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DTSTART;TZID=America/Phoenix:20240917T200000
DTEND;TZID=America/Phoenix:20240917T233000
DTSTAMP:20260521T020649
CREATED:20240913T184502Z
LAST-MODIFIED:20240913T184502Z
UID:4705-1726603200-1726615800@clicksfromthepit.com
SUMMARY:Stephen Sanchez + The Brook & The Bluff at Arizona Financial Theatre
DESCRIPTION:“Now\, listen here folks…our story begins 59 long years ago at a club called “The Angel”…and that club was owned by a no good\, rotten Mob Boss by the name of “Hunter”. And it was there that a young buck Troubadour would meet Hunter’s angel-faced gal…Evangeline. Drawn by forbidden love\, the pair would spark up a secret romance that would land the two souls in…well…hot water. But\, before the hot water folks\, Angel Face is out now for your listening pleasure.” \nThe Troubadour Sanchez will return… \n \n \nIn recent years\, The Brook & The Bluff’s incandescent harmonies\, winning arrangements\, and observational acumen have placed them firmly at the center of the indie-folk revival. They are now\, by far\, one of the most successful young bands at folk-rock’s amorphous contemporary edge\, fusing the craft of the past with the ideas and avenues of the present. Renowned for their electrifying live performances\, the band has made a name for themselves on the live circuit\, playing electric sets at Bonnaroo\, Hangout\, Firefly\, and Wonderfront. Having previously toured with Mt. Joy\, Noah Kahan\, and Rainbow Kitten Surprise\, among others\, they followed this up with a 2023 headline tour that saw sold-out shows in major markets across the country. \n  \nLast year\, the group released their latest full-length record\, Bluebeard. The album is a career defining record for the band and the early fan response suggests it will be a breakthrough moment for them. Singles “Long Limbs\,” “Tangerine\,” “Headfirst\,”& “Hiding\,” all tracks that show the depth of this album\, a mix of indie folk\, fused with touches of funk and deep grooves. 
URL:https://clicksfromthepit.com/event/stephen-sanchez-the-brook-the-bluff-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:20240915T190000
DTEND;TZID=America/Phoenix:20240915T233000
DTSTAMP:20260521T020649
CREATED:20240907T184245Z
LAST-MODIFIED:20240907T184245Z
UID:4593-1726426800-1726443000@clicksfromthepit.com
SUMMARY:Slipknot + Knocked Loose at Talking Stick Resort Amphitheatre
DESCRIPTION:Released on June 29th\, 1999\, Slipknot’s self-titled debut was a smash\, becoming a hit with critics and an instant classic with fans. It was\, and is\, a molotov cocktail signaling a revolution– embracing a creative direction that eschewed metal traditions in favor of fresh ideas. While the jaw-clenching riffs coupled with Ross Robinson’s venomous production were crucial to the album’s success\, it was the care and attention to detail in the songcraft that moved the needle from “great” to “benchmark.” Not too shabby for a bunch of guys that only hoped to be heard. “We loved what we did with the first record but we didn’t even know if there was gonna be anything after that\,” recalls guitarist Jim Root. “We just wanted people to hear it. Selling out of records and shows\, having successful tours– those are goals for any band. But the dream scenario in some ways\, came true for us.” \nThe infection spreads deeper and wider into 2024 and 2025\, but Slipknot are not giving details as to what to expect. But it wouldn’t be Slipknot if they didn’t exceed fan expectations. “We have five OG members and lots of family in Slipknot\,” recalls Clown. “We want to acknowledge what we are\, where we came from and what we accomplished. We’re just Slipknot. We’re here to be. And we’re still walking uphill– it hasn’t leveled off. But you can definitely believe we’re already thinking about what’s next and next after that.” \n \n \nAs Knocked Loose chipped away at what would become their 3rd album\, they felt the pressure from all sides. Internally\, there was the need to challenge themselves as songwriters while retaining the merciless intensity and unflinching honesty that have always been their calling cards. Externally\, there was a whole new set of eyes on the Louisville quintet\, following a banner year in which they’d brought their underground-seasoned sound to some of the world’s biggest stages such as Coachella and Bonnaroo. \nThe creative process was arduous\, writing close to 40 songs across a span of 4 years before locking in the 10 tracks that make up new LP You Won’t Go Before You’re Supposed To. In the end\, vocalist Bryan Garris\, guitarists Isaac Hale & Nicko Calderon\, bassist Kevin Otten & drummer Kevin “Pac Sun” Kaine honed a diverse\, cohesive and savagely intense album that both sums up the massive strides they’ve taken during their decade as a band\, & asserts their boundless potential going forward. \nThere’s no ceiling for hardcore in 2024 — even an outfit as uncompromising as Knocked Loose can turn up in mainstream-adjacent spaces and win over new fans. But there’s a center to what they do that will never change: uncompromising heaviness\, sonically & thematically. Everywhere Knocked Loose have been is here on this record — but so is everywhere they may yet go.
URL:https://clicksfromthepit.com/event/slipknot-knocked-loose-at-talking-stick-resort-amphitheatre/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, 85035\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20240914T180000
DTEND;TZID=America/Phoenix:20240914T233000
DTSTAMP:20260521T020649
CREATED:20240908T160842Z
LAST-MODIFIED:20240908T160842Z
UID:4597-1726336800-1726356600@clicksfromthepit.com
SUMMARY:Bush + Jerry Cantrell at Talking Stick Resort Amphitheatre
DESCRIPTION:After three decades\, well over 20 million records sold\, a GRAMMY® Award nomination\, 1 billion streams\, and a procession of #1 hits\, BUSH stand tall as rock outliers whose imprint only widens as the years pass. Turn on rock radio\, and it won’t be long before you hear “Glycerine” or “Machinehead.” On the big screen\, their music courses through blockbuster franchises such as John Wick. On the road\, they regularly pack amphitheaters and ignite festival stages. In 1994\, the group delivered their seminal debut\, Sixteen Stone. It notably achieved a six-times platinum certification\, remaining a pillar of modern rock. The triple-platinum follow-up\, Razorblade Suitcase\, bowed at #1 on the Billboard Top 200 and boasted “Swallowed\,” which garnered a GRAMMY® nomination in the category of “Best Hard Rock Performance.” Their catalog spans the platinum The Science of Things [1999] through Black and White Rainbows [2017]. Most recently\, 2020’s The Kingdom arrived to acclaim highlighted by “Flowers On A Grave” and “Bullet Holes.” Thus far\, they have notched 25 straight Top 40 hits on the Modern Rock and Mainstream Rock charts\, earning seven #1 entries – most recently\, 2022’s “More Than Machines”. As indefatigable as ever\, they’re still here too\, which brings us to their ninth full-length offering\, The Art of Survival. The twelve new tracks aren’t just the sound of a band surviving though; they’re the sound of a band bucking trends\, breaking ground\, and besting even their most celebrated canon. \n \n \nHis vocals\, melodies\, and riffs are as instantly recognizable as they are powerful\, nuanced\, and eclectic. Both a disciple of the hard rock tradition and a massive influence on subsequent generations of artists\, Jerry Cantrell straddles the line between earnest salt-of-the-earth songwriter and beloved living legend. \nHis fourth solo album I Want Blood arrives with all the aggression and heavy\, inexhaustible stomp its title suggests. The follow-up to the best-reviewed solo album of Cantrell’s career (2021’s Brighten) further expands his musical palette without sacrificing any of his inescapably infectious melodic hooks. “Vilified\,” which opens the album\, is an anthem\, a mission statement\, kicking off I Want Blood with attitude. \nCantrell’s mountain of work as a solo artist and chief songwriter\, guitarist\, and co-vocalist in Alice In Chains stands tall in influence and respect. He’s collaborated with Metallica\, Ozzy Osbourne\, Danzig\, and Deftones (among others). He’s contributed to music heard in films by Academy Award-winner Cameron Crowe and Judd Apatow and entries in the John Wick and Spider-Man franchises. Rolling Stone named the multi-platinum Tacoma\, Washington native one of the greatest guitar players of all time. His catalog mines the best of metal\, rock\, blues\, and Americana. \n \n \nSeattle’s Candlebox emerged just as the early-’90s grunge scene was winding down. The band’s take on the genre diluted the punk and indie elements inherent in its original form and was more rooted in the bluesy\, classic-style hard rock that grunge had ostensibly replaced. They found mainstream success in 1993 with the release of their eponymous debut album\, which was certified quadruple platinum and included the hit singles “You” and “Far Behind.” The band issued two more records before ceasing operations in 2000 but re-formed six years later. Since then\, Candlebox has remained both active and prolific\, releasing well-received efforts like Into the Sun (2008)\, Disappearing in Airports (2016)\, and Wolves (2021) that show how the more challenging aspects of grunge can be ironed out and polished into a sound that mainstream rock radio can embrace without reservation. The group said farewell with their 2023 album The Long Goodbye. \nCandlebox were formed in Seattle in 1990 by singer/guitarist Kevin Martin\, a native of Elgin\, Illinois who’d grown up partly in San Antonio\, and drummer Scott Mercado. Initially calling the band Uncle Duke\, they added lead guitarist Peter Klett and bassist Bardi Martin (no relation to Kevin) and changed the group’s name to Candlebox\, after a line in a Midnight Oil song. Their demo tape found its way to Madonna‘s Maverick label\, which quickly resulted in a record deal in 1992. Candlebox’s self-titled debut was released in 1993\, and while the first single\, “Change\,” began to build them a following\, it wasn’t until 1994\, when the follow-up\, “You\,” appeared\, that Candlebox really started to take off. “You” gave them a breakthrough hit on mainstream rock radio\, which set the stage for the success of “Far Behind\,” essentially a power ballad for the grunge era. “Far Behind” was a major hit on both mainstream and alternative radio\, and made the pop Top 20; its exposure helped Candlebox climb into the Top Ten on the LP chart and eventually sell over three-million copies. \nBy the time Candlebox returned with their second album\, 1995’s Lucy\, the backlash was already in full swing. Partly because of the group’s previous momentum\, the lead single\, “Simple Lessons\,” earned some rock radio airplay\, and the album itself went gold and barely missed the Top Ten. However\, it was largely ignored or dismissed by much of the mainstream media\, and was ultimately hurt by a relative lack of memorable songs. In 1997\, founding member Mercado left the band and was replaced by original Pearl Jam drummer Dave Krusen. Candlebox’s third album\, Happy Pills\, appeared in 1998 and marked a return to the more basic sound of their debut. “It’s Alright\,” “10\,000 Horses\,” and the title cut all landed some airplay\, but the album sold poorly; by this time\, countless bands were working in a similar style\, and Candlebox’s early momentum had long since dissipated. Krusen departed in 1999\, as did Bardi Martin; they were replaced by Shannon Larkin (ex-Ugly Kid Joe) and Rob Redick\, respectively\, but the group disbanded the following year. The original lineup of Martin\, Klett\, and Mercado re-formed for a handful of shows in 2006 to support the release of Rhino’s Best of Candlebox compilation. The overall positive reunion stirred rumors of a new studio album\, culminating in 2008’s Into the Sun. In 2012\, the band inked a deal with AudiNext/Fontana\, which released their fifth studio album\, Love Stories and Other Musings. In 2015\, Peter Klett and Scott Mercado announced they were leaving Candlebox to devote more time to their other project\, Lotus Crush. A few months later\, Kevin Martin and Dave Krusen unveiled a new edition of the band\, featuring new guitarists Mike Leslie and Brian Quinn\, and bassist Adam Kury. Disappearing in Airports\, the band’s first outing for Pavement Music\, was released the following year. In 2018 the original lineup reconvened for a pair of shows celebrating the 25th anniversary of their debut album\, and in 2021 the band unveiled their seventh full-length effort\, Wolves. \nAfter releasing the single “This Time Tomorrow” in 2022\, Candlebox issued Live at the Neptune Theatre early in 2023\, setting the stage for their final album\, the aptly titled The Long Goodbye. ~ Steve Huey & James Christopher Monger\, Rovi
URL:https://clicksfromthepit.com/event/bush-jerry-cantrell-at-talking-stick-resort-amphitheatre/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, 85035\, United States
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DTSTART;TZID=America/Phoenix:20240910T183000
DTEND;TZID=America/Phoenix:20240910T233000
DTSTAMP:20260521T020649
CREATED:20240827T023637Z
LAST-MODIFIED:20240827T023637Z
UID:4570-1725993000-1726011000@clicksfromthepit.com
SUMMARY:Five Finger Death Punch + Marilyn Manson at Talking Stick Resort Amphitheatre
DESCRIPTION:FIVE FINGER DEATH PUNCH have amassed over 7.6 billion streams and 3 billion video views to date and have sold over 1 million tickets between 2018 and 2020 alone. Signed to Better Noise Music\, they’ve garnered 25 top 10 hit singles and 15 #1 singles and are one of the top global streaming acts in the hard rock space. Five Finger Death Punch has the longest run of leading consecutive entries in the history of Mainstream Rock Airplay\, which began in 1981. Having become one of the most recognizable names in music\, FIVE FINGER DEATH PUNCH frequently play all major festivals and sell out arenas around the world. Since their debut album\, The Way of the Fist came out in 2007 the band has released seven consecutive albums that were certified Gold or Platinum by the RIAA\, as well as two chart topping Greatest Hits albums. In addition\, FIVE FINGER DEATH PUNCH has earned numerous national and international awards and honors over the last decade\, such as the prestigious Soldier Appreciation Award by the Association Of The United States Army\, an honor bestowed upon only one other recording artist before them: Elvis Presley. ‘AFTERLIFE’ 2022 – “AfterLife”\, the first single off the album\, peaked number one on the Mainstream Rock chart\, along with “Times Like These” and “Welcome to the Circus”. \n \n \nControversial rock frontman Marilyn Manson became a mainstream antihero in the 1990s — much to the chagrin of conservative politicians\, religious leaders\, and concerned parents — ruffling feathers and shocking the masses with his dark brand of glam-influenced industrial metal\, outspoken social commentary\, and incendiary live shows. The self-proclaimed “Antichrist Superstar\,” he peddled a disquieting vision of society that focused on sex\, drugs\, violence\, politics\, and organized religion\, which pushed many of his singles — including “The Dope Show\,” “The Beautiful People\,” and a cover of Eurythmics‘ “Sweet Dreams (Are Made of This)” — into the upper reaches of the modern rock charts during the late ’90s and early 2000s. During his band’s commercial peak\, the conceptual triptych of Antichrist Superstar\, Mechanical Animals\, and Holy Wood won him a legion of die-hard fans while also attracting media attention and cultural notoriety. Following 2003’s The Golden Age of Grotesque\, Manson entered his next era with a trio of releases that marked a downturn in mainstream popularity and sales. However\, at the turn of the following decade\, he staged a surprising late-era comeback with a string of critically acclaimed albums: The Pale Emperor (2015)\, Heaven Upside Down (2017)\, and We Are Chaos (2020). \nBorn Brian Warner\, Manson was raised in Canton\, Ohio. At the age of 18\, he relocated to Tampa Bay\, Florida\, where he worked as a music journalist. In 1989\, he became friends with guitarist and fellow outsider Scott Mitchell; the two soon decided to form a band\, with Mitchell rechristening himself Daisy Berkowitz and Warner adopting the name Marilyn Manson. With the addition of bassist Gidget Gein and keyboardist Madonna Wayne Gacy\, the group — originally dubbed Marilyn Manson & the Spooky Kids — began self-releasing cassettes and playing gigs\, their gothic stage shows notable for Manson’s elaborate makeup and homemade special effects. Jettisoning their drum machine in favor of Sara Lee Lucas\, the band’s sound began taking on a harder edge\, and by 1992 they were among the most popular and notorious acts in the South Florida underground. \nIn 1993\, Nine Inch Nails‘ Trent Reznor came calling\, offering both a contract with his Nothing Records label as well as the chance to open for NIN the following spring; Manson accepted both offers\, and the group’s debut LP\, Portrait of an American Family\, appeared during the summer of 1994. With new bassist Twiggy Ramirez replacing Gein\, the group’s notoriety soared. Most infamously\, during an appearance in Salt Lake City\, Manson ripped apart a copy of the Book of Mormon while on-stage. The Church of Satan’s founder\, Anton LaVey\, also bestowed upon him the title of “Reverend\,” further stoking conservatives’ fears. Manson’s cult following continued to swell\, and the band broke into the mainstream with the release of 1995’s Smells Like Children EP\, propelled by their enduring hit cover of Eurythmics‘ “Sweet Dreams (Are Made of This).” Berkowitz quit a short time later and was replaced by guitarist Zim Zum\, and the revised group saw their next LP\, 1996’s conceptual opus Antichrist Superstar\, debut at the number three spot on the pop album charts and sell nearly two million copies in the U.S. alone. Produced by Trent Reznor\, the multi-platinum Antichrist Superstar became the band’s most influential and defining statement. As Manson’s popularity grew\, so did the furor surrounding him. His concerts were regularly picketed by civic groups\, and his music was the subject of widespread attacks from right-wing and religious fronts. \nManson continued to court controversy in 1998 with the glam-inspired Mechanical Animals\, which included cover art depicting the singer as a naked androgynous alien. The album became the band’s first to top the charts and spawned the singles “The Dope Show” and “I Don’t Like the Drugs (But the Drugs Like Me).” While the resulting tour yielded a live album\, Last Tour on Earth\, the trek was cut short in early 1999 after the band was erroneously blamed for influencing the perpetrators of the Columbine High School massacre. Out of respect for the public\, the band retreated from the spotlight and returned to the studio. \nThe third and final part of a thematic album triptych\, Holy Wood (In the Shadow of the Valley of Death) arrived at the end of 2000\, just barely missing the Top Ten. One of Manson’s most sprawling conceptual pieces\, the politically charged Holy Wood included the singles “Disposable Teens” and “The Fight Song.” The band returned to the road and toured to support the album during much of 2001. That December\, Manson’s version of “Tainted Love” appeared on the Not Another Teen Movie soundtrack\, becoming an unexpected European chart hit. \nFreed from the mythology of his prior trio of albums\, Manson found inspiration for his fifth effort in the sounds of burlesque\, cabaret\, and the excess of Weimar-era Germany. Longtime bassist Twiggy Ramirez amicably left the group before recording and his spot was filled by Tim Skold (ex-KMFDM). The result was 2003’s The Golden Age of Grotesque\, which spent a week atop the album charts and ended up on several critics’ year-end Top Ten lists. The singles “This Is the New Shit” and “Mobscene” also became live staples for years to come\, debuted on the accompanying Grotesk Burlesk tour. As the Grotesque period drew to a close\, so too did the stints of longtime members Madonna Wayne Gacy and John 5\, who left the group between album releases. The following year\, another symbolic end to the era arrived in the form of a greatest-hits affair titled Lest We Forget. The collection covered the band’s career highlights — from Portrait’s first single “Get Your Gunn” to a 2004 cover version of Depeche Mode‘s “Personal Jesus” — and earned gold status in multiple countries. At this point\, Manson began to branch out from music\, displaying his watercolor paintings at art exhibitions\, dabbling in filmmaking\, and producing his own absinthe. \nWith the curtains closed on his peak mainstream period\, Manson’s output also took an inward turn\, thematically shifting from the grandiose concepts of his peak mainstream period to more personal statements. This next stage began with 2007’s Eat Me\, Drink Me. Debuting a darker emotional perspective and an increase in singing\, the record was written\, performed\, and produced entirely by Manson and Skold. Landing in the Billboard 200’s Top Ten\, the set included the singles “Heart-Shaped Glasses” and “Putting Holes in Happiness.” Skold parted with Manson shortly thereafter and was replaced by returning member and right-hand man Twiggy Ramirez. Manson and Ramirez then began writing material for the band’s seventh studio album\, The High End of Low\, which arrived in spring 2009 and reached number four on the charts. In 2011\, during preparation for the release of the band’s eighth studio album\, longtime drummer Ginger Fish announced he had left the group. On his own\, Manson forged ahead\, premiering Born Villain\, a short film directed by Shia La Beouf that served as support for his forthcoming album of the same name. One of his lowest-performing albums to date\, Born Villain featured the track “No Reflection\,” which managed to become his highest-charting single in almost a decade. \nDespite the creative musical slump\, Manson remained busy with other exploits\, furthering his acting career with film and television roles\, including a fortuitous appearance on the show Californication\, where he met score composer Tyler Bates (Guardians of the Galaxy\, John Wick\, 300). The pair hit it off and began recording what would become Manson’s big comeback. His ninth album overall\, The Pale Emperor was released in January 2015 on Loma Vista in the U.S. and Cooking Vinyl internationally. Favored by critics as one of the band’s best late-era efforts\, the blues rock-inspired album peaked in the Top Ten of the Billboard 200 and topped the Hard Rock chart. Capitalizing on the creative momentum\, Manson and Bates extended their partnership in 2017 with another collaboration. Originally titled Say10\, Heaven Upside Down — Manson’s tenth album — featured the singles “We Know Where You F*cking Live” and “Kill4Me.” The set placed Manson back on the pop Top Ten and was supported by extensive touring\, including a summer jaunt that reunited Manson with fellow shock-rock veteran Rob Zombie. At the start of their joint tour\, Manson issued a cover of the song “Cry Little Sister” and a duet with Zombie covering the Beatles‘ “Helter Skelter.” More cover singles arrived in 2019\, namely “God’s Gonna Cut You Down” and “The End” by the Doors. \nThe 2020s were ushered in by Manson’s 11th full-length\, We Are Chaos\, which was produced by outlaw country musician Shooter Jennings. Released that September\, the set yielded the singles “Don’t Chase the Dead” and the title track. Months later\, in January 2021\, multiple allegations of abuse against Manson were made public. Subsequently\, he was dropped by Loma Vista\, his talent agency\, and his manager of 25 years. He was also removed from scheduled appearances on television shows American Gods and Creepshow. ~ Neil Z. Yeung\, Rovi \n \n \nFor all enquires: ilya@full-time.ninja 
 Kostolom is the epic second LP from the duo Alex Terrible and Jack Simmons’ band Slaughter to Prevail. The album expands on the dynamic extremes of their 2017 debut\, Misery Sermon — pairing Alex’s dark\, cathartic lyrics with Simmons’ pummeling riffs and tense\, cinematic solos. “We wanted to make each song for us stand out in a different way\,” the guitarist says. “On some of the songs\, we focused on wanting to keep it uptempo\, building to a breakdown as the focal point. Other songs it was about groove or the chorus — ‘how can we make this melodic?’ The albums we love the most have those dynamics\, and we want to use them to make each part hit harder.” 
 The songs evolved over several years\, the first demos constructed shortly before the release of Misery Sermon. And they finally finished the material in late 2020\, with everyone (Alex\, Simmons\, bassist Mikhail Petrov\, guitarist Dmitry Mamedov) having tracked their respective parts at home. (Evgeny Novikov recorded his drums at a nearby studio in Moscow.) 
 Alex’s words — largely sung in Russian\, with occasional bursts of English — are also more balanced than the bleak song titles may suggest. “The lyrics\,” Simmons says\, “are quite personal to anyone who listens\, I think — of personal struggle\, keeping a positive mental attitude and going through the shit to have a better life and achieve your goals.”
