Category: All Ages

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Citizen Cope – Clarence Greenwood Recordings 10th Anniversary Tour

Citizen Cope – Clarence Greenwood Recordings 10th Anniversary Tour

with Full Band

 

“This full band tour celebrates the 10th  anniversary of the release of the Clarence Greenwood Recordings.  For the first time ever Citizen Cope will perform the record in its entirety, plus a second set of other Citizen Cope favorites.”

$1 per ticket sold will go to Turnaround Arts to purchase musical instruments for middle schoolers in Lame Deer, Montana—a community on the Northern Cheyenne Indian Reservation. Lame Deer is part of Turnaround Arts http://turnaroundarts.pcah.gov/ , a program of President Obama’s President’s Committee on the Arts and the Humanities that is using arts education to help students succeed.

 “Rawness improbably balanced by a mixture of danger and delicacy,” says one Rolling Stone writer, “is what gives Citizen Cope his edge. As a singer, songwriter and producer, he stands alone—an artist immune to corruption.”

Dug deep into the rich soil of American music, Cope’s roots are complex. You may think of Bill Withers or Neil Young or John Lee Hooker or Van Morrison or Willie Nelson or Al Green. Yet, listening to Cope, you also may think of none of the above. You may not think at all, but rather feel a man exposing stories that haunt his heart.  In the past years, he has produced albums of depth and distinction, each a critical chapter in his search for a sound that paints an auditory American landscape in which despair wars with hope and hope, tied to love, is elusive.  Cope finds his groove that, with only slight variations, will fuel his tales of seeking hope in hell. The groove becomes a mantra and the mantra, sung in a voice that is both disarmingly sincere and studiously ironic, stops us in our tracks. Cope tracks the relationship between terror, fantasy and reality.  Art requires defense. Without art, we can’t cope. But Cope’s art isn’t the high art of elitism; it’s the low art of funk. The voice of the singer is half-hoarse, half-hilarious, wholly hypnotic.  He has toured tirelessly.  He has brought his stories—with a band or simply with his guitar—to whatever venue would have him. His motivation to make music directly in front of people, no matter the size of the crowd, has won him a vast audience in America and abroad.

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You Me At Six with Young Guns and Stars in Stereo

British pop-punk band You Me at Six made their album debut in 2007 with Take Off Your Colours on Slam Dunk Records in the United Kingdom and Epitaph Records in the United States. The album reached number 25 on the U.K. albums chart and spawned the hit singles “Save It for the Bedroom,” “Finders Keepers,” and “Kiss and Tell.” Thanks in part to heavy touring, the popularity of You Me at Six grew steadily in the wake of their album debut and earned them a nomination for Best British Band at the 2008 and 2009 Kerrang! Awards. You Me at Six released their second album, Hold Me Down (2010), on Virgin Records in the U.K. and Epitaph Records in the U.S. Featuring the singles “Underdog” and “Liquid Confidence,” it reached the Top Five of the U.K. albums chart. The following year the band located to L.A. to work on their third release, Sinners Never Sleep. The record saw them move in a heavier direction alongside gritty guitar riffs. The album arrived in late-2011 and peaked at number three in the U.K. album chart. The final date of their nationwide tour that year was at a sold-out Wembley Arena, which the band recorded and released as a live CD/DVD set the following year. They teamed up with Fall Out Boy producer Neal Avron in mid-2013 and started work on their fourth studio release. Titled Cavalier Youth, it arrived in early 2014 and went straight to the top of the U.K. Album Chart.

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The Button South Class Reunion 4

4th Annual

BUTTON SOUTH CLASS REUNION

The 4th annual Button South Class Reunion will be held on September 26 & 27 2014 at Revolution Live in Ft Lauderdale Fl.

 

This year’s scheduled reunion performers are:

 

CANAVERAL – GYPSY QUEEN – SLYDER – STRANGER

HEARTLESS – LAST CHILD – MOTOR – PHINEAS J WHOOPIE

 

The Hep Cat Boo Daddies with Joel Da Silva & Randy Blitz

In tribute to Sean GTO Gerovitz

 

The Button South All Star Band

Featuring 15 members from 15 bands

Race, Saigon Kick, Farrcry, Miss Conduct, Autodrive, Psychodrama, Miami Dolls, Big Bang, Baloney Sandwich, Squadron, Trixx, The Realm, Beggars Opera, Sabotage & more!

