Arroyo Seco Music Festival - Sunday
Jun 25, 2017 – All Day
- The Revivalists
- Mumford & Sons
- CISCO ADLER presents...
- Fitz and The Tantrums
- Lukas Nelson
- Alice Smith
- Andrew Bird
- Andy Grammer
- Donavon Frankenreiter
- Rachel Platten
- The Mowgli's
- David Lindley
- Con Brio
- ZZ Ward
- The Shins
Religion aside, a revival is all about the tangible electricity that can only be created when enough like minds are crammed under a single roof for a singular purpose. It’s a spiritual spectacle, a carnival of the divine, a whole greater than the sum of its parts. The same could be said for The Revivalists’ searing live performances. The band has a knack for bringing music to life on a stage, and they have tuned their talents to Swiss-watch precision over years of relentless touring. Their bombastic showmanship is the outgrowth of a desire to connect with audiences on a personal level, and that intimate connection is what elevates their shows above simple entertainment.
True to their name, The Revivalists lean more heavily on the older styles and warmer sounds of the golden age of rock ‘n roll, but the band isn’t afraid to dabble in electronics and sleight-of-studio when it’s right for the song. The group tends not to bother with questions like “does this sound like us?” or “does this fit with our other stuff?”, instead allowing songs to define themselves and take shape organically, each on its own terms. Is this a dark, heavy rock manifesto driven by a steel guitar line that borders on electronica, or is it an airy, acoustic story about star-crossed lovers, rich in vocal harmony and sparsely arranged until the coda? This one’s funky, that one’s sweet, this one’s heavy…
To The Revivalists, it doesn’t matter. They just write songs that they want to play.
Mumford & Sons: When Mumford & Sons entered the studio to commence work on their second album in August 2011, they never envisaged it would be to follow up a debut record that had connected with so many music lovers from all different corners of the globe, and all the roads in-between.
How Mumford & Sons came to be is something that even the very four members struggle to trace. ‘It sort of just happened’ Marcus Mumford has often mused to journalists.
The earliest memories of the band performing together are within the close confines of a rehearsal room in Putney, and of last minute street-side jamming sessions on the pavement outside Bosun’s Locker (a now defunct basement venue on Kings Road in London) ahead of a show. It was a scene already common to the band as musicians falling in and out of bands of each and every genre.
Ben Lovett and Marcus were already working on songs together from their school days, but those songs didn’t realise their full potential until Winston Marshall (armed with a banjo and dobro), and Ted Dwane (double bass, but with a penchant for being a multi-instrumental marvel) had learnt and lived those songs, given them new arrangements, and injected them with a real ‘band’ dynamic.
Even then they were reticent to make it ‘official’. The name Mumford & Sons was eventually chosen as it suggested a wholesome, family business. It suited the relationships that had grown within the band. They were brothers in all but blood relation, and they very quickly became inseparable.
As is typical in London, if a good band forms, word tends to travel quickly. Within a few months, Mumford & Sons were releasing their eponymously named debut EP, through the fledgling independent Chess Club Records label. It featured the first, self-produced recordings of ‘Roll Away Your Stone’, ‘Awake My Soul’, and ‘White Blank Page’ and sold-out instantly. The live shows were rammed to the rafters in London, which was soon replicated across the whole of the UK.
It’s often the case that the demands of touring can break a band in half. It’s a relentless, unforgiving part of band life, but Mumford & Sons thrived upon it. They never wanted it to end, and they still never want it to end. ‘We don’t really know what to do with ourselves when we’re back in London. It feels uneasy, unnatural even, not to be on a bus going somewhere.’ Ben Lovett commented after the band had walked offstage at Glastonbury in June 2011.
And tour they did. Relentlessly. The British and Ireland shows were selling out with each and every passing tour. A second EP was released, ‘Love Your Ground’, which featured the band’s own recordings of ‘Little Lion Man’ and the firm live favourite, ‘Feel The Tide’. It was bookmarked by more touring, into Europe and back again, ahead of the final in a trilogy of vinyl only EP releases, ‘The Cave & The Open Sea’.
