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Elgin Baylor Lumpkin (born October 15, 1975 in Washington, DC), known by his stage name Ginuwine, is an American R&B singer and an occasional actor in such films like Honey. Signed to Epic Records since the mid-1990s, Ginuwine has released a number of platinum-selling albums and singles, becoming one of the most successful R&B artists of his period.

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Death Cab for Cutie is an American alternative rock band formed in Bellingham, Washington in 1997. The band is composed of Ben Gibbard, Nick Harmer, Jason McGerr, Dave Depper, and Zac Rae. Death Cab for Cutie rose from being a side project to becoming one of the most exciting groups to emerge from the indie rock scene of the ’00s. They have been nominated for eight Grammy Awards. The band’s tenth studio album ‘Asphalt Meadows’ out now.

“For a band in its third decade... Death Cab hasn't lost its gift for pairing Gibbard's soft ruminations with propulsive arrangements that know just when to sparkle and sway. But even more importantly, Gibbard himself still sings with a sense of purpose, keenly articulating a distinct swirl of nostalgia, loss and hope for new beginnings.” —NPR Music

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Death Cab for Cutie is an American alternative rock band formed in Bellingham, Washington in 1997. The band is composed of Ben Gibbard, Nick Harmer, Jason McGerr, Dave Depper, and Zac Rae. Death Cab for Cutie rose from being a side project to becoming one of the most exciting groups to emerge from the indie rock scene of the ’00s. They have been nominated for eight Grammy Awards. The band’s tenth studio album ‘Asphalt Meadows’ out now.

“For a band in its third decade... Death Cab hasn't lost its gift for pairing Gibbard's soft ruminations with propulsive arrangements that know just when to sparkle and sway. But even more importantly, Gibbard himself still sings with a sense of purpose, keenly articulating a distinct swirl of nostalgia, loss and hope for new beginnings.” —NPR Music

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Charley Crockett – The Man From Waco

Since self-releasing his 2015 debut A Stolen Jewel, Charley Crockett has distinguished himself as an artist extraordinarily in touch with his instincts. Turning out 11 albums in just seven years, the South Texas-born singer/songwriter has resolutely followed his vision, handling everything from honky-tonk to blues to folk with wholehearted ingenuity (an element that helped him earn the Emerging Artist of the Year prize at the 2021 Americana Music Awards). But while his ever-growing success has caught the attention of countless hitmaking and highly decorated producers, Crockett chose to continue forging his own distinct path for his twelfth album, The Man from Waco. The result: his most powerful and immediately compelling body of work to date, adding new intensity to his signature Gulf & Western sound and bringing even greater depth to his spellbinding storytelling.

Produced by Bruce Robison (Crockett’s manager and an acclaimed artist/songwriter in his own right), The Man from Waco took shape from a series of fast-and-loose sessions at Robison’s studio in Lockhart, Texas. “After we got about half the recordings down, Bruce said to me, ‘As your manager, it’s my job to tell you that you have the opportunity to work with just about anybody on this record,’” Crockett says. “But I’ve been in rooms with guys who’ve got 20 Grammys, and it’s my experience that a lot of them don’t see the artist for who they are. They’re more interested in sanitizing everything and watering it down to try to get a hit, and in the end all the magic gets lost. I don’t think a record like The Man from Waco could’ve been made if I’d gone in that direction.”

Recorded live to tape, The Man from Waco marks the first time Crockett’s longtime band The Blue Drifters have joined him in the studio from start to finish. Thanks to their relentless touring over the years, Crockett and his bandmates have developed a potent and palpable chemistry, infusing every track with equal parts razor-sharp precision and unbridled energy. “Most of these songs were cut in a few takes,” he says. “There was a looseness that led to a lot of inspired performances that felt good right away.” Also featuring The Greyhounds’ Anthony Farrell (a multi-instrumentalist whom Crockett calls “the record’s secret weapon”), The Man from Waco ultimately bears a lush and timeless sound that endlessly spotlights the singular character of his songwriting.

Centered on the wildly colorful story of an outlaw on the run, The Man from Waco takes its title from a slow-burning murder ballad showcasing Crockett’s captivating baritone. With its brooding rhythms and darkly hypnotic guitar riffs, “The Man from Waco” first came to Crockett as he and his band rode through the titular Central Texas city late one night on tour. “We were driving over the Brazos River and started talking about a guy named James Hand, who passed away in the pandemic,” he recalls, referring to the Waco-born country singer who inspired his 2021 tribute album 10 for Slim: Charley Crockett Sings James Hand. “One of the guys was playing accordion and I started singing a melody, and over time what started as a joke song turned into a whole saga.”

