Holy Faint, Fairy Bones & Sky Creature

Doors 7PM | Show 8PM | 21 & Over | Public On Sale 2/2 12PM

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT HOLY FAINT

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The antidote to apathy, Holy Faint is music for the unapologetically passionate. The Tucson-based quintet makes loud music for romantics, dreamers, and oddities 

 

A newly electric guitar obsessed Sophie Gibson-Rush started the project in early 2021 as a means of exploring music with a harder edge than her past experiences in folk and classical. To her, the social and political climate at the time demanded a fiercer sound. As a result, Holy Faint has aggressive, socially-conscious lyrics delivered with a melodic touch.

 

Holy Faint’s songs filter the catharsis of live theatre through the lens of post-punk. From the  inception of the project, it was important for singer/guitarist Sophie Gibson-Rush that the band capture the heightened emotion and drama of contemporary society. Like the punk and folk movements of the past fifty years, numbness was never an option. 

 

When Pete and Andrea Connolly (of Tucson-based folk-rock duo Birds and Arrows) joined the band in 2022, they took the project from a bedroom recording experiment—to a full-fledged ensemble. Ryan Green (Ryanhood) was enlisted as an assistant producer and multi-instrumentalist when the group entered the St. Cecilia’s studio to record the firsts tracks for their upcoming EP ‘Charisma 1’. Just ahead of their first show, Jordan Prather (Head over Heart) completed the quintet as synth and guitar player.

 

Their first single, “Jimmy Jolts”— a fuzzed-out, guitar heavy punk anthem—is out now on all streaming platforms! Find out tour dates and more at www.HolyFaint.com.

Emo Nite

Doors & Show 9PM | 21 & Over | Public On Sale 1/27 11AM

$1 from every ticket sold will be donated to Living The Dream Foundation

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE EVENT

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Emo Nite was started by Morgan Freed and T.J. Petracca in December of 2014. What began as a party at a small dive bar in Echo Park quickly grew into a full-blown phenomenon. The movement took has expanded from the tiny dive bar on LA’s east time, to recurring events thrown by dozens of friends in over 30 cities nationwide. Attracting some of the biggest names in music including Post Malone, Good Charlotte, All Time Low, Demi Lovato and many more, Emo Nite has also expanded to the festival circuit, curating their own full-day festivals as well as booking coveted performance spots on lineups at Coachella, Life is Beautiful, and Firefly. At its core, Emo Nite has always been about the music. Throughout the years, it has become a space where fans of the genre and the entire Emo Nite community have come together to celebrate emo music, both new and old.

Outside of curating one of a kind events, the Emo Nite founders have created successful clothing collaborations with companies like OBEY, Urban Outfitters, PLEASURES, The Hundreds, Rose in Good Faith, Chinatown Market, OWSLA.

Emo Nite has been featured in outlets like MTV, PAPER, Teen Vogue, Consequence of SoundForbesRolling StoneThe New YorkerLA TimesBillboardLA WeeklyTime Out LAAlternative PressFUSEHelloGiggles KERRANG! and talked about on the Grammy’s Red Carpet.

Chateau Chateau

Doors 7PM | Show 8PM | 18+ | Public On Sale 1/20 10AM

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

WEBSITE | FACEBOOK  | INSTAGRAM | TWITTER | LISTEN

Chateau Chateau is celebrating the release of their newest album! Released May 6, Grow Up is the band’s debut release for Kill Rock Stars, and tells the coming of age story of frontperson Bleu, who dedicates each song to different toxic relationships throughout their life. Dealing with mental illness, addiction, abuse, and more, they turn these stories into upbeat, danceable synth pop songs, staying true to Chateau.

 

Equal parts melancholy and glitter, Chateau Chateau is an evolving community of musicians from Tuscon, Arizona making cathartic indie pop for weirdos, outcasts, queer folks, and anyone else who needs it. Formed in 2018, the band is led by Bleu and Alex, a DIY-minded duo who transform things that are traditionally ugly, abstract, and leftover, into new shiny and special forms. Although their songs explore dark subjects, Chateau Chateau channels their anguish into upbeat tracks packed with grim humor and messages of resilience.

