blue Carpet Treatment triumphantly capped off a year of heavy West Coast activity. In late 2007\, he recruited two hip-hop veterans — new jack swing legend  and West Coast hero  — and formed the production team QDT Muzic. The team oversaw Snoop’s 2008 album\, Ego Trippin’\, which included the single “Sensual Seduction.” \nIn 2009\, he issued Malice N Wonderland\, the maiden release of a new alliance with the reactivated  label\, which also signed him on as its creative chairman. He promoted the album a couple months prior to its street date when he hosted the live wrestling television broadcast WWE Raw. A year later\, the CD/DVD set More Malice rounded up some odds and ends from the album and packaged them with a DVD featuring the Malice N Wonderland short film. He maintained his mainstream image with a star appearance on ‘s “California Gurls\,” nabbing Snoop his third number one on the Billboard Hot 100. In 2011\, he released Doggumentary\, an album he considered the sequel to his classic debut. The record featured production from the likes of Swizz Beats\, DJ Khalil\, and Scott Storch\, with guest artists including \, \, \, and . Also arriving that same year was a feature film with \, Mac + Devin Go to High School\, along with its accompanying soundtrack. \nAfter a 2012 trip to Jamaica\, Snoop Dogg returned rechristened as \, and with the help of producer \, he released his first all-reggae album\, Reincarnated\, on  in 2013. Another name change came later in the year when he became Snoopzilla and joined modern funkster  for the project/album 7 Days of Funk. He returned to Snoop Dogg in 2015 when he partnered with  for the hip-hop effort Bush. The album included the single “Peaches N Cream” and featured guest appearances from \, \, \, and . Coolaid\, a back-to-basics effort for which  served as executive producer\, was released in 2016. That same year\, Snoop teamed up with Martha Stewart for VH1’s Martha & Snoop’s Potluck Dinner Party\, a variety show that featured bits with guest actors and performances by hip-hop musical guests. The show aired into 2017\, the same year that Snoop issued the simultaneously nostalgic and in-the-moment Neva Left\, which referenced classics by  and . \nFor his 16th set\, Snoop once again changed course\, this time dipping into the gospel world for 2018’s Snoop Dogg Presents Bible of Love. The collection featured guests from both the gospel and hip-hop worlds\, topping the Billboard Gospel Albums chart upon release. A year later\, Snoop returned to the streets for his 17th album\, I Wanna Thank Me\, a nostalgic set that celebrated his legacy while asserting his enduring place in contemporary hip-hop. In addition to guests  and \, the LP also included an appearance by the late . In 2020\, while locked down in quarantine due to the global threat of COVID-19\, Snoop released the restless single “I Wanna Go Outside\,” setting his feelings of housebound frustration and concerns for the world’s health to a funky\, old-school instrumental. The swaggering “C.E.O.” appeared in early 2021 on From tha Streets 2 tha Suites\, a brief set which included appearances by \, \, and \, and was released on April 20. Snoop was hired as ‘s executive creative consultant in June\, and his first album with the label\, The Algorithm\, appeared in November. The sprawling set included guests such as \, \, \, \, and dozens of others. Snoop offered yet another album only four months later. The February 2022 release of BODR — short for “Bacc on Death Row” — coincided with Snoop acquiring the trademark rights to the label that issued his first two albums. 2022 also brought the debut album from supergroup \, which included California rap legends Snoop\, \, \, and . The appropriately named album Snoop Cube 40 $hort was first released via blockchain\, but later found its way to streaming services with additional material. Snoop’s next solo effort was the 2024 album Missionary\, his 20th album and one that reunited him with producer . As the duo neared the 30th anniversary of 1993’s groundbreaking Doggystyle\, Missionary returned to the thick\, party-focused\, G-funk sound of Snoop’s earliest albums. Missionary included guest appearances from \, \, \, \, and \, just to name a few. ~ Stephen Thomas Erlewine & Neil Z. Yeung\, Rovi \n \n 
URL:https://globalazmedia.com/event/snoop-dogg-at-gila-river-resort-casino/
LOCATION:Wild Horse Pass\, 5040 Wild Horse Pass Blvd\, Chandler\, AZ\, 85226\, United States
ATTACH;FMTTYPE=image/webp:https://globalazmedia.com/wp-content/uploads/2026/03/Snoop-Dogg-at-Wildhorse-Pass.webp
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20260324T190000
DTEND;TZID=America/Phoenix:20260324T233000
DTSTAMP:20260427T100556
CREATED:20260124T035835Z
LAST-MODIFIED:20260124T035835Z
UID:20350-1774378800-1774395000@globalazmedia.com
SUMMARY:BAD OMENS - Do You Feel Love North American Tour at Desert Diamond Arena
