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DTSTART;TZID=America/Phoenix:20240904T190000
DTEND;TZID=America/Phoenix:20240904T233000
DTSTAMP:20260615T031948
CREATED:20240827T020920Z
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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
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DTSTART;TZID=America/Phoenix:20240910T183000
DTEND;TZID=America/Phoenix:20240910T233000
DTSTAMP:20260615T031948
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
ATTACH;FMTTYPE=image/webp:https://clicksfromthepit.com/wp-content/uploads/2024/08/Five-Finger-Death-Punch-at-Talking-Stick-Resort-Amphitheatre.webp
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20240914T180000
DTEND;TZID=America/Phoenix:20240914T233000
DTSTAMP:20260615T031948
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
ATTACH;FMTTYPE=image/jpeg:https://clicksfromthepit.com/wp-content/uploads/2024/09/Bush-Jerry-Cantrell-at-Talking-Stick-Resort-Amphitheatre.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20240915T190000
DTEND;TZID=America/Phoenix:20240915T233000
DTSTAMP:20260615T031948
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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DTSTART;TZID=America/Phoenix:20240917T200000
DTEND;TZID=America/Phoenix:20240917T233000
DTSTAMP:20260615T031948
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:20240918T170000
DTEND;TZID=America/Phoenix:20240918T233000
DTSTAMP:20260615T031948
CREATED:20240912T155010Z
LAST-MODIFIED:20240912T155010Z
UID:4683-1726678800-1726702200@clicksfromthepit.com
SUMMARY:Green Day + The Smashing Pumpkins and More at Chase Field
DESCRIPTION:Equal parts pop phenomenon and defiant pioneering punk juggernaut\, Green Day is a band that defies category. But with millions of fans scattered across the world and an almost unbelievable career that’s been reinvented multiple times over the span of decades\, the California band has proven it doesn’t need to be labelled to be successful. Alongside other intrepid bands like Bad Religion\, Rancid and The Offspring\, Green Day is credited for ushering punk music into the mainstream in the 1990’s. \nWith over 85 million albums sold and a spot in the Rock And Roll Hall Of Fame\, Green Day’s story becomes nothing short of miraculous when you consider the band’s origins. When Billie Joe Armstrong and Mike Dirnt were just 14 years old\, they formed a band called Sweet Children in 1986 working with a drummer named John Kiffmeyer. The band inked a deal with Lookout! Records two years later\, releasing an EP called 1\,000 Hours and changing their name to Green Day\, a nod to the musicians’ love for marijuana. Kiffmeyer left the band soon after in 1990 and was replaced by drummer Tré Cool\, a drummer who previously played in another California band The Lookouts. Cool has been an integral part of Green Day ever since. \nIn 1991\, Kerplunk was released\, which sold an incredible 50\,000 copies initially in the U.S. Now considered one of the best-selling independent albums of all time\, Kerplunk has sold almost 2 million copies internationally. The album’s success brought Green Day opportunities to tour across the United States and Europe and attention from major labels. After signing with Reprise Records\, the band started working with Rob Cavallo\, who’d go on to produce Dookie\, Insomniac\, Nimrod\, American Idiot and Uno/Dos/Tre. The band admired the work Cavallo did with pop-punk band The Muffs\, and claimed to have formed a tight bond and musical repour from the very beginning of the relationship. It was around this time when Green Day began to feel alienated by the northern California punk scene. \nNot punk enough for traditional punk fans and not accessible enough to be considered a conventional rock band\, Green Day’s success was built by forging a unique musical path on their own terms. The landmark album Dookie was released in 1994\, a record Fuse Magazine called “the most important pop-punk album of all time.” With the massive popularity of singles like “Longview”\, “Basket Case”\, and “When I Come Around\,” the album sold more than 10 million copies in the U.S.\, making Green Day became a bona fide musical phenomenon. Spots at festivals like Lollapalooza and Woodstock ‘94 and a Grammy Award for Best Alternative Album followed soon after. A year later in 1995\, the band’s fourth studio album Insomniac was released\, which was received warmly by critics. \nThe band took a couple of years off to regroup after the unexpected success they’d experienced and released Nimrod in 1997\, which represented a major musical departure for the group. The acoustic folk single “Good Riddance (Time of Your Life)” became a major international success\, appearing in many TV shows\, films and countless high school proms and graduations. In 2000\, Green Day released Warning and performed a free concert on the steps of San Francisco city hall to protest the practice of artists being evicted from their homes in the city. Three years later\, the band recorded an entire album of 20 tracks\, only to have the masters stolen from the studio upon completion. Rather than re-record the album\, Green Day scrapped the album\, deciding that it wasn’t their best work. The punk rock opera American Idiot was released in 2004 instead\, stunning fans and critics alike not only by the album’s ambitious concept but also with its remarkable success. Selling over 6 million copies in the U.S.