Mac Sabbath

Doors 7PM | Show 8PM | 21 & Over | Public On Sale 11/11 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 MAC SABBATH

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Mixing raucous comedy with borderline-horrific theatrics, the only thing more petrifying than impending health problems resulting from years of overeating is a MAC SABBATH show. MAC SABBATH puts on a theatrical, multimedia stage show – complete with a smoking grill, laser-eyed clowns, bouncing burgers and many more magical surprises… basically anything and everything an unwary show-goer could ever want in their wildest dreams. The band has been named by Buzzfeed as one of the “13 Metal Bands You Didn’t Know How to React To”, and as LA’s “Best Tribute Band” by LA Weekly.

 

ABOUT THE JACK

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In most circles of Rock-n-Roll influence, AC/DC is largely considered to be one of the very best live, rock and roll bands of all time!!
The Jack is this Nation’s Hottest Tribute to AC/DC and quite possibly the greatest thing to happen to the music of AC/DC… since AC/DC!!
Their high energy, full-on stage performance never stops!
Crowds across America just can’t get enough of The Jack!!
The guys have been endorsed by Simon Wright (drummer for AC/DC), Robby Lochner of Jack Russell’s Great White, Courtney Cox, Nikki Stringfield and all of the girls of The Iron Maidens, the members of Kingdom Come, Oni Logan of Lynch Mob… and pretty much everyone that has ever seen The Jack perform live!!
If you’re looking for the very best in a tribute band experience, look no further… Welcome to The Jack!!

Unsane

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

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New York City’s Unsane assisted in pioneering a more aggressive, less studied version of noise rock, one that blended the scum/art industrial sturm und drang of , , , and with the decidedly more straightforward hardcore idiom favored by acts like . While developing the blueprint for noise-metal bands to follow, Unsane cut a remarkable swath through underground music, inspiring a devoted, cult-like following around the globe. As a power trio, Unsane relied upon a hammering, power-press rhythm section, a searing Telecaster howl, and distorted vocals that resembled nothing if not the sound of a man trapped in the New York Subway system.

Having met at Sarah Lawrence College in the late ’80s, the original incarnation of Unsane — (vocals, guitar), Peter Shore (bass), and Charlie Ondras (drums) — crawled larvally out of the practice space in 1989 and began playing New York’s seediest haunts. It was these graveyard slots at clubs like CBGB’s where the band developed and honed their trademark sound and delivered the goods with due intensity and volume. Unsane piqued the interest of numerous small indie labels and began issuing a series of singles and EPs before recording their self-titled debut with . Using the photo of a decapitated man lying across train tracks, Unsane’s album cover set the tone for the admixture of seething aggression, naked fear, and barely controlled noise chaos contained within. But the band’s devastating maelstrom contained more than enough tunefulness and rock propulsion to quite easily surpass its more affected Lower East Side peers.

During 1992, Unsane’s daunting schedule was cut devastatingly short by the untimely drug overdose of drummer Ondras. Former and drummer Vinny Signorelli climbed aboard the swiftly moving train in the fall of 1992 and the band began composing its next album. In the interim, compiled and issued a collection of Unsane’s early singles and compilation tracks, appropriately titled Singles: 89-92. It is perhaps Unsane’s defining moment. The following year found the band recording its first for , Total Destruction, a menacing, dark collection of songs driven by ‘s hypnotic drumming and ‘s man-pushed-to-the-edge vocals. More touring followed and released the Peel Sessions disc almost concurrently with Total Destruction.