URL:https://clicksfromthepit.com/event/five-finger-death-punch-marilyn-manson-at-talking-stick-resort-amphitheatre/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, 85035\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20240904T190000
DTEND;TZID=America/Phoenix:20240904T233000
DTSTAMP:20260521T020649
CREATED:20240827T020920Z
LAST-MODIFIED:20240827T020920Z
UID:4565-1725476400-1725492600@clicksfromthepit.com
SUMMARY:Creed + 3 Doors Down at Talking Stick Resort Amphitheatre
DESCRIPTION:During the late ’90s\, Creed emerged from a sea of post-grunge contenders to become one of the decade’s biggest-selling rock bands. At a time when many other Seattle disciples were lapsing into inactivity or experimenting with less commercial sounds\, Creed carried the torch of straightforward\, grungy hard rock without apology — and they were amply rewarded\, selling millions upon millions of albums in just a few years’ time. That success didn’t translate into critical acclaim\, however. Many reviewers slammed the band’s music as derivative\, and frontman Scott Stapp was a frequent\, easy target for publications like Rolling Stone. Based on their frequently spiritual lyrics\, some observers deemed Creed part of a new breed of alternative-styled Christian bands\, an affiliation that Creed actively tried to downplay. Neither critical jabs nor a potential secular backlash could derail the band\, though\, and they went into the new millennium as a seemingly unstoppable commercial juggernaut. Ultimately\, it was Stapp‘s personal issues that brought an end to Creed’s heyday in 2004. The remaining members partnered with vocalist Myles Kennedy to form Alter Bridge\, while Stapp briefly pursued a solo career before reconvening with Creed at the turn of the decade for 2009’s Full Circle. Disbanding again in 2013\, they reunited in 2023\, riding a wave of attention from sports fans and social media. \nCreed took root in 1994 in Tallahassee\, Florida. Founding members Scott Stapp and guitarist Mark Tremonti had been classmates in high school and both attended Florida State University\, where Stapp studied law before dropping out to pursue music (a decision that led to conflict with his anti-rock & roll parents\, as his father was a Pentecostal minister). Stapp and Tremonti began writing songs together\, many of which obliquely addressed themes of Christian spirituality\, and added a rhythm section consisting of bassist Brian Marshall and drummer Scott Phillips. As an alternative to the band’s original moniker (Naked Toddler)\, Marshall suggested the name Creed\, having previously played in another band dubbed Mattox Creed. \nNow boasting a new name and a muscled\, modern rock sound\, Creed went on to form their own label\, Blue Collar\, before entering the studio in 1997 with producer John Kurzweg. Recorded on a shoestring budget of $6\,000 and initially self-released in a limited run\, their debut album\, My Own Prison\, was soon picked up by Wind-Up Records — a fledgling imprint with distribution through Sony — and treated to a beefy remix that gave it a heavier\, radio-friendly punch. The trick worked\, as My Own Prison subsequently spun off no less than four number one singles — “My Own Prison\,” “Torn\,” “What’s This Life For\,” and “One” — on Billboard’s mainstream rock radio charts\, making Creed the first band to accomplish the feat with its debut album. My Own Prison proved to be extremely popular\, moving over five million copies over several years’ time despite little MTV exposure or media coverage. \nAlthough Creed saw a good deal of competition from their post-grunge contemporaries\, the band’s sophomore album demonstrated their staying power. Released in the fall of 1999 (when tracks from My Own Prison were still peppering the Billboard charts and radio playlists)\, Human Clay turned out to be a blockbuster\, entering the charts at number one and selling a whopping ten million copies over the next two years. The album’s leadoff single\, “Higher\,” spent a record-breaking 17 weeks at number one on rock radio\, and the follow-up singles “What If” and “With Arms Wide Open” topped the chart as well. This gave the band seven consecutive chart-topping hits on rock radio. “With Arms Wide Open” also gave Creed their first number one pop hit; several months later\, the song won a Grammy for Best Rock Song. \nDuring the summer of 2000\, bassist Brian Marshall made headlines for criticizing Pearl Jam‘s recent songwriting style during a radio interview; he later apologized\, and Stapp distanced the rest of the band from Marshall’s comments on Creed’s website. Months later\, as the band readied itself for an American tour\, it was announced that Marshall was no longer a member of Creed. He was quickly replaced by touring bassist Brett Hestla (also of Virgos Merlot) and later formed a new band\, Grand Luxx\, with his old bandmates from Mattox Creed. That same summer\, Stapp was goaded into a brief media feud with Limp Bizkit frontman Fred Durst\, who launched into a profane tirade against Stapp at a summer festival that both bands were playing. Although Stapp later blasted Durst‘s business tactics (as senior VP at Interscope)\, claiming they stemmed from a “mobster mentality\,” things soon reverted to normal as the band returned to the studio. \nCreed worked on their new album for much of 2001; although Hestla remained in the touring lineup\, Tremonti chose to handle the bass parts himself\, preserving the band’s initial core. Weathered was then released in November 2001\, entering the charts at number one and tying a record (among other number one debuts) by remaining there for eight straight weeks; during that two-month time\, it also sold a staggering five million copies. The first single\, “My Sacrifice\,” was a Top Five pop hit that spent nine weeks atop the rock radio charts. “One Last Breath” also demonstrated the band’s crossover appeal by faring well on both charts. \nStapp was involved in a car accident in April 2002 and suffered both a concussion and vertebrae damage. Creed initially canceled the rest of their tour\, but Stapp recovered quickly\, allowing the band to reschedule most of their show dates during the summer. Stapp‘s health was slipping in other ways\, however\, as he developed an addiction to Percocet and began taking a host of other medications on the road\, including Xanax and throat steroids. The tour concluded with an infamous performance in Chicago\, during which an obviously intoxicated Stapp performed one song while lying on his back. Such problems quickly led to the band’s unraveling. \nWind-Up Records officially announced the breakup of Creed in June 2004. Over the course of ten years\, the band had sold over 30 million albums worldwide and became one of the biggest touring draws of the ’90s. Founding members Mark Tremonti\, Scott Phillips\, and Brian Marshall went on to form Alter Bridge with ex-Mayfield Four frontman Myles Kennedy. Scott Stapp went on to issue a solo record\, 2005’s The Great Divide\, which included a collection of rock songs inspired by Mel Gibson’s Passion of the Christ. \nThree years later\, Stapp and Tremonti reconvened in Florida\, where they began to reconcile past differences. Shortly thereafter\, the two persuaded Scott Phillips and original bassist Brian Marshall to band together once again\, thus cementing Creed’s reunion. They booked a series of shows for the summer of 2009 in support of the album Full Circle\, which was released later that year. The band’s first concert recording\, Creed Live\, was released at the end of the year. Touring continued into 2012 and the group went on another extended break in 2013. Various solo and side projects occupied bandmembers over the next decade. \nLate into their hiatus\, “Higher” became an unexpected standard for American sports teams such as the Texas Rangers and Minnesota Vikings — Creed even appeared at a 2023 Rangers playoff game — while social media\, whether ironically or not\, embraced the band’s more inspirational singles. The surge generated by all that attention helped push the group back into the public discussion. Seizing the moment\, Creed announced their official reunion and an extended 2024 tour. ~ Andrew Leahey & Steve Huey\, Rovi \n \n \nA subsidiary of Universal\, Republic Records signed the musicians and issued their major-label debut\, The Better Life\, in early 2000. \nThe Better Life became one of the biggest-selling albums of 2000\, going platinum four times during its first year of release and spawning several singles. The band furthered its success with 2002’s Away from the Sun\, which debuted at number eight on the Billboard Top 200 and\, like its predecessor\, climbed to multi-platinum status. 3 Doors Down toured steadily throughout 2003 and 2004 in support of Away from the Sun\, and issued the live EP Another 700 Miles in November 2003 as a holdover between studio efforts. The group returned with a heavier album\, Seventeen Days\, in early 2005. It debuted at number one on the Billboard 200 and went platinum in its first week of release. A self-titled album\, which followed in May 2008\, repeated its predecessor’s success when it too debuted at the top of the Billboard 200. \n3 Doors Down toured throughout 2009\, released a digital-only acoustic holiday album at the end of the year\, and began to work on their next album in 2010. With Howard Benson serving as producer\, the guys shuttled themselves between L.A. and Tokyo\, recording the album in both cities and eventually emerging with 2011’s Time of My Life. \n \n \n2024 has been a full circle moment for Finger Eleven. After 25 years\, the Juno Award-winning band are criss-crossing America again with their long time labelmates Creed on the current Summer of ‘99 arena tour. They are working on their first new album in nearly a decade\, and they sense that a big rock revival is brewing. Believe it or not\, Finger Eleven have been around since 1990. Back in high school\, founding members Scott and Sean Anderson (vocals and bass)\, and guitarists James Black and Rick Jackett formed the band with original drummer Rob Gommerman. They became Rainbow Butt Monkeys. With their blend of ‘90s alt and funk-rock\, the Canadian upstarts signed to Mercury and released Letters From Chutney in 1995. But the quintet realized they needed a new name and shift in the direction. Thus Finger Eleven was born. They transitioned into a post-grunge and nu-metal influenced phase on their first two albums\, Tip (1997) and The Greyest of Blue Skies (2000). \nTheir mainstream breakthrough came with their self-titled album. Produced by Johnny K (Disturbed\, 3 Doors Down)\, this 2003 release marked a shift with the acoustic ballad “One Thing” which showcased a new side of the band and helped push album sales higher. They have two gold albums in the States and two gold and two platinum albums in Canada.
URL:https://clicksfromthepit.com/event/creed-3-doors-down-at-talking-stick-resort-amphitheatre/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, 85035\, United States
ATTACH;FMTTYPE=image/webp:https://clicksfromthepit.com/wp-content/uploads/2024/08/creed-at-Talking-Stick-Resort-Amphitheatre.webp
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DTSTART;TZID=America/Phoenix:20240823T170000
DTEND;TZID=America/Phoenix:20240823T233000
DTSTAMP:20260521T020649
CREATED:20240814T024331Z
LAST-MODIFIED:20240814T024331Z
UID:4557-1724432400-1724455800@clicksfromthepit.com
SUMMARY:Def Leppard\, Journey\, and Steve Miller Band at Chase Field
DESCRIPTION:Def Leppard are one of the most successful hard rock bands to ever wield six strings; their blend of glam rock\, hair metal\, and big pop ballads led to massive wave of success in the ’80s that the band has continued to ride over the ensuing decades. Emerging in the late ’70s as part of the New Wave of British Heavy Metal\, they gained a following outside of that scene by toning down their heavy riffs and emphasizing melody. After a couple of strong albums\, they found crossover success with 1983’s Pyromania\, and skillfully used the fledgling MTV network to their advantage. They reached the pinnacle of their career with 1987’s blockbuster Hysteria\, then had another big hit\, 1992’s Adrenalize\, that defied the mainstream turn toward grunge. After that\, the band settled into a pattern of touring exhaustively and releasing an album every few years\, maintaining a steady audience and occasionally surprising fans with a new album\, like 2008’s Yeah! or 2022’s Diamond Star Halos\, that harked back to the sound of their glory days. \nDef Leppard originated in a Sheffield-based group that teenagers Rick Savage (bass) and Pete Willis (guitar) formed in 1977. Vocalist Joe Elliott\, a fanatical follower of Mott the Hoople and T. Rex\, joined the band several months later\, bringing the name Deaf Leopard with him. After a spelling change\, the trio\, augmented by a now-forgotten drummer\, began playing local Sheffield pubs\, and within a year the band had added guitarist Steve Clark to the lineup\, as well as a new drummer. Later in 1978\, they recorded their debut EP\, Getcha Rocks Off\, and released it on their own label\, Bludgeon Riffola. The EP became a word-of-mouth success\, earning airplay on the BBC. \nFollowing the release of Getcha Rocks Off\, 15-year-old Rick Allen was added as the band’s permanent drummer\, and Def Leppard quickly became the toast of the British music weeklies. They soon signed with AC/DC‘s manager\, Peter Mensch\, who helped them secure a contract with Mercury Records. On Through the Night\, the band’s full-length debut\, was released in 1980 and instantly became a hit in the U.K.\, also earning significant airplay in the U.S.\, where it reached number 51 on the charts. Over the course of the year\, Def Leppard relentlessly toured Britain and America\, playing their own shows while also opening concerts for Ozzy Osbourne\, Sammy Hagar\, and Judas Priest. High ‘n’ Dry followed in 1981 and became the group’s first platinum album in the U.S.\, thanks to MTV’s strong rotation of “Bringin’ on the Heartbreak.” \nAs the band recorded the follow-up to High ‘n’ Dry with producer Mutt Lange\, Pete Willis was fired from the group because of his alcoholism\, and Phil Collen\, a former guitarist for Girl\, was hired to replace him. The resulting album\, 1983’s Pyromania\, became an unexpected blockbuster\, due not only to Def Leppard’s skillful\, melodic metal\, but also to MTV’s repeated airing of “Photograph” and “Rock of Ages.” Pyromania went on to sell ten million copies\, establishing Def Leppard as one of the most popular bands in the world. Despite their success\, they were about to enter a trying time in their career. Following an extensive international tour\, the group reentered the studio to record the follow-up\, but producer Lange was unavailable\, so they began sessions with Jim Steinman\, the man responsible for Meat Loaf‘s Bat Out of Hell. The pairing turned out to be ill-advised\, so the bandmembers turned to their former engineer\, Nigel Green. One month into recording\, Allen lost his left arm in a New Year’s Eve car accident. The arm was reattached\, but it had to be amputated once an infection set in. \nDef Leppard’s future looked cloudy without a drummer\, but by the spring of 1985 — just a few months after his accident — Allen began learning to play a custom-made electronic kit assembled for him by Simmons. The band soon resumed recording\, and within a few months\, Lange was back on board; having judged all the existing tapes inferior\, he ordered the band to begin work all over again. Recording sessions continued throughout 1986\, and that summer\, the group returned to the stage for the European Monsters of Rock tour. Def Leppard finally completed their fourth album\, now titled Hysteria\, early in 1987. The record was released that spring to lukewarm reviews\, with many critics claiming that the album compromised Leppard’s metal roots for sweet pop flourishes. Accordingly\, Hysteria was slow out of the starting gates — “Women\,” the first single\, failed to really take hold — but the release of “Animal” helped the album gather steam. The song became Def Leppard’s first Top 40 hit in the U.K.\, but more importantly\, it launched a string of six straight Top 20 hits in the U.S.\, which also included “Hysteria\,” “Pour Some Sugar on Me\,” “Love Bites\,” “Armageddon It\,” and “Rocket\,” the latter of which arrived in 1989\, a full two years after the release of Hysteria. During those two years\, Def Leppard’s presence was unavoidable — they were the kings of high school metal\, ruling the pop charts and MTV\, and teenagers and bands alike replicated their teased hair and ripped jeans\, even when the grimy hard rock of Guns N’ Roses took hold in 1988. \nHysteria proved to be the peak of Leppard’s popularity\, yet their follow-up remained eagerly awaited in the early ’90s\, as the band took a break from the road and set to work on a new record. During the recording process\, however\, Steve Clark died from an overdose of alcohol and drugs. Clark had historically battled alcohol\, and following their Hysteria heyday\, his bandmates forced him to take a sabbatical. Although he did enter rehab\, Clark’s habits continued\, and his abuse was so crippling that Collen began recording the majority of the band’s guitar leads. Following Clark’s death\, Def Leppard resolved to finish their forthcoming album as a quartet\, releasing Adrenalize in the spring of 1992. Adrenalize was greeted with mixed reviews\, and even though the album debuted at number one and contained several successful singles\, including the Top 20 hits “Let’s Get Rocked” (notable for having one of the first ever CGI music videos) and “Have You Ever Needed Someone So Bad\,” the record was a commercial disappointment in the wake of Pyromania and Hysteria. After its release\, the group added former Whitesnake guitarist Vivian Campbell to the lineup\, thus resuming Def Leppard’s two-guitar attack. \nIn 1993\, Def Leppard issued the rarities collection Retro Active\, which yielded another Top 20 hit with the acoustic ballad “Two Steps Behind.” Two years later\, the group released the greatest-hits collection Vault while preparing for their sixth album. Slang arrived in the spring of 1996\, and while it proved more adventurous than its predecessor\, it was greeted with indifference\, indicating that Leppard’s heyday had indeed passed\, and they were now simply a very popular cult band. Undaunted\, Leppard soldiered on\, returning to their patented pop-metal sound for Euphoria\, which was released in June of 1999. Despite the success of “Promises\,” the record failed to produce any additional hits\, resulting in a return to adult pop balladry on 2002’s X. The two-disc Rock of Ages: The Definitive Collection arrived in 2005\, followed in 2006 by Yeah!\, a strong collection of covers. \nIn 2008\, the guys released their tenth studio album\, Songs from the Sparkle Lounge\, which debuted at number five and was supported by a lucrative summer tour. Material from that tour helped make up the bulk of 2011’s Mirror Ball: Live & More\, a three-disc live album containing a full concert\, three new studio recordings\, and DVD footage. Another live album followed two years later: Viva! Hysteria found Def Leppard running through their 1987 blockbuster in its entirety on the first disc\, and a collection of early\, rarely played material on the second. In 2015\, the band released Def Leppard\, their 11th studio album and first collection of original music since 2008. \nIn February 2017\, the group issued And There Will Be a Next Time\, a live album culled from the Def Leppard supporting tour. Later that year\, a Super Deluxe Edition of Hysteria came out in celebration of the record’s 30th anniversary. Further repackagings continued in 2018 with a box set of their ’80s albums titled The Collection\, Vol. 1 and The Story So Far: The Best of Def Leppard\, a multi-disc set that included the band’s first four studio albums and various rarities. The next year saw the release of The Collection\, Vol. 2\, a set of their ’90s records\, and The Story So Far\, Vol. 2: Hits & B-Sides\, which picked up where the first volume left off with material from the band’s ’90s run and beyond. Def Leppard continued to tour on a regular basis and played a Las Vegas residency\, then in 2020 issued a collection of their first two albums plus a live set and BBC sessions titled The Early Years 79-81. After this slew of live and reissued material\, the band finally released another studio album in 2022\, their 12th. Entitled Diamond Star Halos\, it was heralded by the barnstorming\, old-school promo track “Kick” and featured two collaborations with Alison Krauss. In 2023 the band issued Drastic Symphonies\, a set of reimagined Lep classics and hidden gems recorded with London’s Royal Philharmonic Orchestra. ~ Stephen Thomas Erlewine\, Rovi \n \n  \nPhoto by Brian Ach/Getty Images for Journey\nJOURNEY is one of the most popular American rock bands of all time\, creating some of the best-known songs in modern music. Since the group’s formation in 1973\, the band has earned 19 top 40 singles and 25 Gold and Platinum albums and has sold nearly 100 million albums globally. Their Greatest Hits album is certified 15 times-Platinum\, bringing Journey into the elite club of Diamond-certified award holders. The band continues to tour and record into the 21st century\, performing concerts for millions of fans worldwide\, and received the prestigious Billboard “Legends of Live” touring award. 2018’s massive co-headlining tour with Def Leppard was the band’s most successful tour to date\, landing them in the Top 10 year-end touring chart with more than 1 million tickets sold. In 2017\, Journey was inducted into the Rock and Roll Hall of Fame. In March 2019\, Journey released a live DVD/CD set from their concert at the Budokan in Tokyo\, featuring the first-ever performances of the band’s “Escape” and “Frontiers” albums in their entireties. Journey received a star on the Hollywood Walk of Fame\, was inducted into the Hollywood Bowl Hall of Fame\, and is the subject of the award-winning documentary\, “Don’t Stop Believin’: Everyman’s Journey.” \n \n \nSteve Miller was a mainstay of the San Francisco music scene that upended American culture in the late ’60s. With albums like Children of the Future\, Sailor and Brave New World\, he perfected a psychedelic blues sound that drew on the deepest sources of American roots music and simultaneously articulated a compelling vision of what music could be in the years to come. In the ’70s\, he crafted a brand of pure pop that was polished\, exciting and irresistible and dominated radio in a way that few artists have ever have. Hit followed hit: “Take The Money and Run\,” “Rock’n Me\,” “Fly Like an Eagle\,” “Jet Airliner” among them. Those songs are instantly recognizable when they come on the radio. Their hooks the definition of indelible. Running through this catalog is a combination of virtuosity and song craft. His parents were jazz aficionados – not to mention close friends of Les Paul and Mary Ford – so\, as a budding guitarist\, Miller absorbed valuable lessons from that musical tradition. When the family moved to Texas\, Miller deepened his education in the blues\, then moving to Chicago\, where he played with Muddy Waters\, Howlin’ Wolf\, Buddy Guy and Paul Butterfield. Miller has now immersed himself in the blues once again. And\, whether he was riding the top of the charts or exploring the blue highways of American music\, he is performing with conviction and precision\, passion and eloquence\, making records that are at once immediately accessible and able to stand the test of time. – AD \n \n 
URL:https://clicksfromthepit.com/event/def-leppard-journey-and-steve-miller-band-at-chase-field/
LOCATION:Chase Field\, 401 E Jefferson St\, Phoenix\, AZ\, 85003\, United States
ATTACH;FMTTYPE=image/jpeg:https://clicksfromthepit.com/wp-content/uploads/2024/08/Def-Leppard-Journey-and-Steve-Miller-Band-at-Chase-Field.jpg
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DTSTART;TZID=America/Phoenix:20240816T183000
DTEND;TZID=America/Phoenix:20240816T233000
DTSTAMP:20260521T020649
CREATED:20240807T022049Z
LAST-MODIFIED:20240807T022049Z
UID:4514-1723833000-1723851000@clicksfromthepit.com
SUMMARY:Limp Bizkit at Talking Stick Resort Amphitheatre
