A former member of defunct K-Pop mega-group G.O.D., Son Ho Young (born March 26, 1980) released his first solo album, Yes, in 2006. He quickly followed up the release of his 9 track debut with a repackaged version later that year, which included a new recording and a bonus CD with music videos.

 Son Ho Young

Some artists bond over shared ambitions; $uicideboy$ promised each other they’d kill themselves if they couldn’t make it work. Formed in 2014 by New Orleanian cousins Aristos Petrou (Ruby da Cherry) and Scott Arceneaux ($crim), the group mix the grindhouse trap of early Three 6 Mafia with the anthemic release of 2010s emo-rap: Feel-good music for people who feel real, real bad (and kinda like it). Morbid as it is, the material can also be funny, albeit in an irony-poisoned kind of way: In one memorable line from “Mount Sinai,” Ruby describes being next in line for heaven and disqualifying himself by drinking insecticide; in another, from “Paris,” he raps, “Ruby was a motherf**king reject/Then I cut my wrists, and now I motherf**king bleed checks.” Petrou and Arceneaux have described the project as therapy and treat it as such, self-releasing music at an almost continuous clip and developing a cultlike fan base along the way.

$uicideboy$

With early co-signs from Skream and Rusko, a feature on Diplo's 'Blow Your Head' compilation, and the launch of a bubbling new SMOG event series in LA, John Dadzie, professionally known as 12th Planet, quickly became known as one of the first ambassadors of dubstep in the US.

As the sound began to spread, he helped navigate its uncharted territories with tracks like the breakout "68" single, released on his newly launched SMOG label, and collaborations alongside Skrillex and Kill the Noise ("Burst", followed by the Grammy winning "Right on Time").

In the following years, 12th Planet became a household name within the global dance music circuit with official releases on Interscope, Mad Decent, Monstercat, and OWSLA, as well as support on Skrillex's Mothership Tours, and stops at major festivals like Coachella, Lollapalooza, EDC, HARD, and Ultra.

Now, following the 10 Year Anniversary of his seminal label, SMOG, a stretch of his own headlining dates, his recent exclusive signing to Disciple and the launch of his new riddim focused dubstep label, Disciple Round Table, 12th Planet has been releasing a heavy arsenal of sounds and visuals igniting stages and headphones worldwide.

12th Planet

2 Chainz is the stage name of Atlanta rapper Tauheed Epps, once known as Tity Boi in the Atlanta-based Playaz Circle. Epps launched a successful solo career in 2010, and began issuing a parade of Top 40 hits while becoming a go-to artist for guest verses. His breakout year was 2012, when he landed on Kanye West's "Mercy" and Nicki Minaj's "Beez in the Trap" before dropping his official debut, Based on a T.R.U. Story, for Def Jam. With three platinum hits -- "No Lie" featuring Drake, "Birthday Song" featuring Kanye West, and "I'm Different" -- the album hit number one on the Billboard 200, and easily reached platinum status.

2 Chainz

24KGoldn is a rapper, singer, arranger and former USC student from San Francisco, California boasting hits such as “Valentino” and “City of Angels”. His debut EP, “Dropped Outta College” is out now on RECORDS CO/COLUMBIA RECORDS.

24kGoldn

Young Croatian cellists Luka Sulic and Stjepan Hauser, together known as 2CELLOS, continue to soar worldwide as music’s most electric and dynamic instrumental duo, taking the cello to unimagined heights with their incredible talent and undeniable passion. Their playing style breaks down the boundaries between different genres of music, from classical and film music to pop and rock. 2CELLOS have no limits when it comes to performing live – equally as impressive playing Bach and Vivaldi as they are rocking out to AC/DC and Iron Maiden.

2Cellos

Canadian sextet Three Inches of Blood hails from Vancouver and features Cam Pipes (clean vocals), Jamie Hooper (shrieked vocals), Sunny Dhak (lead guitar), Bobby Froese (rhythm guitar), Rich Trawick (bass) and Geoff Trawick (drums). A throwback to heavy metal's youthful 1980s heyday, the band's music consists of Iron Maiden-like galloping riffs and solos speeded up to thrash metal tempos, topped with Dungeons & Dragons-styled lyrics and titles such as "Destroy the Orcs" and "Ride Darkhorse, Ride." Their debut five-song EP of 2000 quickly sold out in the band's stomping grounds, and led to the following year's full-length, Battlecry Under a Winter Sun, which was initially only given a very limited Canadian release.