It was only the need and desire to record the debut album that brought Mumford & Sons back to London for longer than a pit-stop. They settled into Eastcote Studios with producer Markus Dravs (Arcade Fire, The Maccabees) and ‘Sigh No More’ was released in the UK in October 2009 through the band’s own Gentlemen of the Road label and Island Records. It debuted in the album charts at 11 (peaking at number 2, some seventy-two weeks later).
“It’s been a crazy eighteen months, but a whole lot of fun.” Suggests Ted back in the Glastonbury dressing room, moments after the band had drawn a suitably huge crowd across to The Other Stage.
The achievements of Mumford & Sons since the release of Sigh No More has been a success story rarely matched of recent years, in an industry we’re regularly led to believe is in constant decline. It’s a story, however, that has been written and mapped out on the road. From a ten-day live adventure across India, to sold-out arenas in America and Australia, and from the festival fields of Europe, to impromptu parks on the Railroad Revival Tour in America, each and every town and city that has welcomed the band has been treated to a jubilant and suitably intimate performance, regardless of the size of venue.
Off the road, Sigh No More is a record that has garnered much acclaim. It’s an album that won the band a UK Brit Award in 2010 (Best Album), and was nominated for the prestigious Mercury Prize Award in the same year. Outside of Britain, Mumford & Sons picked up two Grammy nominations (Best New Artist, Best Rock Song), and put in a typically assured live performance alongside Bob Dylan covering Maggie’s Farm at the awards themselves. Sigh No More has incredibly sold in excess of 4 million copies globally.
And as they find themselves back in London to record this second album, you’ll find this band of brothers are still very much the same people. A little wiser, a lot more experienced, but eager to get out of London and get back to their spiritual home; the road.
Fitz and The Tantrums: Fitz and The Tantrums are bringing the Motown sound back to modern music. The band's frontman, Michael Fitzpatrick, has described his music as "soul-influenced indie pop" and also reiterated that the sound is similar to Motown Records, but that he's not trying to recreate it. In no way is a resemblance to Motown music a bad thing; in fact, it's one of the many reasons that Fitz and The Tantrums have struck a pleasing chord with fans and critics alike.
Michael Fitzpatrick - or Fitz - had been working as a singer and songwriter in Los Angeles for a few years, without any major claim to fame. One fateful day, Fitz received a call from his ex-girlfriend, whose neighbor had to move out quickly and was selling most of his things, including an old church organ. After hiring and pleading a group of people to move it into his living room, Fitz sat down at the organ and was struck by wave after wave of inspiration. "Breakin' The Chains of Love" was the song that first flowed from the organ and became the single off of his first EP, Songs For a Break Up, Vol. 1. While he liked the electric guitar on the track, Fitz felt it was the saxophone that shone through brightest, giving him the idea to create songs without any guitar at all (excluding a funky bass). Before recording, Fitz had to find some Tantrums; he recruited the sultry voice of Noelle Scaggs (former singer for The Rebirth, whom he produced), drummer John Wicks, keyboardist Jeremy Ruzumna (former musical director for Macy Gray), saxophonist James King (who has backed De La Soul), and bassist Joseph Karnes. He recorded all the songs for the EP in his living room in 2009, and the album slowly began to spread to the east coast. It made its way to New York, where the EP found its way into the hands of a tattoo artist who was inking Maroon 5 frontman Adam Levine. The artist urged Levine to listen to the album and the singer was immediately impressed, personally inviting Fitz and The Tantrums to open for Maroon 5 on their 2009 tour.
Fitz and The Tantrums was signed to Dangerbird Records in 2010 and shortly after released their first full-length album, Pickin' Up The Pieces. The album became a huge success, including the single "MoneyGrabber," and brought Fitz and his Tantrums a fair amount of fame. The group's sophomore album, More Than Just a Dream, was released in 2013 and featured the hit single, "Out of My League". Not only did the single reach the top of Billboard's Alternative Chart, the album itself peaked at #26 on the Billboard 200. The following year, Fitz and The Tantrums attended the Austin City Limits Music Festival, giving acclaimed performances across both weekends.
