Consider the Source “Are You Watching Closely Tour” w/ Mr. Specific + Shwarma
Globe Hall Presents Consider the Source “Are You Watching Closely Tour” with Mr. Specific and Shwarma on Saturday, December 9th. On this tour, Instrumental Prog-Rockers Consider the Source will highlight songs from the band’s 2009 release “Are You Watching Closely” which is being released in record format for the first time. The band noted, “The original version took up about a side and a half on vinyl so we decided to do something special for this one. We added 2 bonus songs, Kashyyyk and Put Your Face Away, which we recorded remotely in each of our home studios and are calling “2023 BONUS DEMOS”. (Both songs had been performed live in the early days of the band but never recorded until now)” Pre-orders have started already and will begin shipping around the time of the Tour. Guarantee your copy (HERE) or better yet grab one at a show! More on CTS… Sci-fi fusion trio Consider the Source defy easy categorization. If intergalactic energy beings, upon their initiation into an order of whirling dervishes, built a pan-dimensional booty-shaking engine powered by psychedelic math…it would sound like a cut-rate CTS cover band. With their blend of progressive rock and improvisatory jazz, soaked in Indian and Middle Eastern styles, CTS blends disparate elements into an utterly original whole. A relentless touring schedule has earned them a fervent following around the world, with fans ranging from tie dye covered hippies to metalheads decked out in black. Fresh off the heels of a tour of seated performances which highlighted their acoustic instruments and first ever “hybrid” album, the band is ready to get back to the face-melting electric shows they have become known for. Their most recent Maxx Power Tour featured material from throughout the band’s history, bringing back songs from the very beginning, each album, and a couple of the electric tracks from their latest effort “Hybrid Vol.1: Such As A Mule”. Additionally, the band is preparing for the release of their next album in 2024 which they have shared will include “some of the heaviest music we have written yet” and plan to begin weaving into their live shows on this tour. CTS have performed in a half-dozen countries across three continents. They have shared the stage with a wide variety of artists, including: Victor Wooten, King Crimson Projekt, Wyclef Jean, Ozric Tentacles, Soulive, The Disco Biscuits, Papadosio, Turkuaz, Pigeons Playing Ping Pong, Wayne Krantz, TAUK, Spafford and many others. They have performed at festivals and events including: Electric Forest, Peach Fest, Northlands, Gathering of the Vibes, Resonance, Summercamp, Shakori Hills, ProgDay, and Progtober. – 16+, under 16 admitted with a ticketed parent or guardian
Tophouse & Stillhouse Junkies
Globe Hall Presents Tophouse & Stillhouse Junkies on Sunday, September 10th. – 16+, under 16 admitted with a ticketed parent or guardian
Gnome w/ BoneHawk + Lord Velvet
Globe Hall Presents Gnome with BoneHawk and Lord Velvet on Sunday, October 1 — 16+, under 16 admitted with a ticketed parent or guardian
Bobby Amulet w/ Water on the Thirsty Ground + Sell Farm
Globe Hall Presents Bobby Amulet with Water on the Thirsty Ground and Sell Farm on Friday, September 1st.- 16+, under 16 admitted with a ticketed parent or guardian
Dead Poet Society w/ Public Theatre
Globe Hall Presents Dead Poet Society with Public Theatre on Friday, October 6 –A perfect symbol for Dead Poet Society is the “shitty old seven-string” that guitarist Jack Collins bought at a mall back in high school.”Our former bass player actually took a soldering iron and soldered the frets off,” he recalls. “You couldn’t play it normally at all. I thought it was going to be a great idea. Years later it was sitting in my closet, and I decided to pick it up again because I got really bored. It became the new way for us to write music — it opened up a door into this whole new world we discovered.””It was like, ‘This is the guitar,’ he adds. “It’s like taking something broken and creating art out of it.” With its wonky intonation, the instrument can’t produce traditional chords or scales — an unlikely choice for a rock band with such strong commercial potential. Collins and frontman Jack Underkofler are a factory of hooky riffs, even at their most detuned and menacing; and the latter barks and coos with a crystalline purity that recalls Jeff Buckley and Muse’s Matt Bellamy.That contrast is crucial to the band’s debut LP, -!- out February 12, 2021 via Spinefarm Records. Take the bruising belter “Been Here Before,” which pairs a stadium-sized chorus with angular guitars and Dylan Brenner’s blown-out fuzz bass; “I Never Loved Myself Like I Loved You” opens with the fidelity of an iPhone demo before blooming into a cinematic dream-pop singalong anchored by Will Goodroad’s rimclick drum groove.Brenner is a new addition to the lineup, but his experience as the band’s touring standin for the duration of their career has made him a natural fit.It’s no surprise that Dead Poet Society like screwing with rock conventions — that’s been their aim since forming in 2013 as students at Boston’s Berklee College of Music and Wentworth Institute of Technology. Hilariously, at least in retrospect, it did take them a bit to find common ground.”My best friend drummed for them, and I convinced him to leave the band,” Underkofler says with a laugh.”Six months later, Jack asked me to sing on a couple songs they’d written. My apprehension came from the fact that they were kind of a meme for being one of the worst bands at school. I kind of tried to push away — our old bassist just kept asking me, ‘Do you want to write with us?’ One day he showed up on my door step and I was like, ‘Fuck.’ After I wrote my first song with them [“145″], I was like, ‘I think there’s something here.'”The newly solidified quartet quickly developed a chemistry: Underkofler and Collins had a mutual love of Coldplay, but their tastes sprawled over time along with drummer Will Goodroad: heavy acts like Royal Blood and Led Zeppelin, modern art-pop artists like St. Vincent, even hip-hop experimentalists like Tyler, the Creator. Not all of those influences are detectable on the largely self-produced -!-, which features a handful of tracks co-helmed by studio veteran Alex Newport. But that eclecticism makes sense, given their distaste for most modern rock.”It’s just lame,” Collins says. “It has been for like 10 years. I think that’s because people are paying too much umbrage to classic rock — there’s this ‘passing of the torch’ thing that I think is just bullshit. Heavy music is the way we communicate — it happens to be rock music, but the expression itself and what we’re trying to say and how we want to make people feel is unique. That’s what bands used to do, and I think that’s what a lot of hip-hop artists do nowadays.””Our goal,” he emphasizes, “is to make someone feel something they haven’t felt before.”- 16+, under 16 admitted with a ticketed parent or guardian
Zella Day w/ Okey Dokey + Stone Jackals (Night 2)
Globe Hall Presents Zella Day with Okey Dokey and Stone Jackals on Sunday, August 6th.With every new album an artist makes, there’s an evolution, another chapter. But for Zella Day—her new record, Sunday In Heaven, is a whole other book. It’s not so much that it’s a step away from her debut Kicker—although this new record’s expansiveness, ambition, and bare-bones intimacy is significant. It’s that Zella has entered a new era personally, and the effect of this on her music is pronounced and powerful, creating an album that is lightyears forward in sound and scope from its predecessor.But to grasp how far Zella’s come it’s important to understand where she came from. Born in Phoenix, Arizona, Zella spent her formative years in Pinetop, AZ, raised by a bohemian family(who hail variously from Long Beach, CA and Mexico), Zella was brought up on a soundtrack of Lauryn Hill, Agent Orange, Digable Planets, and Edie Brickell, among others. She cut her teeth performing at her grandma’s coffee house, and then, at just 13, the young singer appeared on MTV reality show Camp’d Out: I’m Going to Rock Camp, recording her independently-funded first album, Powered by Love, the same year.When her parents divorced a few years later, Zella, her mom, and sister headed back to CA. Armed with that first album, a preternaturally husky-sweet set of pipes and plenty of chutzpah, Zella signed a label and publishing deal on her 18th birthday, joining a roster known for its pop creations. Making Kicker was a steep learning curve for the kid from the mountain top: writing to track and contending with music industry machinations. But her strength in herself, as well as her artistry and confidence, grew in tandem with settling into her adopted city of Los Angeles, finding her tribe of creative cohorts—from songstress Weyes Blood to the empowering friendship of Lana del Rey, who ran into Zella at a local bar, greeting her by calling out a Kicker deep-cut.Regardless of her evolution, at the core, Zella is a songwriter. She penned some 70 songs for Sunday In Heaven that were ultimately whittled to ten tracks steeped in Cali blue skies and golden hour light. Some were written on a tablecloth in Ojai (“Almost Good”), some scribbled at her kitchen table, others came in a car driving down to Chino, where she spent the summer of 2019 demoing the album with her friend, producer/engineer John Velasquez. There are songs that tackle matters of the heart too, like “Almost Good,” with its rolling bolero as Zella picks apart a lover’s potential. Elsewhere “I Don’t Know Where to End” is her “Easy Like Sunday Morning”-meets Sgt Pepper’s-era Beatles love-letter to Long Beach (“I wanted to capture the warmth that I feel being embraced by that place”). At the album’s beating, tender center stands “Bunny.” Over sparse piano chords, a reflective Zella pushes through the swirl of self-doubt. As “Bunny” builds to a climax, her voice cracks, both bruised and defiant, “Let it all go, everything’s different now.” “I needed something like a mantra I could repeat to myself, the more I sing it the more I’ll believe it,” she explains.“It’s up to us to decide whether or not we are going to let certain challenges define our lives,” she continues. Truly, if Sunday In Heaven is anything, it is the pure sound of a woman choosing how and who she wants to be in the world on her own terms; a record for moving forward out of darkness into light; for creating your own beautiful, sparkling reality exactly as you are. Heaven, indeed.- 16+, under 16 admitted with a ticketed parent or guardian