3 inches of Blood

3Oh!3 are a duo from Boulder, Colorado (i.e., area code 303), whose style of music includes jokey raps, indie electronica beats, and lots of tomfoolery. Founded in 2004, the duo is comprised of Sean Foreman and Nathaniel Motte, who met while attending the University of Colorado. 3OH!3 made their recording debut in 2007 with a self-titled, independently released album. 

3OH3!

In a few short years, 5 Seconds of Summer evolved from a charming pop-punk band to one of the more formidable forces in rock and pop. Formed in Sydney, Australia, by college friends Luke Hemmings, Michael Clifford, Calum Hood, and Ashton Irwin, 5SOS first got a foothold in 2011 with a series of acoustic covers posted to YouTube—a path that helped them build their ravenous fan base from the ground up.

5 Seconds Of Summer

A seminal group in Canada's alt-rock history, Vancouver quartet 54-40 rose from 1980s college rock heroes to national acclaim and chart success with landmark albums like 1987's Show Me and 1994's Smilin' Buddha Cabaret, which produced hit singles like "Nice to Luv You" and "Ocean Pearl." While their early mix of jangling folk-rock and post-punk earned comparisons to R.E.M., later records featured a harder, electric-driven sound that resulted in a series of consecutive platinum releases. Led by singer, guitarist, and chief songwriter, Neil Osborne, 54-40's reputation for quality and consistency carried into the new millennium with albums like 2005's Yes to Everything and 2011's Lost in the City, while collections like 2016's all-acoustic La Difference: A History Unplugged saw them continuing to experiment with parts of their back catalog.

54-40

Dazed slow jams are the primary mode of Atlanta-based contemporary R&B/rap artist Ricardo Valentine, a singer-slash-MC who goes by the name 6LACK ("black"). Prior to connecting with LVRN (Love Renaissance), the creative agency that has supported fellow Georgia native Raury, Valentine was signed to a label that he felt restricted his creativity. After a few years of being held back, he made significant gains -- across 2015 and 2016 -- with contributions to the Spillage Village compilation Bears Like This Too, as well as singles such as "Bless Me" and "Loyal." Once 6LACK was linked with Interscope, "Prblms" was officially released in September 2016 as his first major-label-affiliated track. The following month, it entered Billboard's Twitter Emerging Artists chart at number five. That single set up the release of FREE 6LACK, his debut album, which arrived in November of that year. The effort peaked in the Billboard Top 40 and climbed to number five on the rap chart.

6LACK

Toronto-based MCs Derek Wise and 88 Camino record smooth, sensuous trap/R&B bangers as 88GLAM. The duo's songs typically feature mellow, icy synths and hard-hitting beats along with Auto-Tune-heavy lyrics about subjects such as drugs, cars, jewelry, and failed relationships. Both members were part of the Get Home Safe crew along with Jazz Cartier, and have released solo material. The duo debuted in 2017 with their self-titled full-length, which included the single "Bali," featuring NAV. 88GLAM debuted in the Top 100 on the Canadian charts. A year later, they returned with a sequel, 88GLAM2, which landed the pair at number 32. The album included "Racks" with Gunna and "It's a Flex" with returning collaborator NAV.

88Glam

A wholesome R&B-inspired pop group who scored six Top 20 hits during their 1997-2000 commercial peak, 98° were formed by brothers Nick and Drew Lachey, Jeff Timmons, and Justin Jeffre. All four singers are originally from Ohio. Timmons was trying to make it on the West Coast in the music industry, so he called Jeffre and Nick Lachey, both former classmates at the Cincinnati School for Creative and Performing Artists, and formed 98°. Drew Lachey soon joined as well. The quartet worked odd jobs to finance talent show appearances. After they attracted attention by trying to crash the backstage area of a show headlined by Boyz II Men -- one of the group's primary inspirations -- they were offered a chance to sing on a local radio station. From that appearance, the group met Montell Jordan co-manager Paris d'Jon, who arranged demos and helped them sign to Motown. The quartet's debut single, the ballad "Invisible Man," was released in June 1997, eventually hit number 12 on the Billboard Hot 100, and was certified gold.

