Singer-guitarist Daniel Ash and drummer Kevin Haskins — who spent large swaths of the ’80s and ’90s performing together in the seminal acts Bauhaus, Tones on Tail and Love and Rockets — have reunited to form a new band called Poptone, with Haskins’ daughter Diva, that will perform the music of those three classic acts on tour in the U.S. Diva Dompe is a musician in her own right who previously played in BlackBlack. Haskins and Ash, who have been DJing together of late, last played together, with Haskins’ brother David J and frontman Peter Murphy, during a Bauhaus reunion and in Love and Rockets, again with David J, in a later reunion.
The Revolution formed in 1979 when Prince joined drummer, Bobby Z and keyboardist Matt Fink. Over the next four years, several formations would emerge until finally Prince found the band he felt could master the challenging musicality of his vision. The legendary final line-up included Lisa Coleman on keyboards/piano, Wendy Melvoin on guitar and Brown Mark on bass. The Revolution was credited on three Prince studio-albums, Purple Rain, Around the World In a Day and Parade while some members also played on 1999, Controversy, Dirty Mind, Around The World in A Day and Sign O The Times. Together, they earned multiple #1 hits, as well as two Grammy® Awards and an Oscar, with the song “Purple Rain,” for Best Original Song Score in 1985.
Rumours has meticulously put together a show that spares no detail. Rumours recreates Fleetwood Mac’s legendary persona, in all its youthful glory from 1975-1987. From period accurate equipment and costumes to spot on characterizations and musical performances, Rumours takes you back to a time when music was still an unbridled cultural experience and bands weren’t afraid to put on a show. Relive the rock and roll magic with Rumours.
Dvsn is an alternative R&B act that consists of producer Paul Jefferies (aka Nineteen85) and vocalist Daniel Daley. Similar in approach to early Weeknd, PartyNextDoor, and Majid Jordan, they specialize in narcotic slow jams featuring sexually frank lyrics, often in falsetto. Like some of the other Toronto-based artists in Drake’s orbit, dvsn weren’t all that forthcoming about their identities, but the names of Jefferies and Daley were the common factors in the songwriting credits of each dvsn song throughout the debut album. Released by Drake’s Warner-supported OVO Sound as a digital download in April 2016, it peaked at number 17 on Billboard’s Top R&B/Hip-Hop Albums chart. A handful of singles beginning with the May 2017 release of “Think About Me” led to second album Morning After.
18 + with valid ID
SONGS FOR THE SOUL, AN INTIMATE ACOUSTIC EVENING
Featuring the core members Paul Humphreys and Andy McCluskey, the Liverpudlian synth pop group Orchestral Manoeuvres in the Dark released its first single, “Electricity,” on Factory Records; the record led to a contract with the Virgin subsidiary DinDisc. In 1980, the group released its self-titled debut album. It was followed by Organisation, which featured the U.K. Top Ten single “Enola Gay.” The band’s next few albums — Architecture & Morality, Dazzle Ships, and Junk Culture — found the band experimenting with its sound, resulting in several U.K. hit singles. Crush, their most pop-oriented album, found more success in America than in Britain as the single “So in Love” hit number 26 on the charts. “If You Leave,” taken from the Pretty in Pink soundtrack, was their biggest American hit, climbing to number four. After a hiatus a full-blown reunion came in 2006, including both McCluskey and Humphreys. They dabbled in a few more projects and as soon as they were off the road they began writing songs for another album. Taking its name, and some inspiration, from Italian divisionist/symbolist painter Giovanni Segantini’s work titled The Punishment of Luxury, the band’s 13th album was made by the duo of McCluskey and Humphreys and released by White Noise Records in September of 2017.