\, the album won the 2005 Grammy Award for Best Rock Album and is considered one of the most influential pieces of protest art from the Bush era. \n21st Century Breakdown was released in 2009 after Green Day’s longest hiatus between albums. The album was a hit with critics and represented the group’s best chart performance ever. A stage creation of American Idiot debuted on Broadway a year later. A series of albums called ¡Uno!\, ¡Dos!\, and ¡Tré! were released in 2012\, and in June 2013\, the band broke a record by selling 60\,000 tickets for a show at the Emirates Stadium in the U.K. Green Day’s 12th studio album Revolution Radio was released in 2016 followed by a massive international tour. \n \n \nThe Smashing Pumpkins are one of the most iconic\, and influential bands of all time\, shaping alternative music and culture. Since forming in Chicago in 1988\, the group have sold over 30 million albums worldwide and garnered two GRAMMY® Awards\, two MTV VMAs\, and an American Music Award. Their catalog includes seminal offerings such as the platinum Gish [1991]\, the quadruple-platinum Siamese Dream [1993]\, the diamond-certified Mellon Collie and the Infinite Sadness [1995]\, the platinum Adore [1998]\, and the gold Machina/The Machines of God [2000]. Rolling Stone cited both Siamese Dream and Mellon Collie and the Infinite Sadness among its “500 Greatest Albums of All Time.” 2018 saw The Smashing Pumpkins unveil SHINY AND OH SO BRIGHT\, VOL. 1 / LP: NO PAST. NO FUTURE. NO SUN. and launch the immensely successful Shiny and Oh So Bright Tour\, which packed arenas. Maintaining this momentum\, the band released their eleventh full-length double album CYR [2020]\, representing yet another evolution\, and more recently\, ATUM[2023]\, the sequel to 1995’s Mellon Collie and the Infinite Sadness and 2000’s Machina/Machine of God. The band’s forthcoming 2024 album\, AGHORI MHORI MEI\, in the immediate aftermath of ATUM\, sees a return to form for original members Billy Corgan\, Jimmy Chamberlin\, and James Iha\, and harkens back to the band’s early 90’s canon; where guitars\, bass\, drums\, and spiking vocals ruled. \n \n \nEmerging from the blue-collar swamps of Berkeley\, California\, Rancid has now been a living\, breathing punk rock band for over a quarter century. \nBack in 1991\, after the demise of their much beloved and still influential first band\, Operation Ivy\, founding members Tim Armstrong (vocals\, guitar) and Matt Freeman (bass\, vocals) decided to do the impossible — start an even better band. Thus\, Rancid. \nIn 1995\, Rancid released the classic platinum-selling “…And Out Come The Wolves.” . They followed with the even more ambitious “Life Won’t Wait” in 1998\, and in 2000\, Rancid released another album entitled “Rancid\,” just to see if anyone was paying attention. \nAfter “Indestructible” in 2003\, Branden Steineckert (drums) joined to solidify Rancid’s current line-up. They subsequently released the albums “Let The Dominos Fall” (2009)\, “Honor Is All We Know” (2014)\, and “Trouble Maker” (2017). \nThrough it all\, Rancid has remained fiercely independent\, never losing their loyalty to community or each other. Their music confronts political and social issues\, while balancing personal tales of love\, loss\, and heartbreak with attitude. Rancid gives their listeners a community where everyone can belong. By carrying on the traditions and spirit of the original punk rock bands that came before\, Rancid has become a legend an inspiration to punk bands that have come after. They are the living embodiment of East Bay punk. \n \n \nNo Obligation\, the second full-length release from The Linda Lindas further advances their unironic\, joyful\, and exciting trajectory of mashing up L.A. punk with post punk\, garage rock\, power pop\, new wave and rock en español. Written and recorded by the band during spring breaks\, winter breaks\, and long weekends (Lucia and bassist Eloise Wong are still in high school\, drummer Mila de la Garza just finished middle school\, and Bela Salazar is patiently waiting for them to get done with it already)\, the new album has been in the works for the last two years whenever they weren’t at school or touring. “I don’t got no obligation\,” roars Eloise in the opening\, title track of the album –  “just brush off all expectation.” From the first moment of their sophomore release it is clear that The Linda Lindas are here to defy expectations and challenge norms.     Since going viral with their LA Public Library performance of their song “Racist\, Sexist\, Boy” the world has watched these four musicians scream about injustice\, sing about growing up and exhibit the kind of altruism that is so meaningful to the punk scene.
URL:https://clicksfromthepit.com/event/green-day-the-smashing-pumpkins-and-more-at-chase-field/
LOCATION:Chase Field\, 401 E Jefferson St\, Phoenix\, AZ\, 85003\, United States
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