 

This year’s celebrity hosts are:

Mark Allen “RACE” – Liz Wild WSHE – Steve Stansell ZETA

Madman Mike WGTR – Glenn Richards WSHE

Phil Varone “SAIGON KICK”

 

Doors 8pm – Bands begin at 8:30pm

Tickets are $12 per nite or $20 for a 2 day pass

The Button South Class Reunion has become an annual event to celebrate a legendary nightclub.  It’s a reuniting of customers, employees, bands & musicians that drove the soundtrack of Rock N Roll in South Florida from the late 70’s, starting as the Agora Ballroom to the mid 90’s.  The Button hosted literally thousands of concerts in those years, being open till 6am 7 nights a week.  The stage was dark for only brief moments of those hours for set changes & breaks because in the Button South Kingdom live Rock N Roll ruled.

 

Just a few of the divergent national acts that graced the Button South stage: PANTERA – TED NUGENT – LIVING COLOR – CYNDI LAUPER – FAITH NO MORE – GEORGIA SATELLITES – DOKKEN – FASTER PUSSYCAT – THE ROMANTICS – PAT TRAVERS – OVERKILL – BADLANDS – DREAM THEATRE  JEFF HEALY – HOOTIE & THE BLOWFISH – BLURR

 

The Button South had the likes of Johnny Depp’s The Kids, Marilyn Manson, Saigon Kick & Nuclear Valdezplaying there on a regular basis prior to being discovered by the rest of the planet.  It was host to regional cover & local original bands by the dozen on any given week.  Bartenders, waitresses, soundmen & door staff wanted to work there.  Customers wanted to drink, party & dance there.  But most of all every musician wanted to play there.

 

The Button South Class Reunion recreates, if only for a weekend once a year, the aura & attitude that wasThe Button South.  All 10 bands playing over the 2 nights played there, all video screens will be filled with footage filmed there & all the music you hear was played there.  It is without a doubt the South Florida Rock N Roll throwback event of the year, every year.

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The Button South Class Reunion 4

4th Annual
BUTTON SOUTH CLASS REUNION
The 4th annual Button South Class Reunion will be held on September 26 & 27 2014 at Revolution Live in Ft Lauderdale Fl.

This year’s scheduled reunion performers are:

CANAVERAL – GYPSY QUEEN – SLYDER – STRANGER
HEARTLESS – LAST CHILD – MOTOR – PHINEAS J WHOOPIE

The Hep Cat Boo Daddies with Joel Da Silva & Randy Blitz
In tribute to Sean GTO Gerovitz

The Button South All Star Band
Featuring 15 members from 15 bands
Race, Saigon Kick, Farrcry, Miss Conduct, Autodrive, Psychodrama, Miami Dolls, Big Bang, Baloney Sandwich, Squadron, Trixx, The Realm, Beggars Opera, Sabotage & more!

This year’s celebrity hosts are:
Mark Allen “RACE” – Liz Wild WSHE – Steve Stansell ZETA
Madman Mike WGTR – Glenn Richards WSHE
Phil Varone “SAIGON KICK”

Doors 8pm – Bands begin at 8:30pm
Tickets are $12 per nite or $20 for a 2 day pass

The Button South Class Reunion has become an annual event to celebrate a legendary nightclub. It’s a reuniting of customers, employees, bands & musicians that drove the soundtrack of Rock N Roll in South Florida from the late 70’s, starting as the Agora Ballroom to the mid 90’s. The Button hosted literally thousands of concerts in those years, being open till 6am 7 nights a week. The stage was dark for only brief moments of those hours for set changes & breaks because in the Button South Kingdom live Rock N Roll ruled.

Just a few of the divergent national acts that graced the Button South stage: PANTERA – TED NUGENT – LIVING COLOR – CYNDI LAUPER – FAITH NO MORE – GEORGIA SATELLITES – DOKKEN – FASTER PUSSYCAT – THE ROMANTICS – PAT TRAVERS – OVERKILL – BADLANDS – DREAM THEATRE JEFF HEALY – HOOTIE & THE BLOWFISH – BLURR

The Button South had the likes of Johnny Depp’s The Kids, Marilyn Manson, Saigon Kick & Nuclear Valdez playing there on a regular basis prior to being discovered by the rest of the planet. It was host to regional cover & local original bands by the dozen on any given week. Bartenders, waitresses, soundmen & door staff wanted to work there. Customers wanted to drink, party & dance there. But most of all every musician wanted to play there.

