APP POWERED BY

POWERED BY:  

Event Calendar

Wed, March 15th

8:00 PM - 6:00 PM

Jerry Cantrell

Jerry Cantrell with Thunderpussy

Wednesday, 15 March 2023 

Portland, ME

  • 8:00 PM Show Time
  • 7:00 PM Door Time
  • 11, NOV 10:00 AM
    On Sale
  • 49.50-59.50
  • STANDARD TICKET

BUY TICKETS

BUY PARKING

MEN

Location: Aura, Portland, Maine

Website: https://auramaine.com/event/031523/


Fri, April 14th

8:00 PM - 6:00 PM

Clutch with Amigo The Devil and Nate Bergman

Clutch

Formed in 1991 in Germantown, MD, Clutch features Neil Fallon (vocals), Tim Sult (guitar), Dan Maines (bass), and Jean-Paul Gaster (drums).
The band built a local following through constant gigging. After releasing the classic 7” single “Pitchfork,” the band caught the attention of Earache Records. Earache released the legendary Passive Restraints EP. Shortly after the release of Passive Restraints, EastWest Records signed the band. Their debut LP, Transnational Speedway League…, followed in 1993.

A self-titled album appeared two years later on Atlantic Records and afforded Clutch their first mainstream exposure, as the label released a trilogy of psychedelic-tinged singles, “Big News,” “Spacegrass,” and “Escape from the Prison Planet.”

A lengthy and very successful North American tour with Marilyn Manson put an exclamation point on this early part of Clutch’s career.
The band jumped to the larger Columbia label for 1998’s Elephant Riders.

Clutch re-joined the Atlantic ranks in 2001 for their 4th studio album, the six-figure selling Pure Rock Fury. The band enjoyed their first Top 40 single, “Careful With That Mic.” A year later, however, the band was tortured with label problems, and it was three years before the sonically brilliant Blast Tyrant was released by indie label DRT Entertainment.

In the meantime, the band had self-released the studio album Jam Room, and their first concert release Live at the Googleplex on their own River Road Records. These two pieces would eventually see the surface through Megaforce Records a few years later.

The 36-month period from 2004 to 2007 saw heavy, non-stop touring of North America and England, mainland Europe, the Scandinavian territories, and Australia. The band was now in top playing shape and writing the most challenging material of their career. With a decade of experience behind them, Clutch was now passing or outlasting most of their mid/late 90’s contemporaries.

Clutch’s 7th studio album, 2005’s Robot Hive/Exodus (DRT), produced by J. Robbins, was another breakthrough release, showcasing a diversity most rock bands could never dream of pulling off.

2007’s From Beale Street to Oblivion took off where RH/E’s final track “Gravel Road” left off. A hardened, simple blues approach with power took the former Germantown High School compatriots to the next level. The album’s lead single, “Electric Worry,” wasn’t just another successful Top 40 rock single, with its anthem-like chorus and high energy guitar jam/drum solo climax making it an instant Clutch classic.

In 2008 the four band members and longtime manager Jack began forging plans for the Clutch owned and operated label, Weathermaker Music. Initially self-distributed, Weathermaker Music quickly found a home at Sony/RED Distribution. Since 2013 the label has been distributed via Rough Trade Distribution/Believe and its sub-distributors in Europe.

Clutch’s 9th studio album, Strange Cousins From the West, was released in 2009. It debuted at No. 37 on the Billboard charts, initially becoming the best-selling Clutch release of their storied career.

In 2013 Weathermaker Music released Earth Rocker, which went straight to No. 1 in the Billboard Top Hard Rock Albums, No. 6 in the Billboard Top Rock Albums, and No. 15 in the Billboard Top 200. “Earth Rocker” has been described as heavier and faster than the preceding albums.
Clutch released their 11th studio record, Psychic Warfare, in 2015 via Weathermaker Music. The album reached No. 11 on the Billboard 200 and No. 1 on both the Hard Rock and Rock charts.

On September 7, 2018, Weathermaker Music released the 12th Clutch album, Book of Bad Decisions. The album charted No. 1 on the Billboard Hard Rock Charts and came in at No. 16 on the Billboard 200. Simultaneously the album entered various European and Australian charts. Rolling Stone described Book of Bad Decisions as “bathed in the grit and liberal fuzz tone that have made their live shows legendary.” Clutch had become recognized as one of the best rock acts of the modern era.

Decades of global touring have been one of the main drivers of Clutch’s success. Whether in club shows around the world, or big festival appearances on several continents, fans love and continue to support this band. The global pandemic may have halted the band’s live appearances over the last 21 months, but Clutch is now back on the road, with a new album expected for 2022. Stay tuned.

Amigo The Devil

Danny Kiranos, the Austin-based songwriter behind the Amigo the Devil project, has somehow managed to meld the worlds (and fanbases) of traditional folk, country music, rock, and metal into one. The sonic experience is morbid, yet poetic and oddly romantic. His unique artistic perspective and ability to connect with audiences has allowed him to amass a dedicated, cult-like fan-base. Loaded with sing-alongs – and an unsuspecting dose of humor to make otherwise grim topics accessible for fans of every genre – the songs still remain deeply rooted in the tradition of story-telling…something that seems to be a lot less common nowadays. Attending an Amigo the Devil show is an experience: you become one with a wildly prophetic man, armed only with his entrancing voice and a banjo, and bear witness to an astounding performance that will stick with you for a long time.

A key figure in the U.S. ‘murder folk’ scene, Kiranos was initially influenced by the likes of Tom Waits, Nick Cave and Godspeed! You Black Emperor. Following a number of well-received single and EP releases, the debut album by Amigo the Devil ‘Everything Is Fine’ was produced by Ross Robinson, renowned for his work with major league hard rock/metal acts such as Korn, Slipknot, At The Drive In, and Glassjaw. The album also features drummer Brad Wilk (Rage Against the Machine, Audioslave, Prophets of Rage) sitting in on the entire recording session.
His follow-up record and latest release, ‘Born Against’, reveals him to be more than a one-trick pony stylistically. “Every new record is an opportunity to sit and think about how much has changed in your life and the world around you,” Kiranos says. “It’s a new opportunity to bring in both new and old influences. I really wanted to dive into ideas that I’d either been avoiding or ignoring within myself and figure out ways to align them with music I grew up listening to. Influences that may have been set aside in our older recordings.”

