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DTSTART;TZID=America/Phoenix:20260722T200000
DTEND;TZID=America/Phoenix:20260722T233000
DTSTAMP:20260713T003851Z
CREATED:20260713T003851Z
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UID:6525-1784750400-1784763000@clicksfromthepit.com
SUMMARY:Suki Waterhouse at Arizona Financial Theatre
DESCRIPTION:Along with a weary vocal delivery that comes with an implied frown\, Suki Waterhouse offers a combination of dingy\, lovelorn retro-pop\, generous reverb\, and sturdy melodic hooks. On the strength of self-released singles like “Brutally” (2016) and “Good Looking” (2017)\, she eventually landed on Sub Pop’s roster. Meanwhile finding steady acting work in film and on television\, the singer/songwriter/actor/model made her full-length debut on the label with I Can’t Let Go in the first half of 2022. Before the end of the year\, the Milk Teeth EP collected early material including “Brutally” and “Good Looking\,” and 2023 brought a 7″ collaboration with Belle and Sebastian (“Every Day’s a Lesson in Humility”). When Waterhouse delivered her sophomore LP in 2024\, it took the form of the dramatic double album Memoir of a Sparklemuffin\, which featured her lushest arrangements yet alongside an emotional range worthy of Lana Del Rey. She took a more uplifting\, rock-injected approach to 2026’s Loveland\, which was inspired by favorite bands of her youth as well as by first-time motherhood. \nBorn in Hammersmith\, London\, and raised in nearby Chiswick\, Alice Suki Waterhouse began modeling at the age of 16 when she was discovered in London by a clothing retailer. She had added several major apparel brands and cover shoots for the international editions of fashion magazines like Vogue and Elle to her résumé by the time she turned 20. Around that time\, she landed her first minor film role in 2012’s Pusher\, gradually moving up the billing by 2016’s Pride and Prejudice and Zombies\, where she played one of the Bennet sisters. That year\, she also had a cameo in Absolutely Fabulous: The Movie\, and her pining acoustic ballad “Brutally” appeared on her own This Rough Magic label. \nIn 2017\, Waterhouse could be seen in the historical miniseries The White Princess and in the title role of the indie film The Girl Who Invented Kissing. She was among the main ensemble cast of the next year’s action-comedy Assassination Nation\, and acted increasingly frequently into the next decade\, including parts in Woody Allen‘s A Rainy Day in New York (2019) and Séance (2021)\, directed by Blair Witch franchise writer Simon Barrett. All the while\, Waterhouse issued periodic self-released singles\, such as 2017’s “Good Looking” and 2019’s “Coolest Place in the World\,” which collectively garnered tens of millions of streams. \nWhile continuing to work as an actress\, Waterhouse signed with Sub Pop Records in 2021\, having recorded her debut LP with Grammy nominee Brad Cook (Bon Iver\, Snail Mail). The album\, I Can’t Let Go\, followed in April 2022\, shortly before Waterhouse co-starred in the Amazon miniseries Daisy Jones & the Six\, about a fictional ’70s rock band. A stand-alone single co-written and produced by John Mark Nelson (Taylor Swift\, Amy Allen)\, “Nostalgia\,” appeared that September\, and in November\, Waterhouse issued the EP Milk Teeth\, consisting of five early-career tracks and the new song “Neon Signs.” In June 2023\, the Sub Pop Singles Club produced the Suki Waterhouse and Belle and Sebastian collaboration “Every Day’s a Lesson in Humility.” \nMeanwhile\, Waterhouse returned to the studio with Cook to work on songs for her next full-length release\, a double-length project that found her also working with Foxygen‘s Jonathan Rado (Weyes Blood\, Father John Misty)\, Cigarettes After Sex‘s Greg Gonzalez\, Rick Nowels (James Blake\, Lana Del Rey)\, courtship. member Eli Hirsch\, and others. Named for a species of spider known for its bright coloring and elaborative courtship rituals\, the resulting Memoir of a Sparklemuffin was her most elaborately arranged and emotionally dramatic album yet. It arrived on Sub Pop in September 2024. That year\, Waterhouse also welcomed her first child (with her husband\, actor Robert Pattinson). The resulting change in her outlook and newfound identity as a nurturer helped inform the songs on her next record. A brighter set of tracks on average\, partly inspired by favorite bands ranging from the Stone Roses and PJ Harvey to T. Rex\, Loveland included collaborations with writer/producers including Aaron Dessner\, who hosted recording sessions at his Long Pond studio in upstate New York. Featuring Mick Fleetwood on the ’70s-inflected song “Morals\,” the album marked her Island Records debut in July 2026. \n \n \nCharlotte Lawrence makes moody electro-pop with larger-than-life production values. Originally earning notice as a model\, Lawrence got into the music industry in the mid-2010s\, but it was her slow-burning rendition of the Grease standard “You’re the One That I Want” that made her a viral sensation in 2017. She quickly capitalized on its success by releasing the digital singles “Seventeen” and “Sleep Talking.” After releasing her debut EP Young in 2018\, Lawrence moved to Atlantic Records\, releasing the mini-album Charlotte in 2021. Along with taking on acting roles\, Lawrence released singles including “Boys Like You” and “Dog.” \nThe daughter of actress Christa Miller\, who is best known for the sitcoms The Drew Carey Show and Scrubs\, and TV producer Bill Lawrence\, who created Scrubs and co-created Spin City and Cougar Town\, Lawrence was born on June 8\, 2000. She began modeling