Appetite for Destruction, the ultimate Guns N’ Roses experience, have been performing the music of Guns N’ Roses for almost twenty years, selling out venues throughout the Northeast. They have performed with special guest and current G N’ R keyboardist Dizzy Reed and shared two bills with ex-G N’ R guitarist Gilby Clarke. Appetite delivers the definitive Guns N’ Roses show, performing all the hit singles, rock radio staples, and fan favorites with acute attention to detail, serving as both outstanding lookalikes and soundalikes for the legendary band. Their catalog of songs is unsurpassed, as is their nearly two-decade-long career of bringing G N’ R to the masses. You may not get to see the entire classic Guns N’ Roses lineup live, but you can surely satisfy your appetite with Appetite for Destruction.
with Seaway & Super Whatevr
Sum 41 will be performing their FULL record, Does This Look Infected?, to celebrate its 15th Anniversary!
Sum 41 hit worldwide radar in 1996 after tiny Ajax, Ontario proved unable to fully contain the foursome’s mixture of punk-pop riffing, hip-hop poses, and toilet-bowl humor. Led by guitarist/vocalist Deryck Whibley, the band also included guitarist/vocalist Dave Baksh, bassist Cone McCaslin, and drummer Steve Jocz. Wooed by the boys’ goofy antics and incendiary live show (and excited about the prospect of promoting their very own blink-182), Island put Sum 41 on the payroll in 1999. The Half Hour of Power EP followed, and Warped Tour dates got the word out. They returned in 2000 with the fun-filled full-length All Killer No Filler, and the singles “In Too Deep” and “Fat Lip” became staples of both modern rock radio and TRL.
An extensive tour followed, and Sum 41 enjoyed their success the way all near-teenage boys would, with plenty of towel-snapping, groupie-loving, and self-deprecating, low-ball humor. In 2002, they returned to wax with Does This Look Infected? While the album was a bit harder-edged, it found the band just as jazzed as ever to mix punk-pop business with sophomoric pleasure: the video for “Hell Song” featured the fellas acting out a sort of rock star debauchery cage match with the aid of a few celebrity action figures. Metallica, Jesus Christ, and the Osbournes all made appearances in the hilarious clip.
It was not all fun and games, however, as their involvement in the charity group War Child Canada had Sum 41 lending a hand in the making of a 2004 documentary covering the effects of war in the Democratic Republic of the Congo. Five days into filming, fighting and gunfire suddenly erupted around them, and they barely escaped unharmed — these events led to 2004’s slightly more mature and serious effort, Chuck, named for the UN aid worker, Chuck Pelletier, who was instrumental in getting them to safety. The DVD Rocked: Sum 41 in Congo was released at the end of 2005 and the live album Go Chuck Yourself appeared the following March.
Guitarist Dave Baksh left the band during the spring of 2006 due to creative differences, going on to form the metal-punk outfit Brown Brigade. Sum 41 continued on as a trio, and their first album as such, Underclass Hero, appeared in July 2007. The band eventually returned to being a quartet, replacing Baksh with guitarist Tom Thacker, and began to work on a new album. That new album, entitled Screaming Bloody Murder, appeared in March of 2011. “Blood in My Eyes,” a single from the album, was nominated for a Grammy that year. However, due to a series of back injuries for Whibley, Sum 41 would not return with new material for half a decade, despite their critical success.
During the break, Jocz left the band and was replaced by Street Drum Corps’ Frank Zummo. Baksh also returned to the fold, just in time for Sum 41’s comeback in 2016. The group signed with Hopeless Records. Their sixth LP, 13 Voices, featured the lead single “Fake My Own Death.” While promoting the album, Whibley revealed that he was in an alcohol-related induced coma in 2014. While recovery included learning to walk and play guitar again, Whibley contributed a large part of his healing to the writing process of 13 Voices. To coincide with the album release, the band embarked on an international tour dubbed “Don’t Call It a Sum-Back.”