DESCRIPTION:Limp Bizkit is an American nu metal/rap metal/rap rock band from Jacksonville\, Florida. Their lineup consists of Fred Durst (lead vocals)\, Sam Rivers (bass\, backing vocals)\, John Otto (drums\, percussion)\, DJ Lethal (turntables)\, and Wes Borland (guitars\, vocals). Their music is marked by Durst’s angry vocal delivery and Borland’s sonic experimentation. Borland’s elaborate visual appearance\, which includes face and body paint\, masks and uniforms\, also plays a large role in the band’s live shows. The band has been nominated for three Grammy Awards\, have sold 40 million records worldwide and won several other awards. \nFormed in 1994\, Limp Bizkit became popular playing in the Jacksonville underground music scene in the late 1990s\, and signed with Flip Records\, a subsidiary of Interscope\, which released their debut album\, Three Dollar Bill\, Y’all$ (1997). The band achieved mainstream success with their second and third studio albums\, Significant Other (1999) and Chocolate Starfish and the Hot Dog Flavored Water (2000)\, although this success was marred by a series of controversies surrounding their performances at Woodstock ’99 and the 2001 Big Day Out festival. \nShortly after the release of Chocolate Starfish and the Hot Dog Flavored Water\, Limp Bizkit went on a hiatus while Fred Durst recovered from being crucified by Slipknot. Borland left the group in 2001\, but Durst\, Rivers\, Otto and Lethal continued to record and tour with guitarist Mike Smith. Following the release of their album\, Results May Vary (2003)\, Borland rejoined the band and recorded The Unquestionable Truth (Part 1) (2005) with Durst\, Rivers\, Lethal and drummer Sammy Siegler before entering a hiatus. In 2009\, the band reunited with Borland playing guitar and began touring\, culminating with the recording of the album Gold Cobra (2011)\, after which they left Interscope and later signed with Cash Money Records. In 2014\, a sixth studio album\, Stampede of the Disco Elephants\, was to be released but remained in development hell. Eventually\, a new album called STILL SUCKS was recorded with all of the original band members and released digitally only in October 2021. \nFred Durst grew up in Jacksonville\, where he took an interest in breakdancing\, hip hop\, punk rock and heavy metal. He began to rap\, skate\, beatbox and deejay. While mowing lawns and working as a tattoo artist\, he developed an idea for a band that combined elements of rock and hip hop. Durst played with three other bands\, Split 26\, Malachi Sage\, which were unsuccessful\, and 10 Foot Shindig\, which Durst left to form a new band. Durst told Sam Rivers\, the bassist for Malachi Sage\, “You need to quit this band and start a band with me that’s like this: rappin’ and rockin’.” Rivers suggested that his cousin\, John Otto\, who was studying jazz drumming at the Douglas Anderson School of the Arts and playing in local avant garde bands\, become their drummer. Durst\, Rivers and Otto jammed and wrote three songs together\, and Wes Borland later joined as a guitarist. \nDurst named the band Limp Bizkit because he wanted a name that would repel listeners. According to Durst\, “The name is there to turn people’s heads away. A lot of people pick up the disc and go\, ‘Limp Bizkit. Oh\, they must suck.’ Those are the people that we don’t even want listening to our music.” Other names that were considered by Durst included Gimp Disco\, Split Dickslit\, Bitch Piglet\, and Blood Fart. Every record label that showed an interest in the band pressured its members to change its name. Limp Bizkit developed a cult following in the underground music scene\, particularly at the Milk Bar\, an underground punk club in Jacksonville. The band’s local popularity was such that Sugar Ray\, who had a major label contract\, opened for a then-unsigned Limp Bizkit at Velocity with hip hop group Funkdoobiest. Milkbar owner\, Danny Wimmer\, stated that Limp Bizkit “had the biggest draw for a local band. They went from playing ten people to eight hundred within months. Fred … was always marketing the band. He would go to record stores and get people involved\, he was in touch with high schools.” However\, the band knew that to achieve national success\, they would have to distinguish themselves in their live performances. Attracting crowds by word of mouth\, the band gave energetic live performances\, covering George Michael’s “Faith” and Paula Abdul’s “Straight Up”\, and featuring Borland in bizarre costumes. Borland’s theatrical rock style was the primary attraction for many concert attendees. \n \n \nEveryone likes to romanticize the working class.  It’s easy to fool yourself into thinking you understand a perspective because you saw it in a netflix doc or read something from a best selling “culture” critic.  But what if you’re on the other side of that story\, focused on survival\, watching the world pay attention to all the wrong things\, waking up each day fighting to get to the next. \nWhat if the sci-fi dystopian future happening this very minute\, is your reality\, and all you have is a guitar\, cheap synthesizer\, old computer and a tangled rusty voice? \nThat’s the constant starting-line embraced by N8NOFACE. \nOriginally from Tucson\, N8NOFACE made his way to LA to double down on the visual\, audio and live expression naturally running through his veins.  While his influences range from Suicidal Tendencies to Stones Throw compilations of minimal wave music\, his sound can be uniquely classified as the past\, present and future heartbeat of the real LA.  A dirty melding of 80s/90s nostalgic synthpunk combined with the amalgamation of chaos heard in grimy soundcloud rap tapes. \nN8NOFACE screams for those left behind\, presenting the hard truth of police brutality\, mental health\, and the untold stories of the voiceless.  His 1-2 minute minimalist distorted dark synth movements challenge every listener to accept what the real world sounds like\, and dares the complacent to be shocked out of their musical safety net of never-ending sameness. \n \n \nCorey Feldman is an American Singer & Songwriter who has been entertaining audiences globally for almost 50 years. Corey released his 1st Single “Something in your Eyes” in 1989 for “Dream a Little Dream” soundtrack. He followed up with 1994’s LOVE LEFT became his 1st full LP release. Through the 90’s and 2000’s Corey landed multiple sync deals\, had several successful American tours and continued to release solo projects and also released albums with his band Truth Movement. In 2013 Corey’s single “Ascension Millennium” went Viral and was picked up by MTV. This was a major turning point for Feldman as a musician. Corey continued to evolve musically\, with his album “A2TC”. In 2014 Corey’s single “Everybody” (Feat. Doc Ice of Whodini & U.T.F.O) became his first of many DRT top 20 charting singles. By 2016 Corey scored his first Top 40 Billboard hit with“Go 4 it” peaking at No. 32. In May 2020 “U R Free” peaked at No. 17 on Billboard. By 2022 Feldman’s CiFi Records made some big announcements. Michael DeBarge is now C.O.O. of CiFi Records\, and is now a joint venture with Midtown Radio & Records\, Distribution is through Sony/Orchard. If that wasn’t enough Feldman announced his 1st Sony release titled “Without U” Peaked at #21 on Billboards Adult Contemporary Indicator Chart. Now Feldman and his band have just released a brand new single CALLED The Joke with a video directed by Fred Durst \, & are preparing for a 24 city Arena tour opening for Limp Bizkit. COREYFELDMAN.NET \n \n 
URL:https://clicksfromthepit.com/event/limp-bizkit-at-talking-stick-resort-amphitheatre/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, 85035\, United States
ATTACH;FMTTYPE=image/webp:https://clicksfromthepit.com/wp-content/uploads/2024/08/Limp-Bizkit-at-Talking-Stick-Resort-Amphitheatre.webp
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DTSTART;TZID=America/Phoenix:20240816T180000
DTEND;TZID=America/Phoenix:20240816T233000
DTSTAMP:20260521T020649
CREATED:20240607T124441Z
LAST-MODIFIED:20240607T124441Z
UID:4401-1723831200-1723851000@clicksfromthepit.com
SUMMARY:Halestorm & I Prevail at Arizona Financial Theatre
DESCRIPTION:Led by charismatic vocalist/guitarist Lzzy Hale\, Pennsylvania-based post-grunge/metal quartet Halestorm are one of the most successful hard rock groups of the early 21st century. With an aggressive yet hook-heavy sound that has become a fixture of American rock radio\, Halestorm have toured restlessly\, playing hundreds of shows per year and sharing the stage with nearly all of the popular American hard rock acts of their era. In 2013\, the band took home a Grammy Award for Best Hard Rock/Metal Performance for the single “Love Bites (So Do I)\,” which appeared on their sophomore studio effort\, The Strange Case Of…. Subsequent efforts Into the Wild Life (2015)\, Vicious (2018)\, and Back from the Dead (2022) have shown the group to be equally adept at muscular hard rockers and piano-driven power ballads\, and their sound has branched out to include elements of dance music and pop-country. \nSiblings Elizabeth and Arejay Hale\, the core members of Halestorm\, formed the group in late 1997 near York\, Pennsylvania\, with Arejay on drums and Elizabeth on vocals and keyboard. Wanting to expand their sound\, the duo invited their father\, Roger\, to play bass with the band. Shortly after their first professional gig in 1998 at the Blue Mountain Coffee House in Hershey\, Pennsylvania\, Halestorm added various guitar players and released an EP\, 1999’s (Don’t Mess with The) Time Man. More lineup changes occurred\, but Halestorm finally solidified with Elizabeth (who was by then going by Lzzy) on vocals and guitar\, Josh Smith on bass\, Arejay on drums\, and Joe Hottinger on guitar. The band caught the attention of producer David Ivory as well as Atlantic Records — both were involved in the group’s major-label debut\, 2006’s One and Done\, a five-song EP recorded live at a show in Philadelphia. They would finally make their full-length studio debut in 2009 with the eponymous Halestorm\, all the while maintaining a rigorous touring schedule that would see them playing upwards of 250 shows a year. \nThe following year\, Halestorm released the concert recording Live in Philly 2010\, and Reanimate: The Covers EP appeared in 2011\, featuring the band’s takes on songs by Heart\, Guns N’ Roses\, and Lady Gaga. Their sophomore album\, The Strange Case Of…\, followed in 2012\, and the single “Love Bites (So Do I)” earned the group a Grammy Award for Best Hard Rock/Metal Performance. Reanimate 2.0 was released in 2013\, this time finding the band tackling Fleetwood Mac\, Daft Punk\, and Marilyn Manson. Halestorm’s eclectic third studio long-player\, the Jay Joyce-produced Into the Wild Life\, was released in April 2015\, and was preceded by the single “Apocalyptic.” The live EP Into the Wild Live: Chicago arrived in 2016\, followed in early 2017 by their third covers set\, Reanimate 3.0\, which featured songs by Whitesnake\, Metallica\, and Soundgarden. Vicious\, the band’s fourth studio long-player\, followed in July 2018 and earned the group a Best Rock Performance Grammy nomination for the single “Uncomfortable.” 2020 saw Halestorm issue Reimagined\, a six-song EP that featured stripped-down versions of five fan favorites and a cover of “I Will Always Love You.” \nTwo years later\, they unveiled their fifth long-player\, Back from the Dead. Produced by Nick Raskulinecz with co-production by Scott Stevens\, the 11-song set included “The Steeple” and “Back from the Dead\,” the latter of which became Halestorm’s sixth single to reach number one on the Active Rock charts. A deluxe edition of the album with seven new tracks arrived later that December. ~ Marisa Brown\, Rovi \n \nAn explosive American post-hardcore quintet with cross-genre tendencies\, I Prevail emerged in the early 2010s and found success the following year with a metallic rendering of Taylor Swift‘s “Blank Space.” The band earned a pair of Grammy nominations in 2019 with their chart-topping sophomore full-length Trauma. They returned in 2022 with True Power\, which injected electronic\, pop\, and hip-hop elements to their attack. \nBased out of Southfield\, Michigan\, I Prevail formed in 2013 around the talents of Brian Burkheiser (vocals)\, Eric Vanlerberghe (vocals)\, Steve Menoian (guitar)\, Jordan Berger (guitar)\, and Lee Runestad (drums). Employing a blistering blend of metalcore\, pop-punk\, and post-hardcore that invokes names like Bring Me the Horizon\, We Came as Romans\, and A Day to Remember\, the band issued their debut EP Heart vs. Mind through Fearless Records in December 2014. A hard-hitting cover of Taylor Swift‘s “Blank Space\,” which elicited over two million views on YouTube\, helped further establish the band as a rising force within the hardcore scene. They later proved their original songwriting capability with the release of their 2016 debut album\, Lifelines. Featuring a re-tooled lineup that consisted of Burkheiser\, Vanlerberghe\, Menoian\, and new guitarist Dylan Bowman\, the LP debuted at number one on the Billboard alternative\, hard music\, and rock charts. The following year\, the group parted ways with Runestad and bassist Tony Camposeo\, recruiting replacements Gabe Helguera and Eli Clark. They got to work on their follow-up album while touring with the Word Alive\, We Came as Romans\, and Escape the Fate. \nIn 2019\, the band returned with sophomore effort Trauma\, which included the singles “Bow Down” and “Breaking Down.” At the end of the year\, they received a Grammy nomination for Best Rock Album and “Bow Down” entered the fray\, competing for Best Metal Performance. The following year saw the band release a stripped-down acoustic version of the moody Trauma single “Hurricane.” After “DOA\,” a collaborative single with rapper Joyner Lucas\, I Prevail issued a live version of their previous album under the title Post Traumatic\, recorded around the world in 2019 and 2020. In 2022\, they released their third LP\, True Power\, which continued to push their genre experimentation in fresh directions\, incorporating cinematic electronic production\, rap verses\, and even shimmering pop ballads. \n \nHollywood Undead hail from the streets of Hollywood\, California\, mixing brash hip-hop\, rock\, and minor metalcore touches with cocky posturing. With their colorful pseudonyms and unique hockey goal tender-inspired masks\, the band debuted in 2008 with Swan Songs\, but didn’t hit their commercial stride until the release of their 2011 sophomore effort\, American Tragedy\, which cracked the Top Ten on the Billboard 200 chart. Subsequent outings like Notes from the Underground (2013)\, Five (2017)\, the two-volume New Empire (2020)\, and Hotel Kalifornia\, performed just as well\, if not better\, cementing the group’s reputation as one of rapcore’s leading lights. \nOwing much of their popularity and exposure to the social networking website MySpace\, the group started as the musical project of J-Dog and Tha Producer in June 2005. They uploaded some new music to their profile and very quickly started amassing song plays and online friends with tracks about drinking\, sex\, and emo kids. “The gang\,” as the guys liked to refer to themselves\, grew to include six members: J-Dog and Tha Producer alongside Charlie Scene\, Johnny 3 Tears (formerly called the Server)\, Funny Man\, and Da Kurlzz. As the band’s online profile steadily increased\, MySpace head honcho Tom Anderson wasn’t immune and wound up featuring Hollywood Undead’s song “No. 5” on MySpace’s first compilation album\, in addition to giving them the distinction of being the first act signed to the site’s new record label (distributed by Interscope) in 2005. \nSwan Songs finally appeared in 2008 on A&M/Octone Records. A year later\, that label released an album of B-sides\, live tracks\, and covers titled Desperate Measures. In 2010\, vocalist Aron “Deuce” Erlichman left the group; he was replaced by Daniel “Danny” Murillo\, a former contestant on American Idol and lead singer of Lorene Drive. After shows with Avenged Sevenfold on The Nightmare After Christmas Tour\, Hollywood Undead released their sophomore album\, American Tragedy\, in April of 2011\, and the album debuted in the Top Five of Billboard’s Top 200. The following November\, A&M/Octone Records released a remix version of the record called American Tragedy Redux\, which featured mixes by Andrew W.K.\, Borgore\, and KMFDM\, among others. \nIn January of 2013\, after embarking on The Underground Tour\, Hollywood Undead released their third studio album\, Notes from the Underground\, which proved to be their highest-charting outing to date\, landing at the number two spot on the Billboard Top 200 and soaring to number one on the Canadian albums chart. Their hotly anticipated fourth studio album\, Day of the Dead\, arrived in March 2015\, and was preceded by the singles “Usual Suspects\,” “Gravity\,” “How We Roll\,” and the explosive title cut. The band returned to the studio in late 2016 to record its fifth studio album\, Five. With their contract with Interscope finished\, Hollywood Undead set up their own label\, Dove & Grenade Media\, in collaboration with BMG to release the album. The first single\, “California Dreaming” — a scathing look at the inequalities between the two sides of Los Angeles culture — was released in mid-2017\, with the full-length Five arriving later that October. In 2018 the Undead released the standalone single “Gotta Let Go\,” a summery blast of feel-good nostalgia about letting go of pain. The EP Psalms also arrived that year. Two years later\, the band released their sixth album\, New Empire\, Vol. 1. A deliberate attempt to change their sound\, it was heavier than before\, with more electronic elements. The like-minded sequel\, New Empire\, Vol. 2.\, arrived in 2020. In 2022\, the band issued their eighth full-length effort\, the confident and earworm-friendly Hotel Kalifornia. \n \nTrauma and tragedy transfer from one generation to the next. As difficult as it may be\, we still possess the power to break the cycle and start anew. Fit For A King ponder the pain of these cycles and the possibility to end them on their seventh full-length offering\, The Hell We Create [Solid State]. The Texas quintet—Ryan Kirby [vocals]\, Bobby Lynge [guitar]\, Daniel Gailey [guitar]\, Ryan “Tuck” O’Leary [bass]\, and Trey Celaya [drums]—explore this ebb and flow with a deft\, yet delicate balance of sharp metallic intensity and soaring melodic energy. “The album is a reflection of the events that happened throughout the pandemic\,” recalls Ryan. “In short\, my wife and I adopted children and had to homeschool them. She almost died from a stroke. The Hell We Create is by far the deepest and most personal record we’ve ever written.” In 2011\, Fit For A King emerged out of Texas with a searing signature style rooted in metal and hardcore and uplifted by hypnotic hooks. Following the breakout LP Creation/Destruction [2013]\, they earned four consecutive Top 5 debuts on both the Billboard Top Christian Albums Chart and the Top Hard Rock Albums Chart with Slave to Nothing [2014]\, Deathgrip [2016]\, Dark Skies [2018]\, and The Path [2020]. The latter marked their first #1 on the Top Christian Albums Chart and Top 10 on the Billboard Top Album Sales Chart. Plus\, the band collaborated with fellow heavy-hitters such as August Burns Red and We Came As Romans.
URL:https://clicksfromthepit.com/event/halestorm-i-prevail-at-arizona-financial-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85004\, United States
ATTACH;FMTTYPE=image/png:https://clicksfromthepit.com/wp-content/uploads/2024/06/HALESTORM-I-PREVAIL-LIVE-at-ARIZONA-FINANCIAL-THEATRE.png
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DTSTART;TZID=America/Phoenix:20240808T183000
DTEND;TZID=America/Phoenix:20240808T233000
DTSTAMP:20260521T020649
CREATED:20240802T131834Z
LAST-MODIFIED:20240802T131834Z
UID:4492-1723141800-1723159800@clicksfromthepit.com
SUMMARY:Megadeth at Talking Stick Resort Amphitheatre
DESCRIPTION:Released by UMe on September 2\, 2022\, The Sick\, The Dying… And The Dead! further establishes MEGADETH as a band that has both defined and repeatedly redefined heavy metal since its formation. The album follows up 2016’s Grammy®-winning Dystopia\, which debuted at #3 on the Billboard Top 200 (MEGADETH’s highest chart position since its 1992 classic Countdown to Extinction). \nMEGADETH has crafted a record with a visceral energy\, heaviness\, and sometimes paranormal pace that few would expect from such a seasoned band with so little to prove. The Sick\, The Dying… And The Dead! melds the ultra-frenetic riffing\, fiercely intricate guitar solos\, and adventurous spirit of the quartet’s groundbreaking early output with the musicality and melodicism of its ‘90s songwriting\, all laced with signature virtuosity and precision – plus\, of course\, Mustaine’s singular vocal snarl and wry\, take-no-shit lyrical vitriol. \nMEGADETH recently wrapped up the European leg of their 2023 Crush The World Tour. The thrash metal pioneers will soon be taking their iconic music to stages across the United States as they continue to cement the latest electrifying chapter in a career that has constantly challenged and surprised. Their journey remains one of resilience\, artistic integrity\, and unbridled passion\, leaving an indelible mark on the world of metal. \n“I don’t think we’re nearing the end\, not even close\,” Dave Mustaine concludes. \n \n \nHeavy metal quartet Mudvayne formed in Peoria\, IL\, in 1996\, its members adopting the unusual pseudonyms sPaG (M. McDonough) (drums)\, Gurrg (G. Tribbett) (guitar)\, and Kud (Chad Gray) (vocals). The group’s original bassist was replaced after two years by Ryknow (Ryan Martinie). During their development\, the bandmembers began the practice of applying bizarre makeup. After self-releasing their first album\, Kill\, I Oughta\, they were signed by Epic Records and recorded their major-label debut\, L.D. 50\, which was released in August 2000 shortly after the end of their first national tour opening for Slipknot. The album later went gold and earned Mudvayne the first-ever MTV2 Video Award at the 2001 MTV Video Music Awards. Mudvayne continued touring and reissued their self-released debut EP\, Kill\, I Oughta\, in November 2001 as The Beginning of All Things to End. A year later the band returned with its official follow-up\, The End of All Things to Come\, which was recorded at Minneapolis’ Pachyderm Studios with Tool producer David Bottrill. With a new album came new personas\, this time as space aliens. The bandmembers changed their names accordingly\, taking the new monikers of Chüd (Kud)\, Güüg (Gurrg)\, R-üD (Ryknow)\, and Spüg (sPaG). They embarked on a European tour\, arriving back stateside in July to join the Summer Sanitarium shed tour\, featuring such heavyweights as Metallica and Linkin Park. In 2005\, the band released Lost and Found\, their third album for Epic. In September 2007\, Mudvayne announced they would allow fans to vote on the band’s website to determine the track selection for the compilation By the People\, for the People\, released the following month. The all new full-length New Game arrived in November 2008\, followed six months later by an eponymous 2009 effort. ~ William Ruhlmann\, Rovi \n \n \nAll That Remains have built an unbreakable axis between pit-splitting metal and anthemic melodies. This signature balance has defined the platinum-certified band’s output since day one. It’s why the quintet— Philip Labonte [lead vocals]\, Jason Richardson [lead guitar]\, Mike Martin [rhythm guitar]\, Anthony Barone [drums]\, and Matt Deis [bass]—have notched multiple Top 10 Active Rock Radio hits\, sold out shows worldwide\, and generated over half-a-billion streams. By sticking to their guns\, All That Remains have continued to thrive on their own terms. Among many accolades\, signature hit “Two Weeks” received a Platinum certification\, while “What If I Was Nothing” and their cover of “The Thunder Rolls” by Garth Brooks each reached Gold status. Meanwhile\, 2008’s Overcome went gold\, and For We Are Many cracked the Top 10 of the Billboard 200. They have scored five Top 10 debuts on the Billboard Top Rock Albums Chart\, landing four in the Top 5. During 2022\, the group launched a successful sold-out anniversary tour in celebration of their seminal LP The Fall of Ideals—which Revolver hailed as “one of metalcore’s most essential records”. They’ve weathered the changing tides of a fickle business\, unspeakable tragedy\, and all manner of conflict only to come out stronger than ever on the other side. This strength surges through on “Divine”\, their very first full independent single offering\, embodying everything All That Remains are.