as a teenager. Her first major gig was for Chanel\, which led to her landing spots in Vogue and Galore. Around the same time\, she started her musical career\, releasing the digital single “The Finish Line” in 2014. A second single\, “Ever After\,” appeared in 2015. \nLawrence received her first big boost as a singer when Natalie Maines invited her to perform with the Chicks at the Hollywood Bowl in 2016. Early in 2017\, Lawrence released her simmering version of the Grease soundtrack classic “You’re the One That I Want\,” and its viral success helped push her into the spotlight. She signed to Human Re Sources and released two additional singles\, “Seventeen” and “Sleep Talking\,” by the end of the year\, with “Keep Me Up” and “Young and Reckless” arriving in 2018. The latter appeared on Young\, the debut EP Lawrence released in June 2018. \nLawrence signed with Atlantic in 2019; her first release for the label was the single “Why Do You Love Me.” She continued to release digital singles into 2020\, then received a big break when “Joke’s on You” was featured on the soundtrack to the 2020 DC Comics superhero film Birds of Prey. Her second EP\, Charlotte\, appeared in March 2021\, supported by the singles “Talk You Down\,” “You\,” and “Cowboys.” Lawrence embarked on a new series of singles with 2022’s “Morning\,” followed by songs like 2023’s “Bodybag\,” “Boys Like You\,” and 2024’s “Collateral.” She also expanded her work into acting\, appearing on the Apple TV+ dark comedy Bad Monkey and the medical drama Doctor Odyssey. The single “Dog” arrived in February 2025.
URL:https://clicksfromthepit.com/event/suki-waterhouse-at-arizona-financial-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85004\, United States
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DTSTART;TZID=America/Phoenix:20260728T193000
DTEND;TZID=America/Phoenix:20260728T233000
DTSTAMP:20260713T010454Z
CREATED:20260713T010454Z
LAST-MODIFIED:20260713T010454Z
UID:6529-1785267000-1785281400@clicksfromthepit.com
SUMMARY:Lindsey Stirling at Arizona Financial Theatre
DESCRIPTION:Combining her love of classical music with electronic dance and hip-hop\, California artist Lindsey Stirling is a violinist\, dancer\, and performer who surpassed early viral fame with a solo career that captured an audience in the pop mainstream. Early on\, she was known for her YouTube cover videos and for competing on the 2010 season of America’s Got Talent\, but she quickly became a crossover success after the release of her self-titled 2012 solo debut. As the decade progressed\, she issued multiple Top Five\, gold-certified albums\, including 2014’s Shatter Me and 2016’s Brave Enough\, both of which found her expanding her sound with singers including Lzzy Hale\, Dia Frampton\, Christina Perri\, Rivers Cuomo\, and others. Stirling has continued to explore new musical territory\, releasing the 2017 holiday album Warmer in the Winter and collaborating with vocalists Amy Lee and Elle King on her chart-topping 2019 LP Artemis. After another holiday album\, 2022’s Snow Waltz\, she returned with the existentially charged Duality in 2024. \nBorn in Santa Ana\, California\, Stirling grew up in Arizona and began studying classical violin at the age of five. In her teens\, she played in a rock band called Stomp on Melvin and competed in the Junior Miss competition\, winning the Arizona Junior Miss title. An active member of the Church of Jesus Christ of Latter-day Saints\, she studied therapeutic recreation at Brigham Young University. In 2010\, Stirling appeared as the “hip-hop violinist” on NBC’s America’s Got Talent\, in which she showcased her unique performance style of dancing and playing the violin at the same time accompanied by electronic backing tracks. After finishing in the quarter-finals of the show\, Stirling began focusing more on filming videos for her YouTube channel. Working with director/cinematographer Devin Graham\, she produced a series of videos featuring her in beautiful\, evocative outdoor settings or with striking visual accompaniment; one of her videos\, “Crystallize\,” ended up being viewed more than 100 million times. She issued her self-titled debut album of all-original material in 2012 through her own Lindseystomp label. The set sold over 200\,000 copies in the United States as an independent release\, and was certified gold in Germany (selling over 100\,000 copies there)\, Austria\, and Switzerland. \nAfter successful concert tours throughout the United States\, Europe\, Asia\, and Russia\, Stirling signed a deal with Lady Gaga‘s management firm\, Atom Factory\, and reissued her eponymous debut album through Universal Music. In 2013\, Stirling released a pair of collaborative EPs — one with Tyler Ward\, the other with Ward and Chester See. Her sophomore long-player\, Shatter Me\, arrived the following year. It was her first to include collaborations with other vocalists (Lzzy Hale\, Dia Frampton)\, and it debuted at number two on the album charts. Along with taking part in several new collaborations (Jesse J\, Pentatonix\, Joy Enriquez)\, Stirling devoted much of 2014 and early 2015 to a massive world tour that took her across North America\, through Europe\, and into Oceania. \nIn June 2015 she announced the completion of an autobiography\, The Only Pirate at the Party\, and began work on a new album. Released in 2016\, Brave Enough was a partially fan-funded production that included the single “Arena.” The album — which debuted atop both the Billboard classical and dance/electronic charts — featured appearances from Weezer‘s Rivers Cuomo\, Indian-American rapper Raja Kumari\, Christian rapper Lecrae\, Christina Perri\, and Andrew McMahon in the Wilderness. Her collaboration with the latter\, “Something Wild\,” was chosen as the theme song to the Disney reboot of Pete’s Dragon\, which was released in 2016. At the end of the year and into 2017\, Stirling embarked on a mammoth world tour in support of the album\, taking in dates in the U.S.