Summing up the album’s narrative as “the story of a man who loses control, and knows that what he’s done is going to catch up to him someday,” Crockett brought The Man from Waco to life by tapping into an incredible breadth of inspirations. In penning the album’s soulful lead single “I’m Just A Clown” (one of several tracks graced with a blazing horn section), he looked back on the vagabond days of his formative years and early adulthood. “As a person who’s lived many lives and spent some time on the street, I know what it’s like to be the clown, the drifter, all those things,” he notes. A sublime and smoldering blues number, “Tom Turkey” emerged as Crockett spontaneously expanded on a demo recorded by Bob Dylan for the soundtrack to 1973’s Pat Garrett & Billy the Kid. “It ties into this album because Billy the Kid was on the run too—I’ve always been fascinated by his story, a young guy with some bad luck who was dead by 21,” says Crockett. “The version that’s on the album was just a warm-up, but we kept it because it’s got that magic of people not thinking. It can really be easy to think the magic right out of a record.” And on the quietly haunting “July Jackson,” Crockett puts a poignant twist on the quintessential murder ballad. “I wanted to tell a story where a woman takes the law into her own hands, because obviously society wouldn’t hold the man in her life accountable for what he’s done,” Crockett reveals.

One of the catchiest moments on The Man from Waco, “Trinity River” revisits a standout from A Stolen Jewel and breathes new life into its brightly swinging, trumpet-laced arrangement. “We’d been playing that song live a long time, and kept doing it better than before,” explains Crockett, who names Jim Jarmusch’s Dead Man as an inspiration for the deceptively upbeat track. “I wrote it about all the spirits who would’ve inhabited that river over the years, and it fell right into the narrative of the new album: the journey that the main character’s on, the desperation he feels, the idea of destiny being determined.” As one of the first tracks Crockett ever recorded, “Trinity River” illustrates the unstudied sophistication that’s defined his songwriting from the very start. To that end, he’s found an enduring touchstone in a piece of wisdom gleaned from Robert Frost by way of Townes Van Zandt: “Worry about the phonetics, and the meaning will take care of itself.” “My writing comes from that school, which is not having a school at all—it’s about letting melody lead the way,” says Crockett, who first started writing on a pawn-shop guitar given to him by his mother at age 17. “I don’t ever tell myself, ‘I’m gonna write this type of story now’; it’s always been about letting the song tell me where it’s going. I’ve never known what the story was about until it was all done.”

For Crockett, preserving the uncalculated nature of his creative process has only become more urgent as his career reaches unprecedented heights. “We live in a tough world where there’s a significant gap between what’s commercially viable and what’s authentic to who the artist really is,” he says. “The more I’ve broken through, the harder it gets to avoid the voices trying to get me to work with an approved list of people, but in my opinion all that outside influence makes it easy for the artist’s personality to get completely lost. So instead of thinking about how to get something on the charts or get award recognition, I’m thinking about how these songs are going to hold up 20, 30 years from now. Because if I’m making any legitimate contribution at all, it’s because I’m telling a story that’s worthy of getting passed down and surviving all that time.”  

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ABOUT KOOL AND THE GANG

Kool & The Gang has influenced the music of three generations. Thanks to songs like Celebration, Cherish, Jungle Boogie, Summer Madness and Open Sesame, they've earned two Grammy Awards, seven American Music Awards, 25 Top Ten R&B hits, nine Top Ten Pop hits, and 31 gold and platinum albums. Kool & The Gang has performed continuously for the past 35 years, longer than any R&B group in history. Their bulletproof funk and tough, jazzy arrangements have also made them the most sampled band of all time. In 2020, Kool & the Gang kicked off their animated series Kool TV, chronicling the group's early years growing up in Jersey City.

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Two of the UK’s most enduring and influential bands have announced a joint headline tour of North America for November. The London Suede and Manic Street Preachers both rose to prominence in the early 90s on the back of indisputably brilliant debut albums  - 1992’s Generation Terrorists and 1993’s Suede - and electrifying live shows. Over the course of the next several years they would grow from punk rock youthquakers to arena-filing rock stars, earning their positions as national treasures in the pantheon of British music. Their first ever co-headlining tour kicks off in Vancouver, Canada on November 3rd.