URL:https://clicksfromthepit.com/event/megadeth-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/2024/08/megadeth-at-Talking-Stick-Resort-Amphitheatre.jpg
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DTSTART;TZID=America/Phoenix:20240725T193000
DTEND;TZID=America/Phoenix:20240725T233000
DTSTAMP:20260521T020649
CREATED:20240716T020808Z
LAST-MODIFIED:20240716T020808Z
UID:4487-1721935800-1721950200@clicksfromthepit.com
SUMMARY:ATEEZ at Footprint Center in Phoenix\, AZ
DESCRIPTION:ATEEZ is a South Korean group that has taken the world by storm immediately after their debut in October 2018. Known for standout performances\, the octet have turned storytelling into a full musical experience. The eight members of ATEEZ are HONGJOONG\, SEONGHWA\, YUNHO\, YEOSANG\, SAN\, MINGI\, WOOYOUNG\, and JONGHO. Establishing themselves as top artists early on in their career with a sold out global tour only four months after their debut\, they continue to break their own records. With a unique narrative that starts from the very first release in the ‘TREASURE’ album series and continues through the ‘FEVER’ and ‘THE WORLD’ masterpieces\, the group combines bestseller narratives with personalized music that speaks to their generation. Beyond the multitude of titles they’ve earned throughout the years as the ‘Next Generation Act’ and ‘Best World Performer’ in award ceremonies\, ATEEZ have attained the distinction of becoming a ‘million seller’ group with the release of their 8th EP. In 2024\, they dominated on the global stage\, taking over festivals around the world with performances at Coachella (US) and Summer Sonic (JPN)\, even set to headline at Mawazine (MAR). Their second studio album\, ‘THE WORLD EP.FIN : WILL’ broke their personal record on the global charts\, debuting at No.1 on the Billboard 200 for the week of December 11 and charting for six weeks. In their newest release\, ATEEZ captures their brightest moments with GOLDEN HOUR : Part.1 and the lead track ‘WORK’. \n \n 
URL:https://clicksfromthepit.com/event/ateez-at-footprint-center-in-phoenix-az/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, AZ\, 85004\, United States
ATTACH;FMTTYPE=image/jpeg:https://clicksfromthepit.com/wp-content/uploads/2024/07/ateez-at-footprint-center.jpg
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DTSTART;TZID=America/Phoenix:20240716T170000
DTEND;TZID=America/Phoenix:20240716T233000
DTSTAMP:20260521T020649
CREATED:20240701T163650Z
LAST-MODIFIED:20240702T194740Z
UID:4467-1721149200-1721172600@clicksfromthepit.com
SUMMARY:Stick Figure at The Greek Theatre in Los Angeles\, CA
DESCRIPTION:With a distinctive sound developed through tireless attention to musicality and artistry\, Stick Figure has redefined American reggae music with his latest album\, Wisdom\, released on September 9th\, 2022. As with his previous releases\, Wisdom was written\, produced and recorded by Scott Woodruff\, a self-taught musician\, at Stick Figure-owned Great Stone Studios in Oakland\, CA\, former home of Green Day. Wisdom is Stick Figure’s seventh album and follows the unprecedented success of 2019’s World on Fire\, which peaked at number 34 on the Billboard Top 200\, #6 overall Top albums\, #1 Independent\, and #1 Reggae album. World on Fire has sold over 300\,000 copies including streaming equivalents\, according to Nielsen soundscan data. Stick Figure’s catalog has now sold well over one million copies and been streamed over three billion times. \nWisdom is a journey and a search for what matters in life–a search for meaning\, purpose\, place and belonging. Wisdom is a code to live by where we can accept that it is ok to start over\, to make mistakes\, to love\, and to feel pain. It is a reminder to focus on the little things that bring joy and know that all of it is a part of our individual story. It also shows us that we should have some fun doing it all! In signature Stick Figure style\, Wisdom can bring peace and happiness in the dark moments as well as in the good times\, and the benefits of the music can stay with the listener long after the record has stopped spinning. \n \n \nFor more than two decades\, SOJA have elated audiences across the globe with their fresh yet timeless take on roots reggae\, a sound born from their shared passion for making music that transports and inspires. On Beauty in the Silence—their first new album in four years—The Grammy Award-Winning band deepens that communal spirit by collaborating with artists from all corners of the reggae world\, including the likes of UB40\, Slightly Stoopid\, Stick Figure\, and Rebelution. Fueled by the sheer force of their connection and chemistry\, Beauty in the Silence ultimately makes for a much-needed antidote to fractured times\, infusing so much warmth and wisdom and unstoppable joy into each and every track. \nJacob Hemphill (lead vocals\, guitar) – Bobby Lee (bass\, vocals) – Ryan Berty (drums) – Kenny Bongos (percussion) – Patrick O’Shea (keyboards) – Hellman Escorcia (saxophone) – Rafael Rodriguez (trumpet) – Trevor Young (lead guitar\, vocals) \n \n \nBorn and raised in Philly\, crash landed in Charleston\, Kevin and John Shields are breaking into previously uncharted waters with their quirky indie hip-hop group\, Little Stranger. Between John’s melodic singer-songwriter magnetism\, Kevin’s in-your-face delivery\, and an overall undeniable groove\, this duo is sure to get any audience up and moving. Stylistically reminiscent of Gorillaz and Odelay-era Beck\, Little Stranger delivers a fresh take on melodic hip-hop. Every track brings the uniqueness and strangeness that their name implies. \nFor the past few years\, the duo has perfected their live performance by playing over 100 shows per year prior to the coronavirus shutdown. The group also puts a big focus on creating arresting visual experiences through their music videos\, their own eccentric television program (LSTV)\, and in-house graphics. Between their out-of-the-box creative endeavors and an ever-increasing arsenal of new tunes\, Little Stranger is poised to make 2024 another slam dunk. \n \n 
URL:https://clicksfromthepit.com/event/stick-figure-at-the-greek-theatre-in-loa-angeles-ca/
LOCATION:Greek Theatre\, 2700 N Vermont Ave\, Los Angeles\, 90027\, United States
ATTACH;FMTTYPE=image/jpeg:https://clicksfromthepit.com/wp-content/uploads/2024/07/stick-figure-at-the-greek-theatre.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20240602T190000
DTEND;TZID=America/Phoenix:20240602T233000
DTSTAMP:20260521T020649
CREATED:20240122T144501Z
LAST-MODIFIED:20240122T144501Z
UID:4038-1717354800-1717371000@clicksfromthepit.com
SUMMARY:Avril Lavigne at Talking Stick Resort Amphitheatre
DESCRIPTION:Grammy-winning Canadian pop/rock singer/songwriter Avril Lavigne became an international star in the 2000s with her punk-influenced pop anthems and anti-starlet image. First appearing in 2002 with the spunky debut single “Complicated\,” she touted a skatepunk image that purposely clashed with the polished glamour of mainstream pop. Lavigne\, who was 17 at the time\, quickly rose to teen idol status\, selling several million copies of her debut album\, Let Go (the best-selling album by a female artist in 2002)\, while inspiring a genuine fashion craze with her penchant for tank tops and neckties. As the decade progressed\, so did her marketable sound\, which took a contemplative turn on the chart-topping sophomore effort Under My Skin before reaching an aggressively upbeat tone for 2007’s The Best Damn Thing. A pair of hit albums later\, Lavigne took a three-year hiatus from the spotlight to focus on health issues related to Lyme disease\, returning in 2019 with her mature sixth album\, Head Above Water. In 2021\, she made her debut for Travis Barker‘s DTA label with the pop-punk single “Bite Me” from 2022’s Love Sux. \nBorn into a devout Christian household in the small town of Napanee\, Ontario\, Lavigne sharpened her vocal talents in church choirs\, local festivals\, and county fairs. She began playing guitar and writing songs in her early teens\, focusing her early efforts on country music and contributing vocals to several albums by local folk musician Steve Medd. Arista Records caught wind of the singer and brought her aboard at the age of 16\, with CEO Antonio “L.A.” Reid personally taking Lavigne under his wing. She quit high school\, relocated to Manhattan\, and set to work with a handful of prime songwriters and producers\, but the partnerships only produced country songs\, not the rock music in which Lavigne had become increasingly interested. Arista relented and instead sent Lavigne to Los Angeles\, where she fashioned her melodic\, edgy debut alongside such writing teams as the Matrix. Released in 2002\, Let Go was the polished product\, and its four high-charting singles — “Complicated\,” “Sk8er Boi\,” “I’m with You\,” and “Losing Grip” — led the album to multi-platinum status within its second month of release. Lavigne became the youngest female musician ever to have a number one album in the U.K.\, and she supported the wildly popular LP (which eventually gained eight Grammy nominations) with a tour of Europe\, Asia\, North America\, and Australia. \nCompared with the antics of other teen idols of her day\, Lavigne was a new kind of superstar\, one whose appeal didn’t rely on sexy videos or suggestive music. She further distinguished herself by bypassing the assistance of professional writing teams during the creation of her second album\, choosing instead to collaborate with singer/songwriter Chantal Kreviazuk\, Evanescence‘s Ben Moody\, and Evan Taubenfeld (who had previously worked with Lavigne as her touring guitarist). Released in May 2004\, Under My Skin was more serious than its predecessor\, dealing with such issues as premarital sex (“Don’t Tell Me”)\, depression (“Nobody’s Home”)\, and the death of Lavigne’s grandfather (“Slipped Away”). The album debuted at number one in more than ten countries\, went platinum within one month\, and further established Lavigne as a pop icon. Incidentally\, a song that was co-written by Lavigne and ultimately cut from the final track list — “Breakaway” — was later given to Kelly Clarkson\, who used it as the title track and lead single for her Grammy-winning sophomore album. \nLavigne married her boyfriend of two years\, Sum 41‘s Deryck Whibley\, in July 2006\, just one month after the animated film Over the Hedge announced her cinematic debut (Lavigne voiced the part of Heather\, a hungry opossum). She also appeared in Richard Linklater‘s fictional adaptation of Fast Food Nation\, which was released that November. Nevertheless\, she spent most of the year working on her third album\, enlisting former blink-182 drummer Travis Barker to play drums\, and cherry-picking a variety of producers (including her husband) to helm the recording sessions. The Best Damn Thing appeared in April 2007\, and its lead single\, “Girlfriend\,” marked a return to the bratty\, spunky punk-pop of her first album. “Girlfriend” soon became the subject of controversy as the ’70s power pop band the Rubinoos sued Lavigne\, claiming that her tune reworked their 1979 song “I Wanna Be Your Boyfriend.” No amount of bad publicity could hurt the singer\, however\, as “Girlfriend” became her biggest U.S. single ever and The Best Damn Thing topped album charts worldwide. \nLavigne filed for divorce from Whibley in October of 2009. The dissolution of their union featured heavily on her next album\, 2011’s Goodbye Lullaby\, which included tracks produced by Whibley. \nLavigne returned to the studio just weeks after the release of Goodbye Lullaby and began work on her fifth album. In 2012\, she started working on material with Nickelback frontman Chad Kroeger and eventually the pair began dating; she married Kroeger on July 1\, 2013. By that point\, she had released the platinum-certified “Here’s to Never Growing Up\,” the first single from her eponymous fifth album. Released in October\, Avril Lavigne featured eight songs co-written by Kroeger\, who also duetted with her on the record’s third single\, “Let Me Go.” \nIn early 2015\, Lavigne released “Fly\,” an empowering ballad written for the Special Olympics World Summer Games. That same month\, she also revealed that she had been diagnosed with Lyme disease. Soon after\, she separated from Kroeger. For the next few years\, as she healed\, Lavigne remained out of the public spotlight. In 2018\, she returned with the single “Head Above Water\,” which was inspired by her battle with Lyme disease; it unexpectedly made the Christian radio Top Ten. Despite this success\, the accompanying album\, Head Above Water — which appeared in February 2019 — was a secular pop album\, albeit one with an inspirational bent. While it was her worst-charting long-player to that point\, it still reached Canada’s Top Five\, the U.K. Top Ten\, and number 13 on the Billboard 200. \nAfter re-recording Head Above Water‘s “Warrior” as “We Are Warriors” to raise funds for pandemic relief efforts in 2020\, Lavigne returned to the studio to record her seventh album with producers including Barker\, Machine Gun Kelly\, Mod Sun\, and Goldfinger‘s John Feldmann. In the meantime\, she was featured on the Mod Sun single “Flames” in early 2021\, and with Barker on Willow Smith‘s “Grow” mid-year before signing with Barker‘s Elektra Music Group imprint\, DTA Records. Her own single\, “Bite Me\,” appeared before the end of 2021. That punk-infused anthem landed on her seventh full-length\, 2022’s Love Sux\, which also featured “Love It When You Hate Me” with Blackbear and “I’m a Mess” with Yungblud. The album hit number three in Canada and cracked the Top Ten of the Billboard 200. \n \n \nFormed in 2003 in the suburbs of Baltimore\, Maryland\, All Time Low started out as a high school cover band before morphing into a melodic pop-punk act influenced by predecessors like New Found Glory and blink-182. An enduring presence in the late-2000s scene\, they were a Warped Tour mainstay from their breakthrough sophomore set\, So Wrong\, It’s Right (2007)\, to their chart-peaking sixth LP Future Hearts (2015). Following a late-career dip into pop with 2017’s Last Young Renegade\, they returned to their pop-punk roots in the early 2020s with Wake Up\, Sunshine and Tell Me I’m Alive. \nSinger/guitarist Alex Gaskarth and guitarist Jack Barakat were All Time Low’s co-founders\, with bassist Zack Merrick and drummer Rian Dawson rounding out their energetic pop-punk sound and rowdy live shows\, which often included silly string and beach balls. Honing their skills between homework and other teenage commitments\, the guys managed to tour across the East Coast and the South during school breaks. They issued a four-song EP\, 2004’s The Three Words to Remember in Dealing with the End\, with help from local label Emerald Moon\, and followed its release with a full-length album\, The Party Scene\, one year later. \nTouring across the country that summer\, the guys found themselves on bills with similar acts like Motion City Soundtrack\, the Early November\, and Plain White T’s. Along the way\, All Time Low also bumped into fellow pop-punkers Amber Pacific\, who brought the young band to the attention of their label\, Hopeless Records. The label was immediately impressed\, and All Time Low had officially become part of the Hopeless family by March 2006\, just a few months shy of the members’ high-school graduation. Finally done with schoolwork and able to concentrate full-time on music\, the group issued Put Up or Shut Up — a seven-song EP that mostly featured new recordings of older material — that July. \nAll Time Low supported the EP’s release with a handful of Warped Tour dates before hitting the road again with Amber Pacific. So Wrong\, It’s Right appeared in 2007\, marking the band’s first full-length release for Hopeless. After being named 2008’s Band of the Year by Alternative Press\, All Time Low returned with their second album\, Nothing Personal\, in July 2009. Debuting at number four on the Billboard charts\, Nothing Personal helped make All Time Low one of the top emo-pop acts in the business. Two CD/DVD packages\, MTV Unplugged and Straight to DVD\, were released the following year\, tiding fans over while the guys returned to the studio to begin work on their major-label debut for Interscope Records. \nDirty Work\, featuring the single “I Feel Like Dancin’\,” was released in 2011. The album reached number six on the Billboard charts the week it was released\, and the band hit the road. In 2012\, All Time Low announced they had parted ways with Interscope and released a new song\, “The Reckless and the Brave\,” on their website in June. Soon after\, they re-signed with Hopeless and began work on a new album. Don’t Panic was released in November 2012\, then reissued almost a year later with four newly recorded songs and four acoustic versions under the name Don’t Panic: It’s Longer Now! In 2015\, All Time Low returned with their sixth record\, Future Hearts\, which found them reuniting with their Dirty Work producer\, John Feldmann. In 2016\, they released Straight to DVD 2: Past\, Present & Future\, a sequel to the 2010 live album. In February 2017\, All Time Low issued the single “Dirty Laundry” in anticipation of their seventh studio long-player\, Last Young Renegade\, that arrived in June of that year. Renegade was their first effort issued on Fueled by Ramen and featured the singles “Nice2KnoU” and the pop-focused “Life of the Party.” Their fifth consecutive Top Ten record\, the set’s unabashed pop polish proved divisive and\, after the era came to a close\, the band got to work on a course-correcting follow-up. \nIn 2018\, the summery and anthemic one-off single “Everything Is Fine” offered a taste of things to come with album number eight\, which landed in early 2020. Wake Up\, Sunshine saw All Time Low returning to their pop-punk roots after a brief pop foray on 2017’s Renegade. Featuring appearances by blackbear and the Band Camino\, the upbeat LP reached number on Billboard’s Top Rock Albums chart\, buoyed by singles like “Some Kind of Disaster” and “Monster\,” the latter of which was re-released in December 2020 with guest vocals from Demi Lovato. The following year saw the band team up with English indie rockers Pale Waves for the single “PMA” before returning with 2022’s “Sleepwalking.” That pop-leaning track appeared on their ninth album\, 2023’s Tell Me I’m Alive. Later that year\, the band teamed up with Avril Lavigne on the fiery standalone single “Fake as Hell.” ~ Corey Apar \n \n \nRoyal & the Serpent’s dramatic alt-electro-pop is the brainchild of Los Angeles-based singer and songwriter Ryan Santiago. She introduced her assertive sound and distinctively girlish yet bluesy voice with the single “Temperance” in 2017. The project reached the Top 20 of the Billboard Hot Rock & Alternative Songs chart with “Overwhelmed” from her debut EP Get a Grip in 2020. A featured spot on the Knocks‘ “Sound the Alarm” beside Rivers Cuomo resulted in an appearance on the Billboard Dance/Electronic Songs chart the following year. Royal & the Serpent’s third EP\, IF I DIED WOULD ANYONE CARE\, saw release in 2022. \nWith inspirations spanning big band\, early rock & roll\, Janis Joplin\, and Stevie Nicks\, the New Jersey native established Royal & the Serpent after settling in Los Angeles to work on developing her sound. She ultimately recorded her first single\, 2017’s “Temperance\,” with producer Ken Nana of MIKNNA. In 2018\, she co-wrote and was featured on “Wicked” by producer Tommee Profitt\, a spooky\, theatrical track that was used for the trailer for the crime film The Girl in the Spider’s Web. Royal & the Serpent returned with the single “Together” in early 2019 before signing with Suicide Squeeze\, which issued “Weddings & Funerals” that April. That year\, she also delivered a pair of singles (“Salvador Dali” and “IDK”) in collaboration with Marky Style. \nRoyal & the Serpent’s June 2020 Atlantic Records debut\, “Overwhelmed\,” reached number 20 on the Billboard Hot Rock & Alternative Songs chart\, and she released the corresponding debut EP\, Get a Grip\, in October. Another EP\, Searching for Nirvana\, followed in June 2021. A month later\, Royal & the Serpent was featured alongside Rivers Cuomo on the Knocks track “Sound the Alarm.” It landed in the Top 30 of Billboard’s Dance/Electronic Songs chart. Confrontational Royal & the Serpent single “PHUCKBOI REJECTS” and her third EP\, IF I DIED WOULD ANYONE CARE\, followed on Atlantic in early 2022. Another single\, “Better\,” followed off the EP. Also that year\, she paired with GG Magree for the emotionally raw\, punk-infused single “Bitch.”
URL:https://clicksfromthepit.com/event/avril-lavigne-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/2024/01/Avril-Lavigne-at-Talking-Stick-Resort-Amphitheatre.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20240524T180000
DTEND;TZID=America/Phoenix:20240524T233000
DTSTAMP:20260521T020649
CREATED:20240515T125143Z
LAST-MODIFIED:20240516T193704Z
UID:4224-1716573600-1716593400@clicksfromthepit.com
SUMMARY:Black Veil Brides at Marquee Theatre
DESCRIPTION:Before the birth of the BVB Army\, the thousands of lyric tattoos\, and the gold and platinum records that followed\, Black Veil Brides was simply a dark vision dreamt up by an only child in Ohio. \nHe loved Batman and KISS. Then\, the striking visage of Sweeney Todd: The Demon Barber of Fleet Street\, on the cover of his dad’s dusty CD (released a dozen years before he was born) kicked open the door for Andy Biersack. Sweeney Todd cleared the way for The Phantom of the Opera\, Misfits\, and all that followed\, culminating in the birth of Andy Black and the ascension of Black Veil Brides. \nThe Bleeders EP\, Black Veil Brides’ inaugural release in a new partnership with Spinefarm Records\, celebrates one of the singer’s first loves. The EP boasts the title track alongside a loving rendition of Sweeney Todd’s “My Friends” and a faithful cover of U2’s “Sunday Bloody Sunday.” \nThe group’s cinematic scope and unwavering commitment to self-expression strikes a familiar chord with their fellow “bleeders” who seek refuge (and revenge) in the power of the dark and imagination. \nThere are over 160 million views of “Knives and Pens\,” an early demo committed to music video before Andy (who moved to Hollywood at 18 and lived in his car) met his band of brothers. The RIAA-certified platinum single “In the End\,” itself close to 170M views\, further proves the group whose merch dominated Hot Topic before they’d even made their debut album was built to last. \nA treacherous DIY headlining outing in 2009 paved the way for the next 15 years of performances and beyond\, a history that includes the triple-co-headlining smash Trinity Of Terror Tour; multiple mainstage runs on Vans Warped Tour; treks supporting Avenged Sevenfold and Mötley Crüe; and just about every major rock and metal festival in North and South America\, Europe\, and Australia. \nGuitarists Jake Pitts and Jinxx joined the fold before the creation of BVB’s debut album\, 2010’s We Stitch These Wounds. The duo played in an earlier band with drummer Christian Coma\, who came aboard for their first Billboard Top 20 album\, Set the World on Fire\, featuring gold single “Fallen Angels.” Metalcore milestone Wretched and Divine: The Story of the Wild Ones followed in 2013. \nA no-frills fourth album\, 2014’s Black Veil Brides\, gave them another Top 10 debut. 2018’s Vale went to No. 1 on Billboard’s Hard Rock chart. 2021’s The Phantom Tomorrow\, the band’s first album with bassist Lonny Eagleton\, produced the No. 8 Rock single “Scarlet Cross\,” their highest charting yet. \nBleeders offers a taste of what will become Black Veil Brides’ most visceral\, theatrical\, and unrelenting era yet. They combine a unique identity with an unquenchable creative thirst. They’re an object of devotion for those who sing their anthems in unison\, a diverse BVB Army who never surrenders. \nBlack Veil Brides and their audience slash away at the darkness together\, bleeders one and all. \n \n \nGHØSTKID emerges in 2024 as an entity untamed\, unfiltered\, and resonating with the haunting echoes of raw\, unapologetic music. Formed from the depths of Sebastian “Sushi” Biesler’s unyielding creative spirit\, the band boldly ventures into new realms of expression\, weaving a tapestry of darkness\, aggression\, and unflinching honesty. GHØSTKID prepares to unleash their forthcoming album in early 2024! \nJoined by an assembly of kindred spirits and musical conspirators – Jappo Van Glory (guitar)\, Chris Canterbury (guitar)\, Stanislaw Czywil (bass) and Steve Joakim (drums) – GHØSTKID’s journey unfolded\, amplifying the convergence of metal\, industrial\, goth and pop. From the ferocious intensity of “HEAVY RAIN” to the emotive depths of “VALERIE” each track embodies a visceral narrative\, weaving tales of anguish\, passion\, and unrelenting determination. The band’s upcoming opus delves fearlessly into the dark recesses of the human psyche confronting the gritty truths of life\, love\, and the raw essence of being. \nPrepare to be engulfed in a cacophony of unbridled ambition and unfiltered emotion. GHØSTKID transcends mere auditory experience; it’s a visceral\, transformative journey – a convergence of haunting melodies and unapologetic aggression\, echoing in the corridors of your soul long after the music fades. \n \n \nHailing from Orlando\, FL this Hard Rock act shows us a side of darkness that brings a sentiment of anguish mixed with a sincere notion of understanding. The band’s new single “Paper Crown (feat. Bryan Kuznitz of Fame On Fire\,)” premiered on Octane is the newest release of the band’s growing discography. “Dancing Dead” and “Drown” are hair-raising tracks\, immersing fans in a fear-stricken world. Conceptual ideology aside\, the band brings hard hitting instrumentation and a vocal power that stands to cement the act as a fresh mainstay of the hard rock and metal genres for years to come. “The confines of Florida have seen some absolutely epic bands make names for themselves\, but it’s time to look to the future. There is a quickly rising band that is making all the right moves in all the right places.” Says New Noise about the band. They have recently shared the stage with Famous Last Words\, Limbs\, Until I Wake and The Word Alive. Fans can catch the band supporting Black Veil Brides & VV this fall. “Dark Divine is new to the scene but garnering a lot of attention quickly and rightfully so. They are hands down one of the best young bands out there\, and we are certain the BVB Army and VV fans will love them.” Andy Biersack / Black Veil Brides frontman says regarding their upcoming tour. Dark Divine’s debut ‘Deadly Fun’\, produced by Zach Jones (Chelsea Grin\, We Came As Romans\, Fit For A King) out now via Thriller Records.
URL:https://clicksfromthepit.com/event/black-veil-brides-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, AZ\, 85281\, United States
ATTACH;FMTTYPE=image/jpeg:https://clicksfromthepit.com/wp-content/uploads/2024/05/Black-Veil-Brides-at-marquee-theatre.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20240426T160000
DTEND;TZID=America/Phoenix:20240426T233000
DTSTAMP:20260521T020649
CREATED:20240410T130339Z
LAST-MODIFIED:20240410T133832Z
UID:4126-1714147200-1714174200@clicksfromthepit.com
SUMMARY:98KUPD Presents UFest 2024
DESCRIPTION:Legends and innovators of the Southern California punk scene\, The Offspring have seen massive global success. \nThe story began when their punk pop sound became a popular sensation in 1994. The Offspring released their self-titled debut album in 1989. Four years later\, their 2nd album\, Ignition\, became an underground hit\, setting the stage for the huge success of their 3rd album 1994’s Smash which paved the way to radio success. The Offspring were played on both alternative and album rock stations\, confirming their broad-based appeal. \nFive successful gold and platinum albums followed: Ixnay on the Hombre; Americana; Conspiracy of One; Splinter; Rise and Fall\, Rage and Grace; and Days Go By. The band’s 10th album was their first in 8 years. But 2021 was the year that SoCal legends released their blistering new album Let the Bad Times Roll. Album highlights include the title track which takes a critical eye at the state of America in recent years\, the devastating urgency of The Opioid Diaries\, and the horn-fueled skank of “We Never Have Sex Anymore” a song that nods to the band’s cheeky humor. \nThe Offspring have sold more than 40 million albums worldwide\, won countless awards\, and have toured consistently\, playing more than 500 shows in the last decade alone. The band’s music has had a lasting impact across film\, television\, and gaming and continues to make its mark on pop culture today. \n \n \nCHEVELLE is the understated musical powerhouse who have continually delivered rock anthems for the past 24 years. 7 number one hits\, 17 songs reaching the top 10 charts\, over 4 million records sold in the USA and many more worldwide. Platinum and gold albums across their 8 studio records and successful live CD and two live DVD releases completes their extensive body of work to date. It’s all credit to their continuing dedication to be true to their craft\, the genre and their fans. Chevelle’s last two album releases\, La Gargola and The North Corridor both debuted #1 on the Billboard rock charts and #3 and #8 respectively\, on the Billboard top 200 charts. With no signs of this Chicago alternative rock trio slowing down any time soon\, their numerous chart-topping releases have certainly earned this band a place in American rock music history. After more than two decades together\, numerous releases\, and countless worldwide tours\, the band consisting of brothers\, Pete Loeffler [guitars\, vocals] and Sam Loeffler [drums]\, have confidently sailed through decades of uncharted waters and have emerged with a collection that’s equally intricate and intimate. \nTheir next album release\, set for 2020\, will be sure to add another chapter to the extensive catalog of this successful music career. \n \n \nIn 2006\, Motionless In White materialized out of Scranton\, PA with an inimitable conjuration of sharp metallic rock\, industrial\, magnetic melodies\, and larger-than-life visual imagery. The quintet—Chris Motionless [Vocals]\, Ricky Olson [Guitar]\, Ryan Sitkowski [guitar]\, Vinny Mauro [drums]\, and Justin Morrow [bass]—quietly clawed their way to the forefront of hard rock\, gathering nearly half-a-billion cumulative streams and views to date. Following the success of Creatures [2010] and Infamous [2012]\, Reincarnate [2014] sunk its teeth into the Top 10 of the Billboard Top 200\, bowing at #9 and capturing #1 on the Top Rock Albums Chart. Both Graveyard Shift [2017] and Disguise [2019] cracked the Top 5 of the Top Hard Rock Albums Chart and Top Rock Albums Chart. Along the way\, they sold out headline tours and supported everyone from Slipknot and Korn to Breaking Benjamin. Not to mention\, Motionless In White have collaborated with Jonathan Davis of Korn\, Maria Brink of In This Moment\, Dani Filth of Cradle Of Filth\, Tim Sköld of KMFDM\, Caleb Shomo of Beartooth\, and more. The five-piece kept busy throughout 2020 with the Deadstream event performance of Creatures for its decade-anniversary\, a cover of The Killers’ “Somebody Told Me\,” and the standalone single “Creatures X: To The Grave.” Now in 2022\, Motionless In White are set to return with their new album Scoring The End of the World which sees them perfecting the poetically pummeling sound they patented. \n \n \nThey’ve been a band — and a vital one at that — for more than 30 years. But ask rock icons P.O.D. what still inspires them after all this time\, and they’ll tell you they still operate as if they’re perpetual underdogs. Yes\, with every new album they release\, with every show they play\, these musical lifers still feel they have something to prove. “We’re still here and we’re still creating some of the best music we’ve ever made\,” says guitarist Marcos Curiel. “When it comes to heart\, grit and soul\, P.O.D. is your band.” Adds vocalist Sonny Sandoval: “We’re always still proving who we are — always having that punk-rock mentality.” \nTheir new single “DROP”\, via Mascot Records\, features a vicious vocal cameo from Lamb of God singer Randy Blythe. “‘DROP’ is another one of a kind\, unparalleled banger that sets this band apart from everyone else\,” says Sandoval. “When you hear it\, you know it’s P.O.D.!” \n \n \nBad Wolves refuse to follow. Instead\, the platinum-certified Los Angeles band—John Boecklin [drums]\, Daniel “DL” Laskiewicz [lead vocals]\, Doc Coyle [lead guitar\, backing vocals]\, Max Karon [guitar]\, and Kyle Konkiel [bass\, backing vocals]—circumvent convention by stretching the boundaries of hard rock with earthquaking heaviness\, enigmatic experimentation\, and enthralling melodies. Bulldozing boundaries is nothing new for the boys though… Bad Wolves arrived with the rarity and the force of a lightning bolt in 2018. This collective of tried-and-true musicians rallied around an unconventional vision for heavy music\, grafting rafter-reaching hooks to pit-splitting riffs and mind-bending rhythms with a penchant for unexpected twists and turns. Their full-length debut\, Disobey\, bowed in the Top 25 of the Billboard 200 and delivered a platinum single and a gold single. On its heels\, they showed no signs of stopping with N.A.T.I.O.N. [2019]. However\, Dear Monsters kickstarted another season in 2021 as “Lifeline” netted their sixth #1 at Active Rock Radio. Reaching a critical high watermark\, Billboard hailed the latter as “Bad Wolves’ most diverse and far-reaching album to date\,” and Hysteria raved\, “The band has served up something truly monumental.” Nearing 1 billion total streams\, they sold out headline shows on multiple continents and toured with everyone from Papa Roach and Hollywood Undead to Volbeat. \n \n \nOFFICIAL WEBSITE FOR MERCH www.burythedarkness.com Based out of Tempe\, Arizona\, Bury The Darkness\, comprised of — Frankie Ghiloni [Vocals]\, Marc Rosenfeld [Lead Guitar]\, Brandon Brantley [Bass]\, Brennan Davis [Rhythm Guitar]\, Devin Bowers [Drums] — are a hard hitting Modern Metalcore band carving their path after releasing their debut single during the strains of a global pandemic. After the success of their debut single the band went on to collaborate with fellow Arizona Metal band Dropout Kings on their single ‘Gone But Not Forgotten’. Bury The Darkness are here to stay with bouncy guitar riffs and anthem like choruses. Their debut album ‘Dead Inside’ produced by Ryan Daminson (Asking Alexandria \,Memphis May Fire\, The Word Alive) Out Now!