Kiranos, who grew up in Miami in a multicultural household, decamped to Dallas to record the album at the venerable Modern Electric Studio with Beau Bedford (Texas Gentlemen). This marked the first time Kiranos had explored some of the world music he’d long loved, including Eastern European folk and Australian country (“It has such an amazing sound to it,” he says of the honky-tonk of Down Under. “The rhythms are so dry and brutal.”) Kiranos felt Bedford was the only producer who could draw those sounds out of him. Together they entered the studio with merely the skeletons of the songs Kiranos had written. One by one, they fleshed them out in wildly inventive fashion. To say they threw the kitchen sink at this album would be an understatement; these guys threw the whole damn shack.

“The Fellowship” – as Amigo’s die-hard fans refer to themselves – continues to grow with each new show played and album released. His continued connection with audiences and unique, empathic lyrics are sure to carry Amigo the Devil into the hearts of many more. There is hope in the volatile, peace in the macabre, and light not just inside the tunnel but all around, and Amigo the Devil is here to tell us how.

Nate Bergman

It’s never gonna work. Has there ever been a sentence responsible for more great rock and roll? Like Tina Turner without Ike, Genesis without Peter Gabriel, or Dylan with an electric guitar, people said Metaphysical Change — Nate Bergman’s blues steeped, country-inflected solo debut — was never gonna work.

Not only because Bergman is a curly haired Jewish kid who sounds like Sam Cooke after 400 cigarettes. Not only because all his great country-music-stories were written in the heart of metropolitan DC. No. Metaphysical Change was never gonna work because Nate Bergman got stuck overseas when the lockdowns hit.

Thousands of miles away from his collaborators, studio and family, Bergman began recording demos all on his own, playing every instrument and stacking harmonies of his own voice. Nate felt Europe leaving its mark on songs like “Ode to Manchester” and “Goodbye Munich” just as isolation and loneliness began to leave their marks on songs like “Dark Horse, Sweet Horse” and “Into My Arms”— songs so full of longing, they just might burst inside your speakers.

But Nate Bergman’s not the type to give in and crawl up his own asshole. He’s no stranger to overcoming long odds or pulling people together for the common good. You can’t tour as the band leader for the legendary Lee “Scratch” Perry if you ain’t got heart. So Nate did what he does best and sent the demos out to friends and strangers alike, pulling a hugely diverse, enormously talented group of musicians together to flesh out Metaphysical Change.

Tyler Bryant rips the solo of the year on “Highway Friend.” Brit Turner from Blackberry Smoke makes “Living on the Line” move and shake, paired up with Karina Rykman’s Bass. And Lucero/Chuck Reagan collaborator, Todd Beane, brings a handle of whiskey to soak the slide guitars on “Ode to Manchester.” If that makes Metaphysical Change sound like a who’s who of Southern Fried rock and roll, please understand that Nate’s roster is as deep as his musical scope is wide: Frank Iero, guitarist of My Chemical Romance, scorches the earth all over Metaphysical Change, bringing with him Tucker Rule from Thursday to lay the punishing beat for “Repeats Until You Die.” Art Metal giant, Opeth’s, Per Wiberg trades deep and menacing bass lines with Skindred’s Dan Pugsley. Travis Stever of modern proggers, Coheed and Cambria, and Michael Ward from the Wallflowers/Ben Harper Band both turn in stunning guitar tracks.

Such a crazy lineup, “It’s never gonna work.” Cue Nashville mega-producer, Vance Powell, who ties the record in a bright red, radio-ready bow. The sparkling mix and sweeping harmonies of Deborah Bond & Rona Rawls provide the through line for all these different styles and personalities, grounding the record around its essential ingredient: Nate Bergman’s powerful, inimitable voice. This the thing about Metaphysical Change— the record that’s never gonna work— IT FUCKING WORKS. And it just might be the rock and roll debut of the year.

Location: State Theatre, Portland, Maine

Website: https://statetheatreportland.com/events/clutch/


Sun, May 14th

6:30 PM - 6:00 PM

Beartooth & Trivium with Malevolence, Archetypes Collide

Beartooth & Trivium

with Malevolence, Archetypes Collide

Sun, May 14, 2023

State Theatre

Doors: 5:30pm - Show: 6:30pm - all ages

$39 advance
$45 day of show

Buy tickets in person (without fees) at the State Theatre box office Fridays 10am-3pm, or the night of any show. The State Theatre box office will open 1 hour before doors night of show.

share this event

Beartooth

The band Forbes declared is “inching towards a tipping point of becoming the latest arena headliner” takes a step closer with “Riptide.” BEARTOOTH’s 2022 anthem sees Caleb Shomo put the pain of the past in the rearview mirror as he takes the steering wheel from fate to command his own destiny.

The furiously courageous (almost unnervingly optimistic) song of self-empowerment is a victory lap. “Riptide” memorializes the struggle with mental health and self- acceptance, which has defined so much of BEARTOOTH since its inception. Shomo started this band in his basement, playing all the instruments to challenge and purge inner darkness, purely for himself at first. As the band he assembled to play the songs traveled, they discovered how many people recognized the same demons.

As Kerrang! observed, “Caleb Shomo is one of his generation’s most remarkable songwriters.” It’s a testament to the purity of intention manifested by the multi- instrumentalist from the start.

Songs like “The Past is Dead,” “Fed Up,” and “In Between” have pushed BEARTOOTH past 850 million streams. The band’s fourth album, Below, topped the Rock, Hard Music, and Alternative charts in 2021 and found its way into Best Rock/Metal Albums of the Year lists assembled by the likes of Revolver, Rock Sound, Kerrang!, Loudwire, Knotfest, and a slew of like-minded media outlets.

Rolling Stone introduced BEARTOOTH as one of 10 New Artists You Need To Know, and they rightly described the sound as “like a nervous breakdown, usually with enough optimism to push through.” As the band grew (grabbing trophies at genre events like the Golden Gods and Loudwire Awards), the raw nerve simply became more exposed, sounding wilder yet accessible all at once.