with Tigers Jaw, Tiny Moving Parts, and Worriers
Taking its name from the TV show The Wonder Years, the Philadelphia punk pop band was formed by guitarists Matt Brasch and Casey Cavaliere, vocalist Dan “Soupy” Campbell, bassist Josh Martin, drummer Mike Kennedy, and keyboardist Mikey Kelly. The sextet got its start in 2005 when previous combo the Premier split up. Regrouping under the new name, the band began playing shows and released two split singles that year (with Bangarang! and Emergency and I). In late 2007, the Wonder Years self-released an album, the emphatically titled Get Stoked on It!, and quickly caught the eye of California label No Sleep, which signed the band. Their first record for the label was the EP Won’t Be Pathetic Forever, which came out in June of 2008. Following a split single with All or Nothing, Kelly left the band. After a year spent recording its second album, the group released The Upsides in January of 2010. The record made a dent in the lower regions of the Billboard charts, and gained the Wonder Years a deal with the larger indie Hopeless, which reissued the album in September with four bonus tracks.
In the time between releases, drummer Kennedy quit the band and was replaced by Nick Steinborn. Kennedy soon returned to the fold and Steinborn bounced over to play keys and guitar. With the lineup solidified, the Wonder Years got to work on their next album with producer Steve Evetts. In 2011, they released their third album, Suburbia I’ve Given You All and Now I’m Nothing, followed by the arrival of a B-sides compilation, Sleeping on Trash, as well as their fourth full-length album, The Greatest Generation, in 2013. The following year, lead singer Campbell released his first album with his solo project Aaron West & the Roaring Twenties, We Don’t Have Each Other, with Campbell adopting the persona of Aaron West in his songs. After Campbell returned from a tour with the Roaring Twenties, he began working on songs for the next Wonder Years project, but suffered a powerful case of writer’s block that triggered a severe bout with depression. Campbell eventually channeled the emotions stirred up by his struggles into the group’s fifth studio album, 2015’s No Closer to Heaven, a concept piece about coming to terms with the death of a loved one. The Wonder Years’ next release, 2017’s Burst & Decay EP, offered acoustic versions of songs from their three previous LPs. The group re-entered the studio later that year with producers Joe Chiccarelli and Carlos de la Garza to record their sixth album. The resulting Sister Cities was released in 2018 and saw them shifting their sound away from their pop-punk roots.
Support: Radkey, Rehasher
Fueled by “rejection, food, coffee, girls, fishing and food,” the Descendents sprang up during the halcyon days of the Los Angeles punk scene; fusing the blind rage of hardcore with an unexpectedly wry, self-deprecating wit and a strong melodic sensibility that set them distinctly apart from their West Coast brethren. They gradually emerged as one of the most enduring and adored bands of their time. Formed in 1979, the Descendents initially sported an edgy power pop sound inspired by the Buzzcocks. Through ups nad downs and intermittent disbanding and rebanding, the Descendents returned in 2016 with Hypercaffium Spazzinate, their first new studio material in 12 years. The album delivers all those good Descendents feelings their fans love. “Each time we make a record it’s almost like the first time all over again,” says drummer Bill Stevenson.
The ultimate 90’s party! With a high-energy live band that performs from a list of hundreds of 90s songs, and a DJ who can spin before, after, and in between sets, Saved by the 90s is the world’s best and longest-running 90s party and they’re here to rock your world.
Great Music! Authentic Food!
Family fun for everyone. It’s carnival season and our city’s favorite Fort Mardi Gras returns for its third year bringing fun, food, drinks and authentic music for the whole family to Downtown Ft. Lauderdale. It’s all happening Saturday, February 10th from 4 to 10PM outside on the street and inside the Revolution Live complex at 100 SW Third Avenue in Ft. Lauderdale and admission is FREE!
Come feast on local cajun and creole flavors like Gumbo, Jambalaya, red beans and rice provided by Shuck N Dive! Immerse yourself in authentic Live Music, jesters, mystique and more you’ll have to see to believe!