URL:https://clicksfromthepit.com/event/98kupd-presents-ufest-2024/
LOCATION:Talking Stick Resort Amphitheatre\, 2121 N 83rd Ave\, Phoenix\, 85035\, United States
ATTACH;FMTTYPE=image/jpeg:https://clicksfromthepit.com/wp-content/uploads/2024/04/UFest2024.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20240416T193000
DTEND;TZID=America/Phoenix:20240417T233000
DTSTAMP:20260521T020649
CREATED:20240314T171741Z
LAST-MODIFIED:20240314T171741Z
UID:4082-1713295800-1713396600@clicksfromthepit.com
SUMMARY:Sessanta with Primus\, Puscifer and A Perfect Circle at Talking Stick Resort Amphitheatre
DESCRIPTION:A post-punk Rush spiked with the sensibility and humor of Frank Zappa\, Primus’ songs are often secondary to showcasing their instrumental prowess. Led by elastic bassist and sole constant member Les Claypool\, their music is willfully weird and experimental\, but it’s not alienating; the band was able to turn its goofy weirdness into pop stardom. At first\, Primus were strictly an underground phenomenon\, but in the years between their third and fourth albums\, their cult snowballed. Released in 1991\, Sailing the Seas of Cheese found mainstream success and spawned the alt-rock hit “Jerry Was a Race Car Driver.” Pork Soda (1993) and Tales from the Punchbowl (1995) received platinum and gold certification\, respectively. Citing creative stagnation\, the band ceased operations after the release of 1999’s Antipop but re-formed as a touring entity in 2010. Since then\, Primus has remained active\, releasing idiosyncratic efforts like Primus & the Chocolate Factory with the Fungi Ensemble (2014)\, The Desaturating Seven (2017)\, and the EP Conspiranoia (2022)\, with the core trio of Claypool\, guitarist Larry LaLonde\, and drummer Tim Alexander. \nPrimus is all about Les Claypool; there isn’t a moment on any of their records where his bass isn’t the main focal point of the music\, with his vocals acting as a bizarre sideshow. Which isn’t to deny guitarist Larry LaLonde or drummer Tim “Herb” Alexander any credit; no drummer could weave in and around Claypool‘s complicated patterns as effortlessly as Alexander\, and few guitarists would willingly push the spotlight away like LaLonde does just to produce a never-ending spiral of avant noise. This means that they are miles away from being another punk-funk combo like the Red Hot Chili Peppers; Claypool may slap and pop his bass\, but there is little funk in the rhythm he and Alexander lay down. Formed in El Sobrante\, California\, in 1984\, the band saw multiple lineup changes before releasing their 1989 live LP\, Suck on This\, and 1990 debut studio album\, Frizzle Fry. Their heady blend of art-rock\, funk\, and heavy metal found favor with the masses the following year with the release of the gold-selling Sailing the Seas of Cheese. 2003’s Pork Soda fared even better\, earning the band their first platinum certification. \nAfter touring for a year — including a headlining spot on Lollapalooza 1993 — Claypool revived his Prawn Song record label in 1994 and released a reunion record by Primus’ original lineup under the name Sausage. In the summer of 1995\, Primus released their fifth album\, Tales from the Punchbowl. It was another success\, going gold before the end of the year. In the summer of 1996\, Primus announced they were parting ways with their drummer\, Tim Alexander. He was replaced by Brian “Brain” Mantia\, who made his debut on The Brown Album\, was released in the summer of 1997. The covers EP Rhinoplasty followed in 1998\, and a year later\, Primus returned with Antipop. Antipop was a departure from previous Primus albums\, as different producers were used on almost every track (including such notables as Rage Against the Machine‘s Tom Morello\, Limp Bizkit‘s Fred Durst\, Tom Waits\, South Park creator Matt Stone\, and former Police drummer Stewart Copeland)\, and it featured such guest artists as Metallica‘s James Hetfield and former Faith No More guitarist Jim Martin. After a supporting tour wrapped up in 2000\, Mantia left the band to join Guns N’ Roses. Claypool talked about reuniting with former drummer Tim Alexander in the press\, but shortly afterward announced that Primus was going on indefinite hiatus. During the ensuing break\, Claypool focused on recording the debut album by his side project\, Oysterhead (who also included Copeland and Phish guitarist Trey Anastasio)\, as well as releasing his two-part solo outing\, Live Frogs: Set 1 and Set 2. \nThe band focused on touring in 2010\, when Alexander once again left the band. Claypool and LaLonde turned to former drummer Jay Lane; the band went back into the studio to work on a new full-length. In 2011\, Primus released their seventh album\, Green Naugahyde. Three years later\, the band followed up with Primus & the Chocolate Factory with the Fungi Ensemble\, an album that found the band reuniting with drummer Alexander to cover the iconic soundtrack to the 1971 film Willy Wonka and the Chocolate Factory. In 2017 they returned with yet another literary-influenced album\, The Desaturating Seven\, which was inspired by Italian author Ul de Rico’s children’s book The Rainbow Goblins. Included on the album was the single “The Seven.” \nIn 2022\, the band issued their first new music in five years with the politically charged three-song EP Conspiranoia\, which featured the 11-minute title track. ~ Stephen Thomas Erlewine & James Christopher Monger\, Rovi \n \n  \n  \n  \nPhoto By Adam Messler\nWhen he’s not fronting Tool and A Perfect Circle\, Midwest-bred singer/songwriter Maynard James Keenan exorcises his solo demons with a third project dubbed Puscifer. As an outlet for the darker and more personal musings that don’t quite fit into the Tool and APC molds\, Puscifer blends introspective reflection and sophomoric humor in a way that is distinctly Keenan\, apparent in the titles of releases such as the 2007 debut V Is for Vagina\, 2013’s Donkey Punch the Night\, and 2015’s Money $hot. By 2020\, in light of world events\, Keenan and company buckled down and got a little more serious for their fourth set\, Existential Reckoning. \nWhile one might imagine Keenan would have enough going on to keep him busy as vocalist for Tool and A Perfect Circle\, in 2007 he decided to branch out with a project called Puscifer. Described by Keenan as “the space where my Id\, Ego\, and Anima all come together to exchange cookie recipes\,” Puscifer first appeared as the name of a fictional band Keenan fronted in a cameo on the HBO sketch comedy series Mr. Show in 1995. It wasn’t until 2003 that Keenan actually recorded under the name\, when he teamed up with Danny Lohner for a track called “Rev 22:20” for the Underworld soundtrack. Four years later\, he set to work on an entire Puscifer album. Organized less as a traditional “rock band” and more as a musical collective in which Keenan could work with a rotating lineup of like-minded artists\, Puscifer’s early recording projects featured a large cast of noted musicians\, including Tim Alexander from Primus\, Tim Commerford and Brad Wilk from Audioslave and Rage Against the Machine\, former King Crimson member Trey Gunn\, violinist Lisa Germano\, pop singer/songwriter Jonny Polonsky\, and actress and vocalist Milla Jovovich. \nThe first product of Puscifer’s new life was a single issued in early October 2007; the A-side was “Cuntry Boner\,” a gleefully offensive song originally recorded by Electric Sheep (a short-lived punk band featuring Adam Jones and Tom Morello years before they would respectively join Tool and Rage Against the Machine)\, while the flipside was a cover of the Circle Jerks‘ “World Up My Ass.” Later the same month\, Puscifer’s debut album\, V Is for Vagina\, was released; like the single\, it was issued in the United States by Keenan’s own Puscifer label\, and it featured ten original songs\, many of which were dominated by slow but potent dance grooves rather than Tool‘s prog metal textures. Keenan said the group had no immediate plans to tour\, but he was collaborating with several filmmakers on short movies based on the songs\, which could be shown at live performances. In April 2008\, a remix album titled V Is for Viagra: The Remixes was released and featured contributions from members of Nine Inch Nails\, Telefon Tel Aviv\, Ministry\, and Slipknot\, among others. \nKeenan returned the following year with the EP “C” Is For (Please Insert Sophomoric Genitalia Reference Here) before releasing the full-length Conditions of My Parole in 2011. The EP Donkey Punch in the Night arrived in 2013 with a pair of new tracks\, as well as covers of Queen‘s “Bohemian Rhapsody” and Accept‘s “Balls to the Wall.” Money $hot\, the band’s third studio LP\, followed in 2015 and featured the single “Grand Canyon.” A remix collection\, Money $hot Your Re-Load\, arrived the next year. To close out the decade\, Keenan revived both A Perfect Circle and Tool\, which kept him busy into 2020. That year\, along with longtime collaborators Carina Round and Mat Mitchell\, Puscifer issued their fourth long-player\, Existential Reckoning. More subdued and with fewer jokes than usual\, the album took aim at American society in a year consumed by pandemic and political turmoil\, which could be heard on the singles “Apocalyptical” and “The Underwhelming.” It reached number seven on Billboard’s Top Alternative Albums chart and was followed by the 2021 concert recording Existential Reckoning: Live at Arcosanti. A third set from the era\, Existential Reckoning: Re-Wired\, was released in 2023 and featured reimagined versions of album tracks from the likes of Trent Reznor\, Atticus Ross\, Phantogram\, Justin Chancellor (Tool)\, Scott Kirkland (the Crystal Method)\, and many more. ~ Mark Deming & Neil Z. Yeung\, Rovi \n \n \nAmerican rock supergroup A Perfect Circle was formed in the late ’90s by Tool vocalist Maynard James Keenan and former Tool guitar tech Billy Howerdel. On their debut\, Mer de Noms\, A Perfect Circle were seen as an extension of the alt-metal-fused-with-art-rock style popularized by Tool in the early to mid-’90s. Despite comparisons\, however\, A Perfect Circle quickly developed into its own entity\, focusing on lighter and more melodic sounds that were combined with a theatrical\, ambient quality incorporating occasional strings and unconventional instrumentation on later albums like Thirteenth Step and Eat the Elephant. Over the decades\, members of Nine Inch Nails\, Marilyn Manson\, Smashing Pumpkins\, and Queens of the Stone Age have played a role in the band’s revolving lineup under the core songwriting duo of Keenan and Howerdel. \nAfter the release of Ænima in 1996\, Tool found themselves in the midst of an extended legal battle with former label Freeworld Entertainment. When the dust settled two years later\, the band reached a 50-50 joint venture agreement for future recordings and\, feeling a little burned out\, decided to take some time off. It was at this point that Keenan joined up with Howerdel and Paz Lenchantin to form A Perfect Circle. Keenan had met Howerdel in 1992 when Tool opened for Fishbone. Howerdel had been Fishbone‘s tech at the time and he played Keenan a few of his songs. Keenan was impressed and the two talked of collaborating in the future. However\, the opportunity wouldn’t present itself until the end of the decade. With Keenan on vocals\, Howerdel on guitar\, and Lenchantin on bass\, the trio recruited ex-Failure and Enemy member Troy Van Leeuwen on guitar and ex-Vandals and Guns N’ Roses member Josh Freese on drums. \nThe quintet rehearsed together but didn’t announce the formation of a new band until performing for the first time on August 15\, 1999\, at a benefit concert at the Viper Room in Los Angeles. Howerdel\, who had been composing songs for years\, as well as working with bands such as the Smashing Pumpkins and Nine Inch Nails\, became the band’s chief songwriter and producer. A Perfect Circle released their debut album\, Mer de Noms\, in 2000. Featuring the hit singles “Judith” and “3 Libras\,” Mer de Noms debuted in the Top Five of the Billboard 200 and eventually went platinum. The band opened Nine Inch Nails‘ Fragility Tour in 2000\, but soon attracted their own headlining audience. The band took a short break between albums\, allowing Keenan to hop back to Tool for the release and promotion of 2001’s Lateralus. \nIn the meantime\, preparation for A Perfect Circle’s sophomore effort continued. Lenchantin and Van Leeuwen — both involved with other projects at the time — were swapped out for Jeordie White (Marilyn Manson) and Danny Lohner (Nine Inch Nails)\, respectively. Keenan returned to the fold in early 2003. Months later\, Thirteenth Step arrived\, debuting at number two on the Billboard 200. Moodier and more expansive\, the set included Top Five rock chart singles “Weak and Powerless” and “The Outsider.” Lohner made way for James Iha (Smashing Pumpkins) as the band embarked on an international tour. \nConcluding the trek\, A Perfect Circle issued the covers album eMOTIVe in 2004. The politically charged\, anti-war collection featured interpretations of songs like John Lennon‘s “Imagine\,” Marvin Gaye‘s “What’s Going On\,” and Depeche Mode‘s “People Are People.” The album was also notable for the inclusion of new track “Counting Bodies Like Sheep to the Rhythm of the War Drum” and “Passive\,” a holy grail for fans written by Keenan\, Howerdel\, Lohner\, and Trent Reznor for their scrapped Tapeworm project. \nShortly after the release of eMOTIVe’s companion DVD set aMOTION — which bundled the band’s music videos along with a remix CD — A Perfect Circle went on a hiatus that would last over a decade. During their downtime\, Keenan recorded albums with Tool and his solo project\, Puscifer\, while Howerdel started a new band\, Ashes Divide. While rumors of the band writing songs cropped up now and again\, A Perfect Circle returned (to the stage\, at least) in 2010\, and released a new song\, “By and Down\,” on their 2013 greatest-hits compilation Three Sixty. However\, it would be another half-decade before an official return. \nIn late 2017\, the group reunited for a tour of the United States\, teasing fans with the possibility of a trek to the studio. They issued the single “The Doomed\,” their first new song in over a decade. “Disillusioned” and “TalkTalk” followed in early 2018. That April\, A Perfect Circle released their fourth LP\, Eat the Elephant\, with another revamped lineup that added Matt McJunkins (Eagles of Death Metal) and Jeff Friedl (Puscifer) to the Keenan/Howerdel/Iha trio. As political as eMOTIVe and even more melodic than Thirteenth Step\, Eat the Elephant also marked the first time the band recruited an outside producer; namely\, Dave Sardy. ~ Neil Z. Yeung & Tracy Frey\, Rovi \n \n 
URL:https://clicksfromthepit.com/event/sessanta-with-primus-puscifer-and-a-perfect-circle-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/2024/03/Sessanta-with-Primus-Puscifer-and-A-Perfect-Circle-at-Talking-Stick.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20240409T080000
DTEND;TZID=America/Phoenix:20240409T170000
DTSTAMP:20260521T020649
CREATED:20240410T004315Z
LAST-MODIFIED:20240410T004315Z
UID:4121-1712649600-1712682000@clicksfromthepit.com
SUMMARY:A Day To Remember at Desert Diamond Arena
DESCRIPTION:Over the course of the past several years\, each of A Day To Remember’s releases have hit No. 1 on Billboard’s Rock\, Indie and/or Alternative Charts. They’ve also sold more than a million units\, racked up over 800 million Spotify streams and 500 million YouTube views\, two Gold-selling albums and singles (and one Silver album in the UK) and sold out entire continental tours (including their own curated Self Help Festival)\, amassing a global fanbase whose members number in the millions. All of which explains why Rolling Stone called them “An Artist You Need To Know.” In other words\, their creative process has worked and worked well. But for new album Bad Vibrations\, the Ocala\, Florida-based quintet switched gears and headed for uncharted territory. \n“We completely changed the way we wrote\, recorded and mixed this album\,” says vocalist Jeremy McKinnon. “It was one of the most unique recording experiences we’ve ever had. We rented a cabin in the Colorado mountains and just wrote with the five of us together in a room\, which was the polar opposite of the last three albums we’ve made. We just let things happen organically and in the moment. I think it forever changed the way we make music.” \nBad Vibrations debuted at #2 on the Billboard 200 and #1 on the Top Album Sales Chart. It was also the #1 album in Australia\, #6 in the UK and #7 in Germany. \nOn Aug 20 the band debuted their new single ‘Degenerates’. \n \n \nThe Story So Far have returned with their new album I Want To Disappear. Comprised of ten songs\, it contains everything that’s brought them international acclaim and success since their inception. The current lineup features Parker Cannon (vocals)\, Kevin Geyer (lead guitar\, keys)\, Ryan Torf (drums\, rhythm guitar\, and keys) and Will Levy (guitars). “We’re always just trying to make something that we love and that feels like it’s relevant to where we are in life\,” says Torf. “We’ve already done so much in the past\, but we wanted this to feel like the present thing that we are. We tried to make something that we connected with\, and that hopefully our fans will like as well. But first and foremost\, it’s just something that we’re proud of and feel good about.” \n \n \nFour Year Strong have carved out their own niche in the music community by merging the infectiousness of pop-punk with the aggression of hardcore and never shying away from breaking with creativity-limiting conventions. This is evident on the band’s fifth full-length Brain Pain\, a collection of songs that retains the qualities of the band that fans have grown to love while pushing forward the band’s effort to continually redefine their sound. “One thing we’ve struggled with in the past is writing in a way that’s personal to us that our wide range of fans can find a way to relate to as well\,” vocalist/guitarist Dan O’Connor explains. “On this record we really tried to find the thing that connects us to our younger fans or the people who have been listening to us for a long time who still see us as younger kids despite the fact that we’re now in our thirties.” \nThe band — which also features vocalist/guitarist Alan Day\, bassist Joe Weiss and drummer Jake Massucco — began conceptualizing the ideas for Brain Pain two years ago and for the past year-and-a-half have focused on bringing those thoughts to fruition. “We probably had 40 song ideas to get the creative juices flowing and some of those grew into the songs that are on this record\,” Day explains\, adding that it was important for the group not to rush the album or go into it with any musical or logistical limitations. \n \n  \n 
URL:https://clicksfromthepit.com/event/a-day-to-remember-at-desert-diamond-arena/
LOCATION:Desert Diamond Arena\, 9400 W Maryland Ave\, Glendale\, AZ\, 85305\, United States
ATTACH;FMTTYPE=image/jpeg:https://clicksfromthepit.com/wp-content/uploads/2024/04/a-day-to-remember-at-DESERT-DIAMOND-ARENA.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20240215T193000
DTEND;TZID=America/Phoenix:20240215T233000
DTSTAMP:20260521T020649
CREATED:20240122T172147Z
LAST-MODIFIED:20240122T172147Z
UID:4047-1708025400-1708039800@clicksfromthepit.com
SUMMARY:Tool at Crypto Arena in Los Angeles\, CA
DESCRIPTION:Tool established themselves as one of America’s most enduring and unpredictable acts with an ever-evolving brand of muscular but mind-altering sonics\, a wry sense of humor\, and a mystical aesthetic that attracted a cult-like following of devoted fans with just a handful of albums spread across decades. Their greatest breakthrough was to meld dark underground metal with the ambition of art rock\, crafting multi-sectioned\, layered songs as if they were classical composers. While embracing the artsy\, they also paid musical homage to the relentlessly bleak visions of grindcore\, death metal\, and thrash. Even with their post-punk influences\, they executed their music with the sound and feel of prog rock\, alternating between long\, detailed instrumental interludes and lyrical rants in their songs. Debuting in the early ’90s with Undertow\, they were initially lumped in with the nu-metal contemporaries of the time\, which made them a hit on rock radio with their sophomore effort\, 1996’s Ænima. However\, they soon broke away from those associations\, evolving beyond the confines of traditional song structures and song lengths\, crafting epics that often clocked in past the ten-minute mark on LP head-trips Lateralus (2001) and 10\,000 Days (2006). After a lengthy 13-year hiatus\, they returned to the fold in 2019 with their fifth opus\, the chart-topping\, Grammy-nominated Fear Inoculum. In 2022\, they celebrated their 30th anniversary with “Opiate²\,” a re-recorded version of their debut single. \nFormed in Los Angeles by percussionist Danny Carey\, guitarist Adam Jones\, vocalist Maynard James Keenan\, and original bassist Paul D’Amour\, Tool had a knack for conveying the strangled\, oppressive angst that the alternative nation of the early ’90s claimed as its own\, which helped them slip into the scene during the post-Nirvana era. Buffered by a prime slot on the third Lollapalooza tour in 1993\, their debut full-length album\, Undertow (Zoo Entertainment)\, rocketed to platinum status. Fervor for the band even resurrected their first effort\, 1992’s Opiate EP\, on the Billboard charts. While they were in the studio recording a follow-up\, D’Amour amicably parted ways with Tool and his spot was filled by Justin Chancellor. By the time the fresh quartet delivered their sophomore album\, Ænima\, in late 1996\, the alternative rock mainstream was ready. The album shot to number two on the Billboard charts and was certified multi-platinum in less than a decade. Singles “Stinkfist\,” “Forty Six & 2\,” and the Grammy-winning title track were all Top Ten hits on the U.S. Rock chart\, boosted by the twisted and often disturbing music videos created by Jones. After a co-headlining slot with Korn on Lollapalooza ’97\, Tool remained on the road\, supporting Ænima into the next year. \nAs nu-metal established its mainstream dominance at the close of the decade\, Tool returned to the shadows. During their hiatus\, Keenan formed a side project with former Tool guitar tech Billy Howerdel. A Perfect Circle debuted in 2000\, and their album Mer de Noms was a surprise hit. Their ensuing tour was a sold-out success as well\, which only served to fuel Tool breakup rumors. To quell the speculation\, they issued the stopgap B-sides/DVD set Salival late the same year. Meanwhile\, in the studio\, the band continued to journey down a new path that further distanced them from the mainstream. Delving deeper into their own mythos\, songs grew longer\, lyrics more inscrutable\, and artwork increasingly psychedelic. Though they retained their pummeling\, metal-oriented base\, the quartet smashed the formula by further experimenting with complex time signatures\, expansive atmospherics\, and a classical approach to song compositions. The first taste of 21st century Tool arrived in January 2001 with the Grammy-winning single\, “Schism\,” which was also their first song to chart on the Hot 100. Lateralus (Volcano) arrived that May\, topping the Billboard 200. Subsequent singles “Parabola” and “Lateralus” were favorites on the U.S. Rock charts\, and the album soon went multi-platinum. \nAfter another several-year sabbatical — during which time Keenan bounced back to A Perfect Circle — the group returned with another chart-topper\, 2006’s 10\,000 Days. Their most esoteric statement yet\, the album spawned the singles “Vicarious\,” “Jambi\,” and U.S. Mainstream Rock number one “The Pot.” Although it was also the band’s lowest-selling effort to date\, the record still managed to win the group their third Grammy Award for Best Recording Package. At the conclusion of touring\, Tool began another extended hiatus. Although the band re-emerged for a brief summer tour in 2009\, it would be another ten years before fans could hear new music. During this period\, Keenan debuted his de facto solo project\, Puscifer\, and returned for a third album with A Perfect Circle. Behind the scenes\, the band was also bogged down by a lawsuit that wouldn’t be resolved until 2015. The next year\, shaking off the cobwebs\, Tool returned to the road for another quick jaunt in the U.S.\, kicking off another cycle of speculation from fans starved for new material. \nAfter an interminable 13-year gap between albums\, Tool returned in 2019 with their epic fifth album\, Fear Inoculum. Their third straight chart-topper\, the set also featured their second Hot 100 placement to date\, the ten-minute title track\, which became the longest song to ever appear on that chart. Meanwhile\, for the first time\, Tool made their entire discography available for streaming; this propelled all of their past albums back to the charts\, breaking records in the process. They embarked on a sold-out arena tour of the U.S. alongside Killing Joke and capped their successful comeback with a pair of Grammy nominations for “7empest” and “Fear Inoculum.” The former track scored them a Grammy in 2020 for Best Metal Performance. In March 2022\, they released “Opiate²\,” a re-recorded version of their 1991 single “Opiate\,” issued to mark the 30th anniversary of their debut EP. ~ Neil Z. Yeung & Stephen Thomas Erlewine\, Rovi \n \n \nElder is a genre-pushing rock band that melds heavy psychedelic sounds with progressive elements and evocative soundscapes. Formed in a small coastal town in Massachusetts in the mid aughts\, the band has reinvented their sound over the course of six albums to grow from a stalwart of the stoner/doom scene into one of the most unique voices in the heavy rock underground. Their long-scale compositions unfold as journeys\, running the gamut of styles from the 70’s to the present within a single song with a penchant for “sheer gatefold-era grandeur” (Rolling Stone).