DESCRIPTION:Bad Omens exceed boundaries on their self-titled full-length debut for Sumerian Records. It’s something of a mission statement for the Los Angeles-based quintet—Noah Sebastian [vocals]\, Nicholas Ryan [guitar]\, Joakim “Jolly” Karlsson [guitar]\, Vincent Riquier [bass]\, and Nick Folio [drums]. \n“We tried to spread awareness about being open minded when it comes to heavy music\,” exclaims Noah. “We wanted to go beyond the realm of heavy and incorporate everything from industrial to soundtrack-style moments.” \nIt’s a goal that Noah’s possessed since first writing for what would become Bad Omens in 2013. The Richmond\, VA native logged time in a prominent local band\, but he wanted to focus on his own artistic vision. He wrote and recorded a handful of solo songs without mentioning a word to anybody. When it came time to recruit other players\, he linked up with old friend Nicholas. He added another buddy Vincent who introduced him to “Jolly”—all the way in Sweden. Nick joined last after submitting a cover online. \n“The band started as me and two of my close friends and two other guys I’d never even met outside of Face Time or Skype\,” he smiles. “This music just spoke to everyone\, and we felt a bond.” \nIt also spoke to Sumerian Records who offered Bad Omens a deal in 2015 based off the strength of the demos and songwriting. The guys spent months rehearsing in Nick’s basement before hitting the studio with Will Putney [Upon A Burning Body\, The Amity Affliction\, Body Count] to record the album. \n“We chose Will because he specializes in a more raw sound\,” Noah goes on. “It’s not over-produced. It’s real.” \nEarly 2016 saw the group unveil the single “The Worst In Me.” With its jagged riffs\, sweeping harmonies\, and towering chorus\, the track immediately set the internet ablaze\, racking up over 860\,000 views on YouTube in less than a month. \n“For me personally\, it’s about a very intense and unhealthy relationship I was in\, but we wrote it in a format that’s universal to all bad habits\,” he says. “More specifically\, it’s something you can’t let go of even though it’s not good for you—whether it’s a relationship\, a drug problem\, or terrible situation. You’re addicted.” \nOn the other end of the spectrum\, the record concludes with the sprawling epic “The Fountain.” Tempering an industrialized hum and sweeping soundscapes punctuated by flutes and booming war drums\, Alternative Press debuted the cinematic music video. \n“We watched The Fountain with Hugh Jackman while we were recording\,” he goes on. “It’s a sci-fi thriller romance with an insane plot and 3 different universes. The romantic aspect resonated with me. It’s unique for us and metal at large\, because we’re using a lot of atypical instruments.” \nOver the past year\, Bad Omens has amassed a diehard following\, delivering live alongside everyone from Born of Osiris and After the Burial to Veil of Maya\, Upon a Burning Body\, and Erra. Now\, they’re ready to break more ground. \n“I want people to feel inspired the way I do when I listen to music\, because I’m listening all day\,” Noah leaves off. “I want to share that inspiration to do something different.” \n \n \nPresident\, arguably heavy metal’s biggest breakout band of 2025\, are working on their debut album. \nThe masked project’s anonymous frontman says that he’s written four songs already\, with three of them being among the best things he’s ever done. \n\nHe also reveals that the music will build upon the groundwork set by this year’s EP King Of Terrors while exploring new territory. \n“I’m writing a full-length album\,” Mr President tells us. “I’ve got four songs written already\, and I’d say three of those are the best I’ve ever written. This album is going to be an evolution. It takes bits of the EP\, and it’s pushing certain elements even further. Obviously music is subjective\, so people might not agree\, but I am my fiercest critic – if I love it\, that’s a great start.” \nPresident have had a 2025 for the history books\, having not even been a band at the start of the year. Their existence was first revealed when they were added to the poster of Download festival in February. After that\, they launched a mysterious countdown and released a string of singles\, starting with In The Name Of The Father in May. When they played Download in June\, they performed in front of a packed-out Dogtooth tent. \nKing Of Terrors was self-released in September and received mixed-to-positive reviews. \n \n \nThe fearlessly determined and creative Ohio-based powerhouse perfected a sound sought by a generation of bands\, equal parts solitary musical confession and celebratory exorcism. BEARTOOTH music is an outright refusal to suffer in silence\, weaponizing radio-ready bombast to deliver raw emotion mixed with noise-rock chaos. They combine hard rock and hardcore in a way that’s smart\, lean\, melodic\, and irresistible\, without apology. After over 900 million streams from songs like “The Past is Dead\,” “Fed Up\,” and “In Between”\, in addition to the band’s fourth album\, Below\, topping charts and finding its way into Best Rock/Metal Albums of the Year in 2021\, Rolling Stone introduced BEARTOOTH as one of 10 New Artists You Need To Know. The 2013 Sick EP was an emotionally stranded Shomo’s “message in a bottle\,” tossed into a figurative ocean. Disgusting (2014)\, Aggressive (2016)\, Disease (2018)\, and Below (2021) expanded those themes of desperation\, each sonically getting a step closer to the magical balance between the blood\, sweat\, and tears of classic recordings and the smooth gloss of modern production. Their latest single “Riptide” is the culmination of that battle: a furiously courageous song of self-empowerment serving as a victory lap to memorialize a struggle with mental health and self-acceptance\, which has defined so much of BEARTOOTH since its inception. BEARTOOTH offers no cure\, but the recovery comes in the process; the journey is the destination. So enjoy the ride.