\, Europe\, Australia\, and into South America. In May\, she was awarded the Top Dance/Electronic Album at the 2017 Billboard Music Awards for Brave Enough. The single “Love’s Just a Feeling” appeared at the same time and featured guest vocals from Irish singer/songwriter Rooty. \nIn October 2017\, Stirling released her fourth studio album\, the holiday-themed Warmer in the Winter\, which featured guest spots from Trombone Shorty\, Alex Gaskarth of All Time Low\, and Sabrina Carpenter. That same year\, she competed on the 25th season of Dancing with the Stars. She returned to music in 2019\, releasing the single “Underground” and announcing her fifth studio album\, Artemis. The record\, which used the eponymous goddess as a framework for exploring perseverance\, was released in September of the same year. Artemis featured guests Amy Lee of Evanescence (“Life Goes On and On”) and Elle King (“The Upside”). Lee returned the favor\, including Stirling on Evanescence‘s 2020 song “Use My Voice.” The violinist was also featured that same year on singer Avril Lavigne‘s song “We Are Warriors.” \nIn 2021\, she released the stand-alone single “Lose You Now” featuring Mako. Building upon the Artemis instrumental “Guardian\,” Stirling tasked Mako with penning the lyrics for the track\, which was created as a tribute to her late father. The following year\, Stirling returned to holiday standards with her second themed set\, Snow Waltz\, which featured the rock-tinged “Ice Storm.” By 2024\, she had readied her seventh full-length Duality. Exploring themes of inner conflict\, Stirling delivered another reliably charged set of pop-violin anthems\, this time featuring guests Royal & the Serpent (“Inner Gold”) and Walk off the Earth‘s Sarah Blackwood (the Gloria Gaynor-interpolating “Survive”). \n \n \nBlending atmospheric electronic textures with dark alternative rock\, PVRIS evolved from a post-hardcore underground favorite to a pop-savvy international headliner within a decade. Helmed by singer/songwriter\, producer\, multi-instrumentalist\, and LGBTQ+ icon Lyndsey Gunnulfsen\, the project (pronounced “Paris”) made its 2014 debut with White Noise\, an alternative chart hit in the U.S. and U.K. Three years later\, PVRIS returned with the pulsing sophomore effort All We Know of Heaven\, All We Need of Hell. At the turn of the decade\, the band’s sound had matured into an urgent\, melodic hybrid of beat-driven synth rock\, which could be heard on their third set\, Use Me. At this time\, Gunnulfsen revealed that she had been the main architect behind PVRIS all along\, handling songwriting\, production\, and instrumentation from the start. She returned in 2023 with the empowering fourth LP Evergreen. \nFormed in 2012 in Lowell\, Massachusetts\, the group’s earliest incarnation was as a local metalcore outfit before vocalist Gunnulfsen branched off to start PVRIS with the help of bassist Brian MacDonald\, drummer Brad Griffin\, and guitarist Alex Babinski. At this initial stage\, the project echoed contemporaries such as \, \, and \, a sound heard on the self-titled debut EP released in early 2013. Meanwhile\, Gunn and her bandmates built a devoted following as a live act with summer dates on the Vans Warped Tour and the Rise Up Tour with \, \, and . In late 2013\, Griffin parted ways with the group\, leaving a core trio led by Gunn. Teaming up with producer Blake Harnage ()\, they entered the studio to work on their first official album. \nIn June 2014\, PVRIS announced that they had signed with \, becoming the first female-fronted act on the famed metalcore label’s roster. Their debut LP\, White Noise\, arrived in November of that year. Peaking within the Top Ten on the U.S. Alternative chart\, the album was also a hit in the U.K. After a year of consistent touring\, PVRIS announced their first headlining trek\, which coincided with the re-release of White Noise\, featuring the previously unreleased single “You and I.” In 2017\, they joined  and  on the road\, just before the release of their sophomore set\, All We Know of Heaven\, All We Need of Hell. The album featured the singles “Heaven” and “What’s Wrong.” A remix by  of the album track “Same Soul” appeared in 2018 featuring singer . \nIn 2019\, Gunnulfsen returned with a new label () and a new sound heard on the single “Death of Me\,” a pulsing synth-washed dance tune co-written with ‘s Daniel Armbruster. Another electronic-influenced track\, the -assisted “Hallucinations\,” followed a month later. Both songs were included on the five-track Hallucinations\, a stopgap EP issued to sate fans before the next release cycle. While awaiting that album\, Gunnulfsen shared the singles “Dead Weight” and “Gimme a Minute\,” which pushed the project even further into electronic territory. After months of waiting and delays\, the cathartic Use Me finally arrived that August. Collaborating with JT Daly ()\, Gunnulfsen dove deep for the LP\, touching upon everything from relationship woes to her struggles with autoimmune disease. The week of the album’s release\, it was announced that Babinski had parted ways with the project. \nOver the next few years\, Gunnulfsen collaborated with the likes of \, \, \, \, \, \, \, \, and more. She also released the stand-alone PVRIS single “Monster.” In 2022\, she