The band's third, self-titled album was released in 2016, and its lead single, "HandClap", experienced heavy rotation on radio stations around the world. The next year, Fitz and The Tantrums supported OneRepublic on their Honda Civic Tour.
Alice Smith: Alice Smith is in Los Angeles, staying high above Sunset Boulevard at that most iconic hotel of ripened Hollywood sensuality, the Chateau Marmont. Someone asks Smith if she likes it there. "Oh yeah," Smith answers with zero hesitation, "I do."
She has more to say on the subject of the hotel: "Here's the thing," Smith says, "the one room here that I went to is the best room. It's all windows -- you can see all over the hills. It's overlooking the whole city. It's up on the seventh floor, and it's all windows, and they all open." She mentions her dislike of the mysteriously muddy lighting that Los Angeles often cultivates in its interiors. "It's not like that in this room," Smith says. "I hate dark places. I really like to see the sky -- really, really a lot."
Recently turned 29, Smith is, on the evidence of her solo debut, 'For Lovers, Dreamers & Me' (BBE Records), the most promising female singer-songwriter to go her own enrapturing way in a very long time. Her voice, with its four-octave range, is luscious and powerful and nuanced and finely sensitive to rhythm. Yet it never makes a cult of its own abilities; for all its fantastic manners, Smith's voice gets on down the road. Sometimes she sings with a booming intensity, yet Smith never loses the unlearnable balance and poise that separates good singers from great ones. And her basic attitudes, which are audible in every unforced phrase she negotiates, are all her own.
Ask Smith if she thinks of 'For Lovers, Dreamers & Me' as any sort of new soul record, and she immediately responds with a couple of plain words: "I don't."
"I don't think of it as a soul record," she insists. "When I was in school, I really thought about soul a lot. I was listening a lot to Björk and to the Commodores. I really wanted to know how they felt. And especially with Björk, the music there told me wow, that's really her soul, there. I thought about her a lot, about the sound of her music… Well, it wasn't exactly about the sound, and it wasn't about what other people call 'finding your bounds', or whatever. I thought of her soul; her music made me contemplate her soul. It made me think of Björk, and how she felt. You know what I mean? What she felt like inside. It was never about the genre. So I just came never to think of the idea of soul as being about a category."
When she was growing up in Washington, D.C., Smith enjoyed a lot of time alone to think. She was the only child of parents who were full-grown adults by the time Smith was born; she loved, as she remembers, the "me-time." She always sang and always enjoyed a sharp memory for words and melodies. She never thought all that much about the singing; she just sang. But, in a rural contrast to the urban aloneness of Washington, Smith also grew up partly in the Georgia countryside, a familiar destination to which she would travel when she wasn't in school. Her mother's family lived in Augusta on a 69-acre farm, and when Smith wasn't in Washington, she was there..
Andrew Bird: While multi-instrumentalist Andrew Bird has proven he can play well with others, it's his solo tour dates and albums that have been creating a stir in recent years. Bird's solo albums have steadily received more and more critical acclaim, with his most recent effort, Noble Beast, shooting to the top of the indie charts.
Classically trained in the violin from a young age, Andrew Bird released his debut solo album, Music of Hair, in 1996. That same year, he began to be featured on three of Squirrel Nut Zippers most popular albums and formed Andrew Bird's Bowl of Fire a year later. The group received some acclaim with their 2001 album, The Swimming Hour but small tour dates and only slight popularity led them to disband in 2003. Andrew Bird once again took up a solo career and began to garner attention upon the release of Andrew Bird & the Mysterious Production of Eggs in 2005. The success of the album led to higher profile festival tour dates and live performances continued to be chronicled in Bird's Fingerlings series of live albums.
Electric guitars brought a sharper edge to Bird's 2007 album, Armchair Apocrypha, becoming the artist's first to break onto the Billboard charts. The success of the album led to Bird being thrust into the public eye, with huge tour dates and television appearances occurring regularly. In a testament to his staying power, Andrew Bird's most recent, 2009 album, Noble Beast, has received widespread recognition from critics and audiences.