Steadily, without pretension, the fearlessly determined and boundlessly creative Ohio-based powerhouse perfected a sound sought by a generation of bands, equal parts solitary musical confession and celebratory exorcism. Their marriage of colossally catchy choruses and post-hardcore-soaked-in-sweaty-metal is without rival. Its effect is evident by their deeply engaged audience; tours with Slipknot, Bring Me The Horizon, and A Day To Remember; and an RIAA-certified gold plaque.

BEARTOOTH is both bomb and balm. An outright refusal to suffer in silence, BEARTOOTH weaponizes radio-ready bombast to deliver raw emotion mixed with noise-rock chaos. Other bands play the “devastating riffs and catchy hooks” game, but for BEARTOOTH, this music is the difference between life and death. As easygoing, charming, and outgoing as these young men may appear, there’s an inner turmoil churning away, only satiated by the savage music they perform onstage.

Hard rock and hardcore combine in a way that’s smart, lean, melodic, and irresistible, without apology. The stadium-sized type of riffs found in Metallica and the explosive passion of The Used are equally at home. Back in Black was the first album Shomo ever bought with his own money, and the straight-to-the-point stomp of AC/DC’s masterpiece remains entrenched in the BEARTOOTH backbone. Motörhead’s fast-paced groove and “let it rip” attitude is another part of the anatomy.

Like Nine Inch Nails and early Foo Fighters, BEARTOOTH is a one-person band in the studio, written, arranged, engineered, produced, mixed, and mastered by Shomo. The 2013 Sick EP was an emotionally stranded Shomo’s “message in a bottle,” tossed into a figurative ocean. The message was received, and the throngs of like-minded people who responded became his lifeboat.

Disgusting (2014), Aggressive (2016), Disease (2018), and Below (2021) expanded those themes of desperation, each sonically getting a step closer to the magical balance between the blood, sweat, and tears of classic recordings and the smooth gloss of modern production. “Riptide” is a challenge to shake loose the confines of past trauma and self-loathing and blaze a trail toward better days ahead.

In 2022, Shomo speaks openly about his mental, physical, and emotional repair, after a lifetime of fighting depression, anxiety, and doubt. “Riptide” celebrates newfound clarity, with stark honesty. It’s a torch lighting the way for the next era of BEARTOOTH, and a promise of bigger things to come.

BEARTOOTH offers no cure. But the recovery comes in the process; the journey is the destination. As long as the dueling dichotomy of mental health anguish and cathartic creative expression remain bound together, Shomo and his mates will continue to white-knuckle the wheel. So, enjoy the ride.

Trivium

Various belief systems throughout history exalt the number 10 as divine. 10 years comprise a decade, we traditionally possess 10 fingers and 10 toes, our very decimal system remains based on 10, and so on and so forth. Trivium grasp for collective perfection on their 10th full-length offering, In The Court of the Dragon [Roadrunner Records]. Following 22 years, over 1 million units moved, hundreds of sold-out shows, and half-a-billion streams, the GRAMMY® Award-nominated Florida quartet—Matt Heavy [vocals, guitar], Corey Beaulieu [guitar], Paolo Gregoletto [bass], and Alex Bent [drums]—deliver a definitive statement cast in ironclad guitar fireworks, pummeling rhythms, lyrical provocations, and stadium-shaking choruses. It springs from the past, seizes the present, and hints at the future of Trivium—and metal—all at once.
“Getting to album 10 felt momentous,” says Paolo. “Not many bands get this far, so it had to live up to being the 10th record. We didn’t know if we were going to be able to tour, so it had to still be impressive enough to keep everyone’s attention. It was the sole focus for the last ten months. We had to make sure we met the bar we’ve set for our fans and ourselves.”

“To be 10 records in is an accomplishment in and of itself,” agrees Corey. “To us, this music felt special. We’re the strongest we’ve ever been as friends and as a band. I hope it shows in the songs.”

“I feel like we’re four people who just started a new band with all of the aspirations and dreams in the world,” exclaims Matt. “I’m excited to go to practice. I’m excited to play our music. I’m very happy to be in the band with these three guys. 22 years into this thing, that’s incredible.”

Those 22 years have set the stage for this era. Trivium crafted a classic in the form of Ascendancy. It concluded 2005 as KERRANG!’s “Album of the Year,” went gold in the UK, and has since surpassed global sales of 500,000 copies. Retrospectively, Metal Hammer cited it in the Top 15 of the “The Greatest Metal Albums of the Century.” They’ve earned six straight Top 25 debuts on the Billboard Top 200 and six Top 3 debuts on the Top Rock Albums Chart. One of many standouts from 2017’s The Sin and The Sentence, the single “Betrayer” garnered a GRAMMY® Award nod in the category of “Best Metal Performance.” The quartet reached new heights on 2020’s What The Dead Men Say, appearing everywhere from The New York Times, NPR, Forbes, Billboard, Tech Crunch, and Kotaku to Revolver and Alternative Press. They are the rare band who can incinerate a stage alongside Metallica and Iron Maiden and hold a captive audience of tens of thousands on a Twitch stream.

In the midst of the Global Pandemic, the members safely congregated in order to practice and volley ideas back and forth. During the summer, Alex and his wife moved across the country from California to Florida as Paolo also relocated back home. Once conditions permitted, they returned to the studio in Full Sail University with producer Josh Wilbur [Lamb of God, A Day To Remember] in 2021.

“When I moved, everything changed,” says Alex. “We could easily get on a group text to practice or write virtually anytime. It isn’t like I had to hop on a plane anymore. Everything was so much simpler and smoother. We weren’t working with any time limitations, and everything paid off.”

It most certainly did…Trivium sent shockwaves through heavy metal with the surprise release of the first single and title track “In The Court of The Dragon.” Within a month, the song piled up millions of streams as Guitar World hailed it as “one of the standout metal tracks of the year.” With its striking renaissance-inspired artwork, enigmatically unnerving fantasy visual, and conflagration of guttural screams, hammering percussion, orchestral intro courtesy of Ihsahn [Emperor], and sweeping hooks, it unlocked a gateway into another realm.