issued the tracks “Anywhere But Here” and “Animal\,” which were accompanied by a short film directed by friend and tourmate Jax Anderson. In addition to 2023’s rousing anthem “Goddess\,” they were the first tastes of the next PVRIS era\, which arrived that July in the form of Evergreen. Centered on themes of empowerment\, the album further refined the project’s melodic\, alt-rock hybrid sound\, as heard on songs such as the -assisted “Take My Nirvana.” ~ Neil Z. Yeung \n \n \nARKAI is a GRAMMY® award-winning electroacoustic duo that has captivated audiences around the world with their creative imagination and cutting-edge string music. \nGraduates of the famed Juilliard School\, ARKAI’s signature sound has led them to hundreds of shows around the world that include esteemed performances at GRAMMYs On The Hill and Carnegie Hall\, opening for GRAMMY and Oscar-winning musician \, and joint recording projects like  with piano sensation  and Decca Records. They recently opened and performed with Ann at the legendary Troubadour club in LA for back to back sold out shows. \nAs songwriters & performers\, their creative versatility has led to collaborations with GRAMMY-award winning music producers\, Hollywood trailer houses\, Cirque du Soleil acrobats and olympic gymnasts\, contemporary dance companies\, chart-topping musicians\, and full-scale symphony orchestras. \nARKAI’s sophomore album\, Brightside\, was released in 2025\, created in collaboration with producers Jonas W. Karlsson\, Donny Bravo\, and Charlie Heat. ARKAI is a voting member of the Recording Academy (GRAMMYs).
URL:https://clicksfromthepit.com/event/lindsey-stirling-at-arizona-financial-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85004\, United States
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DTSTART;TZID=America/Phoenix:20260729T183000
DTEND;TZID=America/Phoenix:20260729T233000
DTSTAMP:20260611T003025Z
CREATED:20260611T003025Z
LAST-MODIFIED:20260611T003025Z
UID:6472-1785349800-1785367800@clicksfromthepit.com
SUMMARY:Motionless in White at Talking Stick Resort Amphitheatre
DESCRIPTION:An 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 \nFit For A King harness the power of their brotherhood in order to perpetually push forward. The music contains traces of the members’ personal and collective experiences grafted onto an ever-evolving sonic palette of metalcore unpredictability\, alternative melody\, and deathcore brutality laced with electronic alchemy. As trends came and went in the background of the last decade\, the quintet— Ryan Kirby [vocals]\, Bobby Lynge [guitar]\, Daniel Gailey [guitar]\, Ryan “Tuck” O’Leary [bass]\, and Trey Celaya [drums]—have weathered trials and tribulations as well as enduring the chaos of a world constantly influx. However\, their bond stretches back to 2011 when Fit For A King unleashed their independent debut Descendants. They continually progressed with Creation/Destruction [2013]\, Slave to Nothing [2014]\, Deathgrip [2016]\, and The Path [2020]. Meanwhile\, 2022’s The Hell We Create marked their fifth Top 3 debut on the Billboard Top Christian Albums Chart and third straight Top 15 debut on the Top Album Sales Chart. Outburn applauded how\, “With The Hell We Create\, Fit For A King takes on a new depth\,” and KERRANG! assured\, “It hits hard in all the right places.” In 2025\, you can hear their strength and camaraderie loud and clear on their eighth full-length offering\, Lonely God [Solid State Records]. \n \n \nCall them heroes or hell-bringers\, it doesn’t matter to the men of Lorna Shore. On their fifth album—the declarative I Feel The Everblack Festering Within Me—the New Jersey quintet are putting all of metal’s subgenres on notice. Because after one listen\, you’ll wonder what motivates them and what took metal so long to evolve. \nThere are all kinds of levels within the 10 tracks on I Feel The Everblack Festering Within Me. Andrew O’Connor’s orchestral arrangements give the songs an epic\, cinematic feel that guides listeners into a mise-en-scene of their own creation. When the other members add parts\, the results are positively stentorian. De Micco can thrust into light-speed\, black-metal tropes and then downshift into the kind of phrasing one might hear from a ‘70s guitar hero. Ramos is clearly the heir apparent to the kind of vocal madness that Faith No More’s Mike Patton built his considerable reputation on. Add in the propulsive terror of Yager and Archey\, and there’s no reason for Lorna Shore’s collective feet to ever touch the ground. Hardly ordinary by anyone’s standards whether it’s deathcore or black metal\, there are things at work on Everblack that feel more like an extension of prog rock due to its extremity and big grandiose gestures. But by virtue of physical onslaught and wanting to divine truth from their music\, Lorna Shore have kept themselves fired up by torching up the metal rulebook at every turn\, practically demanding that other genres step up their game. \n \n \nStatic Dress is a British four-piece post-hardcore band from Leeds\, England. Formed in 2018\, the band currently consists of vocalist Olli Appleyard\, guitarist Vincent Weight\, bassist George Holding and drummer Sam Ogden. \nThe group signed to Roadrunner Records in May 2023\, swiftly announcing a Redux version of their debut album Rouge Carpet Disaster\, which includes 4 reimagined versions of album tracks. Until this point\, the band were independent and had released a smattering of singles\, an EP (Prologue) and an album (Rouge Carpet Disaster)\, as well as a demo version of the Prologue EP which was only available on CDs at Slam Dunk festival 2021.