URL:https://clicksfromthepit.com/event/tool-at-crypto-arena-in-los-angeles-ca-2/
LOCATION:Crypto Arena\, 1111 S Figueroa St\, Los Angeles\, CA\, 90015\, United States
ATTACH;FMTTYPE=image/jpeg:https://clicksfromthepit.com/wp-content/uploads/2024/01/Tool-at-Footprint-Center.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20240214T193000
DTEND;TZID=America/Phoenix:20240214T233000
DTSTAMP:20260521T020649
CREATED:20240122T171952Z
LAST-MODIFIED:20240122T171952Z
UID:4044-1707939000-1707953400@clicksfromthepit.com
SUMMARY:Tool at Crypto Arena in Los Angeles\, CA
DESCRIPTION:Tool established themselves as one of America’s most enduring and unpredictable acts with an ever-evolving brand of muscular but mind-altering sonics\, a wry sense of humor\, and a mystical aesthetic that attracted a cult-like following of devoted fans with just a handful of albums spread across decades. Their greatest breakthrough was to meld dark underground metal with the ambition of art rock\, crafting multi-sectioned\, layered songs as if they were classical composers. While embracing the artsy\, they also paid musical homage to the relentlessly bleak visions of grindcore\, death metal\, and thrash. Even with their post-punk influences\, they executed their music with the sound and feel of prog rock\, alternating between long\, detailed instrumental interludes and lyrical rants in their songs. Debuting in the early ’90s with Undertow\, they were initially lumped in with the nu-metal contemporaries of the time\, which made them a hit on rock radio with their sophomore effort\, 1996’s Ænima. However\, they soon broke away from those associations\, evolving beyond the confines of traditional song structures and song lengths\, crafting epics that often clocked in past the ten-minute mark on LP head-trips Lateralus (2001) and 10\,000 Days (2006). After a lengthy 13-year hiatus\, they returned to the fold in 2019 with their fifth opus\, the chart-topping\, Grammy-nominated Fear Inoculum. In 2022\, they celebrated their 30th anniversary with “Opiate²\,” a re-recorded version of their debut single. \nFormed in Los Angeles by percussionist Danny Carey\, guitarist Adam Jones\, vocalist Maynard James Keenan\, and original bassist Paul D’Amour\, Tool had a knack for conveying the strangled\, oppressive angst that the alternative nation of the early ’90s claimed as its own\, which helped them slip into the scene during the post-Nirvana era. Buffered by a prime slot on the third Lollapalooza tour in 1993\, their debut full-length album\, Undertow (Zoo Entertainment)\, rocketed to platinum status. Fervor for the band even resurrected their first effort\, 1992’s Opiate EP\, on the Billboard charts. While they were in the studio recording a follow-up\, D’Amour amicably parted ways with Tool and his spot was filled by Justin Chancellor. By the time the fresh quartet delivered their sophomore album\, Ænima\, in late 1996\, the alternative rock mainstream was ready. The album shot to number two on the Billboard charts and was certified multi-platinum in less than a decade. Singles “Stinkfist\,” “Forty Six & 2\,” and the Grammy-winning title track were all Top Ten hits on the U.S. Rock chart\, boosted by the twisted and often disturbing music videos created by Jones. After a co-headlining slot with Korn on Lollapalooza ’97\, Tool remained on the road\, supporting Ænima into the next year. \nAs nu-metal established its mainstream dominance at the close of the decade\, Tool returned to the shadows. During their hiatus\, Keenan formed a side project with former Tool guitar tech Billy Howerdel. A Perfect Circle debuted in 2000\, and their album Mer de Noms was a surprise hit. Their ensuing tour was a sold-out success as well\, which only served to fuel Tool breakup rumors. To quell the speculation\, they issued the stopgap B-sides/DVD set Salival late the same year. Meanwhile\, in the studio\, the band continued to journey down a new path that further distanced them from the mainstream. Delving deeper into their own mythos\, songs grew longer\, lyrics more inscrutable\, and artwork increasingly psychedelic. Though they retained their pummeling\, metal-oriented base\, the quartet smashed the formula by further experimenting with complex time signatures\, expansive atmospherics\, and a classical approach to song compositions. The first taste of 21st century Tool arrived in January 2001 with the Grammy-winning single\, “Schism\,” which was also their first song to chart on the Hot 100. Lateralus (Volcano) arrived that May\, topping the Billboard 200. Subsequent singles “Parabola” and “Lateralus” were favorites on the U.S. Rock charts\, and the album soon went multi-platinum. \nAfter another several-year sabbatical — during which time Keenan bounced back to A Perfect Circle — the group returned with another chart-topper\, 2006’s 10\,000 Days. Their most esoteric statement yet\, the album spawned the singles “Vicarious\,” “Jambi\,” and U.S. Mainstream Rock number one “The Pot.” Although it was also the band’s lowest-selling effort to date\, the record still managed to win the group their third Grammy Award for Best Recording Package. At the conclusion of touring\, Tool began another extended hiatus. Although the band re-emerged for a brief summer tour in 2009\, it would be another ten years before fans could hear new music. During this period\, Keenan debuted his de facto solo project\, Puscifer\, and returned for a third album with A Perfect Circle. Behind the scenes\, the band was also bogged down by a lawsuit that wouldn’t be resolved until 2015. The next year\, shaking off the cobwebs\, Tool returned to the road for another quick jaunt in the U.S.\, kicking off another cycle of speculation from fans starved for new material. \nAfter an interminable 13-year gap between albums\, Tool returned in 2019 with their epic fifth album\, Fear Inoculum. Their third straight chart-topper\, the set also featured their second Hot 100 placement to date\, the ten-minute title track\, which became the longest song to ever appear on that chart. Meanwhile\, for the first time\, Tool made their entire discography available for streaming; this propelled all of their past albums back to the charts\, breaking records in the process. They embarked on a sold-out arena tour of the U.S. alongside Killing Joke and capped their successful comeback with a pair of Grammy nominations for “7empest” and “Fear Inoculum.” The former track scored them a Grammy in 2020 for Best Metal Performance. In March 2022\, they released “Opiate²\,” a re-recorded version of their 1991 single “Opiate\,” issued to mark the 30th anniversary of their debut EP. ~ Neil Z. Yeung & Stephen Thomas Erlewine\, Rovi \n \n \nElder is a genre-pushing rock band that melds heavy psychedelic sounds with progressive elements and evocative soundscapes. Formed in a small coastal town in Massachusetts in the mid aughts\, the band has reinvented their sound over the course of six albums to grow from a stalwart of the stoner/doom scene into one of the most unique voices in the heavy rock underground. Their long-scale compositions unfold as journeys\, running the gamut of styles from the 70’s to the present within a single song with a penchant for “sheer gatefold-era grandeur” (Rolling Stone).
URL:https://clicksfromthepit.com/event/tool-at-crypto-arena-in-los-angeles-ca/
LOCATION:Crypto Arena\, 1111 S Figueroa St\, Los Angeles\, CA\, 90015\, United States
ATTACH;FMTTYPE=image/jpeg:https://clicksfromthepit.com/wp-content/uploads/2024/01/Tool-at-Footprint-Center.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20240210T193000
DTEND;TZID=America/Phoenix:20240210T233000
DTSTAMP:20260521T020649
CREATED:20240122T132449Z
LAST-MODIFIED:20240122T132449Z
UID:4036-1707593400-1707607800@clicksfromthepit.com
SUMMARY:Tool & Elder at Footprint Center
DESCRIPTION:Tool established themselves as one of America’s most enduring and unpredictable acts with an ever-evolving brand of muscular but mind-altering sonics\, a wry sense of humor\, and a mystical aesthetic that attracted a cult-like following of devoted fans with just a handful of albums spread across decades. Their greatest breakthrough was to meld dark underground metal with the ambition of art rock\, crafting multi-sectioned\, layered songs as if they were classical composers. While embracing the artsy\, they also paid musical homage to the relentlessly bleak visions of grindcore\, death metal\, and thrash. Even with their post-punk influences\, they executed their music with the sound and feel of prog rock\, alternating between long\, detailed instrumental interludes and lyrical rants in their songs. Debuting in the early ’90s with Undertow\, they were initially lumped in with the nu-metal contemporaries of the time\, which made them a hit on rock radio with their sophomore effort\, 1996’s Ænima. However\, they soon broke away from those associations\, evolving beyond the confines of traditional song structures and song lengths\, crafting epics that often clocked in past the ten-minute mark on LP head-trips Lateralus (2001) and 10\,000 Days (2006). After a lengthy 13-year hiatus\, they returned to the fold in 2019 with their fifth opus\, the chart-topping\, Grammy-nominated Fear Inoculum. In 2022\, they celebrated their 30th anniversary with “Opiate²\,” a re-recorded version of their debut single. \nFormed in Los Angeles by percussionist Danny Carey\, guitarist Adam Jones\, vocalist Maynard James Keenan\, and original bassist Paul D’Amour\, Tool had a knack for conveying the strangled\, oppressive angst that the alternative nation of the early ’90s claimed as its own\, which helped them slip into the scene during the post-Nirvana era. Buffered by a prime slot on the third Lollapalooza tour in 1993\, their debut full-length album\, Undertow (Zoo Entertainment)\, rocketed to platinum status. Fervor for the band even resurrected their first effort\, 1992’s Opiate EP\, on the Billboard charts. While they were in the studio recording a follow-up\, D’Amour amicably parted ways with Tool and his spot was filled by Justin Chancellor. By the time the fresh quartet delivered their sophomore album\, Ænima\, in late 1996\, the alternative rock mainstream was ready. The album shot to number two on the Billboard charts and was certified multi-platinum in less than a decade. Singles “Stinkfist\,” “Forty Six & 2\,” and the Grammy-winning title track were all Top Ten hits on the U.S. Rock chart\, boosted by the twisted and often disturbing music videos created by Jones. After a co-headlining slot with Korn on Lollapalooza ’97\, Tool remained on the road\, supporting Ænima into the next year. \nAs nu-metal established its mainstream dominance at the close of the decade\, Tool returned to the shadows. During their hiatus\, Keenan formed a side project with former Tool guitar tech Billy Howerdel. A Perfect Circle debuted in 2000\, and their album Mer de Noms was a surprise hit. Their ensuing tour was a sold-out success as well\, which only served to fuel Tool breakup rumors. To quell the speculation\, they issued the stopgap B-sides/DVD set Salival late the same year. Meanwhile\, in the studio\, the band continued to journey down a new path that further distanced them from the mainstream. Delving deeper into their own mythos\, songs grew longer\, lyrics more inscrutable\, and artwork increasingly psychedelic. Though they retained their pummeling\, metal-oriented base\, the quartet smashed the formula by further experimenting with complex time signatures\, expansive atmospherics\, and a classical approach to song compositions. The first taste of 21st century Tool arrived in January 2001 with the Grammy-winning single\, “Schism\,” which was also their first song to chart on the Hot 100. Lateralus (Volcano) arrived that May\, topping the Billboard 200. Subsequent singles “Parabola” and “Lateralus” were favorites on the U.S. Rock charts\, and the album soon went multi-platinum. \nAfter another several-year sabbatical — during which time Keenan bounced back to A Perfect Circle — the group returned with another chart-topper\, 2006’s 10\,000 Days. Their most esoteric statement yet\, the album spawned the singles “Vicarious\,” “Jambi\,” and U.S. Mainstream Rock number one “The Pot.” Although it was also the band’s lowest-selling effort to date\, the record still managed to win the group their third Grammy Award for Best Recording Package. At the conclusion of touring\, Tool began another extended hiatus. Although the band re-emerged for a brief summer tour in 2009\, it would be another ten years before fans could hear new music. During this period\, Keenan debuted his de facto solo project\, Puscifer\, and returned for a third album with A Perfect Circle. Behind the scenes\, the band was also bogged down by a lawsuit that wouldn’t be resolved until 2015. The next year\, shaking off the cobwebs\, Tool returned to the road for another quick jaunt in the U.S.\, kicking off another cycle of speculation from fans starved for new material. \nAfter an interminable 13-year gap between albums\, Tool returned in 2019 with their epic fifth album\, Fear Inoculum. Their third straight chart-topper\, the set also featured their second Hot 100 placement to date\, the ten-minute title track\, which became the longest song to ever appear on that chart. Meanwhile\, for the first time\, Tool made their entire discography available for streaming; this propelled all of their past albums back to the charts\, breaking records in the process. They embarked on a sold-out arena tour of the U.S. alongside Killing Joke and capped their successful comeback with a pair of Grammy nominations for “7empest” and “Fear Inoculum.” The former track scored them a Grammy in 2020 for Best Metal Performance. In March 2022\, they released “Opiate²\,” a re-recorded version of their 1991 single “Opiate\,” issued to mark the 30th anniversary of their debut EP. ~ Neil Z. Yeung & Stephen Thomas Erlewine\, Rovi \n \n \nElder is a genre-pushing rock band that melds heavy psychedelic sounds with progressive elements and evocative soundscapes. Formed in a small coastal town in Massachusetts in the mid aughts\, the band has reinvented their sound over the course of six albums to grow from a stalwart of the stoner/doom scene into one of the most unique voices in the heavy rock underground. Their long-scale compositions unfold as journeys\, running the gamut of styles from the 70’s to the present within a single song with a penchant for “sheer gatefold-era grandeur” (Rolling Stone).
URL:https://clicksfromthepit.com/event/tool-elder-at-footprint-center-2/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, AZ\, 85004\, United States
ATTACH;FMTTYPE=image/jpeg:https://clicksfromthepit.com/wp-content/uploads/2024/01/Tool-at-Footprint-Center.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20240209T190000
DTEND;TZID=America/Phoenix:20240209T233000
DTSTAMP:20260521T020649
CREATED:20240122T132139Z
LAST-MODIFIED:20240122T132139Z
UID:4032-1707505200-1707521400@clicksfromthepit.com
SUMMARY:Tool & Elder at Footprint Center
DESCRIPTION:Tool established themselves as one of America’s most enduring and unpredictable acts with an ever-evolving brand of muscular but mind-altering sonics\, a wry sense of humor\, and a mystical aesthetic that attracted a cult-like following of devoted fans with just a handful of albums spread across decades. Their greatest breakthrough was to meld dark underground metal with the ambition of art rock\, crafting multi-sectioned\, layered songs as if they were classical composers. While embracing the artsy\, they also paid musical homage to the relentlessly bleak visions of grindcore\, death metal\, and thrash. Even with their post-punk influences\, they executed their music with the sound and feel of prog rock\, alternating between long\, detailed instrumental interludes and lyrical rants in their songs. Debuting in the early ’90s with Undertow\, they were initially lumped in with the nu-metal contemporaries of the time\, which made them a hit on rock radio with their sophomore effort\, 1996’s Ænima. However\, they soon broke away from those associations\, evolving beyond the confines of traditional song structures and song lengths\, crafting epics that often clocked in past the ten-minute mark on LP head-trips Lateralus (2001) and 10\,000 Days (2006). After a lengthy 13-year hiatus\, they returned to the fold in 2019 with their fifth opus\, the chart-topping\, Grammy-nominated Fear Inoculum. In 2022\, they celebrated their 30th anniversary with “Opiate²\,” a re-recorded version of their debut single. \nFormed in Los Angeles by percussionist Danny Carey\, guitarist Adam Jones\, vocalist Maynard James Keenan\, and original bassist Paul D’Amour\, Tool had a knack for conveying the strangled\, oppressive angst that the alternative nation of the early ’90s claimed as its own\, which helped them slip into the scene during the post-Nirvana era. Buffered by a prime slot on the third Lollapalooza tour in 1993\, their debut full-length album\, Undertow (Zoo Entertainment)\, rocketed to platinum status. Fervor for the band even resurrected their first effort\, 1992’s Opiate EP\, on the Billboard charts. While they were in the studio recording a follow-up\, D’Amour amicably parted ways with Tool and his spot was filled by Justin Chancellor. By the time the fresh quartet delivered their sophomore album\, Ænima\, in late 1996\, the alternative rock mainstream was ready. The album shot to number two on the Billboard charts and was certified multi-platinum in less than a decade. Singles “Stinkfist\,” “Forty Six & 2\,” and the Grammy-winning title track were all Top Ten hits on the U.S. Rock chart\, boosted by the twisted and often disturbing music videos created by Jones. After a co-headlining slot with Korn on Lollapalooza ’97\, Tool remained on the road\, supporting Ænima into the next year. \nAs nu-metal established its mainstream dominance at the close of the decade\, Tool returned to the shadows. During their hiatus\, Keenan formed a side project with former Tool guitar tech Billy Howerdel. A Perfect Circle debuted in 2000\, and their album Mer de Noms was a surprise hit. Their ensuing tour was a sold-out success as well\, which only served to fuel Tool breakup rumors. To quell the speculation\, they issued the stopgap B-sides/DVD set Salival late the same year. Meanwhile\, in the studio\, the band continued to journey down a new path that further distanced them from the mainstream. Delving deeper into their own mythos\, songs grew longer\, lyrics more inscrutable\, and artwork increasingly psychedelic. Though they retained their pummeling\, metal-oriented base\, the quartet smashed the formula by further experimenting with complex time signatures\, expansive atmospherics\, and a classical approach to song compositions. The first taste of 21st century Tool arrived in January 2001 with the Grammy-winning single\, “Schism\,” which was also their first song to chart on the Hot 100. Lateralus (Volcano) arrived that May\, topping the Billboard 200. Subsequent singles “Parabola” and “Lateralus” were favorites on the U.S. Rock charts\, and the album soon went multi-platinum. \nAfter another several-year sabbatical — during which time Keenan bounced back to A Perfect Circle — the group returned with another chart-topper\, 2006’s 10\,000 Days. Their most esoteric statement yet\, the album spawned the singles “Vicarious\,” “Jambi\,” and U.S. Mainstream Rock number one “The Pot.” Although it was also the band’s lowest-selling effort to date\, the record still managed to win the group their third Grammy Award for Best Recording Package. At the conclusion of touring\, Tool began another extended hiatus. Although the band re-emerged for a brief summer tour in 2009\, it would be another ten years before fans could hear new music. During this period\, Keenan debuted his de facto solo project\, Puscifer\, and returned for a third album with A Perfect Circle. Behind the scenes\, the band was also bogged down by a lawsuit that wouldn’t be resolved until 2015. The next year\, shaking off the cobwebs\, Tool returned to the road for another quick jaunt in the U.S.\, kicking off another cycle of speculation from fans starved for new material. \nAfter an interminable 13-year gap between albums\, Tool returned in 2019 with their epic fifth album\, Fear Inoculum. Their third straight chart-topper\, the set also featured their second Hot 100 placement to date\, the ten-minute title track\, which became the longest song to ever appear on that chart. Meanwhile\, for the first time\, Tool made their entire discography available for streaming; this propelled all of their past albums back to the charts\, breaking records in the process. They embarked on a sold-out arena tour of the U.S. alongside Killing Joke and capped their successful comeback with a pair of Grammy nominations for “7empest” and “Fear Inoculum.” The former track scored them a Grammy in 2020 for Best Metal Performance. In March 2022\, they released “Opiate²\,” a re-recorded version of their 1991 single “Opiate\,” issued to mark the 30th anniversary of their debut EP. ~ Neil Z. Yeung & Stephen Thomas Erlewine\, Rovi \n \n \nElder is a genre-pushing rock band that melds heavy psychedelic sounds with progressive elements and evocative soundscapes. Formed in a small coastal town in Massachusetts in the mid aughts\, the band has reinvented their sound over the course of six albums to grow from a stalwart of the stoner/doom scene into one of the most unique voices in the heavy rock underground. Their long-scale compositions unfold as journeys\, running the gamut of styles from the 70’s to the present within a single song with a penchant for “sheer gatefold-era grandeur” (Rolling Stone).