Beloved by music fans on both sides of the Atlantic, The London Suede took a hiatus to work on other projects between 2002 and 2013, returning with the acclaimed Bloodsports album, while Manic Street Preachers continued to record together, releasing a string of hit albums, but rarely visiting the USA and Canada. Recognized as two of the most iconic bands of their generation this double headline tour is a rare and unmissable treat for music fans. 

The London Suede (known simply as Suede around the world and the Manics will be performing songs from their full catalog, giving North American audiences a unique chance to experience fiercely loved classics from the last 30 years. The London Suede release their ninth album, Autofiction, on September 16th on BMG. They last performed in the US at Coachella in 2011. Manic Street Preachers released their fourteenth studio album, the UK #1 The Ultra Vivid Lament, last year. They last toured North America in April 2015.

The London Suede’s Brett Anderson says, “I can’t think of a band I’d rather share a stage with than the Manic Street Preachers. They have long been an inspiration to us, and I know there are thousands of Suede fans who feel the same. It’s nearly 30 years since we last played together and I think these shows are going to be something really special.”

Manic Street Preachers added, “We first toured with Suede in 1994 when we played with them all across Europe. Back then, it always felt like both our bands shared a certain kind of kinship, both aesthetically and historically. It still feels that way now, nearly three decades later.”

“This joint tour feels like a fantastic opportunity for both our sets of fans to share an amazing live experience. And to do this in the USA and Canada in 2022 makes it even more special as our tours there are so rare these days. We truly can't wait.” 

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The Lonesome Crowded West was Modest Mouse’s followup to their acclaimed 1996 debut This Is A Long Drive For Someone With Nothing To Think About. Featuring iconic songs like “Cowboy Dan”,”Doin’ The Cockroach” and “Trucker’s Atlas,” nearly every track has been part of Modest Mouse’s ever rotating setlists, but this will be the first time you can hear them in order from start to finish. Pitchfork ranked The Lonesome Crowded West at number 29 in their list of the 100 greatest albums of the 1990s, and the song "Trailer Trash" reached number 63 in their list of the 200 greatest songs of the decade. Spin ranked the album at number 59 in their list of the 100 greatest albums of 1985–2005, and Entertainment Weekly included the album in their list The Indie Rock 25.

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ABOUT LOS TIDRES DEL NORTE

Los Tigres del Norte are an internationally successful norteño group from Mexico based in California. Since the late 1960s, this family band has detailed the struggles and triumphs, romances, and heartbreaks of working people, families, immigrants, outlaws, politicians, and farmers. Over more than 70 albums -- including 22 number ones -- they turned norteño, an accordion-based polka music indigenous to Northern Mexico, into commercially viable pop music, infusing the tradition with boleros, cumbias, rock rhythms, waltzes, and sound effects. Their 1974 breakthrough single, "Contrabando y Traición," about a drug deal and love story gone bad, sold on both sides of the border, establishing them in the U.S. 1984's Jaula de Oro was their first chart-topper. The following year's A Ti Madrecita marked their first million-seller. 1989's Corridos Prohibidos kicked off the modern narcocorrido movement, paving the way for the 21st century's alterna-movimiento. 2011's MTV Unplugged is among the series' most successful volumes, and 2014's number one Realidades discussed the harsh realities of immigrants. In 2019, Los Tigres del Norte were the first musical act since Johnny Cash to film a concert at Folsom Prison. In 2021 they issued Y Su Palabra Es La Ley: Homenaje A Vicente Fernandez and followed it with La Reunion in 2022.

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ABOUT LOUIS CK

Six-time Emmy Award winner Louis C.K. has released over eight stand up specials including Shameless, Chewed Up, Hilarious, Word - Live at Carnegie Hall (audio), Live at the Beacon Theater, Oh My God, Live at the Comedy Store, and most recently Louis C.K. 2017. Louis is the creator, writer, director, and star of the Peabody Award winning shows Louie and Horace and Pete. In January 2015, C.K. became the first comedian to sell out Madison Square Garden three times for the same tour.

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SECOND SHOW ADDED 

ABOUT LOUIS CK 

Six-time Emmy Award winner Louis C.K. has released over eight stand up specials including Shameless, Chewed Up, Hilarious, Word - Live at Carnegie Hall (audio), Live at the Beacon Theater, Oh My God, Live at the Comedy Store, and most recently Louis C.K. 2017. Louis is the creator, writer, director, and star of the Peabody Award winning shows Louie and Horace and Pete. In January 2015, C.K. became the first comedian to sell out Madison Square Garden three times for the same tour.