Andy Grammer: What's up. I'm Andy- I was just writing this in the 3rd person and it didn't feel right so we are going to do this person to person. I grew up traveling with my father who was in a folk trio called the Limeliters. I have to assume that growing up around these strange and wonderful people has had some impact on my love for music. My dad is the one on the left with the red hair. (picture of the limeliters ) He later moved on to childrens music and along with being Grammy Nominated for Best Children's Album, he continues to travel the world as one of the countries premiere children's acts. The memories of my young childhood are very intermingled with the music. Songs with titles like "Thats how i remember yesterday" or "South bound passenger train" or "John Henry The Steel Driving Man", these were the foundation for my little ears. I can remember falling asleep to songs being written in the next room. It was just kind of always a part of life. I then proceeded to be a complete jock from around 7th grade until my senior year of highschool. Basketball was life. No pain no gain: sprints, screaming, smacking athletic butts, summer camps, winter camps, the whole deal. When i came to terms that the NBA was not my destiny I headed for the Theater. I scooped up two lead roles in two years at Binghamton University in upstate NY. Enjoyed the theatrical stage but it wasn't my love. I had been messing for quite a while now with a guitar I had been given by my dad and it was really growing on me. There was some cheesy dating event going on at the dorm i was staying in and my RA who knew i had a guitar had asked me to be the entertainment. Not really knowing what to come with I played a cover of "No Such Thing" by John Mayer. I remember destroying that room. I know it sounds funny to say that i destroyed a Valentines event with 75 people max but if you ever could destroy a "Spin The Wheel- Win A Date", that was totally me. Destruction. I think we all have moments in our life where we connect to something bigger. If we think about them to hard we can label them as insignificant but in some strange way they carry weight. So I transfered to Cal State Northridge to Major in Music Business. I had to take one semester of community college to finish up a math class. During this semester i worked as a butcher at the local grocery store, it was the only gig I could find. It was a humbling experience to say the least. Cutting into cows and sloshing up buckets of Italian sausages on a daily basis felt so far from the music industry i had up and moved for. Finally i made it down to Northridge and began my study of music. I quickly hopped into gear running the school record label. We signed an up and coming rap/rock band and got a tv spot on KTLA Morning news to promote them. Outside of class I slipped into a position where i was booking a weekly night at the world famous Viper Room on Sunset Blvd in the heart of West Hollywood. For about two years I studied Mozart and intervals from 10am to 3pm then shuffled off to study crazy rock musicians from 10pm to 3am. I was given the prestigious "Most Outstanding Industry Student Award" and hit the streets to be a musician. This was nearly a year ago- this past year I have been fortunate enough to tour in places like San Fransisco, NY, Oregon, Texas, Tennessee, Connecticut, Idaho, Arizona, Czech Republic, England, Haifa Isreal, New England, Lousiana, Illinois, Alaska and more. The more music i play the more i love it. If you are reading this cutting meat or something of the like- keep pushing. Your dreams will come. I try to be honest in life and hope that it comes through in my music. Thanks for stopping by my little space here. Drop me a line-
Donavon Frankenreiter: Donovan Frankenreiter emerged as a surf-rock sensation with his debut album in 2004. Along with pal, Jack Johnson, Frankenreiter and his acoustic guitar have been providing us endless summer music for almost a decade. Donovan Frankenreiter tour dates are currently scheduled nationally; Don't miss a date on Frankenreiter's concert schedule (2011) using Eventful's Demand It! service.
The San Clemente, California native turned pro after signing a surf sponsorship with Billabong as a teenager. In 2002, Frankenreiter signed a recording contract with Brushfire Records and released his self-titled debut in 2004. The album was a surprise success and charted on both the Billboard 200 and the ARIA charts. To promote his debut, Donovan Frankenreiter tour dates were scheduled on an international tour and he gained popularity throughout Australia. He released his sophomore album, Move by Yourself in 2006 and embarked on a South American tour in 2007.