98 Degrees

In an interview with Apple Music around the release of his 2020 album, Artist 2.0, the Bronx-born rapper A Boogie wit the Hoodie described the liberation of changing things up. He’d been playing the guitar—no lessons, just wanted to see what came out. Every time he felt like he might be settling into a lane—something street, something melodic, something trap, something more classic—he challenged himself to find another wave. After all, isn’t that what hip-hop was about? That dynamic, that living culture? “It gets crazy when you experiment on your sound,” he says. “That’s when it gets interesting. And that’s why I was like, damn, people should really try this shit and have fun with their art. It’s not even music at the end of the day—it’s art, because people visualize in their head when they’re listening to it.”

A Boogie Wit Da Hoodie

Join key alumni musicians of David Bowie’s bands from across the decades for an unforgettable and critically acclaimed evening of Bowie’s songs.

A Bowie Celebration

"Over the course of the past several years, each of A Day To Remember’s releases have hit No. 1 on Billboard’s Rock, Indie and/or Alternative Charts. They’ve also sold more than a million units, racked up over 400 million Spotify streams and 500 million YouTube views, garnered two gold-selling albums and singles (and one silver album in the UK) and sold out entire continental tours (including their own curated Self Help Festival), amassing a global fanbase whose members number in the millions. All of which explains why Rolling Stone called them “An Artist You Need To Know.” In other words, their creative process has worked and worked well."

A Day to Remember

A Lot Like Birds

Bursting forth from Canada’s capital, native Producer and DJ crew A Tribe Called Red is making an impact on the global electronic scene with a truly unique sound.
If you’re an indigenous person living in a country that was forcefully colonized, it’s all too common to find yourself underrepresented and misrepresented if not blatantly and systematically devalued and attacked. Positive role models and a positive self-identity are hard to come by, yet the Canadian DJ collective A Tribe Called Red is a modern gateway into urban and contemporary indigenous culture and experience, celebrating all its layers and complexity.

Looking to the future, without losing sight of their past, ATCR straddles a broad range of musical influences based in modern hip-hop, traditional pow wow drums and vocals, blended with edgy electronic music production styles. Currently made up of Bear Witness and 2oolman, ATCR first got together in 2008. They are part of a vital new generation of artists making a cultural and social impact in Canada alongside a renewed Aboriginal rights movement called Idle No More.

ATCR’s beginnings will always be rooted in the uplifting and inclusive Electric Pow Wow nights formerly held on the second Saturday of every month at Ottawa’s Club Babylon. During the parties, formed an eclectic a crowd of indigenous people (which includes First Nations people, Métis, Inuit, and 631 other nations) mixed with music heads, social activists and anyone looking for a great party and a safe space to come together. Electric Pow Wow formed the roots of what would become the DNA of the live ATCR experience that has now toured the world over.

Through the group’s positivity and tireless work ethic their message has expanded to global proportions with tours in Australia, Europe, Mexico and the United States.

It’s no accident that Native American activist, poet and musician John Trudell is the first voice you hear on the collective’s third album, We Are The Halluci Nation, as the group considers him a forefather for this movement. The album includes a number of other connections as well, ranging from hip-hop star Yasiin Bey (AKA Mos Def) or Saul Williams to Colombian visual artist and musician Lido Pimienta to native musicians Black Bear, Tanya Tagaq to the Australian aboriginal band OKA or the Swedish-Sami singer Maxida Marak.

The crew has performed high profile festival dates at Coachella, Bonnaroo, AfroPunk, Osheaga, and New Orleans Jazz Fest to list a few. In 2014, they garnered mainstream recognition when the band became the first Indigenous group to win the Breakthrough Group of the Year award at the Juno Awards (Canada’s Grammys). ATCR was also long-listed for Canada’s prestigious Polaris Music Prize in 2012 and 2013 and its debut album was included in the Washington Post’s top 10 albums of that same year.

A Tribe Called Red promotes inclusivity, empathy and acceptance amongst all races and genders in the name of social justice. They believe that indigenous people need to define their identity on their own terms. If you share this vision, then you are already part of the Halluci Nation.

“We are the Halluci Nation.”