In the spirit of Mardi Gras and New Orleans we’ll be featuring:
– Fort Mardi Gras returns with the ‘King’ Doc Reno of BIG 105.9FM.
– Shuck N’ Dive will fly in a 1000 pounds of Crawfish boil and we’ll be shucking on fresh Louisiana oysters
– Louisiana’s drink specials like Hurricanes, Daiquiris, Ice cold beer such as Abita and more
– Krewe Stage with authentic New Orleans sounds, live music and pop up burlesque shows
– Music by The Rockin Jake Band and music by the brass all stars
– Crawfish Chow Down and Oyster Eating contests
– Beads and a face painting station for the kids
– The Bazaar, a marketplace full of top regional independent and craft artists will line up the streets.
The event is sponsored by Big 105.9, Shuck N’ Dive, Bud Light, Abita Brewing Company, Sazerac, Southern Comfort and Damn Good Hospitality. Also, mark your calendars to wrap up the Mardi Gras celebration at Shuck N’ Dive for Fat Tuesday March 28th.
Between the Buried and Me is a thinking man’s hardcore unit hailing from Raleigh, North Carolina. The band began in 2000 after the dissolution of vocalist Tommy Rogers and guitarist Paul Waggoner‘s previous group, Prayer for Cleansing. Rogers and Waggoner completed their new lineup with the addition of guitarist Nick Fletcher, bassist Jason King(ex-Azazel), and drummer Mark Castillo, formerly of Bury Your Dead. An eponymous debut soon appeared, issued through the German indie Lifeforce, and the band supported its release with an avid tour schedule. Between the Buried and Me signed with Chicago hardcore powerhouse Victory in the summer of 2002 and began work on their debut for the label. The Silent Circusappeared in late October of the following year and showcased a more focused fusion of the group’s math rock, heavy metal, and post-hardcore influences. Several lineup changes ensued that saw Rogers and Waggonerrounded out by guitarist Dusty Waring, bassist Dan Briggs, and drummer Blake Richardson. Joining forces with producer Jamie King, who had recorded their self-titled effort, Between the Buried and Mereleased Alaska in September 2005. Various tour dates with the Dillinger Escape Plan, Every Time I Die, Bleeding Through, and Haste the Day followed. The band next paid tribute to many of their influences — from Pantera to Queen to Pink Floyd — on the covers album The Anatomy Of, which surfaced in June 2006, before hitting the road on a subsequent headlining tour. That fall, Victory reissued The Silent Circus with an additional bonus DVD of material. In 2007, they went into the studio with producer Jamie King and recorded Colors, which was released that September through Victory Records and described as “new wave polka grunge” by the band. The Great Misdirect, the band’s fifth studio album, appeared two years later. Victory put out a Between the Buried and Me greatest-hits album in 2011, just weeks before the band released their first EP on Metal Blade, The Parallax: Hypersleep Dialogues, the first entry in a two-part concept album. The second part, The Parallax II: Future Sequence, followed in 2012. In 2013, they embarked on The Future Sequence Tour, where they played The Parallax II in full. BTBAM re-entered the studio in late 2014 to begin work on a new concept recording — Metal Blade referred to it as a “rock opera.” Coma Ecliptic was produced by Jamie King and mixed by Jens Bogren. The set’s pre-release single, “Memory Palace,” appeared in April of 2015; the album followed in July. In 2017 the band released the concert LP Coma Ecliptic Live, which featured the band playing the album live in its entirety at The Observatory North Park in San Diego, California.
Head High Tour
Encompassing the sense of place and purpose long associated with Sublime’s music, Badfish continues to channel the spirit of Sublime with a fury not felt for some time. What separates Badfish from other tribute bands is that they have replicated Sublime’s essence, developing a scene and dedicated following most commonly reserved for label-driven, mainstream acts. Badfish make their mark on the audience by playing with the spirit of Sublime. They perform not as Sublime would have, or did, but as Badfish does.
Little Dragon will take their infectious electro-pop back on the road this spring. The Grammy-nominated band has announced a run of U.S. tour dates for March 2018, routing through the West and Gulf coasts. Tickets are on sale this Friday, January 12 at 10:00 AM Local Time at LittleDragon.net and all dates are listed below.