Born Without Bones w/ Lady Denim + A Place for Owls
Globe Hall Presents Born Without Bones with Lady Denim and A Place for Owls on Thursday, October 12 — There’s a song called “Sudden Relief” on Dancer, the new Born Without Bones album, that’s unlike anything Scott Ayotte has ever written before. That’s not because of the evolution of the Milford, MA outfit from solo project to fully-fledged band, either. Guitarist Jonathan Brucato and bassist Jim Creighton have been a part of the permanent line-up for a long time now, and Super American’s Sam Checkoway – who played on last year’s re-recorded retrospective EP, Pictures Of The Sun – was behind the kit for the whole record, the first time in the band’s history that that’s happened. This goes even deeper. It’s the first time that Ayotte has written a love song that’s not about love going or having gone wrong. Quite the opposite, in fact. “It’s written not from the perspective of having lost love but having gained love,” he explains. “Before, I didn’t write about any relationships until they were over, and it wasn’t usually in the most positive way. But this is a positive song I wrote for and about my girlfriend. Even though it says the nice things about her, I decided to keep in the not so nice things about me – because she’s also signing up for those. Luckily, she’s loving of both.” That turnaround in romantic fortune doesn’t mean, however, that this album is devoid of the emotional anguish that has been an integral part of Born Without Bones since the frontman formed it in 2010. It’s just that perspectives have shifted slightly, and the instability he feels now concerns other areas of his life. Indeed, it’s actually being in the band, and the consequences of that, that weighs heavily on this record’s 11 songs. Whereas Pictures Of The Sun was a present day reconstruction of five songs from the band’s past, this record sees Ayotte reflect on and take stock of that past, especially Scott’s fears and struggles after the release of both 2013’s second record, Baby, and 2017’s third full-length, Young At The Bend. The response to both was so disheartening for Scott, in fact, that an existential crisis of confidence ensued after the release of the latter. “We did a good bit of touring after Young At The Bend came out,” explains Ayotte, “but it just seemed it wasn’t connecting with people. We’d felt the same way when Baby had come out, so we were sort of expecting some sort of gradual increase in people being interested in the band, but it also just seemed that no matter what we did, it wasn’t really connecting with people.” Even 18 months after that album’s release, Ayotte still felt that way. He couldn’t shake it. And so he left the band (“I didn’t quit the band,” he stresses now, “it was more that I didn’t know if the band was working”). In that time away, something weird happened, Born Without Bones started gaining momentum like never before. Baby – which was self-released, but has since been reissued by Pure Noise – found a whole new audience. The band still can’t put their finger on what changed in that year away from playing shows, but actor Elliot Fletcher posting a cover of their song “Stone” to Twitter might possibly have had something to do with it. Whatever the reason for the increased attention, it got the trio “re-excited about the band, because we were all kind of down in the dumps about it.” Just as importantly, it also ignited something in the frontman’s head. – 16+, under 16 admitted with a ticketed parent or guardian
Little Us w/ Get The Axe, Krew + Clementine
Globe Hall Presents Little Us with Get The Axe, Krew and Clementine on Sunday, July 30th.- 16+, under 16 admitted with a ticketed parent or guardian
Channel 93.3 Presents AMZY w/ Elektric Animals + Pink Ranger!
Channel 93.3 Presents AMZY with Elektric Animals and Pink Ranger! on Saturday, October 7 — 16+, under 16 admitted with a ticketed parent or guardian
This is the Kit w/ Rozi Plain
Globe Hall Presents This is the Kit with Rozi Plain on Tuesday, October 24 — In today’s fast-paced mid-apocalyptic world it can feel like a waste of time to speak about time at all. Why dwell on the past when we could just live in the present because the future won’t shut up about how bad it’s going to be? But with This Is The Kit, the pseudonym of songwriter / banjo strummer / pinhole camera lover / Winchester UK born Paris dweller Kate Stables, we’re going to have to give time just a modicum of consideration. Because not only is Kate still here and making albums of cataclysmic honesty and welcoming tonal embraces, they are continuing to grow, which is probably the only smart way to move forward through time, unless you’re one of those shrinkers. This Is The Kit’s music places companionship at a premium, so being welcomed into its space feels like an obvious privilege, on record and in concert hall with her stellar supporting cast of Rozi Plain (bass), Jamie Whitby-Coles (drums) and Neil Smith (guitar). And at this current point in our confusing history, continuing to be here at all, to stand tall and make music to gather to, that’s a heroic act. Joyful survival as an act of time-wasting, I’ll take that any day of the week. Look to This Is The Kit to spend at least one day of your week this year, I guarantee it will be time well wasted. – 16+, under 16 admitted with a ticketed parent or guardian