A Tribe Called Red

Post-hardcore quintet A Wilhelm Scream formed in New Bedford, MA, in the mid-'90s. Playing gritty punk rock in the same vein as Hot Water Music and Propagandhi, the group has since toured all over the country with the likes of Rise Against, Pennywise, the Lawrence Arms, Less Than Jake, and Strung Out. Originally called Smackin' Isaiah, the group released The Way to a Girl's Heart Is Through Her Boyfriend's Stomach on All About Records in 2001 and The Champagne of Bands...We Know Sexy EP on Fork in Hand in 2002. They changed their name to A Wilhelm Scream in December 2002. The Benefits of Thinking Out Loud, originally issued by Tank Records in 2002, was re-released by Jump Start two years later. Finally settling down with one label, 2004 saw their debut Nitro release, Mute Print, surface.

A Wilhelm Scream

A founding member of Harlem's A$AP Mob, A$AP Ferg was initially the group's main clothing designer, but after teaming with Mob member A$AP Rocky, he became one of the crew's breakout rappers. His approach to rap was innovative and risky from the beginning, with interesting production choices and unusual vocal delivery defining his solo releases. Ferg channeled his uniqueness into success, hitting the Top Ten charts with proper studio albums Trap Lord (2013) and Always Strive and Prosper (2016), and making a decent chart showing with mixtapes like 2020's Floor Seats II.

A$AP Ferg

Championed by fellow rapper Drake and The Fader magazine before he released his first full-length project, self-proclaimed hood outcast A$AP Rocky became one of the biggest breakout stars of the 2010s. When the decade was over, the rapper had a pair of number one albums with Long.Live.A$AP (2013) and At.Long.Last.A$AP (2015), and a Top Ten entry with third LP Testing (2018). These full-lengths were promoted with some of the most popular songs of the era, most notably the Grammy-nominated Top Ten pop hit "Fuckin' Problems," plus seven additional singles that went either platinum or multi-platinum.

A$AP Rocky

The Yemenite-Israeli sister trio Tair, Liron, and Tagel Haim, also known as A-WA, took the world by storm singing in the Yemenite-Arabic dialect while mixing electronic dance music, hip-hop beats with folkloric and original melodies. Growing up in the remote village of Shaharut (in the Arava valley of Israel) gave way for a unique childhood with the barren desert landscape providing a blank canvas of sorts for boundless creativity.

A-Wa

A South Korean boy group initiated by Beat Interactive, A.C.E emerged in 2017 with a sound that infused the soulful and effusive dance-pop of BTS with elements of hardstyle and rock.

A.C.E

Northern California hardcore punk revivalists AFI formed in 1991 when the band's four founding members -- vocalist Davey Havok, guitarist Markus Stopholese, bassist Vic Chalker, and drummer Adam Carson -- were attending high school in Ukiah. Chalker was replaced by Geoff Kresge after eight months, and the band played several local gigs and released a split 7", Dork, with fellow Ukiah natives Loose Change (a band that incidentally included future AFI member Jade Puget). An EP titled Behind the Times was released as well. The bandmembers then split up to attend different colleges, with Kresge temporarily moving to New Jersey to join Blanks 77. However, AFI reconvened during a holiday break to play a one-off reunion show, and audience response was so positive that the bandmembers decided to quit school and concentrate on music full-time.

The Avant-garde Club is a genre-less music group that consists of Baby Boy, Loui, Mick Anthony, & Jody Fontaine.

AG Club

Comprising core members Sean Bonnette (acoustic guitar) and Ben Gallaty (upright bass), AJJ is a folk-punk outfit from Phoenix, Arizona. They formed as Andrew Jackson Jihad in 2004, when frontman Bonnette was still a teenager, and the duo quickly began writing humorously explicit music with macabre themes. Early topics ran the gamut from self-sacrifice to childhood drug addiction, all sung in a frantic manner with acoustic instrumentation. Their self-released debut, Candy Cigarettes & Cap Guns, appeared in 2005, after which a number of self-released demos and EPs attracted the attention of Plan-It-X Records. The label issued a split release with Andrew Jackson Jihad and the similarly styled Ghost Mice in 2007.

AJR—the brother trio of Adam, Jack and Ryan Met—started out playing the streets of their New York City home in 2005 when Jack, the youngest, was only eight. Soon enough, the busking money was spent filling their family’s apartment with the instruments and recording equipment that would pave their way to a full-time music career. AJR’s first break came in 2012 when their single “I’m Ready” caught the eye of Sia, leading to a deal that spawned their 2015 major-label debut, Living Room. It proved that the multi-instrumentalists love big beats, harmonies, and choruses in the style of the Jonas siblings, Fun., and a bit of Broadway flair. They grew both bolder and more vulnerable on 2017’s The Click with “Weak,” a confessional shout-along about succumbing to temptation, the Rivers Cuomo-assisted “Sober Up,” and the triumphant “Burn the House Down,” which became an anthem for the gun violence movement March for Our Lives.