 

Catch their hometown album release show, where they will be going all out for their favorite city. They’ll have everything you love about their shows, the confetti cannons, disco balls, porops,  and brand new merch for the album including limited edition red vinyls!

Giovannie & The Hired Guns

Doors 7PM | Show 8PM | 21 & Over | Public On Sale 1/20 11AM

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

WEBSITE | FACEBOOK  | INSTAGRAM | TWITTER | LISTEN

One of the most crowd-thrilling bands to burst onto the national scene in recent years, Giovannie and The Hired Guns have pushed the boundaries of rock-and-roll and country to forge an irresistibly gritty sound all their own. After building a massive grassroots following on the strength of their explosive live show, the Stephenville, Texas-based five-piece ascended to new heights with their smash hit “Ramon Ayala”—a 2021 release that climbed to #1 on the Active Rock Radio Chart and the Alternative Radio Chart, marking the first time in over 15 years that an artist’s first career-charting radio single reached the top spot on both tallies. Fueled by the enormous success they’ve achieved as an entirely independent act, Giovannie and The Hired Guns have now signed to Warner Music Nashville just in time for the release of their third full-length, Tejano Punk Boyz: an immediately vital body of work cementing their status as an essential new force in redefining the possibilities of Texas music.

 

The start of a bold new era for Giovannie and The Hired Guns—vocalist Giovannie Yanez, guitarists Carlos Villa and Jerrod Flusche, bassist Alex Trejo, and drummer Milton Toles—Tejano Punk Boyz expands on the wildly catchy brand of guitar-heavy alt-rock they first honed back when Yanez was working the counter at a local pawnshop. Like their self-titled 2020 sophomore effort, the 10-track album finds the band joining forces with producer Taylor Kimball (Koe Wetzel, Read Southall Band, Austin Meade), fully harnessing the band-of-brothers chemistry that makes their live set so exhilarating. In addition to delivering songs in both English and Spanish for the very first time, Tejano Punk Boyz doubles down on the culture-bending sensibilities that have long guided the band, fusing elements of everything from Red Dirt country to post-grunge to la musica norteña. “We didn’t want to hold back at all with this album,” says Yanez. “We all come from different walks of life, and we wanted to mesh those influences together and come up with something that feels really free. Because of that, I feel like we created something that’s completely true to us, and like nothing else out there right now.”

 

With its title taken from an inside joke between Yanez and his cousin, Tejano Punk Boyz infuses that free-spirited energy into every song, ultimately embodying a more joyful mood than their past work. “‘Ramon Ayala’ really set the tone for the album,” says Yanez. “Songwriting is an outlet for me, and on the last record I was going through some dark times in my life. But ‘Ramon Ayala’ came from thinking about my family and the music we love to listen to when we’re all partying together, and that sort of carried over into the rest of the album.”

 

Along with “Ramon Ayala”—a track that spent five weeks at #1 on Billboard’s Rock & Alternative Airplay Chart and earned acclaim from outlets like American Songwriter, who hailed it as “a cathartic anthem for the underdogs and rejects of society”—Tejano Punk Boyz features more emotionally raw offerings like the album-opening “Overrated.” Rooted in the band’s signature collision of combustible guitar work and unforgettable melodies, the sing-along-ready track serves as a prime showcase for Yanez’s reflective yet down-to-earth storytelling (from the chorus: “I’m such a freak/I love the way she hates it”). “At the time I was fighting with my girlfriend, so it was the perfect moment for that kind of song,” he notes. On “Numb,” Tejano Punk Boyz shifts into a darker tone as Giovannie and The Hired Guns channel the ache of disconnection, amplifying the track’s moody urgency with serpentine rhythms and brooding guitar tones. “Recording ‘Numb’ was probably the most fun we had in the studio—we didn’t try to force anything, we just let it all out and put everything we were feeling into the song,” says Yanez. And on “The Letter,” Giovannie and The Hired Guns share one of the album’s most vulnerable moments, a heart-on-sleeve love song that slips between English and Spanish as Yanez bares his soul with brutal honesty. “I’d always wanted to sing in both languages, but for some reason I was always too scared,” says Yanez. “When I was writing ‘The Letter’ it just happened naturally, and it instantly felt right.” 

