This event is 13+ (Ages 5-12 must be accompanied by a parent/legal guardian. Children 4 and under not admitted.)
Please Note: There is a delivery delay in place on tickets through 06/13/22. No tickets will be sent out prior to 06/13/22.
Based on the latest local guidelines, attendees are no longer required to provide proof of negative COVID-19 test AND/OR vaccination for entry into this event. Be sure to check your venue website for the latest updates and guidelines as entry requirements are subject to change.
To reduce staff contact with guest belongings, we have implemented the following bag policy: we will allow clear plastic, vinyl or PVC tote bags no larger than 12in. x 6in. x 12in. and/or small clutch bags (4.5in.x 6.5in.).
You can’t fake something like Nothing More. Since the band’s inception, they have cultivated a rapturous fanbase the old-fashioned way: By releasing groundbreaking music, tirelessly touring and cultivating a relationship with their fans that transcends trends. Correspondingly, the band’s latest full-length The Stories We Tell Ourselves sees frontman Jonny Hawkins once again bearing the soul of Nothing More as his bandmates Mark Vollelunga (guitar), Daniel Oliver (bass) and Ben Anderson (drums) craft a sonic palette comprised of elements ranging from progressive metal to pop. Ultimately the album isn't just about the band's stories, it's also about the listener's personal narrative.
“Many times there is a disconnect between the stories we tell ourselves about reality and reality itself. That disconnect is a void where suffering and self-frustration often enter our lives.” Hawkins explains. “The Stories We Tell Ourselves is an introspective journey from the first song to the last. Making this album helped me stay tethered to reality as I navigated through challenges in my personal life. I believe it will do the same for others. The title alone was a constant reminder to stay grounded when extreme waves of anxiety, depression, and sadness would try and sweep me into fruitless thought patterns and self-destructive, tail-chasing. For Nothing More, music has always been the source from which we find a positive way to move through challenging emotions… this record is no exception.” Furthermore, the album will be relatable to anyone who needs to look deep inside of themselves and find the strength to carry on in the face of adversity.
The songs on The Stories We Tell Ourselves were written early last year and recorded primarily on the road and in personal studios as production duties were often handled by Hawkins and the band themselves. “We are all very hands-on with the recording, so we decided that making this record on the road, when we were creatively thriving, would be ideal” Vollelunga says. While Hawkins previously wrote and performed most of the band’s drum parts, this is the first album to feature Anderson who joined the band in 2015. “Ben is an incredible drummer and gelled with our musical vision immediately,” Oliver explains. “His talents also freed Jonny up to focus more on the production and melodies and I think that made this album come together in a really fluid way.”
From the relentless groove of “Don’t Stop” to the emotive, anthemic bent of the Pixies-esque “Still In Love,” The Stories We Tell Ourselves proves that confessionals have never been so catchy—and songs like “Let ‘em Burn” seamlessly alternate between aggression and anthemic pop. “‘Just Say When’ is probably the most sentimental song we’ve ever written and it came at a time when I had these overwhelming feelings of frustration about a past failed relationship. I needed an outlet to get it all out,” Hawkins explains. It has been said that the polar emotion to sadness is anger. This is most certainly true as all sentimentality transforms from “Just Say When” into a furious blaze during “Go To War,” which sees Hawkins showcasing his dynamic vocal range over a mix of electronic and organic instrumentation. “Whenever this band has difficult emotions, we turn them into something positive through music. That alchemy is the biggest reason we continue to do what we do,” he says of the cathartic process.
Lyrically the band was further informed by everything from the writings of Carl Jung and C.S. Lewis to the potent psychedelic DMT, the latter of which helped open Hawkins' mind to new ways of understanding himself and the world around him. “‘Funny Little Creatures' is about waking up to the fact that there are these creatures that you have within yourself and that there's often a lot more going on in our subconscious than we consider.” These ideas are mirrored in the artwork which ties directly into the central themes behind The Stories We Tell Ourselves. However, while the content may be heady, the album also features more pop elements than any of the band’s previous albums. Such is the case with the aforementioned “Don’t Stop” which sees the band writing massive hooks that stretch toward the stratosphere. “I think ‘Don’t Stop’ is totally genre-bending for us; we find inspiration in so many different kinds of music and felt it was important to not make rules about what we could or couldn’t do with this record,” says Hawkins. “This album definitely goes to a lot of places that we’ve never been before and I’m really proud of that,” adds Vollelunga.
Then there are the band's live shows which have become legendary for the kinetic energy they share onstage. “We come from a perspective that the live show should be a totally different type of experience than what you hear on the record and we try to show that in every performance,” says Hawkins. It’s clear that this is a band that can't wait to share The Stories We Tell Ourselves, with their fans across the globe.
Ultimately, The Stories We Tell Ourselves proves to all of us that even if our stories don’t always have a happy ending there’s a beauty in their very existence. Even during the album’s darkest moments — Hawkins literally sings about being stuck in a hole on “Still In Love” — there’s a hopefulness that permeates each of these songs that will inevitably resonate with new listeners while making the deep bond that Nothing More has with their fans even deeper.
Everyone leaves a legacy behind. No matter how big or small, our words and actions echo forever and make a lasting imprint.