In 2010, Frankenreiter created his own record label, Liquid Tambourine, and released his latest album, Glow, which featured production assistance from Mark Weinberg. In 2011, Frankenreiter released Recycled Recipes, Vol. 2 EP, which features several covers. To promote the disc, a national Donovan Frankenreiter tour has been scheduled and additional tour dates are scheduled international at several festivals. Donovan Frankenreiter has been a fixture on the surf rock scene since debuting nearly a decade ago. Stay on top of Donovan Frankenreiter tour dates and concert schedule (2011) information, using Eventful.
Rachel Platten: Light positively emanates out of Rachel Platten, dazzling those fortunate enough to share a moment with this powerful force of kindness, talent, and true beauty. Blessed with the understanding of the Universe's give-and-take policy, the stunning songstress balances a thriving music career with personal charity, nurturing a life path filled with nothing but love.
Growing up in Boston, Rachel's musical journey began with piano lessons, choirs, and school plays, tinkering with writing songs in high school but ultimately choosing a career in politics. Everything changed one semester abroad in Trinidad, when Platten took stage singing back-up for a Soca band at a massive music festival. Performing her first gig in front of thousands of people, the then 19-year-old knew at that moment she found her calling. "It felt like lightening struck me," says Rachel, her smile widening. "This is EXACTLY what I'm supposed to be doing and it was amazing, just the most incredible thing."
Since then, Platten has been on tour around the world with everyone from the Toots & The Maytals to Rusted Root and the Strokes, spreading her message of love and her soulful, positive music.
The Mowgli's: 7 friends from LA creating music for the people of the world.
David Lindley: From the David Lindley Wikipedia article:
David Lindley (born 1944 in San Marino, California) is an American guitarist and multi-instrumentalist (his instruments include a variety of stringed instruments such as banjo, lap steel guitar, violin, oud, cittern, bouzouki, saz, and cümbüş). During 1966 to 1970 he was part of the eclectic psychedelic band Kaleidoscope. He is well-known as a "lead guitarist for hire," particularly for West Coast rock musicians of the 1970s, having played with Jackson Browne (for which work he is probably most known), Warren Zevon, Linda Ronstadt, James Taylor, Bob Dylan, and Rod Stewart. He has also collaborated with fellow guitarists Ry Cooder and Henry Kaiser, and leads his own band, 'El Rayo X.'
Lettuce: Lettuce, the seven-person all-star collective originally formed in 1992, returns to the funk jazz forefront with its third album, RAGE!, a hyper-charged outing of tunes that are equal parts artsy and party. The CD is a tantalizing tribute to funk music — paying homage to all stripes of funksters, including James Brown, Sly Stone, Herbie Hancock, Tower of Power, the Meters, Earth Wind & Fire, Parliament Funkadelics, J Dilla—music that reflects “our way of life,” says bassist Erick “E.D.” Coomes, who is joined in the groove onslaught by his co-ragers: keyboardist Neal Evans, saxophonists Sam Kininger and Ryan Zoidis, guitarists Eric Krasno and Adam “Shmeeans” Smirnoff, and drummer Adam Deitch.
Con Brio: Xandra Corpora's stunning vocals soar over a thick stew of soul, jazz and funk. Her multi-layered lyrics are enhanced by a commanding vocal presence and a powerhouse band that combines tasteful, innovative composition with ferocious improvisation. They can take a groove and wring it dry, then stop and turn on a dime.
Con Brio's live shows are intense, fun and captivating, and have earned them a loyal and quickly-growing following among fans of every genre. They have the rare ability to command the entire atmosphere of any room, leaving audiences simmering in the feeling that they are part of something really big, really sultry and utterly satisfying.
Con Brio's debut record "From The Hip", released to a sold-out crowd at San Francisco, Cafe Du Nord in July 2010, is twelve tracks of simmering soul, freaky funk, and brooding blues.