URL:https://clicksfromthepit.com/event/tool-elder-at-footprint-center/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, AZ\, 85004\, United States
ATTACH;FMTTYPE=image/jpeg:https://clicksfromthepit.com/wp-content/uploads/2024/01/Tool-at-Footprint-Center.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20240119T193000
DTEND;TZID=America/Phoenix:20240120T233000
DTSTAMP:20260521T020649
CREATED:20240107T222134Z
LAST-MODIFIED:20240107T222134Z
UID:4016-1705692600-1705793400@clicksfromthepit.com
SUMMARY:EAGLES at FootPrint Center in Phoenix\, AZ
DESCRIPTION:The Eagles were unquestionably the biggest mainstream American rock band to emerge in the 1970s. Not only did they sell more records and concert tickets than their peers — Their Greatest Hits (1971-1975) and Hotel California are two of the biggest-selling albums of all time — but they captured the shifting zeitgeist of the ’70s\, riding the country-rock hippie hangover at the end of the ’60s until it reached the slick\, expensive\, and expansive pop/rock of Southern California in the late ’70s. Co-leaders Don Henley and Glenn Frey didn’t seem like brothers\, but rather partners who made a pact to lead a coolly professional outfit designed to maximize their impact. This was not a group of teenage friends who played local dances together. Every one of the original members — Henley\, Frey\, Bernie Leadon\, and Randy Meisner — had headed toward LA with different bands and once those groups fell apart\, they stuck around town\, playing whatever gig that happened to show up. For all four\, one of those gigs was supporting Linda Ronstadt in 1971. The chemistry was evident on-stage and in the studio\, so the quartet decided to form a band\, releasing their debut in 1972. Hits came swiftly but stardom didn’t settle in until the latter half of the decade\, after 1975’s One of These Nights became a smash. Soon afterward\, Their Greatest Hits (1971-1975) turned their early years into canon and then came 1976’s Hotel California\, a record that defined all manners of ’70s excess. By that point\, the band’s lineup had shifted — Leadon and Meisner were out\, as was Leadon‘s replacement Don Felder; guitarist Joe Walsh and bassist Timothy B Schmit were in — and the group turned out to be ill-equipped to handle their mega-stardom. One more record\, 1979’s The Long Run\, appeared before the band split\, with Henley and Frey achieving considerable solo success during the ’80s. Rumors of reunions never abated\, not even when Henley quipped that hell would freeze over before the Eagles would play again and\, eventually\, an album materialized in 1993\, when the Hotel California-era band adopted the MTV Unplugged format for their own needs on an album naturally called Hell Freezes Over. From that point on\, Eagles tours were regular events — sometimes they were ambitious endeavors\, sometimes they were a gig or two\, the one thing in common being their success — and although the group continued to thrive on the existence of its back catalog\, they recorded a brand-new double-album called Long Road Out of Eden\, a record that once again put the Eagles on the top of the charts in 2007. \nThe band was formed by four Los Angeles-based musicians who had migrated to the West Coast from other parts of the country. Singer/bassist Randy Meisner moved to L.A. in 1964 as part of a band originally called the Soul Survivors (not to be confused with the East Coast-based Soul Survivors\, who scored a Top Five hit with “Expressway to Your Heart” in 1967) and later renamed the Poor. He became a founding member of Poco in 1968\, but left the band prior to the release of its debut album in order to join the Stone Canyon Band\, the backup group for Rick Nelson. Meanwhile\, singer/guitarist/banjoist/mandolinist Bernie Leadon arrived in L.A. in 1967 as a member of Hearts and Flowers\, later joining Dillard & Clark and then the Flying Burrito Brothers. Singer/drummer Don Henley moved to L.A. in June 1970 with his band Shiloh\, who made one self-titled album for Amos Records before breaking up. Finally\, Glenn Frey performed in his hometown and served as a backup musician for Bob Seger before moving to L.A. in the summer of 1968. He formed the duo Longbranch Pennywhistle with J.D. Souther\, and the two musicians signed to Amos Records\, which released their self-titled album in 1969. \nIn the spring of 1971\, Frey and Henley were hired to play in Linda Ronstadt‘s backup band. Meisner and Leadon also played backup for Ronstadt during her summer tour\, though the four only did one gig together: a July show at Disneyland. They did\, however\, all appear on Ronstadt‘s next album\, Linda Ronstadt. In September 1971\, Frey\, Henley\, Leadon\, and Meisner signed with manager David Geffen\, agreeing to record for his soon-to-be-launched label\, Asylum Records; soon after\, they adopted the name the Eagles. In February 1972\, they flew to England and spent two weeks recording their debut album\, Eagles\, with producer Glyn Johns. It was released in June\, reaching the Top 20 and going gold in a little over a year-and-a-half on the strength of two Top Ten hits — “Take It Easy” and “Witchy Woman” — and one Top 20 hit\, “Peaceful Easy Feeling.” \nThe Eagles toured as an opening act throughout 1972 and into early 1973\, when they returned to England to record their second LP\, Desperado\, a concept album about outlaws. Produced by Glyn Johns and released in April 1973\, it reached the Top 40 and went gold in a little less than a year and a half\, spawning the Top 40 single “Tequila Sunrise” in the process. The title track\, though never released as a single\, became one of the band’s better-known songs and was included on the Eagles’ first hits collection. \nAfter touring to support Desperado’s release\, the Eagles again convened a recording session with Glyn Johns for their third album. Their desire to make harder rock music clashed with Johns’ sense of them as a country-rock band\, however\, and they split from the producer after recording two tracks\, “You Never Cry Like a Lover” and “The Best of My Love.” After an early 1974 tour opened by singer/guitarist Joe Walsh\, the band decided to hire Walsh‘s producer\, Bill Szymczyk\, who handled the rest of the sessions for On the Border. Szymczyk brought in a session guitarist\, Don Felder (born in Gainesville\, Florida\, on September 21\, 1947)\, an old friend of Bernie Leadon‘s who so impressed the rest of the band that he was recruited to join the group. \nOn the Border was released in March 1974. It went gold and reached the Top Ten in June\, the Eagles’ fastest-selling album yet. The first single\, “Already Gone\,” reached the Top 20 the same month. But the most successful song on the LP — the one that broke them through to a much larger audience — was “The Best of My Love\,” which was released as a single in November. It hit number one on the easy listening charts in February 1975 and topped the pop charts a month later. \nThe Eagles’ fourth album\, One of These Nights\, was an out-of-the-box smash. Released in June 1975\, it went gold the same month and hit number one in July. Moreover\, it featured three singles that hit the Top Five: the chart-topping title song\, “Lyin’ Eyes\,” and “Take It to the Limit.” “Lyin’ Eyes” won the 1975 Grammy Award for Best Pop Vocal Performance by a Duo\, Group\, or Chorus\, and the Eagles also earned Grammy nominations for Album of the Year (One of These Nights) and Record of the Year (“Lyin’ Eyes”). The group went on a headlining world tour\, beginning with the U.S. and expanding into Europe. But on December 20\, 1975\, it was announced that Bernie Leadon had quit the band\, and Joe Walsh (born in Wichita\, Kansas\, on November 20\, 1947) was brought in as his replacement. He immediately joined the tour\, which continued to the Far East in early 1976. \nThe Eagles’ extensive touring kept them out of the studio\, and with no immediate plans for a new album; they agreed to release a compilation\, Their Greatest Hits (1971-1975)\, in February 1976. The album’s success proved to be surprisingly meteoric. It topped the charts and became a phenomenal success\, eventually selling upwards of 25\,000\,000 copies and dueling with Michael Jackson‘s Thriller for the title of the best-selling album of all time in the U.S. \nIt took the Eagles 18 months to follow One of These Nights with their fifth album\, Hotel California. Released in December 1976\, the record was certified platinum in one week\, hit number one in January 1977\, and eventually sold over 10\,000\,000 copies. The singles “New Kid in Town” and “Hotel California” hit number one\, and “Life in the Fast Lane” made the Top 20. Meanwhile\, “Hotel California” won the 1977 Grammy for Record of the Year and was nominated for Song of the Year; the album itself was nominated for Album of the Year and for Best Pop Vocal Performance by a Duo\, Group\, or Chorus. The Eagles embarked on a world tour in March 1977 that began with a month in the U.S.\, followed by a month in Europe and the Far East\, then returned to the U.S. in May for stadium dates. At the end of the tour in September\, Randy Meisner left the band; he was replaced by Timothy B. Schmit (born in Sacramento\, California\, November 20\, 1947)\, formerly of Poco\, in which he had also replaced Meisner. (Randy Meisner died on July 26\, 2023 at the age of 77.) \nThe Eagles began working on a new album in March 1978 and took nearly a year and a half to complete it. The Long Run was released in September 1979. It hit number one and was certified platinum after four months\, eventually earning multi-platinum certifications. “Heartache Tonight\,” its leadoff single\, hit number one\, and “I Can’t Tell You Why” and “The Long Run” became Top Ten hits. “Heartache Tonight” won the 1979 Grammy for Best Rock Performance by a Duo or Group with Vocal. The Eagles toured the U.S. in 1980\, and at a week-long series of shows at the Santa Monica Civic Auditorium\, they recorded Eagles Live. (Also included were some tracks recorded in 1976.) Released in November 1980\, the double LP (since reissued as a single CD) reached the Top Five and went multi-platinum\, with the single “Seven Bridges Road” reaching the Top 40. \nThe Eagles were inactive after the end of their 1980 tour\, but their breakup was not officially announced until May 1982. All five released solo recordings. (Walsh\, of course\, maintained a solo career before\, during\, and after the Eagles.) During the rest of the ’80s\, the bandmembers received several lucrative offers to reunite\, but they declined. In 1990\, Frey and Henley began writing together again\, and they performed along with Schmit and Walsh at benefit concerts that spring. A full-scale reunion was rumored\, but did not take place. Four years later\, however\, the Eagles did reunite. In the spring of 1994\, they taped an MTV concert special and then launched a tour that ended up running through August 1996. The MTV show aired in October\, followed in November by an audio version of it\, the album Hell Freezes Over\, which topped the charts and became a multi-million seller\, spawning the Top 40 pop hit “Get Over It” and the number one adult contemporary hit “Love Will Keep Us Alive.” \nThe Eagles next appeared together in January 1998 for their induction into the Rock & Roll Hall of Fame\, when the five present members performed alongside past members Leadon and Meisner. On December 31\, 1999\, they played a millennium concert at the Staples Center in Los Angeles that was recorded and included on the box set retrospective Selected Works: 1972-1999 in November 2000. All was not well within the band\, however\, and Felder was expelled from the lineup in February 2001. A protracted legal battle ensued as the Eagles soldiered on as a quartet\, releasing The Very Best of the Eagles in 2003 and achieving minor success with the single “Hole in the World.” Felder‘s case was settled out of court in 2007; that same year\, the Eagles returned with the band’s seventh studio album\, Long Road Out of Eden\, a double-disc album that quickly went multi-platinum. In 2013\, the band made the documentary History of the Eagles\, and toured behind it until mid-2015. Six months later\, Glenn Frey became ill and passed away on January 18\, 2016. He was 67. Just over a year after Frey‘s death\, the Eagles were revived with Glenn‘s son Deacon taking his place; Vince Gill also joined on guitars and vocals. The group played the Classic West and Classic East festivals in July of 2017\, then set out on the road in 2018. At the end of the year\, the group’s entire discography was boxed up as the Legacy set. ~ William Ruhlmann\, Rovi \n \n \nMost rock & roll bands are a tightly wound unit that developed their music through years of playing in garages and clubs around their hometown. Steely Dan never subscribed to that aesthetic. As the vehicle for the songwriting of Walter Becker and Donald Fagen\, Steely Dan defied all rock & roll conventions. Becker and Fagen never truly enjoyed rock — with their ironic humor and cryptic lyrics\, their eclectic body of work shows some debt to Bob Dylan — preferring jazz\, traditional pop\, blues\, and R&B. Steely Dan created a sophisticated\, distinctive sound with accessible melodic hooks\, complex harmonies and time signatures\, and a devotion to the recording studio. With producer Gary Katz\, Becker and Fagen gradually changed Steely Dan from a performing band to a studio project\, hiring professional musicians to record their compositions. Though the band didn’t perform live between 1974 and 1993\, Steely Dan’s popularity continued to grow throughout the ’70s as their albums became critical favorites and their singles became staples of AOR and pop radio stations. Even after the group disbanded in the early ’80s\, their records retained a cult following\, as proven by the massive success of their unlikely return to the stage in the early ’90s. \nWalter Becker (bass) and Donald Fagen (vocals\, keyboards) were the core members of Steely Dan throughout its various incarnations. The two met at Bard College in New York in 1967 and began playing in bands together shortly afterward. The duo played in a number of groups — including the Bad Rock Group\, which featured future comedic actor Chevy Chase on drums — which ranged from jazz to progressive rock. Eventually\, Becker and Fagen began composing songs together\, hoping to become professional songwriters in the tradition of the Brill Building. In 1970\, the pair joined Jay & the Americans‘ backing band\, performing under pseudonyms; Becker chose Gustav Mahler\, while Fagen used Tristan Fabriani. They stayed with Jay & the Americans until halfway through 1971\, when they recorded the soundtrack for the low-budget film You Gotta Walk It Like You Talk It\, which was produced by the Americans‘ Kenny Vance. Following the recording of the soundtrack\, Becker and Fagen attempted to start a band with Denny Dias\, but the venture was unsuccessful. Barbra Streisand recorded the Fagen/Becker composition “I Mean to Shine” on her album Barbra Joan Streisand\, released in August 1971\, and the duo met producer Gary Katz\, who hired them as staff songwriters for ABC/Dunhill in Los Angeles\, where he had just become a staff producer. Katz suggested that Becker and Fagen form a band as a way to record their songs\, and Steely Dan — who took their name from a dildo in William Burroughs‘ Naked Lunch — were formed shortly afterward. \nRecruiting guitarists Denny Dias and Jeff “Skunk” Baxter\, drummer Jim Hodder\, and keyboardist/vocalist David Palmer\, Becker and Fagen officially formed Steely Dan in 1972\, releasing their debut\, Can’t Buy a Thrill\, shortly afterward. Palmer and Fagen shared lead vocals on the album\, but the record’s two hit singles — the Top Ten “Do It Again” and “Reeling in the Years” — were sung by Fagen. Can’t Buy a Thrill was a critical and commercial success\, but its supporting tour was a disaster\, hampered by an under-rehearsed band and unappreciative audiences. Palmer left the band following the tour. Countdown to Ecstasy\, released in 1973\, was a critical hit\, but it failed to generate a hit single\, even though the band supported it with a tour. \nSteely Dan replaced Hodder with Jeff Porcaro and added keyboardist/backup vocalist Michael McDonald prior to recording their third album\, Pretzel Logic. Released in the spring of 1974\, Pretzel Logic returned Steely Dan to the Top Ten on the strength of the single “Rikki Don’t Lose That Number.” After completing the supporting tour for Pretzel Logic\, Becker and Fagen decided to retire from live performances and make Steely Dan a studio-based band. For their next album\, 1975’s Katy Lied\, the duo hired a variety of studio musicians — including Dias\, Porcaro\, guitarist Elliot Randall\, saxophonists Phil Woods\, bassist Wilton Felder\, percussionist Victor Feldman\, keyboardist Michael Omartian\, and guitarist Larry Carlton — as supporting musicians. Katy Lied was another hit\, as was 1976’s The Royal Scam\, which continued in the vein of its predecessor. On 1977’s Aja\, Steely Dan’s sound became more polished and jazzy\, as they hired jazz fusion artists like Wayne Shorter\, Lee Ritenour\, and the Crusaders as support. Aja became their biggest hit\, reaching the Top Five within three weeks of release and becoming one of the first albums to be certified platinum. Aja also gained the respect of many jazz musicians\, as evidenced by Woody Herman recording an album of Becker/Fagen songs in 1978. \nFollowing the release of Aja\, ABC was bought out by MCA Records\, resulting in a contractual dispute with the label that delayed until 1980 the release of their follow-up album. During the interim\, the group had a hit with the theme song for the film FM in 1978. Steely Dan finally released Gaucho\, the follow-up to Aja\, in late 1980\, and it became another Top Ten hit for the group. During the summer of 1981\, Becker and Fagen announced that they were parting ways. The following year\, Fagen released his solo debut\, The Nightfly\, which became a critical and commercial hit. \nFagen didn’t record another album until 1993\, when he reunited with Becker\, who produced Kamakiriad. The album was promoted by the first Steely Dan tour in nearly 20 years\, and while the record failed to sell\, the concerts were very popular. In 1994\, Becker released his solo debut\, 11 Tracks of Whack\, which was produced by Fagen. The following year\, Steely Dan mounted another reunion tour\, and in early 2000 the duo issued Two Against Nature\, their first new studio album in two decades. It won the Grammy Award for Album of the Year. Steely Dan followed it in 2003 with Everything Must Go. Fagen‘s solo album Morph the Cat was released in 2006\, and Becker released Circus Money in 2008 as Steely Dan embarked on another tour. In September 2017\, it was announced that Becker had died in Maui\, Hawaii. He was 67-years-old. \nFagen carried on with Steely Dan after Becker‘s passing\, often calling the group “the Steely Dan Band.” This new lineup was showcased on a pair of live albums released in September 2021: Northeast Corridor: Steely Dan Live and Donald Fagen’s The Nightfly Live\, both recorded between 2018 and 2019. ~ Stephen Thomas Erlewine\, Rovi
URL:https://clicksfromthepit.com/event/eagles-at-footprint-center-in-phoenix-az/
LOCATION:Mortgage Matchup Center\, 201 E Jefferson St\, Phoenix\, AZ\, 85004\, United States
ATTACH;FMTTYPE=image/jpeg:https://clicksfromthepit.com/wp-content/uploads/2024/01/eagles-at-footprint-center.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230402T190000
DTEND;TZID=America/Phoenix:20230402T233000
DTSTAMP:20260521T020649
CREATED:20230321T022845Z
LAST-MODIFIED:20230321T022845Z
UID:3802-1680462000-1680478200@clicksfromthepit.com
SUMMARY:Muse + Evanescence & Highly Suspect at Desert Diamond Arena
DESCRIPTION:Muse are Matt Bellamy\, Dominic Howard and Chris Wolstenholme. Since forming in 1994\, Muse have released nine studio albums\, selling over 30 million units worldwide. Their latest album ‘Will of the People” debuted at #1 in multiple territories including\, UK (their 7th consecutive #1) \, Austria\, France\, Finland\,  Italy and Switzerland. Their previous album\, ‘Simulation Theory’\, debuted at #1 in multiple territories and followed their 2015 album\, ‘Drones’\, which went on to win a Grammy Award for Best Rock Album\, the band’s second.   Muse have won numerous music awards including two Grammy Awards\, an American Music Award\, five MTV Europe Music Awards\, two Brit Awards\, eleven NME Awards and seven Q Awards\, amongst others. \n \n\ \nEvanescence will release their first album of new original music in nine years\, The Bitter Truth (BMG) over the course of this year\, beginning with the first song and video\, “Wasted on You\,” out now. The video for “Wasted on You” was shot by each band member on their iPhones while currently in isolation. As Amy explains\, “We were recording this music right up until we couldn’t go into the studio anymore\, and finished it remotely through file sharing and phone calls. Tweaking mixes\, adding background vocals\, creating the video and album art all from home has been like water in the dessert for me\, my light in a dark time. We are still writing and have a lot more work to do on this album\, but this time we wanted to release the songs individually\, as we create\, to live more in the moment with our fans and our music. Wasted On You wasn’t the song we were planning to release first\, but when the whole world went into indefinite lockdown and everything changed\, so did the feeling and meaning of what we wanted to say right now. I didn’t write these lyrics about what we’re all now going through\, but somehow that’s exactly what they are. \n \n \nA muscular\, hard-hitting\, and wide-ranging group in the vein of Pop Evil\, Queens of the Stone Age\, and Royal Blood\, Brooklyn’s Highly Suspect rode a series of indie EPs and years of touring to a pair of Grammy nominations for their 2015 debut. A year later\, their follow-up delivered another hit in the Grammy-nominated single “My Name Is Human\,” setting high expectations for their third outing\, 2019’s hip-hop-leaning MCID. The band continued to blur genres on 2022’s The Midnight Demon Club. \nThe band formed in Cape Cod in 2009 around the talents of Johnny Stevens (guitar\, vocals\, synths) and twin siblings Ryan (drums\, vocals) and Rich Meyer (bass\, vocals). After working regionally as a cover band\, they relocated to Brooklyn and began recording original material\, resulting in a pair of EPs\, First Offense (2009) and The Gang Lion (2010). They continued to establish themselves with one more EP\, The Worst Humans\, in 2012\, before heading into the studio with producer Joel Hamilton (Black Keys\, Elvis Costello) to record their debut long-player. The resulting Mister Asylum\, which featured the fiery single “Lydia\,” was released on 300 Entertainment in 2015. Their debut received critical praise and two unexpected Grammy nominations\, leading to an extensive supporting tour. \nOff the road by early 2016\, they immediately returned to the studio to record a second full-length\, The Boy Who Died Wolf\, which saw release in November of that year. The album’s lead single\, “My Name Is Human\,” topped Billboard’s Mainstream Rock chart and earned Highly Suspect another Grammy nomination for Best Rock Song. As early as November 2018\, they began teasing information about their next album which they later revealed would be called MCID. A pair of singles\, “Upperdrugs” and “16\,” were released in August of that year\, with the eclectic\, hip-hop-infused MCID\, which featured guest spots from Young Thug\, Gojira\, Tee Grizzley\, and Nothing But Thieves‘ Conor Mason\, arriving in November 2019. Three years later\, Highly Suspect released The Midnight Demon Club\, a kinetic and life-affirming set that paired hip-hop beats and cinematic soundscapes with blazing metal. \n \n 
URL:https://clicksfromthepit.com/event/muse-evanescence-highly-suspect-at-desert-diamond-arena/
LOCATION:Desert Diamond Arena\, 9400 W Maryland Ave\, Glendale\, AZ\, 85305\, United States
ATTACH;FMTTYPE=image/jpeg:https://clicksfromthepit.com/wp-content/uploads/2023/03/Muse-at-Desert-Diamond-Arena.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230402T180000
DTEND;TZID=America/Phoenix:20230402T233000
DTSTAMP:20260521T020649
CREATED:20230322T022257Z
LAST-MODIFIED:20230322T022257Z
UID:3809-1680458400-1680478200@clicksfromthepit.com
SUMMARY:Saliva + Through Fire & Any Given Sin at Marquee Theatre
DESCRIPTION:After acquiring front man Bobby Amaru in 2011\, Saliva became infused with new blood\, energy\, and spirit. The same energy launched Saliva’s career in 2001 with the release\, _Every Six Seconds – a certified Double Platinum-selling album\, containing the hits\, “Click Click Boom” and 2002 Grammy nominated\, “Your Disease.” Saliva’s in-your-face\, anthemic writing style continued with a certified Gold-selling album *Back in to Your System_ with hits: “Always\,” “Raise Up\,” and the Nikki Sixx co-written\, “Rest In Pieces.”* \nSaliva will continue to release tracks and ultimately a full album in Spring of 2023. The new music has a contemporary feel but sticks to the blue collar roots that their fans love. \nSaliva is Brad Stewart (bass)\, Wayne Swinny (guitar)\, Sammi Jo Bishop (drums) and Bobby Amaru (vocals). \n \n \nBy disregarding rules\, we defy expectations. Rather than stick to the script or follow a template\, Through Fire consistently evolve\, reshaping hard rock with electronic flourishes and airtight songcraft. As a result\, the Omaha\, NE quartet—Justin McCain [lead guitar\, songwriter]\, Grant Joshua Kendrick [lead vocals]\, Tyler Halverson [bass]\, and Zach Halverson [drums]—haven’t just broken the mold; they’ve also broken through as a force to be reckoned with. They’ve notably racked up nearly 100 million cumulative streams and views in addition to landing massive syncs during the NHL Stanley Cup Finals and from the NBA\, NFL\, UFC\, and ESPN with standout “Stronger” even serving as the theme for WWE’s Backlash. Along the way\, they’ve notably toured with All That Remains\, Fozzy\, Seether\, and more. \nNow\, they continue to forge ahead on their third full-length offering\, Devil’s Got You Dreaming [Sumerian Records]. \n“We definitely tried to push some boundaries and venture into new territory where we haven’t gone as a band in the past\,” notes Justin. “There was a different approach\, and we tried sounds we hadn’t tapped into or utilized. We went into this with no rules\, and we had fun.” \n \n \nEvery once in a while\, a singer comes along that single-handedly resets the bar for what a rock vocalist should be. Someone with such raw emotion and power that it makes the hair on the back of your neck stand up. Maryland-based rock band ANY GIVEN SIN’s Vic Richie is that singer. ANY GIVEN SIN spent much of 2019 generating buzz with the release of their single “Dynamite\,” which quickly became the number one most spun song on SiriusXM’s Octane. The band soon solidified its position on Octane\, landing the coveted Accelerator Artist title\, and blazing past some of the biggest names in rock on the weekly BIG UNS Countdown. As the number two most requested song on the channel\, it ended up at number twenty-nine on Octane’s Top 100 year-end countdown. The success of their first single was quickly followed up with the release of their second single\, “Another Life\,” which\, in turn\, became the number one most spun song as well. Any Given Sin recently released their third single\, “Insidious.” The band has been working with some heavy-hitters in the rock world including Trevor Kustiak (Evans Blue)\, John Moyer (Disturbed)\, and most recently\, Chris Dawson (SAUL\, Seasons After)\, who produced both singles\, “Another Life” and “Insidious.” Complete with epic\, crunchy guitar riffs and put-a-hole-in-your-soul\, massive drums\, this is a true-blue American rock band with both authenticity and power. \n \n 
URL:https://clicksfromthepit.com/event/saliva-through-fire-any-given-sin-at-marquee-theatre/
LOCATION:Marquee Theatre\, 730 N Mill Ave\, Tempe\, AZ\, 85281\, United States
ATTACH;FMTTYPE=image/jpeg:https://clicksfromthepit.com/wp-content/uploads/2023/03/saliva-at-marquee-theatre.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230401T203000
DTEND;TZID=America/Phoenix:20230401T233000
DTSTAMP:20260521T020649
CREATED:20230305T185827Z
LAST-MODIFIED:20230305T185827Z
UID:3779-1680381000-1680391800@clicksfromthepit.com
SUMMARY:STAIND at Arizona Bike Week 2023
DESCRIPTION:It has been said that first impressions last a lifetime. Luckily for Staind\, some only last for about 45 minutes. After a volatile disagreement with Limp Bizkit‘s Fred Durst over some of Staind’s early cover art\, it seemed their big break had walked out the door. Fortunately\, by the time Durst had witnessed Staind’s intense live show\, he was ready to exchange phone numbers. \nStaind’s story began in the New England area when vocalist Aaron Lewis and guitarist Mike Mushok met at a Christmas party in 1993. Mushok was able to bring drummer Jon Wysocki into the fold\, and Lewis‘ connection with a bass player (who later left) completed the early lineup. Establishing themselves took time\, and extensive touring of the Northeast with other established metal acts helped them sell over 2\,000 copies of their self-released debut in just over a year. They were primed for their big break\, and on October 23\, 1997\, the hard work paid off. \nAt a show in Hartford\, Connecticut\, Staind were all set to open for Limp Bizkit when Bizkit singer Durst raised a stink over cover art on Staind’s self-released CD. After a heated conversation over whether or not Staind were Satan worshipers\, Durst forcefully returned the disc to the band\, and walked away. But 45 minutes later Durst was back\, not to further the argument\, but to make sure he kept in contact with Staind. Blown away by their live show\, Durst exchanged phone numbers\, and loved their demo tape when they gave it to him. He convinced them to travel to Jacksonville\, Florida\, to work on the new songs. \nAfter reworking the new material and a successful live show\, Durst contacted the head of Flip Records and arranged a meeting for Staind with the label. While in Los Angeles\, a three-song sampler was recorded\, and by the time February rolled around in 1998\, the band had a record deal. After playing the Vans Warped Tour\, they began work on their first album\, Dysfunction. The album was produced by Terry Date (Deftones\, Pantera\, Soundgarden) and was released April 13\, 1999. A tour with Kid Rock followed that spring and later the band reunited with good friends Limp Bizkit for a summer tour. \nTheir follow-up\, Break the Cycle\, enjoyed a prolonged visit at the number one spot on U.S. charts in 2001. Smash hits like “It’s Been a While\,” “Fade\,” “For You\,” and “Epiphany” catapulted Staind into the mainstream\, leaving their 2002 DVD MTV Unplugged to go gold. Staind released 14 Shades of Grey in spring 2003\, and after a two-year break returned with the chart-topping Chapter V\, named to include their self-released debut in the Staind canon. A Singles and Videos compilation arrived in 2006\, followed by the all-new studio album Illusion of Progress in 2008\, the latter of which debuted at number three on the U.S. Billboard 200 chart. The band’s eponymous seventh studio album\, which saw the departure of longtime drummer Jon Wysocki\, arrived on September 13\, 2011. Later that year\, the band recruited drummer Sal Giancarelli and hit the road\, documenting the tour with 2012’s Live from Mohegan Sun\, which captured the tour’s first show. ~ Chris True\, Rovi
URL:https://clicksfromthepit.com/event/staind-at-arizona-bike-week-2023/
LOCATION:WestWorld of Scottsdale\, 16601 North Pima Road\, Scottsdale\, AZ\, 85260\, United States
ATTACH;FMTTYPE=image/jpeg:https://clicksfromthepit.com/wp-content/uploads/2023/03/Staind-2023.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230331T203000
DTEND;TZID=America/Phoenix:20230331T233000
DTSTAMP:20260521T020649
CREATED:20230305T182312Z
LAST-MODIFIED:20230305T185109Z
UID:3746-1680294600-1680305400@clicksfromthepit.com
SUMMARY:MEGADETH at Arizona Bike Week 2023
DESCRIPTION:To be released by UMe on September 2\, 2022\, The Sick\, The Dying… And The Dead! further establishes MEGADETH as a band that has both defined and repeatedly redefined heavy metal since formation\, and which follows up 2016’s Grammy®-winning Dystopia\, which debuted at #3 on the Billboard Top 200 (MEGADETH’s highest chart position since its 1992 classic Countdown to Extinction). MEGADETH has crafted a record with a visceral energy\, heaviness\, and sometimes paranormal pace that few would expect from such a seasoned band with so little to prove. The Sick\, The Dying… And The Dead! melds the ultra-frenetic riffing\, fiercely intricate guitar solos\, and adventurous spirit of the quartet’s groundbreaking early output with the musicality and melodicism of its ‘90s songwriting\, all laced with signature virtuosity and precision – plus\, of course\, Mustaine’s singular vocal snarl and wry\, take-no-shit lyrical vitriol. \n“I don’t think we’re nearing the end\, not even remotely\,” Mustaine concludes. “I feel more energized now that I have in decades.” Appropriately\, the album closes with “We’ll Be Back” …
URL:https://clicksfromthepit.com/event/megadeth-at-arizona-bike-week-2023/
LOCATION:WestWorld of Scottsdale\, 16601 North Pima Road\, Scottsdale\, AZ\, 85260\, United States
ATTACH;FMTTYPE=image/jpeg:https://clicksfromthepit.com/wp-content/uploads/2023/03/megadeth-lineup-current.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230330T203000
DTEND;TZID=America/Phoenix:20230330T233000
DTSTAMP:20260521T020649
CREATED:20230305T181309Z
LAST-MODIFIED:20230305T181309Z
UID:3743-1680208200-1680219000@clicksfromthepit.com
SUMMARY:Billy Idol at Arizona Bike Week 2023
DESCRIPTION:Billy Idol was an early architect of the sound\, style\, and fury of punk rock. Billy was responsible for some of punk rock’s most memorable\, literate\, and evocative moments and created a pioneering new sound by bringing the spirit of ’77 to the dance floor\, going on to fashion an immediately identifiable musical blueprint that integrates club-land throb\, rockabilly desperation\, and rock’n’roll decadence. \nHis lip-curling sneer and fist-pumping persona vaulted him into the mainstream as one of MTV’s first megastars\, making him one of the most recognizable faces in pop music. He has sold 40 million albums while scoring numerous platinum albums worldwide\, nine top forty singles in the U.S. and 10 in the U.K. His smash singles include “Dancing With Myself\, “White Wedding\,” “Rebel Yell\,” “Eyes Without A Face\,” “Flesh For Fantasy\,” “Mony Mony” and “Cradle of Love.”