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ABOUT BIG THIEF

30 miles west of El Paso, surrounded by 3,000 acres of pecan orchards and only a stone’s throw from the Mexican border, the band Big Thief (a.k.a. Adrianne Lenker, Buck Meek, Max Oleartchik, and James Krivchenia) set up their instruments as close together as possible to capture their most important collection of songs yet. The band had only just finished work on their 3rd album, U.F.O.F. -“the celestial twin”- days before in a cabin studio in the woods of Washington State. Now it was time to birth U.F.O.F.’s sister album -“the earth twin”- Two Hands.

Anybody who has borne witness to Big Thief in the wild will find songs they recognize on Two Hands. Much of the album’s tracks (“The Toy”, “Those Girls”, “Shoulders”, “Not”, “Cut My Hair”) have been live staples for years. “Two Hands has the songs that I’m the most proud of; I can imagine myself singing them when I’m old,” says Adrianne. “Musically and lyrically, you can’t break it down much further than this. It’s already bare-bones.”

With raw power and intimacy, Two Hands folds itself gracefully into Big Thief’s impressive discography. This body of work grows deeper and more inspiring with each new album. While you listen, let your own two hands rest in front of your body with palms facing inward and see what power grows between them.

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ABOUT A DRAG QUEEN CHRISTMAS 

For the 8th consecutive year, Murray & Peter present, “A Drag Queen Christmas”. Get ready for your favorite queens performing live on stage. We’ve got Winners, Fan Favorites and Miss Congeniality. VIP Meet & Greet tickets are also available. The M&G starts at 6pm. All ages welcome. The show starts at 8pm. There will be a 20-minute intermission. Check DragFans.com for the cast performing in your city. Hosted by Nina West & Trinity Taylor.

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ABOUT TONY HINCHCLIFFE

Tony Hinchcliffe is a touring stand up comedian based out of Los Angeles. Tony is also the host of the popular live podcast Kill Tony which also travels internationally as well as being based out of The Comedy Store in L.A. In 2020, he began hosting an online course on “Roasting” called RoastMaster Class, drawing from his over decade long knowledge of writing for 8 Comedy Central Roasts and performing on roasts and roast battles, both educational and entertaining, the “RoastMaster Class” started as just a parody video and then became a real project that he began to enjoy doing, thus he released it upon the debut of his Patreon. Tony also tours internationally with Joe Rogan and can be seen frequently on the JRE the most popular podcast in the world. Tony is a regular at every major club in LA and headlines regularly at every major club as well as some of the finest theaters in America, Australia, and Europe.

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Charley Crockett – The Man From Waco

Since self-releasing his 2015 debut A Stolen Jewel, Charley Crockett has distinguished himself as an artist extraordinarily in touch with his instincts. Turning out 11 albums in just seven years, the South Texas-born singer/songwriter has resolutely followed his vision, handling everything from honky-tonk to blues to folk with wholehearted ingenuity (an element that helped him earn the Emerging Artist of the Year prize at the 2021 Americana Music Awards). But while his ever-growing success has caught the attention of countless hitmaking and highly decorated producers, Crockett chose to continue forging his own distinct path for his twelfth album, The Man from Waco. The result: his most powerful and immediately compelling body of work to date, adding new intensity to his signature Gulf & Western sound and bringing even greater depth to his spellbinding storytelling.

Produced by Bruce Robison (Crockett’s manager and an acclaimed artist/songwriter in his own right), The Man from Waco took shape from a series of fast-and-loose sessions at Robison’s studio in Lockhart, Texas. “After we got about half the recordings down, Bruce said to me, ‘As your manager, it’s my job to tell you that you have the opportunity to work with just about anybody on this record,’” Crockett says. “But I’ve been in rooms with guys who’ve got 20 Grammys, and it’s my experience that a lot of them don’t see the artist for who they are. They’re more interested in sanitizing everything and watering it down to try to get a hit, and in the end all the magic gets lost. I don’t think a record like The Man from Waco could’ve been made if I’d gone in that direction.”