The Button South Class Reunion recreates, if only for a weekend once a year, the aura & attitude that was The Button South. All 10 bands playing over the 2 nights played there, all video screens will be filled with footage filmed there & all the music you hear was played there. It is without a doubt the South Florida Rock N Roll throwback event of the year, every year.

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Hawthorne Heights with Red Jumpsuit Apparatus

Punky emo pop quintet Hawthorne Heights came to life in the summer of 2001.  They built their fan base on a demo recording and a series of self-booked national tours. 2004 marked the release of their powerful full-length debut, The Silence in Black and White. While the bandmates relentlessly toured behind it, the album became their label’s highest-selling debut, and its lead single, “Ohio Is for Lovers,” invaded rock radio. Hawthorne Heights’ second album, If Only You Were Lonely, arrived in 2006 along with a DVD titled This Is Who We Are. Lonely debuted at number three on the charts and continued to sell well, eventually going gold.  Hawthorne Heights issued a third album, Fragile Future, in August 2008 and in 2010 issued Skeletons, their fourth album. Also in 2010 the band formed their own label, Cardboard Empire. Along with touring, they began work on a series of EPs beginning with Hate in the summer of 2011, then Hope in late 2012. The following year the band showed their ambitions with Zero, a post-hardcore concept album about a group of rebels in a dystopian, near-future America.

One of the few screamo bands to land a Top 40 pop hit, the Red Jumpsuit Apparatus formed in 2003 in Middleburg, Florida. After writing and rehearsing for 18 months, the bandmembers were urged by several friends to pursue their music seriously. In 2005, the Red Jumpsuit Apparatus began crafting their full-length debut. The resulting Don’t You Fake It appeared in July 2006 and was certified gold by the year’s end, propelled by the success of the Top 40 single “Face Down” and the band’s stint on the summer-long Warped Tour. The Red Jumpsuit Apparatus play melodic hard rock that makes room for punk and power-pop influences. Frontman Ronnie Winter’s emotional vocals get the band classified as emo by some, but their brand of earnest, angsty rock is more closely aligned to that of groups like Hoobastank or Linkin Park.

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The Pretty Reckless with Adelita’s Way, Crash Midnight

Taylor Momsen rose to fame as an actress on the TV series Gossip Girl before launching a separate music career. She formed The Pretty Reckless in 2009, finding a balance between hard rock and post-grunge and taking cues from female-fronted bands like Hole and the Runaways along the way. They worked quickly, playing some initial shows in New York City before landing an opening slot on the Veronicas’ North American tour several months later. The tour went well, and Interscope Records signed the band before the year was up.  After spending several months in the studio, the group released its first single, “Make Me Wanna Die,” on the Kick-Ass soundtrack. The band’s first album, Light Me Up, saw release in Europe and Australia in late summer of 2010 and the record rolled out in North America in 2011 to rave reviews. The Pretty Reckless toured steadily behind Light Me Up, releasing the Hit Me Like a Man EP in March of 2012. A year later, the group’s second full-length album Going to Hell appeared and steadily climbed up the Billboard charts.

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Led Zeppelin 2

“These guys sound f—ing exactly like Led Zeppelin!”  

KIRK HAMMETT, METALLICA

LED ZEPPELIN 2 – THE LIVE EXPERIENCE brings you the excitement of Led Zeppelin “In Concert” by re-enacting the live improvisation & onstage interaction that earned Led Zeppelin their legendary status for performing. Rather than a “greatest hits” show, you get to experience Zeppelin as Zeppelin would have played in front of an audience.

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Bring Me The Horizon with Of Mice and Men, Issues, letlive.

When Bring Me The Horizon finally returned home from their last world tour in December 2011, they’d been on the road for two whole years.

Their third album There Is A Hell, Believe Me I’ve Seen It. There Is A Heaven, Let’s Keep It A Secret had proved both a critical smash and their worldwide breakthrough, smashing into the Top 20 on both sides of the Atlantic and going to Number 1 in Australia. They’d sold out shows across Europe, Asia, Australasia and North and South America. Played astonishing, show-stealing gigs everywhere from the Vans Warped Tour to Reading & Leeds Festivals. Inspired an obsessed army of devotees, not to mention an almost-as-vociferous band of haters.