“As far as the meaning goes, there is no right or wrong answer,” grins Matt. “I want people to come up with their own interpretations of everything they hear, see, and experience on In The Court of the Dragon. Of course, I’m obsessed with Scandinavian stories, Vikings, Japanese history, and the tales of Odin, Thor, Ragnarok, and the end of the world, Paolo was like, ‘Why don’t we create our own mythology?’ We’ve definitely used pre-existing myths for inspiration in the past. We created our own myth now.”

Meanwhile, “Feast Of Fire” burns bright with a massive chant hyper-charged by nimble melodic thrash and a smart-bomb precise solo. “To us, ‘Feast Of Fire’ is in the direct lineage of ‘Dying In Your Arms’, ‘Unti The World Goes Cold’, and ‘Black’,” Matt observes. “We really fleshed it out perfectly with the chorus, and it was meant to feel big.”
Then, there’s “Like A Sword Over Damocles.” A hulking groove gives way to a skyscraping refrain uplifted by thick distortion.

“I had the initial backbone of the song, and I really wanted to do a barnburner,” Corey reveals. “I had researched the concept. It was a cool story about the struggles of being someone in power and always having people question you. What happens when the person who’s questioning you has your job and responsibility? They don’t want it. Paolo built on that idea, and we made our own story. I’m really stoked for everyone to hear it.”

The near eight-minute “Fall Into Your Hands” originated on Matt’s uber popular daily Twitch stream and organically progressed into one of the most epic compositions in the band’s catalog. However, everything culminates on “The Phalanx.” It twists and turns through incendiary leads, heart-wrenching screams, an entrancing melody, and final symphonic comedown.

“Thematically and musically, the song has three acts,” Matt states. “For as conceptual as it is, it also reflects our chemistry in the room. Since we’re so technically proficient at our instruments and I spend hours singing every day on stream, we’re over prepared. For In The Court of the Dragon and What the Dead Men Say, we went in and played without thinking. We default to technical, elaborate, and long ideas, because that’s what we grew up on. It all felt natural.”

In the end, Trivium have inched towards this moment for ten albums and finally arrived like never before as they triumphantly rise In The Court of the Dragon.

“This album has everything,” Matt leaves off. “It has the singing, the screaming, the death metal, the black metal, and the catchy metal. When we have all of those elements together, we’re the happiest. It’s the key to Trivium.”

“This is a new chapter,” Paolo concludes. “We’re crossing into something else. I don’t know what it is, but I’m excited for it. We have a lot left in us, and I want to prove that.”

Malevolence

“We wanted to write an album that encompasses our sound – but we wanted to push It further and go deeper,” says Malevolence frontman Alex Taylor. Indeed, with their third album, Malicious Intent, the Sheffield-born Malevolence has done just that. Ask anyone who has seen ‘em setting fire to tiny pressure-cooker hardcore gigs to igniting massive pits at big-stage metal festivals. Anyone who witnessed their set at Bloodstock 2021, knows that this is their reckoning hour. Malevolence has truly arrived. Formed in the north of England, Malevolence has perfected a sound of their own that swaggers like a band born in New-Fucking-Orleans while embracing the power of the riff and the brutality of the breakdown. “We made it a point to step outside our comfort zone,” says Taylor, “but also do what we started this band to do in the first place – play the metal that we want to hear.”

It’s clear – Malevolence is set to explode in 2022. Already distinguishing themselves as a force to be reckoned with in an exploding UK metal scene, they’ve stepped to the front of the class with force and finesse. Their intent has never been so completely realized.

Archetypes Collide

Arriving in recent years with powerful anthems driven by heartfelt emotion, ARCHETYPES COLLIDE quickly established itself as a band unafraid to blur the lines between safety and innovation in heavy music. Soaring vocals, melodies, and heavy grooves swirl with passion and precision. The Arizona upstarts deliver massive hooks, soaked in atmosphere, with creative energy and catchiness.

Kyle Pastor (vocals), Brandon Baker and Jared Knister (guitars), Ky Sanders (bass), and Tyler Flamm (drums) put the same work ethic and focus into songwriting as they spent building the band from their local scene to the international stage. Unapologetic choruses and bang-your-head riffs collide. Striving for a deep connection with listeners first and foremost, songs like “My Own Device,” “What If I Fall,” “Parasite,” and “Fade Away” combine loud bombast with intimate pop. ARCHETYPES COLLIDE demands repeated listening, mixing everything from Linkin Park and Bring Me The Horizon to The Chainsmokers, and Stranger Things-style retro synths, into a unique musical identity.

A collection of singles and EPs drew a devoted fanbase and the attention of Oshie Bichar, bassist for Beartooth. Bichar enlisted his management, and the pair took Archetypes Collide under their wing. Soon after, SiriusXM’s Octane got behind songs like “Your Misery,” “Becoming What I Hate,” and “Above It All.” The band appeared on major festivals like Aftershock, Louder Than Life, and Welcome To Rockville, toured with genre giants The Amity Affliction, and crafted an ambitious self-titled debut album for Fearless Records.

Archetypes Collide spent several weeks in the first part of 2022 making their inaugural full-length, with a super team surrounding them to execute their vision. Bichar produced alongside Nick Ingram (Dayseeker, Convictions, Hawthorne Heights) at Capital House Studio in Ohio. Additional production came from Jon Eberhard (Skillet, I Prevail, Until I Wake); The Plot In You frontman Landon Tewers lent a creative hand as well. The resulting album, mixed by Jeff Dunne (Ice Nine Kills, Wage War, Make Them Suffer), captures the vibrant spirit of the 2010s-era Warped Tour with a postmodern edge. It’s a diverse but singular mission statement, brimming with authenticity and hope.

ARCHETYPES COLLIDE isn’t bound by preconceived notions or limitations. As Pastor explains simply: “Why not take every shot, in every direction, under the umbrella of hard rock and metal?”

Location: State Theatre, Portland, Maine

Website: https://statetheatreportland.com/events/beartooth-trivium/


Sat, August 19th

7:00 PM - 6:00 PM

Mastodon & Gorija with Lorna Shore

Mastodon

Death is inevitable. Time is a precious, finite resource. Regret springs solely from our collective inability to square these two truths. A friend suddenly passes away and you’re left to think about all those times where you could have said how much you appreciate them and didn’t – because you figured there would always be a next time. A partnership collapses and you’re left to reflect on the moments you took for granted, the ways you could have been more present. A band lacks the foresight to predict that touring will cease to exist for two years and doesn’t leave it all on the stage that last night; or, think of the fan that doesn’t stick around for the encore because they wanted an extra half hour of sleep.