Recorded live to tape, The Man from Waco marks the first time Crockett’s longtime band The Blue Drifters have joined him in the studio from start to finish. Thanks to their relentless touring over the years, Crockett and his bandmates have developed a potent and palpable chemistry, infusing every track with equal parts razor-sharp precision and unbridled energy. “Most of these songs were cut in a few takes,” he says. “There was a looseness that led to a lot of inspired performances that felt good right away.” Also featuring The Greyhounds’ Anthony Farrell (a multi-instrumentalist whom Crockett calls “the record’s secret weapon”), The Man from Waco ultimately bears a lush and timeless sound that endlessly spotlights the singular character of his songwriting.

Centered on the wildly colorful story of an outlaw on the run, The Man from Waco takes its title from a slow-burning murder ballad showcasing Crockett’s captivating baritone. With its brooding rhythms and darkly hypnotic guitar riffs, “The Man from Waco” first came to Crockett as he and his band rode through the titular Central Texas city late one night on tour. “We were driving over the Brazos River and started talking about a guy named James Hand, who passed away in the pandemic,” he recalls, referring to the Waco-born country singer who inspired his 2021 tribute album 10 for Slim: Charley Crockett Sings James Hand. “One of the guys was playing accordion and I started singing a melody, and over time what started as a joke song turned into a whole saga.”

Summing up the album’s narrative as “the story of a man who loses control, and knows that what he’s done is going to catch up to him someday,” Crockett brought The Man from Waco to life by tapping into an incredible breadth of inspirations. In penning the album’s soulful lead single “I’m Just A Clown” (one of several tracks graced with a blazing horn section), he looked back on the vagabond days of his formative years and early adulthood. “As a person who’s lived many lives and spent some time on the street, I know what it’s like to be the clown, the drifter, all those things,” he notes. A sublime and smoldering blues number, “Tom Turkey” emerged as Crockett spontaneously expanded on a demo recorded by Bob Dylan for the soundtrack to 1973’s Pat Garrett & Billy the Kid. “It ties into this album because Billy the Kid was on the run too—I’ve always been fascinated by his story, a young guy with some bad luck who was dead by 21,” says Crockett. “The version that’s on the album was just a warm-up, but we kept it because it’s got that magic of people not thinking. It can really be easy to think the magic right out of a record.” And on the quietly haunting “July Jackson,” Crockett puts a poignant twist on the quintessential murder ballad. “I wanted to tell a story where a woman takes the law into her own hands, because obviously society wouldn’t hold the man in her life accountable for what he’s done,” Crockett reveals.

One of the catchiest moments on The Man from Waco, “Trinity River” revisits a standout from A Stolen Jewel and breathes new life into its brightly swinging, trumpet-laced arrangement. “We’d been playing that song live a long time, and kept doing it better than before,” explains Crockett, who names Jim Jarmusch’s Dead Man as an inspiration for the deceptively upbeat track. “I wrote it about all the spirits who would’ve inhabited that river over the years, and it fell right into the narrative of the new album: the journey that the main character’s on, the desperation he feels, the idea of destiny being determined.” As one of the first tracks Crockett ever recorded, “Trinity River” illustrates the unstudied sophistication that’s defined his songwriting from the very start. To that end, he’s found an enduring touchstone in a piece of wisdom gleaned from Robert Frost by way of Townes Van Zandt: “Worry about the phonetics, and the meaning will take care of itself.” “My writing comes from that school, which is not having a school at all—it’s about letting melody lead the way,” says Crockett, who first started writing on a pawn-shop guitar given to him by his mother at age 17. “I don’t ever tell myself, ‘I’m gonna write this type of story now’; it’s always been about letting the song tell me where it’s going. I’ve never known what the story was about until it was all done.”

For Crockett, preserving the uncalculated nature of his creative process has only become more urgent as his career reaches unprecedented heights. “We live in a tough world where there’s a significant gap between what’s commercially viable and what’s authentic to who the artist really is,” he says. “The more I’ve broken through, the harder it gets to avoid the voices trying to get me to work with an approved list of people, but in my opinion all that outside influence makes it easy for the artist’s personality to get completely lost. So instead of thinking about how to get something on the charts or get award recognition, I’m thinking about how these songs are going to hold up 20, 30 years from now. Because if I’m making any legitimate contribution at all, it’s because I’m telling a story that’s worthy of getting passed down and surviving all that time.”