URL:https://globalazmedia.com/event/bad-omens-do-you-feel-love-north-american-tour-at-desert-diamond-arena/
LOCATION:Desert Diamond Arena\, 9400 W Maryland Ave\, Glendale\, AZ\, 85305\, United States
ATTACH;FMTTYPE=image/jpeg:https://globalazmedia.com/wp-content/uploads/2026/01/Bad-Omens-at-Desert-Diamond-Arena.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20260331T193000
DTEND;TZID=America/Phoenix:20260331T233000
DTSTAMP:20260427T100556
CREATED:20260326T001746Z
LAST-MODIFIED:20260326T001746Z
UID:20591-1774985400-1774999800@globalazmedia.com
SUMMARY:Bob Moses & Cannons: Afterglow Tour at Arizona Financial Theatre
DESCRIPTION:Bob Moses\, the Vancouver-bred duo of Tom Howie and Jimmy Vallance\, came to life in the Brooklyn underground scene in 2012. Early single releases on taste-making label Scissor & Thread led to signing with Domino and the late 2015 release of their debut Days Gone By. \nMeshing guitar licks\, a moody smolder and a dash of dance-floor ambience with lyrical depth and classic songwriting\, the duo created a sound that appeals equally to club goers and rock music fans. Translating their sound seamlessly to the live performance realm\, years of nonstop global touring -including appearances at every major festival from Glastonbury and Coachella\, to Lollapalooza and beyond -cemented the duo’s live reputation and repeated recognition as Resident Advisor’s Best Live Act. A standout performance on The Ellen Show\, a pair of nominations at both the Junos and the Grammys (and a Grammy win)\, and a top 15 US Alternative radio hit with “Tearing Me Up\,” have further sealed the band’s burgeoning mainstream success. \n2018’s Battle Lines met with praise upon release\, found the duo expanding their sonic palette\, embracing their most inventive instincts and infusing their lyrics with a more outward-looking perspective and was named one of Billboard’s “Best Electronic Albums of 2018.” \nNow\, with the world in quarantine\, Bob Moses has been connecting with fans through weekly livestream sets dubbed the “BobCast” and with the summer 2020 release Desire including the title track collaboration with ZHU. \n \n \nLos Angeles-based trio Cannons\, comprised of Michelle Joy (vocals)\, Ryan Clapham (lead guitar)\, and Paul Davis (drums\, keys)\, have established themselves as one of electro-pop’s most compelling modern acts. Through their seamless blend of hypnotic synth-craft\, atmospheric production\, and evocative lyricism\, the group has amassed over 1.4 billion global streams\, a performance on Jimmy Kimmel Live!\, major festival slots\, and sold-out headline shows under their belt. With all this success it would be reasonable to take their foot off the gas but Cannons is ready to take the next step in their musical journey with their entrancing fifth album\, Everything Glows. Everything Glows radiates a strong sense of camaraderie between the band\, who bear witness to one another through travails and triumphs and highs and lows of the past few years. The record’s 11 songs navigate heartbreak and codependence\, brokenness and\, ultimately\, liberation\, spotlighting a group that found new ways to move forward and absolute excitement in both the process and its results. Everything Glows is Cannons\, cutting itself free.
URL:https://globalazmedia.com/event/bob-moses-cannons-afterglow-tour-at-arizona-financial-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/webp:https://globalazmedia.com/wp-content/uploads/2026/03/bob-moses-at-Arizona-Financial-Theatre.webp
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