Arca is an experimental project by Alejandra Ghersi, a Venezuelan electronic producer, mixing engineer, performance artist, painter and DJ. Arca embraces fluidity, and changing between states, whether it be gender, genre or personality. In a 2020 interview, she says “We all have multiple personalities. Rather than causing panic, I think maybe that could cause some relief,” she says. “There was a clear intention to allow every self to express itself. Not to decide how much air time each self would get, but to allow for modulation between them in a spontaneous way. There is no such thing as normal.” In Mutability and ambivalence guide the sound of her music — the atmospheres they create often contain abrasive percussive blasts, metal-shop whine, the screech of subway brakes, the whine of jet engines overheating. Anthropomorphic and animalistic sounds abound —mewling cats, mooing cows, anguished screams, the grunts and groans of orgasm, commingling pleasure and terror and beauty and ugliness in the most thrilling ways possible.

ARCA

With their second album ‘Excess’, Automatic — Izzy Glaudini (synths, lead vocals), Lola Dompé (drums, vocals) and Halle Saxon-Gaines (bass) — synthesizes a new strain of retrofuturist motorik pop.

It’s often said yesterday’s science fiction reads like today’s grim reality. On their new album ‘Excess,’ Automatic channel both. The LA trio’s second album for Stones Throw rides the imaginary edge where the ‘70s underground met the corporate culture of the ‘80s; or, as the band puts it, “That fleeting moment when what was once cool quickly turned and became mainstream all for the sake of consumerism.”

Using this point in time as a lens through which to view the present, Automatic takes aim at corporate culture and extravagance, weaving deadpan critiques into cold wave hooks. The album’s overarching themes of alienation and escapism emerged as Automatic wrote ‘Excess’ together, fleshing out songs before decamping to the studio for sprint recording sessions with producer Joo Joo Ashworth (Sasami, FROTH).

On “New Beginning”, they reject the false hope of leaving behind a scorched planet in search of “a better place”, at a moment when the ultra-rich are eyeing manned space travel: “In the service of desire / We will travel far away”. Imagining the “nihilism and loneliness” of attempting to escape the planet once unchecked consumerism has reached its logical conclusion, the song pictures being “stranded in a space-void with no connection to Earth or humanity.”

The band wanted to do away with the tape hiss and raw edges of their 2019 debut ‘Signal’ in favor of more detailed drums and teething low-end synthesizers; brasher sounds for a brasher time. The theme of “I’m On the Edge” – the precarity of the art life – is mirrored in Lola’’s twitchy drumming and Izzy’s erratic synths. “Venus Hour” is “about whatever it is inside you that makes you want to do that thing that isn’t logical, or safe.” The song grapples with the double-edged sword of desire – the fine line between insatiability and addiction. Izzy originally wrote “Venus Hour” as an ode to “psycho-feminine energy”. The final version moves with the verve of Blondie and classic DEVO, an undercurrent of anxiety crackling beneath a très cool veneer.

The rest of the tracks on the album were born of extended jam sessions. Halle notes that ‘Excess’ didn’t come as easily as their debut, and that finishing it took resilience and encouragement from all three members, feeding into each other’s ideas and trying new techniques in the studio. One such track, “Teen Beat”, is named for a preset on Halle’s old-school analog drum machine. It bristles with youthful, near-manic energy, with lyrics about the inevitable climate crisis: “Your feet in the water / The fear coming for you.”

“To us, the name came to be about Gen Z inheriting the world at the eleventh hour, before they’re even old enough to drink,” says Halle. “Before we landed on ‘Teen Beat,’ we affectionately called it ‘Madness’ — the madness you feel with the state of polarization today.”