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After more than two decades as a band, with nine albums, a catalog of songs that have become ingrained in the pop consciousness and countless concerts for millions of fans, the Goo Goo Dolls are feeling particularly good about their new album: Magnetic. More to the point, the Goo Goo Dolls are feeling particularly good. Period. “This album was really upbeat and fun,” says John Rzeznik, the trio’s primary singer, songwriter and guitarist since it was founded in Buffalo in 1986. “I don’t think we’ve made a record like this in a while. Just had a great time doing it.” It’s a great time overall for the musicians. Bassist Robby Takac, whose partnership with Rzeznik has been the band’s foundation since the start, and his wife have just had their first child. And Rzeznik is getting married this summer. Not to mention that recently three of the band’s songs placed in Billboard’s Top 100 of 1992-2012, with “Iris” standing at No. 1. That song has also connected with a new generation, as Dolls fan Taylor Swift has been performing it in her concerts. That joy is all there in the spirit of the 11 new songs on the album, for which Rzeznik, Takac and drummer Mike Malinin — the lineup steady since 1995 — recorded in New York, London and Los Angeles with Gregg Wattenberg (Train), Rob Cavallo (Green Day), John Shanks (Bon Jovi) and Greg Wells (Katy Perry). From the celebratory single “Rebel Beat” to the love-rediscovery ballad “Slow It Down,” from the blue-collar anthem “Keep the Car Running” to the meltingly romantic “Come to Me,” Magnetic is an album bursting with a spirit of renewal. And nowhere is it more explicit than in one of two Takac-penned songs: “Happiest of Days.” “All the writing is an extension of ourselves,” Rzeznik says. “My life’s amazing. When I sit and think about my life, it really has been incredible.” No argument from Takac. “It’s pretty amazing to me,” he says. “All these years now we’ve been playing in this band together and we still somehow manage to grow. That allows us to keep making it happen. We never denied what the situation was at the moment. Right now we’re here and living this moment, and some cool things are happening in our lives.” It’s a contrast from the poetically introspective tone of 2010’s Something For the Rest of Us, which reflected some personal turmoil. “This album feels like this is where we came out the other side and are in the daylight again,” he says. “Got a little dark on the last record. But that was something I needed to do, where I was at. This is where I am now. Yeah, you know — I got myself up, brushed myself off and looked around, and things were fine. Why not celebrate?” Even a dark-sounding title, such as “When The World Breaks Your Heart,” reveals a world of happiness. “That’s a song about friendship,” he says. “Real friendship. About when you find out who the people are who really care about you and love you, like on moving day, or times of need.” With that in mind, the making of the album represented a break from past methods too. Rzeznik first worked with those collaborators on writing and pre-production of the songs. “I approached it a lot differently this time,” Rzeznik says. “Rather than writing a whole bunch of songs and then going into the studio and recording them and seeing if it worked, as we’d done before, I would write a song, make a demo, then Robby and Mike came in and we played it. Wound up being much quicker. And I did some co-writing with Gregg Wattenberg and John Shanks, tried to let go of the outcome.” Inspiration came from many sources. “A lot of it got cut in a recording studio that sits 12 floors above Times Square, full of windows,” he says. “You’re at the cultural epicenter of Western civilization. It was unbelievably stimulating. In a lot of ways this is a real New York record.” Opening song “Rebel Beat,” co-written by Rzeznik with Wattenberg, sets that tone, growing out of a summer stroll the singer took in Lower Manhattan, coming across an Italian neighborhood street party. “Everyone was having a great time, little kids, old people — and the smell of everything, and it was so hot. I just wanted to be part of it so bad!” Such scenes are evoked throughout, the music carrying the spirit as much as the lyrics. For “More of You,” Shanks and Rzeznik experimented, subtly, with electronics, the anthemic sound portraying a resolute pursuit of love. The two painted the “complications” of relationships with equal flair with the elated-yet-tumultuous sound of “Caught in the Storm.” Takac brings another rock twist to “Bringing On the Light,” with piano and organ giving a feel that he says is in part inspired by the great English band Badfinger. And for “Bulletproof Angel,” a soaring ballad co-written by Rzeznik and long-time friend Andy Stochansky, producer Greg Wells brought in orchestrator Joel McNeely for a full strings arrangement, the latter recorded at London’s legendary Abbey Road. At the core throughout is the Goo Goo Dolls’ blue-collar Buffalo origins, the same energy that fueled the group when if first garnered buzz on the local, then regional and then national club scenes. Nowhere is it more explicit than on “Keep the Car Running,” a song about the disillusionment of youth, about wanting to escape, but also an earnest love-letter to home. “Buffalo had its own unique sound,” Rzeznik says. “I think we definitely retain that. When I pick up an acoustic guitar and start singing, it’s me. We can’t be anybody else. I like what I sing. We like what we write. And if we don’t like it, we don’t play it.”