URL:https://clicksfromthepit.com/event/billy-idol-at-arizona-bike-week-2023/
LOCATION:WestWorld of Scottsdale\, 16601 North Pima Road\, Scottsdale\, AZ\, 85260\, United States
ATTACH;FMTTYPE=image/png:https://clicksfromthepit.com/wp-content/uploads/2023/03/Billy-Idol-2023.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230329T203000
DTEND;TZID=America/Phoenix:20230329T233000
DTSTAMP:20260521T020649
CREATED:20230305T180454Z
LAST-MODIFIED:20230305T180454Z
UID:3740-1680121800-1680132600@clicksfromthepit.com
SUMMARY:Texas Hippie Coalition at Arizona Bike Week 2023
DESCRIPTION:Backyard barbeques\, barroom brawls\, tent revivals\, and big rock festivals alike are suitable environments for the Red Dirt Metal of TEXAS HIPPIE COALITION\, a band with a sound so devilishly electrifying that they had to come up with a new genre to describe it. \nBIG DAD RITCH captains this pirate ship of bikers\, outlaws\, troubadours\, and hellraisers\, welcoming all comers to the THC party with gregarious charisma and Southern charm. Across a half dozen albums\, countless club gigs\, and show stealing performances at Rockstar Mayhem\, THC has spread the good word of big riffs\, big hooks\, and wild times. \nHigh in the Saddle is a record full of unashamed\, full-throttle ass kicking. It’s the band’s second pairing with producer Bob Marlette (Black Stone Cherry\, Rob Zombie) and sixth album over all\, on the heels of the No. 2 Billboard Heatseekers slab\, Dark Side of Black . \nRock/metal tastemaker Loudwire.com described THC’s “nonstop gritty\, grooving\, and downright party rock” as “sounding like the bastard that spawned from a threesome between Monster Magnet\, Willie Nelson\, and Pantera.” Guitarists Cord Pool and Nevada Romo\, bassist Rado Romo\, and drummer Devon Carothers build songs with traditional blue-collar and red-blooded American craftsmanship\, skillfully transforming Big Dad Ritch’s tales of recklessness and revelry into anthems for the Red Dirt Metal lifestyle.
URL:https://clicksfromthepit.com/event/texas-hippie-coalition-at-arizona-bike-week-2023/
LOCATION:WestWorld of Scottsdale\, 16601 North Pima Road\, Scottsdale\, AZ\, 85260\, United States
ATTACH;FMTTYPE=image/png:https://clicksfromthepit.com/wp-content/uploads/2023/03/Texas-Hippie-Coalition-2023.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230329T120000
DTEND;TZID=America/Phoenix:20230402T190000
DTSTAMP:20260521T020649
CREATED:20230217T025452Z
LAST-MODIFIED:20230217T025600Z
UID:3651-1680091200-1680462000@clicksfromthepit.com
SUMMARY:Arizona Bike Week 2023 at WestWorld of Scottsdale
DESCRIPTION:Are you all set for Arizona Bike Week 2023?! If you haven’t already\, make your camping or hotel reservations now! \nGet ready to be part of an incredible motorcycle rally and music festival at WestWorld of Scottsdale from March 29-April 2! \nThe RockYard concerts will be epic\, featuring Billy Idol\, Megadeth\, Staind\, and Texas Hippie Coalition! The PowerYard will offer non-stop entertainment and excitement\, including world-class vendors\, bike shows \, charity ride raffles\, live music\, our sexy rally girls\, and much more! Check our Event Schedule often. We’re adding to the list daily. \nFind Your 2022 Ride In Photo Here \n                                     \n\n\n\nArizona Bike Week® and the Arizona Bike Week logo are Registered Trademarks.\nAny Unauthorized Duplication\, Display\, or Use of Name or Logos is Strictly Prohibited by Law.\n\n\n\n\n\nFX Promotions\, Inc. dba Arizona Bike Week\nCorporate Address: 104 S. Robson\, Mesa\, AZ 85210\nVenue Address: 16601 North Pima Road\, Scottsdale\, AZ 85260\nphone: 480.644.8191 | fax: 480.733.4006\ninfo@azbikeweek.com
URL:https://clicksfromthepit.com/event/arizona-bike-week-2023-at-westworld-of-scottsdale/
LOCATION:WestWorld of Scottsdale\, 16601 North Pima Road\, Scottsdale\, AZ\, 85260\, United States
ATTACH;FMTTYPE=image/jpeg:https://clicksfromthepit.com/wp-content/uploads/2023/02/ABW2023-Menu-Header.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230322T190000
DTEND;TZID=America/Phoenix:20230322T233000
DTSTAMP:20260521T020649
CREATED:20230228T024934Z
LAST-MODIFIED:20230228T024934Z
UID:3722-1679511600-1679527800@clicksfromthepit.com
SUMMARY:Skillet + Theory Of A Deadman at Arizona Financial Theatre
DESCRIPTION:One of the best-selling rock bands of the 21st century\, two-time GRAMMY® Award-nominated multiplatinum Wisconsin quartet Skillet—John Cooper [lead vocals/bass]\, Korey Cooper [guitar/keys]\, Jen Ledger [drums/vocals]\, and Seth Morrison [lead guitar]—write the soundtrack to triumph. An undying spirit humbly asserted and affirmed the band as one of this generation’s most successful rock acts. However\, as all classic underdog stories do\, it happened quietly under the radar. By 2019\, they not only garnered a pair of GRAMMY® Award nods and sold over 12 million albums worldwide\, but they also took home a Billboard Music Award for the double-platinum Awake. Its breakout single “Monster” remains “one of the most-streamed rock songs of all-time” with 285 million global audio streams. 2016’s Unleashed bowed at #3 on the Billboard Top 200. Going #1 on Rock Radio\, the lead single “Feel Invincible” cracked 150 million global audio streams and went platinum. Meanwhile\, the gold-certified Unleashed became their fourth consecutive album to receive either a gold\, platinum\, or double-platinum plaque. To date\, nine original tunes earned RIAA recognition in tandem with high-profile syncs by everyone from WWE and Marvel to ESPN and NFL. Between selling out arenas on four continents\, the group performed on CONAN and graced the pages of USA Today and New York Times\, to name a few. In 2018 alone\, the band clocked 1 billion streams. This momentum continues on their 2019 tenth full-length\, Victorious. \n \n \nSongs make statements at just the right time. Born at the intersection of insurgency and inspiration\, music props up a sounding board for the people to be heard. Theory Of A Deadman amplify this voice on their seventh full-length offering\, “Say Nothing”\, releasing 1.31.20. The award-winning multiplatinum Los Angeles-based Canadian band—Tyler Connolly [lead vocals\, guitar]\, Dave Brenner [guitar\, backing vocals]\, Dean Back [bass]\, and Joey Dandeneau [drums]—flip the pulse of the world into scorching songcraft\, integrating experimental vision\, rock ‘n’ roll attitude\, and clever pop ambition. \nIn the midst of this storm\, Connolly and Co. speak up like never before. “This album allowed me to say all of the things that were on my mind earlier\, but I was too afraid to say\,” the frontman admits. “This album is about what’s going on in the world\, the state of American politics\, and everything else. It was a completely different way of writing for us.” \n“What makes this record important is the content\,” Brenner elaborates. “Tyler approaches some really tough topics like domestic violence and racism. There are real discussions happening in the tracks backed by heavy stuff to make you think.” \n“We just want to write what speaks to us\,” Connolly leaves off. “The best thing is when people sing lyrics back to you\, or if a song gets somebody through a tough time. There’s something we all might be able to dig here.” \n \n \nBy turning inward\, Saint Asonia amplify every element of their signature sound. Skyscraping hooks soar higher\, while arena-ready rhythms rattle harder. The guitars cut deeper\, and the lyrics resound louder than ever. The quartet—Adam Gontier [vocals\, guitar]\, Mike Mushok [lead guitar]\, Cale Gontier [bass]\, and Cody Watkins [drums]—find power and strength on their aptly titled 2022 EP\, Introvert [Spinefarm Records]. \nSaint Asonia initially united two hard rock luminaries under a new banner. Respectively\, Adam and Mike had each reached stratospheric heights in Three Days Grace and Staind\, toppling charts\, packing venues\, and selling millions of records. As such\, their union captivated audiences worldwide. In the wake of their 2015 self-titled debut Saint Asonia\, Loudwire christened the band its “Best New Artist” at the Loudwire Music Awards. The 2019 follow-up\, Flawed Design\, yielded the blockbuster single “The Hunted” [feat. Sully Erna of Godsmack]\, generating over 15 million Spotify streams. In a “4.5-out-of-5-star” review\, New Noise Magazine declared\, “Any fan of hard rock (whether they’ve listened in recently or not) should give Saint Asonia a spin.” Plus\, Loudwire applauded it as one of the “The 50 Best Rock Albums of the Year.” Not to mention\, they toured with everyone from Disturbed\, Breaking Benjamin\, and Seether to Alter Bridge and Mötley Crüe.
URL:https://clicksfromthepit.com/event/skillet-theory-of-a-deadman-at-arizona-financial-theatre/
LOCATION:Arizona Financial Theatre\, 400 W Washington St\, Phoenix\, AZ\, 85004\, United States
ATTACH;FMTTYPE=image/jpeg:https://clicksfromthepit.com/wp-content/uploads/2023/02/Skillet-Theory-Of-A-Deadman-Rock-Resurrection-Tour.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20230317T180000
DTEND;TZID=America/Phoenix:20230318T233000
DTSTAMP:20260521T020649
CREATED:20230313T005951Z
LAST-MODIFIED:20230313T005951Z
UID:3787-1679076000-1679182200@clicksfromthepit.com
SUMMARY:Taylor Swift\, Paramore & Gayle at State Farm Stadium
DESCRIPTION:Taylor Swift is that rarest of pop phenomena: a superstar who managed to completely cross over from country to the mainstream. Others have performed similar moves — notably\, Dolly Parton and Willie Nelson both became enduring pop culture icons based on their 1970s work — but Swift shed her country roots like they were a second skin; it was a necessary molting to reveal she was perhaps the sharpest\, savviest populist singer/songwriter of her generation\, one who could harness the zeitgeist\, make it personal and\, just as impressively\, perform the reverse. These skills were evident on her earliest hits\, especially the neo-tribute “Tim McGraw\,” but her second album\, 2008’s Fearless\, showcased a songwriter discovering who she was and\, in the process\, finding a mass audience. Fearless wound up having considerable legs not only in the U.S.\, where it racked up six platinum singles on the strength of the Top Ten hits “Love Story” and “You Belong with Me\,” but throughout the world\, performing particularly well in the U.K.\, Canada\, and Australia. Speak Now\, delivered almost two years later\, consolidated that success and moved Swift into the stratosphere of superstardom. Her popularity only increased over her next three albums — Red (2012)\, 1989 (2014)\, Reputation (2017) — and found her moving assuredly into a pop realm where she already belonged. Even when she scaled back her approach with 2020’s stripped-down sibling releases folklore and Evermore\, she remained atop the pop world\, a position she maintained with re-recordings of her back catalog along with Midnights\, a moody album released in 2022. \nThis sense of confidence had been apparent in Taylor Swift since the beginning. The daughter of two bankers — her father\, Scott Kingsley Swift\, worked at Merrill Lynch; her mother\, Andrea\, spent time as a mutual fund marketing executive — Swift was born in Reading\, Pennsylvania\, and raised in suburban Wyomissing. She began to show interest in music at the age of nine\, and Shania Twain wound up as her biggest formative influence. Swift started to work regularly at local talent contests\, eventually winning a chance to open for Charlie Daniels. Soon\, she learned how to play guitar and began writing songs\, signing a music management deal with Dan Dymtrow; her family relocated to Nashville with the intent of furthering her music career. She was just 14 years old but on the radar of the music industry\, signing a development deal with RCA Records in 2004. Swift sharpened her skills with a variety of professional songwriters\, forming the strongest connections with Liz Rose. Taylor’s original songs earned her a deal with Sony/ATV Music Publishing\, but not long after that 2004 deal she parted ways with Dymtrow and RCA\, all with the intent of launching her recording career now\, not later. \nThings started moving swiftly once Swift came to the attention of Scott Borchetta\, a former DreamWorks Records exec about to launch Big Machine Records. Borchetta saw Swift perform at a songwriters showcase at the Bluebird Cafe and he signed her to Big Machine in 2005; shortly afterward\, she started work on her debut with producer Nathan Chapman\, who’d previously helmed demos for Taylor. Boasting original song credits on every one of the record’s 11 songs (she penned three on her own)\, Taylor Swift appeared in October 2006 to strong reviews and Swift made sure to work the album hard\, appearing at every radio or television event offered and marshaling a burgeoning fan base through the use of MySpace. “Tim McGraw\,” the first song from the album\, did well\, but “Teardrops on My Guitar” and “Our Song” did better on both the pop and country charts\, where she racked up five consecutive Top Ten singles. Other successes followed in the wake of the debut — a Grammy nomination for Best New Artist (she lost to Amy Winehouse)\, stopgap EPs of Christmas songs — but Swift concentrated on delivering her sophomore set\, Fearless. \nAppearing in November 2008\, Fearless was certified gold by the RIAA in its first week of release\, and the record gained momentum throughout 2009\, earning several platinum certifications as “Love Story\,” “White Horse\,” “You Belong with Me\,” “Fifteen\,” and “Fearless” all scaled the upper reaches of the country charts while “You Belong with Me” nearly topped Billboard’s Hot 100. Along with the success came some headlines\, first in the form of an infamous appearance at the 2009 MTV Video Music Awards where her acceptance speech was interrupted by Kanye West\, who burst on-stage to declare that Swift’s rival Beyoncé deserved the award more\, but her romances also started gaining attention\, notably a liaison with Twilight star Taylor Lautner\, who appeared with the singer in the 2009 film Valentine’s Day. \nHer flirtation with the silver screen proved brief\, as she then poured herself into her third album\, Speak Now. Released in October 2010\, Speak Now was another massive first-week smash that refused to lose momentum. Hit singles like “Mine” and “Mean\,” which won two Grammy Awards\, played a big factor in its success not just on the country charts but on pop radio as well. Following a 2011 live album called World Tour Live: Speak Now\, Swift turned toward following a pop path on her fourth album\, hiring such mainstream musicians as Dan Wilson\, Butch Walker\, and Britney Spears producer Max Martin. This mainstream pulse was evident on “We Are Never Ever Getting Back Together\,” the first single from Red. Upon its October 2012 release\, Red shattered expectations by selling over a million copies in its first week\, a notable achievement that was doubly impressive in an era of declining sales. Once again\, Swift’s album had legs: it was certified platinum four times in the U.S. and its international sales outstripped those of Speak Now. She supported Red with an international tour in 2013 and more hits came\, including “I Knew You Were Trouble” and “22.” \nAs Swift geared up for the release of her fifth album in 2014\, she made it clear that 1989 was designed as her first “documented\, official” pop album and that there would be no country marketing push for the record. “Shake It Off\,” an ebullient dance-pop throwback\, hit number one upon its August 2014 release. When 1989 appeared in late October 2014\, it once again shot to number one and became her third straight album to sell one million copies in its first week (a new record for any artist). \nSwift gathered many awards during the subsequent year\, including Billboard’s Woman of the Year\, the Award for Excellence at the American Music Awards\, and a special 50th Anniversary Milestone Award from the CMAs. Her 1989 World Tour crossed Asia\, North America\, and Europe during the last half of 2015\, and she won three Grammy Awards at the 2016 ceremonies\, including Album of the Year\, Best Pop Vocal Album\, and Best Music Video for “Bad Blood.” At the end of 2016\, she released “I Don’t Wanna Live Forever\,” a duet with ZAYN from the soundtrack for Fifty Shades Darker. The single reached the Top Five across the world. Swift returned with her sixth album\, Reputation\, in November 2017. Preceded by the number one hit single “Look What You Made Me Do\,” Reputation debuted at number one\, and while it didn’t replicate the success of 1989\, the album did help underscore her popularity while also pushing her toward mature musicality. \nReputation was Swift’s final record for Big Machine. In November 2018\, she signed with Universal Music Group\, which distributed her new albums under its Republic Records banner. The first album in this contract was Lover. Released in August 2019\, Lover was preceded by two singles\, “Me!” and “You Need to Calm Down\,” which both reached number two on the Hot 100 and helped push the album to number one. The acclaimed LP and two of its singles received a total of three nominations at the 62nd Grammy Awards. \nSwift’s plans to support Lover with a tour in 2020 were scrapped due to the COVID-19 pandemic. With some unexpected time on her hands\, she wrote and recorded a new set of songs\, many in collaboration with Aaron Dessner of the National; Bon Iver and longtime Swift associate Jack Antonoff also contributed. The resulting album\, folklore\, was released on July 24\, 2020\, and went straight to the top of the Billboard 200. Less than five months later\, Swift released a companion album to folklore called Evermore. Featuring many of the same collaborators as its predecessor\, the Grammy-nominated Evermore debuted at number one upon its December 11\, 2020 release. Altogether\, the sibling LPs planted Swift atop the U.S. charts for a combined 11 weeks\, and folklore became the best-selling album of 2020. \nIn 2021\, she began the process of re-recording her back catalog after her Big Machine masters were sold off in 2019\, starting with 2008’s Fearless. The first of these tracks — “Love Story (Taylor’s Version)” — arrived that February\, with Fearless [Taylor’s Version] arriving in April. The new version of Fearless contained cameos from Colbie Caillat\, Keith Urban\, and Maren Morris\, along with several previously unheard tunes originally written during the same time period; it debuted at number one on Billboard upon its release. Swift next revisited Red\, releasing Red [Taylor’s Version] in November 2021. This revamp of the 2012 album featured new duets with Phoebe Bridgers\, Chris Stapleton\, and Ed Sheeran\, along with a ten-minute version of the ballad “All Too Well.” Another re-recording\, “This Love (Taylor’s Version)” (originally off 1989)\, arrived in May 2022 and was included in the soundtrack to the coming-of-age drama The Summer I Turned Pretty. \nSwift opened up another chapter in her career with the October 2022 release of Midnights\, an album co-produced by Jack Antonoff and featuring a duet with Lana Del Rey on “Snow on the Beach.” ~ Stephen Thomas Erlewine \n \n \nWhen Paramore revealed they were recording together in January 2022 the response from music fans around the world was immediate and celebratory. In the time since the Grammy-winning\, RIAA-certified multi-Platinum band released their last album\, After Laughter – and Hayley Williams unveiled two lauded solo albums – Paramore have become more popular than ever. Over the last few years Paramore’s influence and popularity has snowballed\, as the age of streaming organically propelled them into a position as one of the world’s biggest\, most culturally compelling rock bands. For the band\, who formed as teenagers in Tennessee\, their 20 year trajectory has seen them grow from youthful outsiders to bonafide pop culture icons\, permeating the musical landscape by inspiring a new generation of musical talent. \n \n \nhi i’m GAYLE and liking the color orange is a personality trait so is being indecisive and having a split dye. i hope my music can help u be more confident and comfortable inside ur emotions because writing and singing about them helps me. maybe if u like my music i’ll be able to meet u at a show or in my dms soon <3 \n \n 
URL:https://clicksfromthepit.com/event/taylor-swift-paramore-gayle-at-state-farm-stadium/
LOCATION:State Farm Stadiu\, 1 Cardinals Dr.\, Glendale\, AZ\, 85305\, United States
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