Little Dragon released Season High on Loma Vista last year, which Brooklyn Vegan called “continued proof of how timeless this band can be.” From the album came irresistibly smooth singles “High,” which Pigeons and Planes included in their Best Songs of 2017, and “Sweet.” View the mesmerizing music videos for both tracks below.
This group has never felt compelled to induce whiplash; in fact, their willingness to lay back and luxuriate presaged a wave of reflective, unhurried pop that remains trendy today.
– Rolling Stone
“Season High, Little Dragon’s latest triumph, is continued proof of how timeless this band can be.” – Brooklyn Vegan
“Like its predecessors, their fifth full-length Season High purposefully avoids marquee guests and wild stylistic leaps in favor of cautiously controlled, luxury mood music.”
“With an evolved new collection of tracks that are both hot and smart, Little Dragon has set themselves further apart.” – Under The Radar
“Season High i s typical Little Dragon fare, and we mean that in the best way possible. This is perfect pre-summer music.” – Pigeons & Planes
“Throwback synths welcome in the warm slice of alternative R&B, a track full of smooth, subtle low-end and snapping percussion. “High” is equal parts meditative and sensual…”
– Consequence of Sound
“Season High moves from slinky Prince pastiche to body-jacking house music, and it takes all of them with a smooth sense of assurance.” – Stereogum
“This paean to loose trips and close touches is a reliable soundtrack to a narcotized Valentine’s Day in with a main squeeze.” – NPR
“beautiful dream-pop vocals from lead singer Yukimi Nagano, layered over slow-dance- appropriate electronic beats” – Paste Magazine
“Here’s your new, woozy bedroom anthem. Press play and vibe out. This is music therapy at its most alleviating.” – NYLON
TICKETS ON SALE NOW!!!
The ship may have docked, but the Jam Vibe continues! Karl Denson who played tenor sax on The Rolling Stones No Filter tour of Europe, gets back on the road with his own band. Highly regarded as one of the best live bands on the planet, Karl Denson’s Tiny Universe (KDTU) will be showcasing material from their long-awaited forthcoming studio album, as well as previous acclaimed KDTU recordings like New Ammo and The Bridge. The current KDTU touring lineup is comprised of Richmond guitarist DJ Williams, original drummer of The Greyboy Allstars, Zak Najor, The Greyboy Allstars’ bassist Chris Stillwell, Crush Effects’ keyboardist David Veith, Seattle trumpeter Chris Littlefield and ace slide and lap steel guitarist Seth Freeman.
The show features Special Guest appearances by keyboardist extraordinaire and New Orleans royalty, Ivan Neville and also popular jam spinner DJ Logic.
Cradle Of Filth have assumed the role of dark metal diarists, exploring the amorphous horrors that lurk in humanity’s shadows and reveling in the opulence of mortal sin across centuries powered by bleak romance and a lust for the sensually grotesque. Currently enjoying a collective creative renaissance that is driving them to new heights of elegant fury, the band are more potent and devastating than ever before as they approach the release of their latest and perhaps greatest studio effort, Cryptoriana – The Seductiveness Of Decay. “This album represents an onwards and upwards drive for the band, building on the success of Hammer Of The Witches and pushing further with the venomous musicology to create something that is both unique and loyal to our previous incarnations,” lead vocalist Dani Filth states. A monstrous tour-de-force of utterly distinctive but reassuringly destructive heavy metal, laced with spectral disquiet but delivered with muscular aplomb, Cryptoriana hits hard from the exhilarating melodrama of opening two-fisted salvo “Exquisite Torments Await” and “Heartbreak And Séance” onwards, the twelfth Cradle album manifestly represents yet another wild expansion of the band’s sonic manifesto across nine epic and elaborate new anti-hymns. As they prepare to introduce these stunning new songs to their dedicated global fan base, Cradle Of Filth have never been more powerful or their excellence so undeniable