 

Originally from the Northern Texas town of Mineral Wells, Yanez first explored his unfiltered approach to songwriting at the age of 17 (“It pretty much started right after the first big heartbreak,” he notes). Around that same time, he began performing at local dive bars while holding down a job at a rock quarry. “I’d go play gigs and be out till about three in the morning, then get up to go to work at seven—it was a struggle for a while, but I knew this was what I wanted to do with my life,” says Yanez. Not long after landing his job at the pawnshop, Yanez crossed paths with Trejo and soon began assembling the Hired Guns lineup, then pushed forward with an equally grueling gig schedule. “When we first started out it was always, ‘Hey guys, can you play a four-hour set with two breaks? Here’s $200,’” Yanez recalls. As word got out about their can’t-miss live performance, the band began selling out shows all across Texas, in addition to sharing stages with the likes of Read Southall Band and Kody West.

 

With the arrival of their self-released 2017 full-length debut Bad Habits, Giovannie and The Hired Guns offered a first glimpse at the unbridled eclecticism that now defines their sound: Toles, for instance, brings a soulful intensity informed by playing music in church as a kid, while Flusche’s background includes session work with such prominent country acts as Sam Riggs & the Night People. Another independent release, Giovannie and The Hired Guns featured standouts like “Rooster Tattoo,” a slow-burning track that quickly amassed millions of streams on Spotify thanks to word-of-mouth buzz. As they set to work on Tejano Punk Boyz, Giovannie and The Hired Guns landed on Amazon Music’s 2022 Artists to Watch list, then later inked their deal with Warner Music Nashville in a partnership with Warner Music and Warner Music Latina.

 

With their career highlights to date including opening for platinum-selling country star Jason Aldean to a crowd of 36,000 at Globe Life Park stadium, Giovannie and The Hired Guns have spent much of the band’s lifespan on the road, delivering an electrifying show that invariably leaves audiences sweat-drenched and ecstatic. “At this point my house is mostly just a place where I collect mail,” says Yanez. “We’ve played an insane amount, but we love getting out there and connecting with the fans. The craziest thing is when they tell us that our music has saved their lives, because I’ve had that happen to me with the music I really love.” 

 

As their following continues to grow far beyond the borders of their home state, Giovannie and The Hired Guns have found their sense of purpose ineffably deepened with each new album they create. “To me making music is a godsend,” says Yanez. “I generally don’t tell people what’s on my mind or how I’m feeling; I hold it in and then get it all out by picking up a pen and paper or strumming my guitar. So the fact that our songs might end up helping other people in some way just makes it all even sweeter.” And with Tejano Punk Boyz dropping in the midst of another extensive tour, Giovannie and The Hired Guns look forward to strengthening their extraordinary bond with their audience. “The goal for the live show is always to take people away for that hour and a half,” says Yanez. “Whatever problems they’re dealing with, whatever they’re going through or whatever’s happening in today’s world, we want them to forget all about it for those 90 minutes. If they want to get sad and cry, then I’ll cry with them. If they want to let loose and have fun, I’ll do that too. We just want to feel connected to everyone, because we truly are—we’re exactly the same as every single person out there in the crowd.”

 

Hail the Sun

Doors 6:30PM | Show 7PM | All Ages | Public On Sale 1/6 11AM

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT HAIL THE SUN

WEBSITE | FACEBOOK  | INSTAGRAM | TWITTER | LISTEN

Hail the Sun isn’t anything. They just are.