After being discharged from in 1994, Unsane found both a new bass player in Dave Curran — who joined on tour while doing sound for the band — and a home for their next album, Scattered, Smothered, and Covered, on the independent noise rock label, . While maintaining the band’s signature sound and volume, 1995’s Scattered… showed the band opening their rhythmic approach, with most songs inhabiting a more rock-oriented 4/4 pattern, granting the album a more spacious and controlled feel. Scattered… also contained the unlikely MTV hit video for “Scrape,” featuring a series of skateboard accidents intercut with footage of the band performing live. Created for 200 dollars, it was ironically named one of MTV’s Ten Funniest Videos. The band toured relentlessly and managed to secure an opening slot with metal behemoths on one of their North American headlining tours. Shortly after, the trio made another label switch to and began constructing its final album, the ironically titled Occupational Hazard. While on a press tour in Europe only a month prior to the disc’s release, was brutally attacked by street thugs and left for dead on the streets of Vienna, Austria. After emergency surgery, he returned to the touring arena. Though Unsane temporarily disbanded in 2000, they returned a few years later with a compilation (Lambhouse) and an original album, 2005’s Blood Run. Visqueen, the group’s sixth studio long-player, was issued in 2007 via ‘s . It was followed in 2012 by Wreck, issued by the iconic punk label , and in 2017, Unsane came roaring back with Sterilize, which saw the group working with Los Angeles-based metal imprint Southern Lord.

Jenny Don’t & The Spurs

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

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Since their inception in 2012, the Spurs have kept a relentless schedule of recording, playing locally, and touring. After nearly 500 live appearances in almost a dozen countries, and with a slew of albums and singles to their name, Jenny Don’t and The Spurs are just getting warmed up.

The Spurs were founded one cold, winter’s evening by Jenny and Kelly. Jenny had been fronting her own band, DON’T, for some time, as well as playing the occasional solo acoustic set here and there. Kelly, who had been in a slew of Portland punk bands since the 80’s, and who had spent the previous several years balancing a grueling touring schedule playing drums with the garage rock trio PIERCED ARROWS and bass with Portland punk-rock destroyers P.R.O.B.L.E.M.S., and wanted to switch gears a bit. After the concept of forming a raw, real, and back-to-the-roots country band had taken hold, it wasn’t long before the couple was rehearsing a seminal set of standards by such influential early country crooners and outlaws like Patsy Cline, Loretta Lynn, Ernest Tubb, and Hank Sr., as well as a sprinkling of originals. It was only a few weeks later that Kelly’s bandmates Fred and Toody Cole got wind of the developing musical project that was taking form in Jenny and Kelly’s kitchen and decided to call their bluff by giving them an unsolicited support slot on an upcoming show featuring the Cole’s own solo two-piece act. Not having anticipated such a high-profile live appearance as a first live outing, and feeling like the guitar-and-bass-only lineup that the band had started life as was lacking something on the rhythm end of things, they decided to ask their friend Sam Henry to join them on drums. Sam, who in addition to being Jenny’s bandmate in DON’T and sometimes solo-set-collaborator, had already had a long, well-respected career as one of Portland’s best drummers, having played with such first-generation punk bands as the Wipers, The Rats and Napalm Beach. After a couple of weeks of practice, the debut live appearance of the band went off without a hitch and the core lineup of Jenny Don’t and The Spurs was born. The trio of Jenny, Kelly, and Sam existed in this form for the first year-an-a-half or so of the band’s existence, playing whatever local venue would take them – bars, clubs, porches, basements, backyards, and even a bookstore. This worked well for a while, and occasionally the Spurs would enlist talent from a pool of several friends to sit in on lead guitar or lap steel. The addition of a second guitar rounded out the sound of the band to the point where Jenny and Co. decided to make it a permanent part of the band’s lineup. After a couple of false starts and a bit of difficulty finding a fourth member who could commit to the Spur’s sometimes grueling touring schedule, the incredible Christopher March became a member of the family in early 2017. Christopher brought with him a wealth of talent and live gig experience, having spent years playing on the Northwest Country, Rockabilly, and Honky-Tonk circuit.

This lineup – Jenny, Kelly, Christopher, and Sam – formed the core of the group for several great years, solidifying the band’s sound and enabling them to tour extensively until January of 2022.  It was at this point, while on their winter West coast tour in California, that Sam began experiencing abdominal pains.  His discomfort increased to the point where the band had to cancel the last date of the tour in order to get Sam to the hospital, where he was diagnosed with late-stage cancer.  This was devastating news for Sam, the band, and all of the people around the world that loved him, and when, only weeks later, Sam passed away after a brief battle with the disease, everyone was stunned. As saddened and lost as the remaining members of the band were, there was really no question as to whether the band would continue.  Sam was truly dedicated to his art until the very end, and there was no way that he would have wanted the band to dissolve.  He had dedicated his life to his music and the last ten years of his life to Jenny Don’t and The Spurs, and the surviving members of the band decided without reservation to keep Sam’s legacy alive by continuing to play.  The search for a new drummer turned up a lot of candidates, but it was veteran Portland musician Dean Miles who made the cut.  We’re happy to have him as the newest family member, and we know that Sam would be proud to know that a guy as cool as Dean is sitting behind the kit.
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Now, with a revamped lineup, as well as a decade of live appearances under their tooled-leather Western belts, the Spurs aren’t slowing down a bit. The Spurs are a musical force to be reckoned with, and the intensity and energy of their live set is a must-see for anyone who enjoys spirited garage-infused country music played with sincerity and raw conviction.