Formed in Nashville but carving a space in the field of bright, synth-spiked indie pop more often associated with L.A. and N.Y.C., COIN were started by students at Belmont University in 2012. They sold out a show for the first time in the summer of 2013, and the quartet of Chase Lawrence (vocals/synths), Joe Memmel (guitar/vocals), Zachary Dyke (bass), and Ryan Winnen (drums) signed with Columbia that fall. Working with producer and co-writer Jay Joyce (Eric Church, Cage the Elephant), they released their self-titled debut in 2015. Behind the single “Run,” it landed on the Billboard Heatseekers Albums chart. The band came back a year later with the kissing anthem “Talk Too Much.” It was the first single from their second album, How Will You Know If You Never Try, which was released in the spring of 2017, and rose on the Billboard Alternative chart.
The eleventh Clutch studio album Psychic Warfare goes straight for the throat with “X- Ray Visions” and never lets go. Working again with acclaimed producer Machine, this time in Texas, the concise arrangements that made Earth Rocker so assertive is the same harness for the combustible musical energy on Psychic Warfare. Harder, faster… let the rhythm hit ’em. Formed in 1991, the Maryland-based band’s ability to absorb different musical styles and fabricate them into a distinct Clutch sound continues to be their forté. “A Quick Death In Texas,” overstocked with signature “Clutch heavy” Tim Sult riffs and lonesome guitar licks, and the funk undercurrent of “Your Love Is Incarceration,” color Psychic Warfare with articulate musicality and comfortable familiarity.
Neil Fallon: Vocals/ Guitar
Jean-Paul Gaster: Drums
Dan Maines: Bass
Tim Sult: Guitar
SIZZLA Kalonji in Concert backed by the Firehouse Band
Friday, September 22nd 2017
Sizzla Kalonji and Allstar friends
backed by Supa Twitch | Dutty Dex | Waggy Tee
Doors Open 10PM | Showtime Midnight
Revolution Live 100 SW 3rd Ave, Fort Lauderdale, FL 33312
Early Bird $25 (Limited Availability) General Admission $35 VIP Meet & Greet $55
RSVP Online at Whyiparty.com
Tickets Available at the Revolution Box Office or on Ticketmast.com
For more Information, For Table Reservation or Information call 754.600.9366 | (954) 449-1025|
IG/ Snapchat @Whyiparty @Drewminott @Sizzla876
GWAR are thrash metal’s answer to the more mainstream satire of Spinal Tap. Gory, sexually perverse, and scatological in the extreme, GWAR were formed as an experiment in marketing strategy by several musicians, art students, and dancers. The group claimed to consist of all-powerful interplanetary warriors, descended from aliens stranded in Antarctica and initially created from the lowest filth in the universe, who came to Earth to sexually enslave and/or slaughter the human race. Taking the rock theatrics of Kiss and Alice Cooper to depraved new levels, GWAR have been putting on one of rock’s most outrageous and offensive–not to mention creative—live shows. The group quickly established a unique identity as the members performed in bizarre costumes made of latex and papier-mâché, while the stage show itself featured fake pagan rituals and corpses spewing washable bodily fluids on the audience. GWAR are perhaps best appreciated for their visual aspects, which have historically been far more creative than the actual music; indeed, the group received a somewhat stunning Grammy nomination in 1993 for its long-form home video Phallus in Wonderland.
The Reverend Horton Heat is perhaps the most popular psychobilly artist of all time. The Reverend (as both the three-man band and its guitar-playing frontman were known) built a strong cult following through constant touring, manic showmanship, and a twisted sense of humor. The latter was nothing new in the world of psychobilly, of course, and Heat’s music certainly kept the trashy aesthetic of his spiritual forebears. The Reverend’s true innovation was updating the psychobilly sound for the alternative rock era. In his hands, it was something more than retro-obsessed kitsch — it had roaring distorted guitars, it rocked as hard as any punk band, and it didn’t look exclusively to pop culture of the past for its style or subject matter. Most of The Reverend’s lyrics were gonzo celebrations of sex, drugs, booze, and cars, and true to his name, his concerts often featured mock sermons in the style of a rural revivalist preacher.