They continue to push what is known as post-hardcore into realms that both your metal friend will love, and you can show your grandma. The band has been actively writing and touring together for over a decade. This comes out clearly when listening to their music, and this is no exception with their newest album New Age Filth. I could go on to list what inspires them, their hardships, their influences, etc. But, why? There is absolutely nothing that could be said to fully reign in what the band is. So you just have to listen. No, you need to listen. Chances are that once you do, you will relate to the thousands of followers who not only appreciate the music in the most loyal way, but they appreciate the entity that is Hail the Sun. The lifestyle that is Hail the Sun.

The moments that are Hail the Sun.

 

The Brothers Comatose

Doors 7PM | Show 8PM | 21 & Over | Public On Sale 12/16 10AM

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

WEBSITE | FACEBOOK  | INSTAGRAM | TWITTER | LISTEN

Whether traveling to gigs on horseback or by tour bus, Americana mavens The Brothers Comatose forge their own path with raucous West Coast renderings of traditional bluegrass, country and rock ‘n’ roll music. The five-piece string band is anything but a traditional acoustic outfit with their fierce musicianship and rowdy, rock concert-like shows.

 

The Brothers Comatose is comprised of brothers Ben Morrison (guitar, vocals) and Alex Morrison (banjo, vocals), Steve Height (bass, vocals), Philip Brezina (violin), and Greg Fleischut (mandolin). When they’re not headlining The Fillmore for a sold-out show or appearing at Hardly Strictly Bluegrass Festival, the band is out on the road performing across America, Canada, Australia, and hosting their very own music festival, Comatopia, in the Sierra foothills.

 

April of this year is finding the band touring Latvia and Lithuania as cultural ambassadors for American Music Abroad, which is run by the US State Department with the goal of sending American artists all over the world as a cultural exchange program. The band toured China in 2018 under the same program.

 

The remainder of 2019 will see the Brothers Comatose hitting the studio to record on their fifth studio album to be released on AntiFragile Records.

Bass Drum of Death

Doors 7PM | Show 8PM | 21 & Over | Public On Sale 12/9 8AM

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

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The point of an odyssey is to return home changed—still the same person, but deepened somehow, wiser and better, wearing your traveling scars proudly. Bass Drum of Death’s new album Say I Won’t is the end result of a journey that took singer and bandleader John Barrett from a small town in Mississippi and sent him across the world and back home again. The music still rips, with blown-out guitars and drums that sound like bombs going off, and the melodies are catchier than ever, hollered in Barrett’s trademark yelp. But the music hits differently now, more at peace with itself, propelled by a new swagger. Say I Won’t is the record of a veteran band finding its stride and leaning into it, stripping back the excess and finding the raw core of their sound.

Say I Won’t, the band’s fifth record, comes at a time of massive change for Barrett, having relocated from New York to his hometown of Oxford, Mississippi during the pandemic. The record is also a homecoming of a different sort, with the band rejoining the ranks of Fat Possum, also in Oxford, the label that released their first record GB City in 2011.

“Moving back to Oxford was a much-needed reset,” says Barrett. “When I started, I just wanted to play in a punk band and drink beers and travel around. I didn’t really think much past that. And I got really burned out. When I moved back home, I started writing songs again, just for fun. I realized I wanted this record to have more of a hometown feel. The switch back to Fat Possum was easy. It’s much better working with people I know and love and love everything they do.”

Say I Won’t is the first Bass Drum of Death album written, demoed, and recorded with the touring band instead of Barrett doing everything on his own. He found a freedom in working with collaborators that wasn’t available to him before, opening different aspects of the songwriting. It was a process of live recording, layering on different parts and overdubs, and then stripping it all back to the bones of the song, keeping the raw wild heart of the music intact.