URL:https://clicksfromthepit.com/event/motionless-in-white-at-talking-stick-resort-amphitheatre/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, 85035\, United States
ATTACH;FMTTYPE=image/jpeg:https://clicksfromthepit.com/wp-content/uploads/2026/06/Motionless-in-White-at-Talking-Stick-Resort-Amphitheatre.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20260801T190000
DTEND;TZID=America/Phoenix:20260801T233000
DTSTAMP:20260716T001720Z
CREATED:20260716T001720Z
LAST-MODIFIED:20260716T001720Z
UID:6543-1785610800-1785627000@clicksfromthepit.com
SUMMARY:AC/DC + The Pretty Reckless at Allegiant Stadium
DESCRIPTION:With a limitless supply of dirty riffs\, snarling vocals\, and timelessly catchy\, anthemic choruses\, AC/DC is one of the most important and most lasting forces in hard rock. Founded in the early ’70s by Scottish-born brothers  and \, the Aussie band exploded onto the international stage in 1979 with the release of their multi-platinum-selling sixth album\, Highway to Hell. The death of charismatic frontman  in 1980 threatened to derail the group\, but AC/DC powered through. They recruited  vocalist  and unleashed their most successful effort to date\, Back in Black\, which has become the second best-selling album in history. The band continued to help define the sound of hard rock and metal throughout the ’80s\, ’90s\, and beyond\, spawning countless imitators and enjoying steady\, consistent commercial success. They also became one of the best examples of arena rock\, playing to enormous crowds as the years went on\, and rocking as hard as ever on studio albums like 1990’s pop-glinted The Razor’s Edge and 2020’s Power Up\, both of which reached the upper tiers of multiple charts. \nAC/DC were formed in 1973 in Australia by guitarist  after his previous band\, the Velvet Underground\, collapsed (no relation to the seminal American group). With his younger brother Angus serving as lead guitarist\, the band played some gigs around Sydney. Angus was only 18 at the time\, and his sister suggested that he wear his school uniform on-stage; the look became the band’s visual trademark. While still in Sydney\, the original lineup featuring singer Dave Evans cut a single called “Can I Sit Next to You\,” with ex- Harry Vanda and George Young ( and Angus’ older brother) producing. \nThe band moved to Melbourne the following year\, where drummer  (formerly of ) and bassist Mark Evans joined the lineup. The band’s chauffeur\, \, became the lead vocalist when singer Dave Evans refused to go on-stage. Previously\,  had been vocalist for the Australian prog rock bands  and . More importantly\, he helped cement the group’s image as brutes — he had several convictions for minor criminal offenses and was rejected by the Australian Army for being “socially maladjusted.” AC/DC were socially maladjusted. Throughout their career they favored crude double entendres and violent imagery\, all spiked with a mischievous sense of fun. \nThe group released two albums — High Voltage and T.N.T. — in Australia in 1974 and 1975. Material from the two records comprised the 1976 release High Voltage in the U.S. and U.K.; the group also toured both countries. Dirty Deeds Done Dirt Cheap followed at the end of the year. In the fall of 1977\, AC/DC released Let There Be Rock\, which became their first album to chart in the U.S. Mark Evans left the band soon after\, with  taking his place. Powerage\, released in spring of 1978\, expanded their audience even further\, thanks in no small part to their dynamic live shows (which were captured on 1978’s live If You Want Blood You’ve Got It). What really broke the doors down for the band was the following year’s Highway to Hell\, which hit number 17 in the U.S. and number eight in the U.K.\, becoming the group’s first million-seller. \nAC/DC’s train was derailed when  died on February 19\, 1980. The official coroner’s report stated he had “drunk himself to death.” In March\, the band replaced  with . The following month\, they recorded Back in Black\, which would prove to be their biggest album\, selling over ten million copies in the U.S. alone. For the next few years\, they were one of the largest rock bands in the world\, with For Those About to Rock We Salute You topping the charts in the U.S. In 1983\,  left after the recording of Flick of the Switch; he was replaced by Simon Wright. \nWith Flick of the Switch\, AC/DC’s commercial standing began to slip\, and they weren’t able to reverse their slide until 1990’s The Razor’s Edge\, which spawned the hit “Thunderstruck.” While not the commercial powerhouse they were during the late ’70s and early ’80s\, the ’90s saw AC/DC maintain their status as a top international concert draw. In the fall of 1995\, their 16th album\, Ballbreaker\, was released. Produced by \, the album received some of the most positive reviews of AC/DC’s career; it also entered the American charts at number four and sold over a million copies in its first six months of release. Stiff Upper Lip followed in early 2000 with similar results. AC/DC signed a multi-album deal with  in 2001 that resulted in a slew of reissues and DVDs\, and they returned to the studio in 2008 for Black Ice\, an all-new collection of songs that topped charts in numerous countries (including Australia\, the U.S.