Automatic imagines a Patrick Bateman type in “Skyscraper” — the kind of sociopath who excels in C-suites and complains about affordable housing going up in his neighborhood. “It’s spending your life making money and then spending it to fill the void created by said job,” says Halle. “Kind of like going to LA to live your dreams,” says Lola. “NRG,” written in a cathartic fritz after listening to Crass and named in honor of disco pioneer Patrick Cowley, grapples with “the unknowingness that comes with testing boundaries and exploring one’s own values while finding your place in the world as an individual,” says Lola. On “NRG”, the trio grapples with their own position — as a band, as a “brand,” as women in the music industry, and how their relationship to their own labor has changed as they chart a course forward into uncharted territory. After all, they’ve got to keep going, and so do you.

But Excess’ final message is one of solidarity, rather than despair. “I can’t stand to hear you talk this way / Like every new beginning ends the same,” opens “Turn Away,” the last song of the album, hearkening back to the visions of failed space excursions. It’s “meant to feel like an arm over your shoulder in a loving gesture.” Instead of succumbing to fatalism, Automatic chooses hope: “There’s a light in the dark / Feel the world open up.” “We want people to feel empowered to do what they can to save the world, to reject any complacency of watching the world burn,” Halle says.

‘Excess’ is a definitive arrival moment for Automatic, who meld the blissful bounce of Tom Tom Club with the techno-futurist inclinations of Kraftwerk, and deliver it all with the listlessness of modern young adulthood. Even the mirrored bodice on the cover reflects the current day: distorted and chaotic with a sleek sheen. As Izzy says, “The record is about what happens to our psyches when we’re conditioned to certain values — the consequences of those values, and the desire to resist them.” Automatic captures the tense energy of our current moment, where questions are plentiful, but answers are scarce.

AUTOMATIC

Crafting pop anthems with a much-needed dose of fiery female empowerment, Ava Max is a
unique new talent, blessed with a seismic voice, an individualistic high fashion mindset, and an
undeniable knack for cinematic, theatrical popcraft. The daughter of Albanian immigrants, Max
was born in Wisconsin but raised in Virginia where she began blowing away audiences long
before even entering high school. Determined from a young age to grace the stage and
equipped with a vibrant voice passed down by her opera singer mother, Max honed her skills
performing at multiple singing competitions. Inspired by her parents’ courageous escape from
the political turmoil that plagued their home country; she eventually made the move to Los
Angeles to pursue her calling.

AVA MAX

The heavy metal-n’-roll dark madcap visionaries collectively known as AVATAR didn’t pick their moniker by accident. An “avatar” is defined as either a manifestation of a deity in bodily form or an icon representing a separate being in another realm. Both meanings perfectly describe the Swedish rock sensations, as they’ve built something larger than life.

Ambitious sorcerers of the highest order, AVATAR smash the boundaries between band, theater troupe, and cinematic masterminds, with a series of celebrated albums and videos, and the immersive world of Avatar Country, a fantastical land where metal rules supreme.

The AVATAR cultural infiltration encompasses both commercial rock radio and streaming services, where songs like “The Eagle Has Landed,” “Hail the Apocalypse,” and “Let it Burn” have amassed more than 100 million streams, as new “citizens” enter into their “kingdom.”

Avatar - Wicked Tour Title

<p>Doors 7:00PM Show 8:00PM</p>
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<div class="is-flex flex-wrap gs-mb-2 gs-justify-center">
<div class="col-12 gs-text-center gs-is-live-text">The heavy metal-n&rsquo;-roll dark madcap visionaries collectively known as AVATAR didn&rsquo;t pick their moniker by accident. An &ldquo;avatar&rdquo; is defined as either a manifestation of a deity in bodily form or an icon representing a separate being in another realm. Both meanings perfectly describe the Swedish rock sensations, as they&rsquo;ve built something larger than life. Ambitious sorcerers of the highest order, AVATAR smash the boundaries between band, theater troupe, and cinematic masterminds, with a series of celebrated albums and videos, and the immersive world of Avatar Country, a fantastical land where metal rules supreme. The AVATAR cultural infiltration encompasses both commercial rock radio and streaming services, where songs like &ldquo;The Eagle Has Landed,&rdquo; &ldquo;Hail the Apocalypse,&rdquo; and &ldquo;Let it Burn&rdquo; have amassed more than 100 million streams, as new &ldquo;citizens&rdquo; enter into their &ldquo;kingdom.&rdquo;</div>
<div class="col-12 gs-text-center gs-is-live-text">&nbsp;</div>
<div class="col-12 gs-text-center gs-is-live-text">&nbsp;</div>
</div>

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MRG Live Presents: Avatar - Wicked Tour Title