Matt Andersen

Doors 7PM | Show 8PM | GA w/Limited Seating | 21 & Over | Public On Sale 11/18 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

Matt Andersen has logged countless miles following little white lines down the highway, crossed vast oceans, and left audiences around the world forever changed by his powerful, soul-baring song writing. Those travels have been fueled by a profound devotion to music, a journey that began in New Brunswick with six steel strings. Since then, Andersen’s work has reached spectacular heights through rich arrangements and fruitful collaboration, but at its core, one musical relationship has remained at the very heart of the whole affair. For his latest long-player, the laid-bare House to House, Andersen brings it all back home with the sweet chemistry that only a voice and guitar alone, together, can conjure.

With bright soul, introspective folk, and songs rooted in blues, House to House showcases a more intimate vibe than what listeners might be used to on the songwriter’s studio recordings – “The Softer Side of Matt Andersen,” if you will. “Over the years I’ve come to really appreciate the moments in a show when I can chill out and not worry about making as much sound as possible,” Andersen says. “Songs that are as much about the space as they are about what happens between the spaces. Big and strong isn’t big and strong if you don’t have a quiet moment to compare it to.”

He lets his grand, resonant boom settle just a little after opening the high and lonesome “Other Side of Goodbye,” allowing for the melancholy to softly seep in, and gets pensive over melodic finger picking on “Lookin’ Back at You.” Love songs abound – “Let Me Hold You” sets the scene for a quiet, fireside evening; he paints the town red with the help of Terra Spencer’s harmonies on “Raise Up Your Glass;” and “See This Through” summons strength during a dark period in a relationship. On the ghostly “Coal Mining Blues” – an older song, recorded here stripped-down for the first time – Andersen zooms in to the individual level, examining the pain that the industry inflicts on its soot-covered foot soldiers. He gets a little help from his friends Reeny, Micah, and Mahalia Smith to spread some good news on the gospel-inflected David Francey tune “Time for the Wicked to Rest,” and calls on listeners to live fully, despite trials and tribulations, on the soaring “All We Need.”

Finally, the Smiths trade vocal duties with Andersen for the album’s heart-swelling finale – a cover of Curtis Mayfield’s “People Get Ready” – subtly reminding us that even a solo record takes a village. Behind the scenes, House to House was constructed during “this big pause we all landed in,” as Andersen puts it, with the help of friends and family who he’s forged close relationships with over the span of his long career. The title track is a co-write with Chris Robison and Scott Prudence, who built the home studio Andersen had always dreamed of 30 feet from his front door, where the album was recorded live off-the-floor, with no overdubs. The voices you hear mingling with Andersen’s – Terra Spencer, Ryan Hupman, and the Smiths – were really there in the room with him. And the collection of co-writers reads like a laundry list of the best in the business: Terra Lightfoot, Dave Gunning, Gordie Sampson, Breagh Isabel, Tom Wilson, Clayton Bellamy, Colin Linden, and the aforementioned Spencer, Hupman, Robison, and Prudence. House to House was produced by Andersen himself, engineered by Chris Kirby, mixed by Cory Tetford, and mastered by Kim Rosen at Knack Mastering. It’s the latest installation in a body of work that is expansive, rich, and varied, revealing Andersen as an artist who’s just as comfortable delivering a tender ballad as he is flying high on gospel or belting the blues. But as Andersen’s first solo studio record, it also stands alone as a pure document from one of the most compelling songwriters and engaging performers in modern roots music.