These concerns were not hypothetical for Mastodon. The core lineup has been in place for 21 years, an eternity in the highest echelons of metal, where even the most legendary band names eventually become brands staffed by a rotating cast of hired guns. And yet, Brann Dailor, Brent Hinds, Bill Kelliher, and Troy Sanders experienced enough individual and collective tragedy to threaten their adamantine bond – the death of their longtime friend and manager Nick John after battling pancreatic cancer, a devastating global pandemic that put their faith, families, and livelihoods in jeopardy. Mastodon’s decades of success and the brotherhood between its four members had not made them any more immune to the possibility that it could all splinter tomorrow. Mastodon had a glimpse of the end and committed to a new beginning – and Hushed And Grim does not take a single moment for granted.

And there are more of these moments than on any previous Mastodon release. It initially feels reductive to simply describe Hushed And Grim as Mastodon’s ninth album – at 88 minutes, their first double LP boldly defies conventional assumptions about attention spans in the streaming era. With the expanse of a studio film, the texture of a novel and the breadth of a Greatest Hits, Hushed And Grim is Mastodon paying tribute to John by building an eternal monument. “He’s always been an influence when he was alive,” Hinds wistfully states. “And he’s even more of an influence now.”

Consider why double albums are frequently called “monumental.” Mastodon is very much aware of what this format says about their legacy in heavy music. Dailor recalls his formative teenage years absorbing every note of world-building epics like The Lamb Lies Down on Broadway, Physical Graffiti, and The Wall, milestone works from bands whose inspiration and craft have simultaneously reached a zenith. “It takes some balls to put out a double album these days or takes some ovaries,” Dailor quips. “I’ve been trying to say ovaries because I think it’s more powerful.”

Mastodon fundamentally altered the course of 21st century metal on 2004’s classic Leviathan, and every album thereafter continued to shape the genre in their image. In 2018, five-time nominees Mastodon won their first GRAMMY®, with “Sultan’s Curse” earning Best Metal Performance. Arguably more impressive was Emperor of Sand being nominated for Best Rock Album, with lead single “Show Yourself” hitting the top five on Billboard’s Mainstream Rock chart. Without sacrificing an iota of their intensity and intelligence, Mastodon’s imprint on pop culture has spread from Adult Swim to late night network television, from the History Channel’s Counting Cars to HBO’s Game of Thrones, from DC Comics Dark Knight Metal to Bill and Ted Face the Music.

But as Sanders points out, “the most solid representation of us is when we get in our cycle and craft a wholesome, dynamic and beautiful record from top to bottom. That’s what we ultimately thrive on.” Hushed And Grim only emphasizes what the band’s many accomplishments has expressed to this point – Mastodon have transcended genre of any kind, animated by an unwillingness to compromise that results in their most expansive and accessible release yet. There are no interludes, no filler, none of the stereotypical bloat that accompanies even the most revered double albums. With the spirit of Nick John coursing throughout its entirety, “every song has a place in our hearts,” Kelliher stresses.

Throughout, Mastodon travel through time and space, through memory and imagination, drawing on their experience and formative influences to open new portals. On “Pushing the Tides,” they exist at the thrilling intersection of metal and post-hardcore, “The Beast”’s heaving Southern rock, replete with a countrified contribution from guitarist Marcus King, creates an alternate history of the Allman Brothers sharing a bottle of Jack Daniels with Black Sabbath, “Had it All” features a guitar solo from Soundgarden’s Kim Thayil and some classical French Horn by Jody Sanders, Mother of Troy, reimagining Mastodon as a band intermingling with the monsters of Headbanger’s Ball. It’s all overseen by the legendary producer David Bottrill now including Hushed And Grim alongside his prior progressive pop landmarks from Peter Gabriel, Tool and King Crimson.

Yet for all of their technical mastery and ambitious musicianship, the most daring aspect of Hushed And Grim comes from the voices of Mastodon themselves. It’s not just in the tremendous growth all members have made as vocal performers, exemplified in the explosive shouts of “The Crux” and the aching refrain of “Skeleton of Splendor”; there’s an unmistakable expressive grit that cannot be coached, that takes years of endurance and pain to unlock.

As Mastodon’s music continues to expand outward, each member traveled inward, more deeply to unearth their most emotionally transparent lyrics yet. “One thing I’ve noticed about longevity is that you kind of eliminate layers of bullshit and become more honest,” Sanders muses. In the past, Mastodon albums were so memorable in their metaphorical heft that it threatened to swallow them whole – they’re the Moby Dick band, the Rasputin band, the guys who wrote about wolves and skulls. “We pull authentic emotion from our life experiences,” Sanders explains. “And we channel that through the art that we call Mastodon.” And the themes of heartbreak, of joy and hope that have always underpinned the band’s most referential work are pushed to the fore on Hushed And Grim.

Look, they’re still called Mastodon – the metal is here, Kelliher and Hinds’ riffs are still massive, Sanders’ bass can level a mountain and Dailor’s drumming is every bit as dazzling in its intricacies. Yet, the towering “Had It All” was originally built from Sanders’ simple acoustic strum, Kelliher and Hinds’ interplay impresses with a newfound, nimble sense of melody and Dailor’s restraint is as thrilling as his blinding fills as “The Beast” brings a slow Southern shuffle to their repertoire. But Hushed And Grim dares you to see Mastodon as what they’ve always been – four friends from Atlanta who are subject to the same struggles as you and I. “I’ve turned the grief to medicine,” “I feel the pressure,” “death comes and brings with him sickle and peace,” “leaving you behind is the hardest thing I’ve done,” these are their refrains, to be shared between Mastodon and the listener as equals. “My love, so strong/The mountains we made in the distance/Those will stay with us” – these are Mastodon’s parting words on the closing “Gigantium,” and we is all-inclusive, to themselves, to the fans that have stuck with them throughout the years, and the new ones to come. And to Nick Johns’. Our time together can’t possibly last forever and, inevitably, Mastodon may one day be no more. Hushed And Grim will remain.