Two decades since their 1999 formation in Southern California, that truth weighed heavy on the members of gold-selling metal mavericks Atreyu—Alex Varkatzas [vocals], Brandon Saller [drums/vocals], “BIG” Dan Jacobs [guitar], Travis Miguel [guitar], and Porter McKnight [bass].
Of course, their musical legacy speaks for itself. 2002’s Suicide Notes and Butterfly Kisses established them as an influential force, while 2004 follow-up The Curse sold 450,000-plus copies as the group rose to global renown. A Deathgrip on Yesterday and 2007’s Lead Sails Paper Anchor both bowed in the Top 10 of the Billboard Top 200 with the latter garnering a gold certification from the RIAA—a highly rare accomplishment for a 21st century rock band.
Following a hiatus post-Congregation of the Damned in 2009, the musicians returned firing on all cylinders with Long Live during 2015. It crashed the Top 30 of the Billboard Top 200 and earned widespread acclaim from Revolver, Loudwire, AXS, and Kerrang! who dubbed it “a hell of a return.” Along the way, the boys sold out countless headline shows in addition to sharing the stage with everyone from Slipknot and Linkin Park to Chris Cornell and Avenged Sevenfold.
As they commenced writing for their seventh full-length, In Our Wake [Spinefarm], the band posed an important question…
“What are you going to leave behind?”, asks Brandon. “We named the album In Our Wake, because a lot of the concepts address this question. There are lyrics about dealing with your own personal demons and darkness. Some of it is about our children, which his who we live directly in our wake. Others are about the general public and the outpouring of hate and fear—especially in our country. We created something of a concept record without even trying.”
“Everything we do causes a ripple or a wake,” adds Alex. “It can be positive and good, or it can be fucked up and horrible. However, we are the masters of our own destiny. We want to leave something good behind.”
Following a two-year tour cycle for Long Live, Atreyu regrouped in Southern California and started sharing ideas for what would become offering number seven. Ceremoniously, they all agreed it would be the right time to reunite with producer John Feldmann who famously helmed Lead Sails and Paper Anchor.
“Long Live was really heavy and reminiscent of our early material,” continues Brandon. “While we were on the road, fans kept asking to hear more from Lead Sails and Paper Anchor. It made us revisit that era of the band. It was a fun, experimental, and explorative time for us, which is so fun. We wanted to give ourselves and the landscape of heavy music a jolt, so we reached out to Feldmann.”
The band recorded in two chunks bookended by Brandon’s touring obligations for Hell Or Highwater. Working out of Feldmann’s Los Angeles studio, they embraced this new approach as the producer still made them “wonderfully uncomfortable and willing to push harder,” according to Alex.
“Every song with the exception of two was fully written in the studio,” says Brandon. “We’d split off into groups and crank out two ideas per day. We’d never written a fresh idea from scratch every day. Spontaneity makes things flow so much better though. We also never spread an album out like this either. We laid the foundation with five recordings, sat with them, and finished with a better picture of where we wanted to go.”
As a result, the record sees Atreyu once again evolve. The first single and title track “In Our Wake” hinges on a slow burning, but bombastic percussive buildup before charging ahead with an undeniable chant and fiery fretwork.
“It’s a deep one,” admits Alex. “We looked up to Chris Cornell and Chester Bennington, and their deaths were fresh during the writing process. It made us think of what we’ll leave in our wake. We have a choice to change the lives of others for the better.”
A ticking clock gives way to a stadium-size chant on follow-up single “The Time Is Now.” It seesaws between a robust beat and scorching call-and-response by Alex and Brandon as they carry the carpe diem chorus.
“It’s all about just grabbing life by the balls, picking yourself up by your bootstraps, and realizing you only have one shot at this,” Brandon goes on. “That was very reminiscent and reflective of this album. In our heads, there’s no time to fuck around or just do what we’ve always done. We have to really fucking go for it. Tomorrow isn’t promised, so we went for it.”
Meanwhile, “Terrified” swings from a hypnotic refrain into an acoustic bridge, illuminating the diversity at the heart of In Our Wake. Closer “Super Hero” [feat. M. Shadows of Avenged Sevenfold & Aaron Gillespie of Underoath] conjures visions of “Atreyu meets Queen meets Disneyland meets E.L.O.” with its cinematic orchestration, horns, flutes, and grandiose production.
“It’s about being your kid’s superhero, so we invited other singers who are fathers to join us,” Brandon explains. “Everyone wrote his own respective part and gave perspective on what fatherhood meant to him. I wanted it to feel like the music from the Soaring Over California ride at Disney’s California Adventure park. It ends on such a huge note and offers a breath of fresh air.”
In the end, In Our Wake doesn’t just reaffirm Atreyu’s legacy, it expands it like never before.
“We want to give listeners an experience,” Alex concludes. “Every track functions as its own moment. There’s something that you can hopefully come back and listen to again and again.”
“I feel like this is the record that people will remember our band by,” Brandon states. “I’m saying that because the best parts of Atreyu happened on it. We’re continuing something we began a long time ago. This band means everything to me. We’ve been through incredible highs and incredible lows. We’ve loved each other, and we’ve wanted to kill each other. Somehow, twenty years later ,it’s reached a whole new level. I feel like we’re alive, and Atreyu has never been more on fire than we are now.” – Rick Florino, July 2018