Now that they had to do the hardest thing for any band in their position – essentially, the hottest breakthrough metal band on the planet – to do: nothing.

For frontman Oli Sykes, the band’s first proper downtime since they formed in Sheffield in 2004 was a much-needed chance to take care of business, both of the commercial (Bring Me The Horizon signed to RCA after three albums on indie Visible Noise) and personal variety (“writing became my passion again”.

Consequently, when the time came to begin work on their fourth album, Sempiternal (an old English word meaning “everlasting”), Oli found himself in a “better position and clearer mindframe than ever before – I was working at 110% whereas before it was always 50%, because there was stuff going on that was hindering me”.

But he also knew that a clear head alone would not be enough to craft a truly game-changing modern rock record. This time around, Bring Me The Horizon were determined to deliver an album that – in the words of guitarist Lee Malia – was “as close to perfect as we could make it”. Before, BMTH albums had often been put together on the hoof between tours, but for Sempiternal they had plenty of time and a license to experiment. It was time to rip up the rulebook and start again.

Previous BMTH albums were no strangers to electronic sounds, but this time around Oli brought in Jordan Fish, formerly of atmospheric electronic-rockers Worship, to help integrate keyboards and programming into the band’s sound from the very start of the process. Initially, he was supposed to play a support role, but soon he was writing with Oli, and bouncing ideas off Lee, and slowly-but-surely he became an integral member of the band.

Jordan jokes about falling on his feet by joining BMTH just as they look likely to become one of the biggest rock bands in the world, though he’s certainly paid his dues (“I’ve done all the shit bits of being in a band, just without anyone knowing about it…”) and he also played a vital role in overhauling BMTH’s sound, his electronic soundscapes adding depth and space to their raw rock power.

“We’ve never wanted to just be beholden to the metalcore thing,” says Oli, who as boss of his own, wildly successful clothing line Drop Dead, has long defied the metal stereotype. “We always said we want to push boundaries, but this time we pulled it off. Jordan opened up a lot of stuff that we’ve always wanted to do, but couldn’t.”

“Before, we used to build up and then go into something super-heavy,” says Lee. “But we’ve moved on a bit from that: it can still sound massive but it’s not just based around a breakdown.”

But they didn’t stop there. Oli also changed up the way he worked, taking singing lessons, spending hours crafting perfect lyrical soundbites and even studying the science of “what makes a melody catchy”.

“The idea behind Sempiternal is that we wanted every song to have a different theme musically and lyrically,” says Oli. “And that whatever song you listen to, you should know what it’s about, at a certain level, straight away.”

And the results of Bring Me The Horizon’s new approach, and the hugely intense recording sessions at Angelic Studios in Banbury (“Whenever we took a break, I could tell it was killing Oli,” says Jordan, “He’d be itching to get back to work”) are splattered all over Sempiternal. An album of astonishing versatility, it ranges from the controlled menace of Seen It All Before to the naked aggression of Anti-Vist; from the bubbling electronica of Can You Feel My Heart? to the metallic attack of The House Of Wolves; from the irresistibly anthemic chorus of Shadow Moses to the uncompromising fury of Go To Hell.

Meanwhile, Oli’s newly-bolstered voice is a revelation, swooping from heartfelt croon to cathartic scream and all points in-between, while his lyrics grapple with both his own personal issues and wider concerns, from the attack on religion in The House Of Wolves (“I had stuff to deal with and there were a lot of people pushing me towards religion,” says Oli, “But I couldn’t stomach it”) to giving a verbal smackdown to keyboard warriors on Anti-Vist (“The whole internet generation drives me insane,” he says, “People think they’ve got a platform to spout any old shit”).

In short, Sempiternal is here to reclaim the word “epic” from the people who save you money on your car insurance. No wonder the band is already attracting unprecedented levels of buzz, not just from the hard rock enclaves where Bring Me The Horizon have long been superstars, but from the mainstream.

Already, since their return, they’ve proved their unique versatility by playing – and conquering – everything from a small Sheffield Leadmill show for hardcore fans to a headline slot at Vans Warped UK to a Maida Vale set for Radio 1’s Rock Week (quite a baptism of fire for new-boy Jordan).