\, and the U.K.) and was followed by the group’s first world tour since 2001. Two years later\, the band’s music was featured heavily in the action movie Iron Man 2\, and a compilation was released in conjunction with the film under the title Iron Man 2. \nAs AC/DC began work on a new album with producer  in 2014\, they announced that  was suffering from dementia and had left the band; his nephew  took his place at recording sessions and the accompanying 40th anniversary tour\, and subsequently joined the group full-time. Just prior to the December release of Rock or Bust\, drummer  was arrested under charges of attempting to procure a murder\, threatening to kill\, and possession of cannabis and methamphetamine. Although the arranged murder charges were dropped\, the others remained and the drummer’s future with the band was uncertain. Nevertheless\, AC/DC marched forward with the release of Rock or Bust and plans for a tour in 2015. In 2017\,  died in November at the age of 64. Following a two-year hiatus\, the band reunited with producer  for their 17th studio album\, Power Up\, which became their third consecutive number one album in Australia and their third chart-topper in the U.S. ~ Stephen Thomas Erlewine\, Rovi \n \n \nA swaggering outfit influenced by rock\, post-grunge\, and metal\, the Pretty Reckless is the main musical vehicle for lead singer and actress Taylor Momsen. Emerging in 2010 after Momsen‘s success as a star on the hit TV series Gossip Girl\, the band grabbed fans with their glammy\, trad-rock sound\, inspired by the likes of Led Zeppelin\, AC/DC\, Hole\, and the Runaways. Following some early chart success\, the group broke through with 2014’s Going to Hell\, hitting number five on the Billboard 200 and topping the mainstream rock charts with the song “Messed Up World (F’d Up World).” They have continued to build a loyal fan base\, touring alongside veteran acts like Soundgarden and scoring more mainstream rock hits like “Take Me Down” (from 2016’s Who You Selling For)\, as well as the title track off 2021’s Death by Rock and Roll. The latter was followed a year later by a companion release called Other Worlds. The holiday-themed Taylor Momsen’s Pretty Reckless Christmas arrived in 2025\, with the full-length Dear God appearing the following year. \nBorn in 1993 in St. Louis\, Missouri\, Momsen grew up acting and modeling from a young age and initially rose to fame while still in her teens starring on the popular CW TV drama Gossip Girl. While acting was a main focus\, she had been raised listening to her parent’s classic rock albums and long harbored a love of singing. She formed the Reckless in 2009\, later changing the band’s name to the Pretty Reckless to avoid trademark problems. With Momsen on vocals\, John Secolo on guitar\, Matt Chiarelli on bass\, and Nick Carbone on drums\, the group began finding a balance between classic hard rock and more contemporary post-grunge. 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. \nThe Pretty Reckless completely revised their lineup in 2010\, with Momsen retaining her frontwoman role as guitarist Ben Phillips\, bassist Mark Damon\, and drummer Jamie Perkins all replaced her previous bandmates. After spending several months in the studio\, the group released their 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. The Pretty Reckless toured steadily behind Light Me Up\, releasing the Hit Me Like a Man EP in March 2012. A year later\, the group’s second full-length album\, Going to Hell\, appeared. Going to Hell performed better than their first LP\, debuting at number five on Billboard’s Top 200\, partially on the strength of the mainstream rock hits “Heaven Knows\,” “Messed Up World\,” and “Follow Me Down.” The album also went to number eight in the U.K. \nTwo years later\, the Pretty Reckless returned with their third album\, the Kato Khandwala-produced Who You Selling For. Buoyed by the number one mainstream rock single “Take Me Down\,” the set reached number 13 on the Billboard 200 and spawned several more singles with “Oh My God” and “Back to the River.” The band toured for the album\, eventually joining Soundgarden as an opening act. They were with Soundgarden for the group’s last performance with singer Chris Cornell on May 17\, 2017\, at Detroit’s Fox Theatre the night before his death. \nBy November 2019\, Momsen and the Pretty Reckless were back in the studio\, working on tracks with Pearl Jam and Soundgarden drummer Matt Cameron. They eventually signed with Fearless Records and in February 2021 released their fourth full-length\, Death by Rock and Roll. The title-track single debuted on top of the Billboard Mainstream Rock Airplay chart and was followed by “And So It Went\,” which landed at number 12 and featured Rage Against the Machine‘s Tom Morello. The album itself hit number 28 on the Billboard 200 and was followed in October 2022 by Other Worlds\, a collection of covers\, remixes\, and alternate version of songs from Death by Rock and Roll. \nContinuing her close association with Soundgarden\, Momsen joined the surviving members of the band\, along with guests Brandi Carlile and Mike McCready\, for a live performance during their November 2025 induction ceremony into the Rock and Roll Hall of Fame. That same month\, she released the holiday-themed EP\, Taylor Momsen’s Pretty Reckless Christmas\, which featured a reworked version of the song “Where Are You Christmas?” (aka “Christmas\, Why Can’t I Find You?”) which she originally sang in her role as Cindy Lou Who in How the Grinch Stole Christmas. Dear God\, the band’s fifth studio long-player\, appeared the following year; it took an unflinching\, hard-rock-leaning collection of songs\, including the streaming hit “For I Am Death\,” that saw the Pretty Reckless pair their signature heavy sound with deeply personal songwriting.