Get it in mp3, CD or Vinyl today at www.conbrio.bandcamp.com
Galactic: With the release of their sixth album, From the Corner to the Block, the five-man group GALACTIC - drummer Stanton Moore, bassist Robert Mercurio, saxophonist/harmonica player Ben Ellman, keyboardist Richard Vogel, and guitarist Jeff Raines – reaffirms their standing as one of the funkiest outfits in the known universe. Featuring a cherry-picked guest list of some of hip-hop’s most dynamic lyricists – including Juvenile, Gift of Gab (Blackalicious), Lyrics Born, Ladybug Mecca (Digable Planets), Mr. Lif, Chali 2na (Jurrasic 5), Vursatyl (Lifesavas), and Boots Riley (The Coup), From the Corner to the Block exposes GALACTIC’s organic grooves to an urban ear while still maintaining their essential funk aesthetic. The band started out over a decade ago as an instrumental act in the tradition of the Meters, the JB’s, and Booker T. & the MG’s – bands equally comfortable recording their own material or working with vocalists.
From the Corner to the Block grew out of GALACTIC’s experiences touring with artists like the Roots, Jurassic 5, Triple Threat DJ’s and Gift of Gab. Though it features cameos from a “wish list” of fan-favorite MCs, this isn’t a typical hip-hop album per se, but a contemporary funk record that just happens to feature hip-hop vocalists. “We never set out to make a rap record,” explains Ellman, who produced the record with assistance from engineer extraordinaire Count (Halou, Quannum, DJ Shadow). “We wanted to kinda modernize the New Orleans sound,” adds Mercurio. The New Orleans legacy echoes throughout the album, indeed. The brassy “Bounce Baby” (featuring DJ Z-Trip) stirs up wah-wah guitar, a horn-driven melody, syncopated beats, and turntable wizardry into a potent rhythmic instrumental. “Tuff Love” (featuring Trombone Shorty) offers a taste of some of New Orleans’ hottest young talent. “Second and Dryades,” (featuring Big Chief Monk Boudreau), evokes the spirit of the Wild Magnolias – it’s a percussion-laced Mardi Gras anthem for the digi generation, on which Boudreau relates the story of being an Indian on Mardi Gras day. The song sure to raise eyebrows though is the title track and first single, featuring the Soul Rebels Brass Band and platinum rapper Juvenile (who tapped GALACTIC to back him on the “Jimmy Kimmel Show”). Mercurio, for one, is happy with the outcome. “It sounds like it was all supposed to be there, this track was meant to happen” he says. The rest of the album features a diverse array of funky arrangements, vocal deliveries, and musical expressions, from sexy downtempo jams like “Squarebiz,” featuring the ever-delectable Ladybug Mecca and singer Nino Moschella; to uptempo party-starters like “What You Need” with Lyrics Born, and “Hustle Up” with Boots Riley (which Mercurio calls “a total rock tune” dressed in funky threads); to semi-autobiographical tales of urban street life by Mr. Lif (“...And I’m Out”), Vursatyl & Ohmega Watts (“Find My Home”), Lateef the Truth Seeker (“No Way”), Gift of Gab (“The Corner”), and Chali 2na (“Think Back”). Even with all the different vocalists, the songs maintain a sense of thematic consistency. As Ellman explains, this was by design: the rappers were each asked to write about a corner. “It could have been any corner,” he says. “Everyone had a different perspective.” Many contemporary all-star collaborations are purely commercial exercises, yet From the Corner to the Block stands as a labor of love, connecting GALACTIC’s hip-hop jones and their guests’ fervor for funk aesthetics. The result isn’t just the grooviest, funkiest record of 2007, but perhaps the finest post-Katrina album to come out of New Orleans.
Weezer: Weezer tour dates are currently scheduled internationally throughout 2011 in support of their most recent album Death to False Metal. Weezer brought us the alt-rock anthem "Buddy Holly" and were the front-runners of the Emo/Alt rock movement. Don't miss a date of the Weezer concert schedule 2011. Use Eventful as your source for Weezer tour dates and venue information.
Weezer's first concert performance was on the opening stage for Matrix star Keanu Reeves and his band Dogstar in 1992. They were signed to Geffen Records in 1993 and headed to the studio with The Cars frontman, Ric Ocasek, to produce their self-titled debut album dubbed the "Blue Album". The lead-off single "Undone-The Sweater Song" was an immediate top ten hit on modern rock radio. It was with their second single "Buddy Holly" and its iconic video that the band reached cult status. The single won Weezer the Breakthrough Video Award and Best Alternative Music Video at the MTV Video Music Awards. The album featured one more hit single, "Say It Ain't So", and was certified triple-Platinum and remains their highest selling album to-date.