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ABOUT OMAR APOLLO

Known for his laid-back retro-soul and R&B sound, Omar Apollo first emerged online in 2016, posting songs like "Brakelights." His first EP, Stereo, appeared in 2018, with his full-length debut, Apolonio, arriving in 2020. The following year, he paired with C. Tangana for their Latin Grammy-nominated song "Te Olvidaste" before releasing his 2022 sophomore album, IVORY.

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ABOUT SPOON 

Spoon’s tenth album, Lucifer on the Sofa, is the band’s purest rock ’n roll record to date. Texas-made, it is the first set of songs that the quintet has put to tape in its hometown of Austin in more than a decade. Written and recorded over the last two years – both in and out of lockdown – these songs mark a shift toward something louder, wilder, and more full-color. From the detuned guitars anchoring “The Hardest Cut,” to the urgency of “Wild," to the band’s blown-out cover of the Smog classic “Held,” Lucifer on the Sofa bottles the physical thrill of a band tearing up a packed room. It’s an album of intensity and intimacy, where the music’s harshest edges feel as vivid as the directions quietly murmured into the mic on the first-take. According to frontman Britt Daniel, “It’s the sound of classic rock as written by a guy who never did get Eric Clapton.”

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On the heels of very successful East Coast shows in the Spring of 2022 and a sold-out Los Angeles show in July, Ryan Adams announces an additional 18-solo tour dates in November and December 2022. 

Ryan Adams has been praised as "one of rock's most talented songwriters” (SPIN). The 7-time Grammy nominated artist has 16 studio albums to his name, accumulating in millions of sales. He has produced albums for esteemed musicians including Willie Nelson, Jesse Malin, Jenny Lewis and has collaborated with some of music’s most influential artists such as Weezer, Fall Out Boy, America and many more.

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[/et_pb_acf_single_item][et_pb_code admin_label="Event Button" _builder_version="4.6.6" background_color="#b39235" global_module="91327" saved_tabs="all" global_colors_info="{}"][wbcr_php_snippet id="91275"][/et_pb_code][et_pb_acf_single_item field_name="Event Details|doors_time" image_size="thumbnail" link_image="none" format_output="none" admin_label="Doors Time" module_class="doors-time" _builder_version="3.18.4" global_colors_info="{}"][/et_pb_acf_single_item][et_pb_acf_single_item field_name="Event Details|show_time" image_size="thumbnail" link_image="none" format_output="none" admin_label="Show Time" module_class="show-time" _builder_version="3.18.4" global_colors_info="{}"][/et_pb_acf_single_item][/et_pb_column][et_pb_column type="3_5" _builder_version="4.16" custom_padding="|||" global_colors_info="{}" custom_padding__hover="|||"][et_pb_text _builder_version="4.17.6" global_colors_info="{}"]SECOND NIGHT ADDED! 

In 2014, Gryffin introduced the world to his magnetic take on electronic music. In the five years since his debut single, “Heading Home” shot to #1 on Spotify’s US and Global Viral charts, the L.A.-based producer has pushed his artistry to a bold new level. In 2019, Gryffin released his debut album “Gravity” that topped Billboard’s Dance/Electronic Album Chart and amassed over 1 billion streams on Spotify.  The album featured Billboard charting hits like “Tie Me Down”, “Body Back,” “Remember” and “All You Need To Know” that would go on to top the dance radio chart. Gryffin has achieved RIAA Gold certification on “Whole Heart'', “Nobody Compares To You” and “All You Need To Know”, and RIAA Platinum certification on “Feel Good” and “Tie Me Down”. His catalog of music has also surpassed 2.4 billion streams on Spotify alone.

On the live front, Gryffin completed five, full-length headline tours, and brought his innovative live electronic show to numerous world-renowned top-tier festivals such as Coachella, Outside Lands, Lollapalooza, Governors Ball, and Life Is Beautiful. A longtime guitarist and classically trained pianist, he’s now joined onstage by a drummer and guitarist/keyboardist, transforming the most precisely crafted tracks into arena-sized anthems with a thrillingly raw energy. Most recently, Gryffin has become a resident DJ at Wynn Las Vegas, bringing his electrifying DJ sets to Encore Beach Club and XS Nightclub throughout the year.
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