URL:https://clicksfromthepit.com/event/ac-dc-the-pretty-reckless-at-allegiant-stadium/
LOCATION:Allegiant Stadium\, 3333 Al Davis Way\, Las Vegas\, NV\, 89118\, United States
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DTSTART;TZID=America/Phoenix:20260808T200000
DTEND;TZID=America/Phoenix:20260808T233000
DTSTAMP:20260708T000140Z
CREATED:20260708T000140Z
LAST-MODIFIED:20260708T000140Z
UID:6517-1786219200-1786231800@clicksfromthepit.com
SUMMARY:Poppy at The Van Buren
DESCRIPTION:Los Angeles-based performance artist-turned-pop star Poppy makes music that deftly balances art and commerce as she takes on multiple genres — from metal to pop and all points in between — while never losing her essential Poppy-ness in the process. She gained a substantial following on social media with her early videos\, the subjects of which grew ever more absurd and bizarre. When she began making music for Diplo‘s Mad Decent label\, Poppy’s commentary on social media and fame became even more meta; the self-referential electro-pop of 2017’s Poppy.Computer and the forays into nu-metal and dance-pop on the following year’s Am I a Girl? further blurred the project’s boundaries. In 2020\, she boldly re-branded with the critically acclaimed\, Grammy-nominated I Disagree\, which fully adopted the pop-metal direction she had been teasing. Following 2021’s EAT EP\, she released the live-to-tape Flux\, which focused her riff-heavy execution even further. More genre explorations include 2023’s industrial-leaning Zig and 2024’s Negative Spaces\, which dips into synth pop and punk. Following an all-star collaboration with Amy Lee and Courtney LaPlante on 2025’s “End of You\,” she released her sixth LP Empty Hands in 2026. \nPoppy emerged on YouTube in 2014 with a video of her eating cotton candy in silence. Viewers were baffled\, yet it was just the start of Poppy’s brand of smart millennial theater. Wide-eyed\, platinum blonde\, and decked out in precious throwback outfits\, Poppy’s calculated wholesome persona\, budding style icon status\, and tongue-in-cheek clips — wherein she filmed herself reading the Bible for nearly an hour\, repeating her name for ten minutes\, or inflating a plastic rabbit — combined the satirical\, the subversive\, and the just plain weird. In early 2015\, she began releasing music\, starting with a Lana Del Rey-ified version of Mac DeMarco‘s “My Kind of Woman.” Her first official single\, “Everybody Wants to Be Poppy\,” arrived months later. Signing with Island Records\, she released the follow-up single “Lowlife” (and a remix featuring Travis Mills)\, a reggae-tinged jam that would serve as the first track on her debut EP\, Bubblebath. Released in February 2016\, the four-song set of catchy dance-pop showcased her musical range and sensibility\, attracting comparisons to Grimes\, Icona Pop\, Melanie Martinez\, and Charli XCX. That October\, she issued the experimental ambient album 3:36 (Music to Sleep To)\, a collaboration with polysomnographists from the Washington University School of Medicine that was designed to promote healthy sleep and dreaming. A year later\, Poppy’s official debut album\, Poppy.Computer (Mad Decent)\, arrived and peaked within the Top 40 on both the Heatseekers and Independent Albums charts. On 2018’s Am I a Girl?\, Poppy worked with Diplo\, Grimes\, and Lady Gaga collaborator Garibay on a set of songs that incorporated mainstream pop and nu-metal sounds and explored fame\, fashion\, and identity. While promoting the effort\, she began incorporating increasingly heavy elements into her music\, inspired by Nine Inch Nails\, Marilyn Manson\, and Rob Zombie. In a similar vein as Am I a Girl? selections such as “Play Destroy” and “X\,” Poppy’s 2019 single “Concrete” featured speedy metal riffs and pounding drums\, adopting a sugar-sweet attack similar to Babymetal‘s. This new direction was fully realized on her third studio set I Disagree\, which arrived in early 2020. Her first release on Sumerian Records\, the album was also her first to chart on the Billboard 200. The brash\, pop-metal style of I Disagree was a hit with critics and fans alike\, resulting in an expanded deluxe edition\, I Disagree (more). She continued an especially prolific period with Music to Scream To — the soundtrack to her graphic novel Poppy’s Inferno — and a holiday EP\, A Very Poppy Christmas. To cap off her banner year\, the I Disagree album cut “Bloodmoney” received a Grammy nomination for Best Metal Performance\, making Poppy the first female artist ever to be nominated in that category. The next year at the actual Grammy Awards ceremony\, she performed a new track — the scream-packed “Eat” — which landed on EAT (NXT Soundtrack). Arriving a month after the release of her cover of Jack Off Jill‘s “Fear of Dying\,” the aggressive EP also featured the track “Say Cheese.” \nAt the tail-end of 2021\, Poppy released her fourth album Flux. At