In the aftermath of the success, Weezer tour dates were scheduled internationally to play to their burgeoning audience. The band returned to the studio in 1994 and released their sophomore album Pinkerton in 1996. While the single "El Scorcho" was a hit on radio, the album was not properly promoted due to a legal issue and subsequently suffered through slow initial sales. Weezer tour dates were scheduled to promote the album before a hiatus beginning in 1997. During this time, Rivers attended Harvard and focused his efforts towards his song-writing. The band reunited in 2000 for a spot on the Fuji Festival in Japan which reinvigorated their appetite for recording. Weezer tour dates were scheduled on the 2000 Warped Tour and they recorded their album Weezer.
The self-titled third album, popularly known as The Green Album, was released in 2000 and brought Weezer back to mainstream acclaim. The initial singles "Hash Pipe" and "Island in the Sun" were MTV video hits and radio smashes. They quickly returned with Maladroit in 2002 which featured a heavier more serious sound. Weezer concert dates were booked on the Maladroit Enlightenment Tour and they recorded in-between shows. They headed back into the recording studio with famed producer Rick Rubin to craft Make Believe. the album was released in 2005 and featured their biggest hit to-date, "Beverly HIlls", which reached #1 on the Modern Rock Songs chart. The Weezer concert schedule included the Make Believe Tour and a Japan-wide concert series in 2005.
More recently, Weezer cut their sixth album with Rick Rubin, which was colloquially known as the The Red Album. The disc featured their second #1 hit, "Porks and Beans", which won a Grammy for Best Short Form Music Video. Weezer tour dates were scheduled alongside Blink 182 for a nation-wide outing and they wrote songs for their upcoming album, Radittude, which was released in 2010. Weezer's concert schedule included headlining stints at the Bamboozle Festival and Bonnaroo Music and Arts Festival in 2010. Weezer released their latest studio album, Hurley, and a compilation of rarities, Death to False Metal, in 2011 . The Weezer concert schedule 2011 will have the rockers traversing the globe. The band has been rockin' their quirky rock anthems for nearly two decades. Don't miss a date on the Weezer concert schedule 2011. Use Eventful as your source for Weezer tour dates and venue information.
The Shins: With only three albums out -- the last one released four years ago -- The Shins are surprisingly still one of the hottest indie bands in the US. In addition to acclaimed tour dates, their popularity is due to the increasing success that each album experiences, even with more and more experimentation and musical fusion. The Shins have fused even more styles together on their most recent album and, with yet another album due out in 2012, fans are eager to see what these indie rockers will come up with next. While they wait for the album's release date, they can find The Shins on their few remaining tour dates in 2011 at some of the biggest festivals of the summer.
While The Shins began as a side project for lead singer James Mercer while playing with his band, Flake, the group ended up featuring all of Flake's members after it disbanded. The Shins released their first EP before being hired to open tour dates for Modest Mouse, which lent the group incredible credibility as a talented indie band. This distinction was echoed by critics and audiences upon the release of Oh, Inverted World in 2001, with the single "New Slang" becoming one of the biggest hits of the year. The song became an even bigger indie staple after it and "Caring Is Creepy" were used in the Zach Braff film, Garden State, which boasted other hit indie songs. The exposure paved the way for the success of Chutes Too Narrow in 2003, with indie fans praising The Shins as one of the best new bands in the genre.
The Shins' latest album, Wincing the Night Away, has continued the group's winning streak, despite being recorded almost entirely by Mercer. Its superbness has given fans high expectations for their next album, which is currently in production. In the meantime, audiences can catch The Shins at their handful of remaining tour dates in 2011, including appearances at the Outside Lands Festival, the Popped! Festival, and the Deluna Festival. For all of The Shin's tour date information in 2011, just check Eventful.