“My first two records were made entirely by me alone with my gear, my laptop, and a Snowball USB mic,” says Barrett. “They were just made quickly, cheaply, as an excuse to tour. I wanted to take my time with this record. Make something good that I was proud of in itself.”

The band recorded the new record with Patrick Carney of the Black Keys at Audio Eagle Studios in Nashville. “It’s basically Pat’s house,” says Barrett. “It was like a playground. We set up and ripped through the songs live. The control room and the recording room are on two different floors, so we’d play a song and Pat would come running down the stairs, telling us little things to change.”

The result is a groove-oriented, 1970’s-indebted collection of rock songs, with tempos set for cruising and scuzzy guitars galore. There’s an energy and vitality to the music that feels in line with the best of the Bass Drum songs, but with an added boost that comes from new bandmates and a new perspective.

Album opener “Find It” is a perfect embodiment of the band’s new era, an urgent blast of Britpop-tinged punk, all riffs and hooks over drummer Ian Kirkpatrick’s steady thundering beat. The song finds Barrett in a reflective mood, as he sings, “I know all the world around me’s crumbling/I’m left holding the bag and stumbling/Who knows, I might be the problem.” It’s a new, more sober perspective for the lifelong rocker, with the added potency that comes from taking responsibility for one’s own life and problems.

“It’s a reference to my own personal issues, chemical or otherwise,” says Barrett. “The song is about how the place you live, be it small town Mississippi or New York, is irrelevant. Nothing really matters unless you change yourself. That’s on you.”

“Say Your Prayers” is a collaboration with Mike Kerr of Royal Blood. A midtempo bruiser that finds Barrett snarling, “The wolf is in your bed/But the Devil’s knocking at your door.” It’s all attitude, with mountains of sludge-slathered riffs, tangled harmonies courtesy of brother Jim Barrett, and a stomping beat fit for a movie car chase scene.

“That song is about seeing somebody at a party and knowing it’s bad news,” says Barrett, “a kind of Medusa-like situation. It’s about temptation and succumbing to it, and the consequences of that. I guess in a way it’s a breakup song.”

Say I Won’t finds a reinvigorated Barrett firing at all cylinders, backed by his best band yet. It’s Bass Drum of Death at their loosest and scuzziest and most tuneful, a true rock record in all the right ways. It’s a throwback by way of moving forward, sporting a maturity and swagger that comes from a decade of playing music on the road and surviving to tell about it. More than anything, Say I Won’t is a blast to listen to, music built for driving with your stereo cranked.

“I had to relearn that making music is fucking fun,” says Barrett, “and you should have fun doing it. If it’s miserable, what’s the point?” He laughs. “But man, when a song hits, it’s the best feeling in the world. That’s what this record is about. Getting back to that good place and staying there.”

Built to Spill Band Image

Built to Spill

Doors 6:30PM | Show 7:30PM | 21 & Over | Public On Sale 12/9 10AM

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

WEBSITE | FACEBOOK | INSTAGRAM

Built to Spill were one of the most popular indie rock acts of the ’90s, finding the middle ground between postmodern, Pavement-style pop and the loose, spacious jamming of Neil Young. From the outset, the band was a vehicle for singer/songwriter/guitarist Doug Martsch, who — heavily inspired by Dinosaur Jr.‘s J Mascis — helped keep alive the concept of the indie guitar hero. On record, Martsch the arranger crafted intricate, artfully knotted tangles of guitar; in concert, his rough-edged soloing heroics earned Built to Spill a reputation as an exciting and unpredictable live act. Their early records betrayed some punk scrappiness around the edges, but as Martsch‘s songwriting matured he was able to crank out complicated, emotionally wracked songs that melted hearts as easily as they did speakers. The artistic success of 1994’s There’s Nothing Wrong with Love led to the band signing a deal with Warner Bros. where they released a string of albums highlighted by alt-rock classics Perfect from Now On and Keep It Like a Secret. As they got further from the ’90s, and as albums appeared infrequently, the group’s work still delivered the same mix of guitar heroics and heartfelt songwriting as 2015’s Untethered Moon, which sounds remarkably similar to their early work, proves.