a compact nine songs\, it was her most focused offering to date\, blending numerous hard rock styles on a straightforward and cohesive attack produced by Justin Meldal-Johnsen (NIN\, Deafheaven). Led by the defiant and unrelenting single “FYB\,” 2022’s Republic/Lava-issued Stagger EP paired thrashy\, punk-metal riffs with melancholic alt-pop. Poppy started 2023 with the industrial metal-leaning “Church Outfit\,” followed by a searing rendition of Canadian nu-metallers Kittie‘s 1999 track “Spit.” She also teamed with Stu Brooks and Danny Elfman for “They’ll Just Love You.” Capping a busy year\, she joined PVRIS for a joint tour before the release of her fifth full-length\, Zig (Sumerian)\, which featured additional singles such as the industrial-pop “Motorbike” and the vulnerable “Hard.” \nPoppy began 2024 with a collaboration with alt-rock group Bad Omens on the song “V.A.N.” (“Violence Against Nature”)\, toured both as a headliner and opening act\, then ended the year with her fifth album Negative Spaces. On it\, she expands her already wide-ranging approach to include ’80s-inspired synth pop and pop-punk while welcoming collaborations with Knocked Loose and Bring Me the Horizon‘s Jordan Fish. In the midst of her epic They’re All Around Us tour\, she teamed with Evanescence‘s Amy Lee and Spiritbox‘s Courtney LaPlante on “End of You\,” which hit the Top 20 of the Hot Rock and Alternative Songs chart upon release in September 2025. She then returned to the studio with Fish for “Unravel” and “Bruised Sky” from her sixth album Empty Hands\, which arrived in January 2026. The metal-laden assault featured additional single “Guardian.” \n \n \nMixing elements of metalcore\, pop-punk\, and even some light hip-hop\, LANDMVRKS have built a solid following as one of Europe’s heavy bands\, coming into their own with the energetic Lost in the Waves in 2021. A favorite on the live circuit\, they’ve also amassed a considerable following in Germany\, where Waves and The Darkest Place I’ve Ever Been hit the upper reaches of the local album charts. \nHailing from Marseille\, France\, the band was the brainchild of Hate in Front singer Florent Salfati and drummer Nicolas Soriano. Initially working under the name Coldsight in 2014\, Salfati intended to play only the guitar\, but couldn’t find a vocalist that matched his vision. The rest of the band gelled with the addition of bassist Rudy Purkart and guitarists Thomas Lebreton (rhythm) and Nicolas Exposito (lead); the group soon changed their name to Landmarks\, but amended the spelling within the year. \nAmid a series of singles and well-received performances\, including sets at England’s Deadbolt Festival and France’s Hellfest\, LANDMVRKS released their debut album Hollow in 2016. The follow-up Fantasy arrived two years later\, with new rhythm guitarist Paul Cordebard replacing Lebreton. Soriano was next to leave in 2019\, with Kévin D’Agostino taking his place on the drum kit. During this period\, the group toured even higher-profile dates\, supporting Australian metalcore act Polaris on a trek through Japan and sharing bills with similar ensembles like While She Sleeps\, Any Given Day\, and Stray from the Path. \nAfter waiting out the worst of the COVID-19 pandemic\, LANDMVRKS reconvened for their third album\, Lost in the Waves. It proved to be their most accessible release without sacrificing what made them unique\, and reached the Top 20 in Germany (where their label\, Arising Empire\, is headquartered). The de facto title track “Lost in a Wave” attracted new fans\, and a 2022 reissue added a live set plus well-received new tracks including “Suffocate\,” featuring vocals from Bertrand Poncet of Chunk! No\, Captain Chunk!\, and “Death\,” with a guest appearance by Drew York of Stray from the Path. The success of Lost in the Waves primed the pump for its follow-up\, The Darkest Place I’ve Ever Been\, which outpaced its predecessor\, peaking at number six on the German charts. \n \n \nBuried In Jade stands as a career-defining moment for Thousand Below\, distilling nearly a decade of sonic exploration into a cohesive yet diverse body of work. The album spans multiple sonic spectrums from crushing metalcore anthems and hook-heavy modern pop elements to atmospheric rock\, heartfelt ballads\, and the band’s signature post-hardcore roots. It’s a bold step forward—both sonically and thematically—for a band unafraid to grow beyond genre lines. \nProduced by Austin Coupe (The Devil Wears Prada\, Citizen\, nothing\, nowhere) — as well as Josh Gilbert on select tracks (“Palace Of Dread” “The Quiet And Cold”) and mixed by Joseph McQueen\, Buried In Jade captures the essence of Thousand Below’s past while boldly forging their future.
URL:https://clicksfromthepit.com/event/poppy-at-the-van-buren/
LOCATION:The Van Buren\, 401 W Van Buren St\, Phoenix\, AZ\, 85003
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