X107.5’s OBC (Our Big Concert) 2018
When: Thu., May 10, 2018
Where: Downtown Las Vegas Events Center; 200 S. 3rd St., Las Vegas
Sponsored by: Coors Light
Tickets: ON SALE NOW! $37.50; $40 day of show
Creating a modern-day version of an American rock-n-roll album is no easy task in today’s world of Pro Tools and multiple producers, but Awolnation were up to challenge when the multi-platinum rock act set out to record their third studio album. Released February 2, 2018, Here Come the Runts (Red Bull Records) sees founding member Aaron Bruno once again at the helm producing, writing and recording.
Here Come the Runts is the follow up to the platinum-certified debut album Megalithic Symphony, and 2015’s Run, which included the #1 hit “Hollow Moon (Bad Wolf)” as well as Top 5 tracks “I Am” and “Woman Woman.” Bruno spent 2017 crafting the album in his home studio nestled in the coastal mountain range separating the Pacific Ocean and the suburbs of Los Angeles where he grew up.
Formed in 2010, Awolnation crafted one of the most influential songs in years with the chart-topping, record-breaking track “Sail.” The first single off the gold-certified full-length debut Megalithic Symphony, “Sail” was certified 6x platinum in the US and holds the record for the most weeks on the Billboard Hot 100 chart by an independent artist, the second longest for any artist.
The critically-acclaimed sophomore release Run spawned three other Top 10 US singles, including their first #1 hit on the Billboard Alternative Chart, “Hollow Moon (Bad Wolf).”
They continue to sell-out headlining shows across the globe and have secured spots on festivals like Coachella, Voodoo Festival, Austin City Limits, Osheaga, Austria’s Frequency Festival, Bonnaroo, Leeds, Redding, and Brazil’s Mix FM Festival.
Judah & the Lion
Years before forming one of Nashville’s most genre-bending bands, the members of Judah & the Lion grew up in separate corners of the U.S., listening to every type of music that came their way. They loved it all: the twang of folk, the beat of hip-hop, the drive of rock & roll, the punch of pop. Later, after college brought the musicians to Tennessee, it only made sense to combine those different backgrounds — and different sounds — together.
With their second full-length album Folk Hop N Roll, the guys shine a light on the place where their influences overlap. It’s a wide-ranging sound, with fuzz bass, hip-hop percussion, distorted banjo riffs, and super-sized melodies all stirred into the same mixing pot.
Like Kids These Days — the band’s debut record, which climbed to number four on the Billboard Folk Chart and number two on the genre-wide Heatseekers chart after its release in September 2014 — Folk Hop N Roll was produced by award winner Dave Cobb (Jason Isbell, Sturgill Simpson, Chris Stapleton).
An independent band whose success has arrived not on the back of some big budget major label, but through the band’s own touring, Judah & the Lion have built a large, loyal fanbase on the road. They played 150 shows in 2015 alone, stretching their gigs all across America and Scandinavia. Along the way, they shared stages with artists like Mat Kearney, Drew Holcomb, and Ben Rector.
Manchester Orchestra had always prided themselves on their approach. The Atlanta-based band, led by singer/lyricist Andy Hull with Robert McDowell (who is also Hull’s brother-in-law and lifelong friend), had spent their career challenging each other to build a poignant, exhilarating narrative with each new album and EP. The band had worked relentlessly to cultivate a passionate fan base the old-fashioned way: releasing music, making music videos, and touring (most recently with drummer Tim Very and bassist Andy Prince).
Their previous long-player, 2014’s Cope, had even spawned a cover album of itself by its creators, an acoustic reworking and re-imagining of its songs with a heavily emotional bent that they called Hope.
Describing a rock record as “cinematic” usually implies a double-length, sprawling album with a full orchestra on every song; 2017’s A Black Mile to the Surface is cinematic in that it conjures worlds. There’s magical surrealism at work, with songs about a boy with no ears (“The Alien”) and the father/sleeping child callback of “The Sunshine.” There’s a story to parse here — three brothers, an abandoned wife and child, a mysterious journey through the depths of a miles-deep mine, a narrative of twists and turns, recurring characters, alternating timelines — but the songs and melodies stand on their own.
A Black Mile to the Surface is a bold record of vision and purpose, inspired by and dwelling in a sensory and imaginative experience. It’s a reinvention of sorts, both musically and personally—a sort of cosmic worldview shift. But in the end, the record’s themes are universal.
The triumphant lead single from Sir Sly’s Don’t You Worry, Honey, “High” turned a hotel-room panic attack into a creative breakthrough for the L.A.-based trio. “This album started out as an exploration of fear and anxiety, over very minimal electronic music, but ‘High’ really opened up the honesty of the record,” says lead singer Landon Jacobs, who co-founded Sir Sly with fellow multi-instrumentalists Hayden Coplen and Jason Suwito. With “High” emerging as “an upbeat anthem about ego death,” in Jacobs’s words, the song ultimately formed the heart of Sir Sly’s second full-length: a deliberately hopeful album born from an extraordinarily dark time.
Written in the aftermath of Jacobs’s divorce and his mother’s death, Don’t You Worry, Honey transforms heavy-heartedness into unlikely joy. The album finds Sir Sly expanding on the moody experimentalism of their 2014 debut You Haunt Me, channeling a looser energy that closely shapes their more groove-driven sound.
Since forming in 2012, Sir Sly have forged their singular sound by drawing upon each member’s long-honed musical talents: Jacobs’s introspective yet infinitely searching lyricism, Suwito’s in-studio ingenuity, and Coplen’s sophisticated musicianship and sense of songcraft. Orange County natives and friends since high school, Jacobs and Coplen connected with Suwito through the local music scene. Their early collaborations yielded songs like “Ghost,” a Neon Gold release that quickly earned buzz online. After making their Cherrytree Records debut with the Gold EP in 2013, Sir Sly put out You Haunt Me (which reached #14 on Billboard’s Alternative Albums chart) in September of the following year.
At 3am in the morning and 3 or so beers deep, New York based artist Two Feet sat restlessly on his friend’s couch, The same couch that had also been serving as his bed for the last few months, in an apartment in Harlem. He was putting the final touches on a song he had written earlier that day — unapologetically titled “Go F**k Yourself,” the track was written in a three hour blur and he hadn’t given too much thought too until he had sent it to a handful of friends who said differently. Switching the track to public on soundcloud, Two Feet closed his laptop and let the liquor take him to sleep. By the time he woke up in the morning, “Go F**k Yourself” had garnered thousands of streams and his inbox was ringing with messages from new fans and prospective labels.
5 months on and Two Feet aka Bill something is reflecting on his debut EP — the appropriately titled, “First Steps.” Independently released, the EP is a collection of 4 songs born out of frustration and a knee-jerk reaction to other projects he had been working. “I kind of just put it up because I was fed up with the other music I was making for other people” Bill says. “I was really not expecting anything to come from it. And to watch it just sort of blow up and see how people have responded to it has been incredible.”
Since it debuted in May on independent label, Majestic Casual, the First Steps EP has crept it’s way onto major tastemaker playlists on Spotify, garnering millions of streams across the platform as well as Soundcloud, where it was first discovered. Two Feet has caught the attention of the blogoshere, with “Go Fuck Yourself” sitting at the top of the HypeMachine charts on multiple occasions, with praise from the likes of Indie Shuffle and others tastemakers.