Vogue Theatre

AVATAR

Abdullah Ibrahim, South Africa’s most distinguished pianist and a world-respected master musician, was born in 1934 in Cape Town and baptized Adolph Johannes Brand. His early musical memories were of traditional African Khoi-san songs and the Christian hymns, gospel tunes and spirituals that he heard from his grandmother, who was pianist for the local African Methodist Episcopalian church, and his mother, who led the choir. The Cape Town of his childhood was a melting-pot of cultural influences, and the young Dollar Brand, as he became known, was exposed to American jazz, township jive, CapeMalay music, as well as to classical music. Out of this blend of the secular and the religious, the traditional and the modern, developed the distinctive style, harmonies and musical vocabulary that are inimitably his own.

Abdullah Ibrahim

If American old-time music is about taking earlier, simpler ways of life and music-making as one’s model, Abigail Washburn has proven herself to be a bracing revelation to that tradition. She — a singing, songwriting, Illinois-born, Nashville-based clawhammer banjo player — is every bit as interested in the present and the future as she is in the past, and every bit as attuned to the global as she is to the local. Abigail pairs venerable folk elements with far-flung sounds, and the results feel both strangely familiar and unlike anything anybody’s ever heard before.

Abigail Washburn

Acid Dad is an American alternative-rock band that has been active since 2014. Composed of singer-guitarists, Vaughn Hunt and Sean Fahey, and drummer, Trevor Mustoe, the band is known for their breakthrough songs "Don't Get Taken" and "Brain Body".

Acid Dad

“Heavyweight primate with a Harvard mind/Blunts filled with the citrus mixed with orange lime.” And with that, the world was introduced to Action Bronson: the Queens-bred rapper, son of an American Jewish mother and an Albanian Muslim father, and man of infinite appetites who slipped on a wet floor while working as a cook, broke his leg, and decided to focus on writing rhymes instead. Within the first few minutes of his debut, 2011’s Dr. Lecter, Bronson (born Ariyan Arslani in 1983) established himself as absurdly larger than life, somersaulting out of helicopters, daydreaming about subway trains with hot tubs, eating food you’d never heard of in amounts you couldn’t imagine—or, as he put it on “Ronnie Coleman,” “Life is a smorgasbord to me, and I’ma overdo it.” If some rappers fashioned themselves after gangsters and movie villains, Bronson was an X-rated cartoon character or a pro wrestler—a volcano-like exaggeration of ego. In his lyrics, a simple image could be flipped into something decadent and surreal, at once super-specific—“I’m butt naked with the Uzi on Broadway/My haircut is like Dominican folk art” (on “Irish Freestyle”)—and intoxicating to imagine.

Action Bronson

The primary alias of Darren Cunningham, Actress has been credited with some of the least predictable, least classifiable electronic music of the 2010s. Since debuting modestly in 2004 with the six-track No Tricks, Cunningham has juggled a diverse array of inspirations, including early-'80s funk and electro, art rock, raw and classicist house, and noise, while putting a fresh spin on the forms to decayed, disorienting effect. His productions, once self-termed "R&B concrète," have consequently dumbfounded some DJs while they've been devoured by others within the realms of house, techno, and dubstep. Cunningham has been one of the most acclaimed experimentalists of the 2010s, exemplified with frequent placement in Wire magazine's annual Top 50, beginning with Splazsh, which topped the 2010 chart, and continuing through AZD in 2017.

Actress

One of the seminal figures of new wave, Adam Ant (born Stuart Leslie Goddard) had several distinct phases to his career. Initially, he explored a jagged, guitar-oriented post-punk with his group Adam and the Ants before giving way to a more pop-oriented, glam-tinged musical direction that brought him to the top of the charts. After that had run its course, he refashioned himself as a mainstream singer, which enabled him to stretch his career out for a couple of years. Once it seemed that his musical career had evaporated, he made an unexpected comeback in the early '90s as an adult alternative artist. During all this time, he recorded several great pop singles and had a surprisingly large impact on alternative rock.

Adam Ant

Adam Fink is a professional musician from Vancouver, Canada. He's recorded, toured and performed with such acts as ACTORS, Art d'Ecco, Blue J, Jody Glenham and The Dreamers, Gang Signs, Louise Burns, HUMANS, Pepper Sands, Blank Cinema and many more.

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