Gojira

Gojira Meet & Greet Experience
• One P1/GA Floor Ticket
• Meet & Greet with Gojira
• Individual Photo with Gojira
• One VIP-Exclusive Merchandise Item
• One Autographed Concert Setlist
• One Commemorative VIP Laminate
• Early Entry
• Early-Access Merchandise Shopping

VIP Early Entry Package
• One P1/GA Floor Ticket
• One VIP-Exclusive Merchandise Item
• One Concert Setlist
• One Commemorative VIP Laminate
• Early Entry
• Early-Access Merchandise Shopping

*Details of the VIP Experience will be emailed to buyers about 3-5 days before the show.


Gojira tends to operate in polar extremes. “I can’t help but see humanity as a parasite,” Gojira’s co-founding guitarist and principal songwriter Joe Duplantier explains, “and yet the most beautiful things come out of humans.” To that end, the French quartet—Duplantier and his brother Mario [drums], Christian Andreu [guitar], and Jean-Michel Labadie [bass]—have spent the past 15 years translating this duality into a distinctive sound: dark, crushing metal brightened by triumphant arena-rock melodies, contrast-heavy and emotionally charged.

Enter 2016’s Magma, whereupon Gojira found strength—and crossover success—through a singular commitment to self-reflection. The intensely personal record, penned in memory of the Duplantier brothers’ late mother, was a painful significant turning point for the French group. It debuted at No. 24 on the Billboard 200 chart, topped the Billboard “Hard Rock Albums” chart (a first for a French band), and netted nominations for Best Rock Album and Best Metal Performance (for “Silvera”) at the 59th annual Grammy Awards. Numerous global headlining tours, including a stint with Metallica, followed. Coming out of Magma, Gojira weren’t just one of the biggest metal bands on the scene—they were one of biggest rock bands in the world, unified and self-emboldened.

Humbled and honored as he was by Magma’s success, Duplantier came out of that victory lap feeling exhausted—and eager to move on. “Magma marked a sad moment in our lives,” Joe says of the record. “We were expressing grief, so it was a bit heavy: not only to the process of making that album, but also talking about it, and playing the songs, and doing all of these interviews around a difficult time in our lives.”

And so, Gojira made a group decision: for album number seven, Fortitude, they’d have some damn fun. In late 2019, the brothers Duplantier returned to Silver Cord Studio, their Ridgewood, Queens, headquarters, to begin work on new, self-produced Gojira material, culled from ideas they’d developed over the past two years. “With this album, we wanted to come back with more joy, more power, and more positivity about life in general,” Joe explains. “We’re so lucky to do what we love; it’s not like we were depressed or anything, but we had something in our system to express—Magma—and we felt like it was time for something else—something that is all about strength.”

“The writing process was very thrilling and exciting,” Mario adds. “Joe and I really dug deep into every song, paying particular attention to the structures and arrangements. Every idea, every single riff, was analyzed with a fine-tooth comb: everything from the tonality of each instrument and scales used, to the dynamics, interpretation, and tempo. We left nothing to chance.”

Of course, 2020 had other plans. Just as Fortitude was nearing completion—halfway through the mixing process, to be exact—COVID-19 hit, bringing Gojira, along with the rest of the world—to an abrupt halt. While waiting out the lockdown back home in France with his family,

Joe re-examined the songs from a post-pandemic perspective; not only did they fit the turmoil of the time, in hindsight, they were downright prophetic. “In a way, I saw these songs being born again with a new meaning,” he says. “Every single song ever written resonates differently these days, but it’s almost like we felt like this was going to happen.”

To be clear, Fortitude isn’t intended as a musical escape hatch from all this unending global misery. Actually, it’s the opposite: a series of searing motivational speeches urging humanity to imagine a new world—and then make it happen. “Come on! Get back on your feet! Go for it!” Joe says of the album’s themes, briefly stepping into the role of life coach. “Everyone wants to hear that once in a while, and we want to be that to people: the little voice in your head that says you’re a fucking badass, and that you can do it.”

First single “Born For One Thing” kicks off the album in typical Gojira fashion: hyper-focused but unhinged, confrontational and yet compassionate. “We have to practice detaching ourselves from everything, beginning with actual things,” Joe says of the song’s anti-consumerist message, which was partially inspired by the Tibetan and Thai philosophers he read in his youth back in France. “Own less possessions, and give what you don’t need away, because one day we’ll have to let everything go, and if we don’t, we’ll just become ghosts stuck between dimensions.”

Gojira pivot to more earthly concerns on “Amazonia,” a lush ripper interwoven with indigenous folk instruments and Sepultura-inspired groove-metal rhythms. The soundscapes skew verdant, but the themes prove anything but idyllic, as Duplantier surveys the endangered Amazon rainforest, concluding: “The greatest miracle/ Is burning to the ground.” Proceeds from the song will benefit the indigenous Guarani and Kaiowa tribes, continuing Gojira’s career-long tradition of harnessing their music as a vehicle for environmental activism (their partnership with the Sea Shepherd Conservation Society goes back over a decade). “We don’t want to just release a song called “Amazonia”—we want to do something on top of that,” Joe explains. “We feel a responsibility as artists to offer a way for people to take action.”

The album-long call to action comes to a head with “The Chant,” a slow-burning track singled out by Mario as Gojira’s most melodic material to date. Where past anthems were driven by nuanced dynamics and technical guitar arrangements, “The Chant” is a self-described “healing ritual” emanating primordial warmth, culminating in a harmony-stacked chorus that bridges the gap between ancient hymnals and contemporary rock. Consider Joe’s two-word rallying cry in the refrain—“Get strong!”—Fortitude’s mantra, as well as the band’s mission statement heading into this new, uncertain decade. Gojira struggled; Gojira persevered; Gojira rose. Now, it’s our turn…and the soundtrack is at the ready.