The band formed in Boise, Idaho, in 1993, shortly after Martsch had departed the Boise-rooted, Seattle-based TreepeopleMartsch had grown up in Twin Falls, Idaho, where he formed his first band, Farm Days, with bassist Brett Nelson and drummer Andy Capps while in high school during the mid-’80s. After moving to Boise, Martsch hooked up with former members of the local hardcore punk band State of Confusion to form Treepeople, which relocated to Seattle in 1988. There they signed with the local indie C/Z and issued several albums and EPs that offered a distinctive take on early Northwestern grunge. Eventually tiring of the band’s far-ranging touring commitments, Martsch departed after 1993’s Just Kidding album, and despite the continuing boom of the Seattle scene, he returned to Boise to refresh himself.

Martsch formed the first incarnation of Built to Spill with bassist/guitarist Brett Netson (also a member of Boise scenesters Caustic Resin) and drummer Ralf Youtz. Initially maintaining a relationship with C/Z, Built to Spill debuted on record in 1993 with Ultimate Alternative Wavers, on which Martsch billed himself as “Dug.” Afterward, Martsch moved the band over to another Seattle indie, Up Records, and revamped the rhythm section, in keeping with his plan to make Built to Spill a loose aggregation that would allow him to work with a variety of musicians. This time, he was joined by bassist Brett Nelson (not Netson, but his old cohort from Farm Days) and drummer Andy Capps (also from Farm Days, who’d joined Nelson in a group called Butterfly Train).

Accompanied by cellist John McMahon and guest spots from several ex-TreepeopleBuilt to Spill scored a creative breakthrough with 1994’s acclaimed There’s Nothing Wrong with Love. With the help of producer/engineer Phil Ek, who would become the band’s regular collaborator, Martsch‘s fragmentary songwriting aesthetic and detailed arrangements really hit their stride, resulting in a minor gem of quirky indie guitar pop. The same year, Martsch formed a side project with Beat Happening frontman and K Records honcho Calvin Johnson, and they recorded the first of three albums as the Halo BendersMartsch formed a new lineup of Built to Spill with former Lync rhythm section James Bertram (bass) and Dave Schneider (drums), but this incarnation existed only for a series of live gigs in America and Europe during 1995, which included a stint on the second stage of that summer’s Lollapalooza tour.

The positive response to There’s Nothing Wrong with Love — coupled with the increased exposure of Lollapalooza — helped create a buzz around Built to Spill, and before 1995 was out, Martsch inked a deal with Warner Bros. that promised a good amount of creative control. In the meantime, he and Brett Nelson reunited with Brett Netson and several other members of Caustic Resin for a collaborative (not split) EP on Up, titled Built to Spill Caustic Resin. In early 1996, K Records issued a compilation of rarities and outtakes, The Normal Years, that spanned 1993-1995 and featured work by most of the band’s lineups. Martsch then turned his attention to recording Built to Spill‘s major-label debut. At first, he started working with drummer Peter Lansdowne and no bassist, but found that the chemistry was wrong for the more expansive songs he was trying to write. He brought back Brett Nelson and recruited former Spinanes drummer Scott Plouf, and re-recorded most of the album, only to have the master tapes damaged. The third re-recording was the charm, and featured guest guitar work by Brett Netson to boot. Finally released in 1997, Perfect from Now On was a set of longer, moodier songs that once again earned positive reviews, and substantially expanded the band’s growing fan base.