Then, with broadsheets and music magazines alike electing BMTH as poster boys for the UK’s new wave of hard rock, Radio 1 premiered Shadow Moses on daytime radio, not once but twice, lighting up Twitter and providing a rallying point for the whole rock scene in the process. It was no one-off either: weeks later, Bring Me The Horizon are still staples of the playlist.

“What must builders be thinking when they listen?” ponders Lee. “It must be weird for people who never listen to that sort of music… It’s still weird for us!”

They’d better get used to it, because Lee, Oli, Jordan, bassist Matt Kean and drummer Matt Nicholls are poised to become THE rock success story of 2013. And Oli Sykes, for one, is ready for it.

“Everyone starts off listening to pop music but they get hungry for something a bit more exciting,” says Oli, who was converted to the rock cause as a teenager by Linkin Park. “A whole lot of people want that – there just hasn’t been a band that have done it for a while, there hasn’t been that band to get people into better music. I would love Bring Me The Horizon to be that band for this generation.”

 

 

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Yonder Mountain String Band

Although the Yonder Mountain String Band was formed in Nederland, CO, its origins go back to Urbana, IL, where college student and banjo player Dave Johnston met mandolin player Jeff Austin. Austin moved west and settled in Nederland. Johnston joined him there, and the two met bass player Ben Kaufmann and guitarist Adam Aijala at a club called the Verve. In December 1998, they formed the Yonder Mountain String Band to open for a band at the Fox Theatre in Boulder. They developed a following among bluegrass fans and also among jam band fans as they played extensively and worked their way up the bar and club circuit in the West. In the fall of 1999, they released their debut album, Elevation, on their own Frog Pad Records label. By the fall of 2000, they were playing in larger venues, such as the Fillmore Auditorium in San Francisco. They released a live recording as their second album, Mountain Tracks, Vol. 1, in the spring of 2001, and followed with another studio set, Town By Town, in the fall of 2001. A second live album, Mountain Tracks, Vol. 2, was released in 2002, again followed by a studio effort, Old Hands, in 2003. Mountain Tracks, Vol. 3, a double disc live set, appeared in 2004. In February 2006, Mountain Tracks, Vol. 4 was released. Three months later, Vanguard Records released a self-titled studio album by the group. The Yonder Mountain String Band returned to its own Frog Pad label for Mountain Tracks, Vol. 5, issued in April 2008. ~ William Ruhlmann, Rovi

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Nonpoint

Nothing can stop Nonpoint.  The band continues to deliver unique, uncompromising, and undeniable hard rock. Weathering lineup changes, label shifts, and other trials and tribulations, founding members Elias Soriano [vocals] and Robb Rivera [drums] regrouped with fresh blood—Dave Lizzio [guitar], Adam Wolosyzn [bass], and Rasheed Thomas [guitar]—and captured pure fire this time around.  In addition, they remain one of the most consistent and incendiary live acts on the scene. Having shared the stage with everyone from Sevendust and Stone Sour to Papa Roach and Buckcherry as well as appearing at festivals such as OZZfest, each performance stands out as an experience their fan base fervently follows.  At the end of the day, Rivera wants to give back via the music. “We try to help people through our art,” he exclaims. “So many kids have connected to our songs over the years, and they’ve supported us unconditionally. We fought through so much, and we never gave up. I hope they get a positive message from this.  It doesn’t feel like we have some kind of goal. It feels like we have a purpose, which is to put out hopeful music. When this process started, a fuse got lit. We’re not stopping until it all burns.”  Nonpoint’s flame will only rise higher.

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Amon Amarth with Enslaved, Skeletonwitch

Not many bands can claim their ninth album, Deceiver of the Gods, as the most powerful, dynamic, and downright aggressive of their career, but then Amon Amarth have consistently upped their game with every successive release. Having exploded onto the Swedish melodic death metal scene with Once Sent From The Golden Hall every album has arrived bursting at the seams with power, melody and immersive storytelling centered around the richness of Norse mythology. With 2013 marking Amon Amarth’s twenty-first year, as well as the fifteenth anniversary of their debut full-length, their longevity and reputation for releasing killer album after killer album places them on a similar trajectory to the likes of Slayer and Cannibal Corpse, which is rarified company to be in. Likewise, having seen many younger faces flocking to their shows alongside their longtime faithful, the band are enjoying themselves now as much as they ever have.