Lorna Shore

For LORNA SHORE, the triumvirate of songs at the heart of “…And I Return to Nothingness” are nothing short of an exorcism – and a plunge into something darker. “There were points where we didn’t know if we could come back from where things left off,” recounts drummer Austin Archey of the tumultuous weeks after the release of the band’s 2019 album, “Immortal”. “The last year and a half was nothing short of a trial by fire.” LORNA SHORE’s latest round of pitch black soul-coughing says that in no uncertain terms. From orchestral passage that opens the EP’s title track, straight into a bombast of blackened intensities and rampaging grandeur, these New Jersey-born extremists are back, rising from the askes like a phoenix. Reborn and sworn to the dark. A coming fire that even the LORNA SHORE faithful will be stunned by. “We had nothing to lose,” states guitarist Adam DeMicco. “As dark as things seemed for us, that also gave us the confidence to push things to places we always wanted to go.” Having finished the US leg of the 2019 Summer Slaughter tour with Cattle Decapitation several months before, LORNA SHORE found themselves cutting ties with vocalist CJ McCreery in December 2019. A new voice was found in A Wake In Providence front man, Will Ramos, a longtime friend of the band and veteran of the scene that birthed LORNA SHORE. “They were one of the biggest influences for me as a vocalist,” says Ramos. “Going back to the records with Tom Barber [original LORNA SHORE vocalist] on vocals, but also seeing how they developed since, they were always an inspiration. LORNA SHORE is one of those bands who you can really call a pioneer.” Undaunted, LORNA SHORE began what was to be both a trial by fire and a victory lap on the European Faces of Death tour, headlined by Polish thrashers, Decapitated. They held their own and won over crowds only to face the challenge of the tour being cancelled and being a continent away as the world shut down amidst the wildfire spread of Covid-19. Returning to America, LORNA SHORE remained bloodied but unbowed and determined. In that time, the seeds of “…And I Return to Nothingness” were sown. As the world locked down, DeMicco, Archey, Ramos and guitarist Andrew O’ Connor plunged deeper into the creative instincts that initially made LORNA SHORE a fixture in the extreme metal scene with landmark albums: 2015’s “Psalms” and 2017’s “Flesh Coffin”. Since then, they’ve twisted together influences and ideas ranging from the symphonic grimness of European black metal to death metal’s complex fatal sonic formulas and hardcore’s aural intensities. What LORNA SHORE arrived at was a new level of blackened technicality and the next step in their darkside journey. Embellished with artwork by noted Polish painter Mariusz Lewnadowski (Bell Witch, Fuming Mouth) “…And I Return to Nothingness” reaffirms LORNA SHORE’s creative focus and intensity. Teaming once again with “Immortal” producer Josh Schroeder at Random Awesome Studios in Midland, Michigan, the band was ready to take the next step. “The whole studio experience was smoother than I expected,” says Ramos of the recording sessions. “Working with Josh, seeing how dedicated and focused the band was going into this record. I think that confidence really came across to final product.” The EP’s three tracks: “To the Hellfire”, “Of the Abyss” and the title track are proof that LORNA SHORE isn’t just continuing their fiery legacy. They’re reigniting it and spectacularly setting their very legacy ablaze.

Location: Cross Insurance Arena, Portland, Maine

Website: https://statetheatreportland.com/events/mastodon-gojira/


Wed, August 23rd

6:30 PM - 6:00 PM

Disturbed with Breaking Benjamin and Jinjer

Event Information

DISTURBED Wednesday, August 23rd, 2023 6:30 PM

LIVE NATION PRESENTS
DISTURBED
BREAKING BENJAMIN
JINJER
TAKE BACK YOUR LIFE TOUR

 Extra Information 

Parking Opens: 4:00 PM
Doors Open: 5:00 PM

Location: Bank of NH Pavilion in Gilford, NH

Website: https://www.banknhpavilion.com/?page=event_info&show_code=082323


Thu, August 24th

6:30 PM - 6:00 PM

Nickelback with Brantley Gilbert and Josh Ross

Thursday, August 24

TERMS

ALL AGES | NO CHAIRS
NO POSTERS | NO Reentry | NO weapons | NO outside food & beverages
NO Backpacks | Point and Shoot CAMERAS ONLY | NO recorders

COVID 19:

An inherent risk of exposure to COVID-19 exists in any public place where people are present. COVID-19 is an extremely contagious disease that can lead to severe illness and death. Senior citizens and guests with underlying medical conditions are especially vulnerable.
By visiting our establishment, you voluntarily assume all risks related to exposure to COVID-19.

CLEAR BAG POLICY | NO Purses over 8" x 5" x 2"

 

MORE INFO HERE

Location: Maine Savings Amphitheater, Bangor, Maine

Website: https://www.waterfrontconcerts.com/event/nickelback-maine-savings-amphitheater-08-24-2023-1


Thu, September 7th

7:00 PM - 6:00 PM

Pantera with Lamb of God

Pantera is an American heavy metal band from Arlington, TX, formed in 1981. The group's best-known lineup consisted of the Abbott brothers (drummers Vinnie Paul and guitarist Dimebag Darrell), along with bassist Rex Brown and vocalist Phil Anselmo. In addition to their development and popularization of the groove metal subgenre, Pantera is credited for being part of the second wave of thrash metal scene from the late 1980s to early-to-mid 1990s. Pantera is regarded as one of the most successful and influential bands in heavy metal history, having sold around 20 million records worldwide and having received four Grammy nominations. 
 
"Lamb of God (sometimes abbreviated as LoG) is an American heavy metal band from Richmond, Virginia. Formed in 1994 as Burn the Priest, the group consists of bassist John Campbell, vocalist Randy Blythe, guitarists Mark Morton and Willie Adler, and drummer Art Cruz. The band is considered a significant member of the new wave of American heavy metal movement.
 
Since their formation, Lamb of God has released eleven studio albums, including two under the name Burn the Priest; their most recent album, Omens, was released in October 2022. The band has also released one live album, one compilation album, three DVDs, two EPs, and twenty-eight singles.
 
The band's cumulative sales equal almost two million in the United States, including two albums certified Gold by the RIAA. In 2010 and 2011 the band received Grammy nominations for songs from their 2009 album Wrath. They also received a nomination in 2016 for their song ""512""."