Tired of continually re-teaching the band’s repertoire, Martsch subsequently made Nelson and Plouf permanent members of Built to Spill. Material for their next album was, for the first time, worked out through collaborative effort in (mostly) full-band jam sessions. Despite those origins, Keep It Like a Secret emerged as the tightest batch of songs on any Built to Spill record yet, and was greeted with some of their most enthusiastic reviews to date when it appeared in 1999; it also became their first to reach the pop charts. New supporting cast member Sam Coomes — also of Quasi, formerly of Heatmiser — contributed keyboard work. In response to demand from fans, the Live album was culled from the supporting tour, featuring additional guitar work from Brett Netson and longtime band cohort Jim Roth; assembled from three different gigs by Ek, it was released in 2000.

The proper studio follow-up to Keep It Like a Secret arrived with 2001’s Ancient Melodies of the Future; critical responses ranged from enthusiasm to indifference. The following year, Martsch took a breather to release Now You Know, a solo album on which he delved into more traditional folk and blues. After a long break from releasing records, the revamped group (now a quartet comprising MartschNelsonPlouf, and Roth with additional help from the guitar-playing Brett Netson) stormed back with one of the finest records of their career, 2006’s You in ReverseBuilt to Spill resumed touring just after its release, and began recording for their next album later that year, although the results came in the form of a single, 2007’s “They Got Away.” The band entered the studio once again in 2008, recording There Is No Enemy with production from Martsch and David Trumfio. The album appeared in October of 2009 and the band spent some time touring behind it. They next appeared on a tribute album to the Smiths (Please, Please, Please), covering “Reel Around the Fountain.” While in the early stages of recording their next album, Plouf and Nelson quit the band and their roadie Jason Albertini (otherwise known as a former member of Duster) joined on bass, while their live sound engineer, Steve Gere, became their drummer. The group then scrapped what had already been recorded, starting over with the new lineup and Sam Coomes co-producing with Martsch. Still with Warner Bros. after many years, the label released their eighth studio album, Untethered Moon, in early 2015. After the band finished touring behind the record. Martsch decided to overhaul the lineup. The trio of MartschAlbertini, and Gere embarked on a West Coast tour in 2016, and in 2018 were lucky enough to serve as Daniel Johnston‘s backing band for two shows. Soon after that, Martsch announced that he was shifting to a revolving bandmember set-up, adding bassists and guitarists as needed. Bassist Melanie Radford and drummer Teresa Esguerra joined the band for a tour in 2019 celebrating the 20th anniversary of Keep It Like a Secret. The next year they released Plays the Songs of Daniel Johnston, a faithful covers album recorded during rehearsals for the 2018 concerts. Having left Warner Bros. in 2017 after a long run, the album was released by Ernest Jenning Recording Co.

Emo Nite

Doors & Show 9PM | 21 & Over | Public On Sale 12/2 11AM

$1 from every ticket sold will be donated to Living The Dream Foundation.

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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE EVENT

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Emo Nite was started by Morgan Freed and T.J. Petracca in December of 2014. What began as a party at a small dive bar in Echo Park quickly grew into a full-blown phenomenon. The movement took has expanded from the tiny dive bar on LA’s east time, to recurring events thrown by dozens of friends in over 30 cities nationwide. Attracting some of the biggest names in music including Post Malone, Good Charlotte, All Time Low, Demi Lovato and many more, Emo Nite has also expanded to the festival circuit, curating their own full-day festivals as well as booking coveted performance spots on lineups at Coachella, Life is Beautiful, and Firefly. At its core, Emo Nite has always been about the music. Throughout the years, it has become a space where fans of the genre and the entire Emo Nite community have come together to celebrate emo music, both new and old.

Outside of curating one of a kind events, the Emo Nite founders have created successful clothing collaborations with companies like OBEY, Urban Outfitters, PLEASURES, The Hundreds, Rose in Good Faith, Chinatown Market, OWSLA.

Emo Nite has been featured in outlets like MTV, PAPER, Teen Vogue, Consequence of SoundForbesRolling StoneThe New YorkerLA TimesBillboardLA WeeklyTime Out LAAlternative PressFUSEHelloGiggles KERRANG! and talked about on the Grammy’s Red Carpet.