J Boog

Doors 7PM | Show 8PM | All Ages | 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

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BORN AND RAISED ON THE WEST COAST AND INFLUENCED HEAVILY BY HIS POLYNESIAN
UPBRINGING, J BOOG IS UNDOUBTEDLY ONE OF THE TOP REGGAE SINGERS IN RECENT
YEARS. MENTORED BY ISLAND REGGAE ICON FIJI, HE FINE TUNED HIS SOUND AND STYLE
CREATING A UNIQUE BLEND THAT TRANSCENDS ACROSS CONTINENTS.
EARLY ON IN HIS CAREER, A CHANCE ENCOUNTER LED J BOOG TO CONNECT WITH YAMI BOLO
AND GRAMPS MORGAN, WHICH THEN TOOK HIM TO JAMAICA WHERE THE REGGAE SINGER
FOUND HIMSELF WORKING IN THE HISTORICAL STUDIOS OF BOB MARLEY, DON CORLEON,
BOBBY DIGITALS, SHAGGY, AND SUGAR MINOTT. THIS EXPERIENCE NO DOUBT PLAYED
ANOTHER KEY ROLE IN THE FLAIR OF BOOG’S MUSIC.
HIS DEBUT ALBUM, HEAR ME ROAR, DROPPED IN 2007 AND A FEW YEARS LATER HE
RELEASED BACKYARD BOOGIE, WHICH INCLUDED MEGAHITS LIKE LETS DO IT AGAIN
PRODUCED BY DON CORLEON AND SUNSHINE GIRL PRODUCED BY GRAMPS MORGAN AND
FEATURING PEETAH MORGAN. AMIDST THE 2020 GLOBAL PANDEMIC, LET’S DO IT AGAIN
EXPLODED ON TIK TOK VIA A VIRAL DANCE BY STRANGER THINGS NOAH SCHNAPP EVEN
GARNERING THE ATTENTION OF HIGH-PROFILE CELEBRITIES LIKE CHARLI D’AMELIO AND
JASON DERULO. THE POPULAR TRACK CURRENTLY BOASTS OVER 75M VIEWS ON YOUTUBE
AND CONTINUES TO CHART ON THE ITUNES REGGAE CHART EVEN TODAY. A YEAR AFTER ITS
RELEASE THOUGH, BACKYARD BOOGIE EARNED J BOOG THE BEST ENTERTAINER AT THE
INTERNATIONAL REGGAE AND WORLD MUSIC AWARDS IN CHICAGO. WASH HOUSE TING WAS
RELEASED IN 2016 AND FEATURED TRACKS WITH VETERAN REGGAE BAND MORGAN
HERITAGE AS WELL AS DANCEHALL LEGEND BUJU BANTON. THE ALBUM TOPPED BILLBOARD
REGGAE ALBUM CHARTS AND WAS LATER NOMINATED FOR BEST REGGAE ALBUM AT THE 2018
GRAMMY AWARDS. HIS EP ROSE PETALS WAS NOMINATED FOR BEST REGGAE ALBUM OF THE
YEAR AT THE 2017 GRAMMY AWARDS AND ALSO TOPPED US BILLBOARD AND ITUNES REGGAE
CHARTS. J BOOG’S REPERTOIRE BOASTS TRACKS WITH SOJA, IRATION, TARRUS RILEY, THE
GREEN, FIJI, CHAKA DEMUS, RICHIE SPICE AND MORE.
HE HAS TOURED ALL OVER THE WORLD, INCLUDING EUROPE, AFRICA, DUBAI, NEW ZEALAND,
AUSTRALIA, JAPAN AND OF COURSE ACROSS THE US. HE’S PERFORMED AT FESTIVALS LIKE
CALI ROOTS, ONE LOVE NZ, GOOD LOVE, REGGAE RISE UP, ONE LOVE CALI, ARIZONA ROOTS,
DRY DIGGINGS, AND THE MAYJAH RAYJAH TO NAME A FEW.
IN 2021, J BOOG RELEASED THREE SINGLES [SIVA MAI FT. SIAOSI, AIN’T NO LOVE LIKE, AND
FREE OF DEM]. HE EVEN HOSTED A DANCE COMPETITION FOR SIVA MAI THAT GAINED
ENTRIES FROM DANCE CREWS ALL OVER THE WORLD. HE WAS ALSO NOMINATED FOR MALE
ARTIST OF THE YEAR AT THE ISLAND 98.5 ISLAND MUSIC AWARDS IN HONOLULU.

