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Stateside & The Rialto Theatre Present

AJJ w/ WHY? performing as a stripped down duo

Saturday, September 3
Show: 8:00pm
Not On Sale

Price: $20-$23 + Taxes and Fees

Doors 7PM | Show 8PM | All Ages | Public On Sale 5/20 10am

*COVID PROTOCOLS*
Per artist request, masks are highly encouraged for all patrons while attending this show. Additionally, Proof of full COVID-19 vaccination will also be required. Negative tests will not be accepted for entry.

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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 AJJ

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AJJ frontman Sean Bonnette can summarize the band’s new album, Good Luck Everybody, in a single sentence: “Sonically, it’s our least punk record, and lyrically, it’s our most punk record.” And indeed, Good Luck Everybody (January 17, 2020), the Arizona band’s seventh album, stands out in their already diverse catalog. While still rooted in the folk-punk sound AJJ has become known for, the album is unafraid to delve into new territories that test the limits of what the band is capable of. “I think it explores some of the weirder sides of AJJ, the more experimental leanings that we’ve had in the past,” says bassist Ben Gallaty. Good Luck Everybody draws from a wealth of sonic inspirations, from Laurel Canyon folk-rock of the 60s and 70s to avant garde artists like Suicide, as well as some orchestral pop. There is even a piano ballad, the tragic “No Justice, No Peace, No Hope.” Lyrically, Good Luck Everybody is a change of pace from the idiosyncratic songwriting style Bonnette has honed over more than 15 years fronting AJJ. It still features his wonderfully weird turns of phrase and oddball word pairings, but this time, his thematic lens is more directly focused on the inescapable atrocities of the world around him. Longtime fans will recognize the album’s social commentary as a return to their 2011 release, Knife Man, but this time it’s fueled by a more radical urgency.

 

ABOUT WHY?

WEBSITE | FACEBOOK  | INSTAGRAM | TWITTER | LISTEN

Yoni Wolf has spent the last two decades traveling the remote sonic terrain where underground hip hop, avant-pop, and psych-rock meet. In that time he’s cultivated a unique sound, and a unique position as one of contemporary music’s most distinctive voices. Some of Yoni’s most compelling and critically-praised musical experiments have been issued under the moniker WHY? and his latest entry is no exception. On AOKOHIO, Yoni condenses the essential elements of WHY? into a stunningly potent musical vision.

AOKOHIO feels like a consequential addition to the WHY? catalog, possibly even an artistic turning point. But its creator remains circumspect when asked to comment on the album’s significance within his discography, instead preferring to characterize the work as the latest iteration of his deep commitment to his artistic practice. “I have no idea if this record is good or not,” Yoni says. “But I never really know. I know that I’ve never written a song that’s indispensable to the American songbook. But in terms of what it is, it’s a piece of art. I put blood, sweat, and tears into this album, and struggled through the creative process as I always do. As far as where this sits with the rest of my albums? I can’t answer that. I just know that my career is a lifelong career, and I’m working it. Every time it feels right, it makes me feel good.”

 

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