 

Pantera Ultimate Meet & Greet Package ($500 + fees)

Package includes:
One General Admission ticket or One ticket located in the first row of seats 
A personal photo opportunity and meet & greet with Pantera
Priority entry into the General Admission pit 
Limited, edition, numbered Pantera tour poster 
Pantera VIP merchandise – exclusive to VIP packages 
Commemorative VIP Laminate
Crowd-free merchandise shopping opportunity  

 

Pantera Meet & Greet Package ($350 + fees)

One General Admission ticket or One ticket located in the first 5 rows 
A personal photo opportunity and meet & greet with Pantera
Priority entry into the General Admission pit 
Pantera VIP merchandise – exclusive to VIP packages 
Commemorative VIP Laminate
Crowd-free merchandise shopping opportunity  

 

Pantera Gold Seat VIP Package ($175 + fees)

Package includes:
One Premium reserved ticket 
Pantera VIP merchandise – exclusive to VIP packages 
Crowd-free merchandise shopping opportunity
*No artist interaction will occur with this package 

 

Pantera Silver Seat VIP Package ($150 + fees)

Package includes:
One Premium reserved ticket 
Pantera VIP merchandise -exclusive to VIP packages 
Crowd-free merchandise shopping opportunity
*No artist interaction will occur with this package 

 

 

 

TERMS

ALL AGES | NO CHAIRS
NO POSTERS | NO Reentry | NO weapons | NO outside food & beverages
NO Backpacks | Point and Shoot CAMERAS ONLY | NO recorders

COVID 19:

An inherent risk of exposure to COVID-19 exists in any public place where people are present. COVID-19 is an extremely contagious disease that can lead to severe illness and death. Senior citizens and guests with underlying medical conditions are especially vulnerable.
By visiting our establishment, you voluntarily assume all risks related to exposure to COVID-19.

CLEAR BAG POLICY | NO Purses over 8" x 5" x 2"

Location: Maine Savings Amphitheater, Bangor, Maine

Website: https://www.waterfrontconcerts.com/event/pantera-maine-savings-amphitheater-09-07-2023-1


Fri, September 8th

7:00 PM - 6:00 PM

Pantera with Lamb of God

Event Information

PANTERA Friday, September 8th, 2023 7:00 PM

LIVE NATION PRESENTS
PANTERA
LAMB OF GOD

 Extra Information 

Parking Opens: 4:00 PM
Doors Open: 5:30 PM

Location: Bank of NH Pavilion in Gilford, NH

Website: https://www.banknhpavilion.com/?page=event_info&show_code=072523


Fri, August 2nd

5:00 PM - 6:00 PM

Metallica

Metallica: M72 World Tour

August 02 2024, 05:00 pm

Find Tickets

 Calendar

 Tickets

 Add to Calendar 

M72 WORLD TOUR 2023-2024

PRE-SALES BEGIN 9am LOCAL TIME NOVEMBER 30th

Today marks the announcement of every Metallica show booked through 2023 and 2024: Presented worldwide by Liquid Death and Blackened American Whiskey (in North America only) and promoted by Live Nation, Metallica’s M72 world tour will see the band playing two nights in every city it visits—with each No Repeat Weekend featuring two completely different setlists and support lineups. The M72 tour will feature a bold new in-the-round stage design that relocates the famed Metallica Snake Pit to center stage, as well as the I Disappear full-tour pass and the debut of discounted tickets for fans under 16 years of age. Two-day tickets will be on sale Friday, December 2nd at ticketmaster.com and will include the option of pre-ordering 72 Seasons vinyl and/or CD. Single day tickets will be available beginning January 20th. For further information including fan club presales, enhanced experiences and more, go to metallica.com/m72-info.

A portion of proceeds from every ticket sold will go to the band’s All Within My Hands foundation. Founded in 2017, AWMH’s efforts to assist and enrich the lives of members of the communities who have supported the band have raised nearly $13 million – providing $5.9 million in grants to career and technical education programs in the US, over $2.5 million to combat food insecurity, and more than $3.2 million to disaster relief efforts worldwide.

Citi is the official card of the M72 Tour. Citi cardmembers will have access to presale tickets in the U.S. beginning Wednesday, November 30th at 2:00 pm local time until Thursday, December 1st at 10:00 pm local time through the Citi Entertainment program. For complete presale details visit

Location: Gillette Stadium, Foxborough, MA

Website: https://www.gillettestadium.com/event/metallica-m72-world-tour/?


Sun, August 4th

5:00 PM - 6:00 PM

Metallica

Metallica: M72 World Tour

August 04 2024, 05:00 pm

Find Tickets

 Calendar

 Tickets

 Add to Calendar 

M72 WORLD TOUR 2023-2024

PRE-SALES BEGIN 9am LOCAL TIME NOVEMBER 30th

Today marks the announcement of every Metallica show booked through 2023 and 2024: Presented worldwide by Liquid Death and Blackened American Whiskey (in North America only) and promoted by Live Nation, Metallica’s M72 world tour will see the band playing two nights in every city it visits—with each No Repeat Weekend featuring two completely different setlists and support lineups. The M72 tour will feature a bold new in-the-round stage design that relocates the famed Metallica Snake Pit to center stage, as well as the I Disappear full-tour pass and the debut of discounted tickets for fans under 16 years of age. Two-day tickets will be on sale Friday, December 2nd at ticketmaster.com and will include the option of pre-ordering 72 Seasons vinyl and/or CD. Single day tickets will be available beginning January 20th. For further information including fan club presales, enhanced experiences and more, go to metallica.com/m72-info.

A portion of proceeds from every ticket sold will go to the band’s All Within My Hands foundation. Founded in 2017, AWMH’s efforts to assist and enrich the lives of members of the communities who have supported the band have raised nearly $13 million – providing $5.9 million in grants to career and technical education programs in the US, over $2.5 million to combat food insecurity, and more than $3.2 million to disaster relief efforts worldwide.

Citi is the official card of the M72 Tour. Citi cardmembers will have access to presale tickets in the U.S. beginning Wednesday, November 30th at 2:00 pm local time until Thursday, December 1st at 10:00 pm local time through the Citi Entertainment program. For complete presale details visit

Location: Gillette Stadium, Foxborough, MA

Website: https://www.gillettestadium.com/event/metallica-m72-world-tour-2/?