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

WEBSITE | FACEBOOK  | INSTAGRAM | TWITTER | LISTEN

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.”

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

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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!

Palmer Trolls

Doors 7PM | Show 8PM | 21 & Over | GA w/Limited Seating | Public On Sale 11/11 10AM Ben

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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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Ben Palmer’s (PalmerTrolls) show features comedic stories of him trolling hateful commenters on corporate Facebook pages, posing as city governments, making up fake cases to get on court TV, and pretending to be a journalist to send fake quotes to multilevel marketing companies and union busting corporations. His videos have over 500 million views.

Twiddle

Doors 7PM | Show 8PM | All Ages | Public On Sale 12/2 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

Every Last Leaf , the fifth full-length studio album from Vermont quartet Twiddle, is a bold exploration of the cyclical nature of life. Propelled by constant evolution in its 18 years touring, the band —Mihali Savoulidis [vocals, guitar], Ryan Dempsey [keys, organ, synth], Brook Jordan [drums], and Zdenek Gubb [bass], welcomes a musical rebirth, leaning heavily on enigmatically stoic songwriting in lieu of the affably saccharine. Longtime listeners can expect an elevated presentation of Twiddle’s trademark sound, delicately orbiting the worlds of funk, jazz, rock, reggae, and bluegrass.

“Every Last Leaf is a metaphor for life,” Mihali explains. “When a leaf falls to the ground, something will grow from it. Everything is part of this grand circle. In the music, we’re exploring all of life’s sides—from the sad and angry to the proud and happy.”

Known for jaw-dropping live performances, the group has repeatedly sold out some of the most legendary venues in the world, including Red Rocks Amphitheatre and Capitol Theatre. Plus, they’ve ignited festivals such as Bonnaroo and Electric Forest in addition to launching and headlining their own annual extravaganza Tumble Down Festival. Along the way, they have built a powerful catalog highlighted by the 2017 double-disc epic Plump (Chapters 1 & 2). Thus far, they’ve also gathered over 100 million streams and counting. Throughout 2021, Twiddle wrote and recorded Every Last Leaf. For the first time, they teamed up with producer Clint Bierman behind-the-board, recording in Sugar Shack, Mihali’s home studio, and Clint’s own spot. 

“It was a blast,” smiles Mihali. “Having a good time was important to all of us. It was more relaxed with a lot less pressure. We’d never worked with a producer before. We tried it out with Clint, vibed with him, and went with it. We expanded the sound and added a lot of layers. There are also three- and four-part vocal harmonies, which we’ve never really done in the past. It was a different process.”

In the end, Twiddle have creatively found their way on Every Last Leaf.

“When you listen to this, I hope you experience the beauty we did,” he leaves off. “If you feel anything at all, mission accomplished. There are a lot of moments on this album that tie up the elements of life. It’s real.”

 

The Sadies

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

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Without doubt or qualification, The Sadies are one of this continent’s greatest extant rock ’n’ roll bands — just as they have been for the last quarter-century. Versatile and imaginative, they skip from astral psychedelia to shuffling bucolics and leap from puckish pop to righteous garage-rock without losing momentum or mastery. Their albums deliver masterclasses on pointed songwriting, lockstep harmonies, and a devil-may-care attitude to expectations and past successes.
With their new album – Colder Streams – out now, check out what Shindig Magazine calls “a stone-cold masterpiece”.

 

 

ABOUT LAURA JEAN

WEBSITE | FACEBOOK  | INSTAGRAM | TWITTER | LISTEN

Laura Jean (Laura and the Killed Men, the Cordials, Silver Thread Trio) steeps her songs in the lore of the American West. Her unconventional voice, tinged with echoes of rusty Appalachia, corrals the songs away from straightforward folk and country and into an Americana refracting its triumphs and tragedies through an intimate lens. RIYL Sarah Jarosz, Riddy Arman.