Event type: Concerts

Events

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  string(8354) "Songbyrd and Live Nation Present

SOLD OUT!

--

19-year-old Griff has always stood out from the crowd. Growing up in Kings Langley; a quiet, quintessentially English Village in Hertfordshire, as the daughter of a Chinese mother and a Jamaican father, she rarely met anybody who looked like her. As a child she yearned to fit in; straightening her hair and making an effort to talk and dress like those around her; but by her late teenage years, Griff realized that being different was her super-power...

“When I was younger, I often felt like I was never Black enough to be Black or Chinese enough to be Chinese; you're in this weird middle-ground. As I’ve grown older, and actually over lockdown especially, I’ve definitely taken a lot of time to reflect on my identity. Seeing the Black Lives Matter movement really forced me to ask myself questions; ‘How does this affect me?’’ ‘How do I identify?’ I always knew I stuck out like a sore thumb, and I think that's maybe what's eventually made me so comfortable with wanting to be different, especially with music; I never looked or did the same as anyone else, so why start now?”

It’s that innate sense of independence that kicked off Griff’s music career in the first place. “Growing up in a village, you go around to your friends' houses, but there’s no real scene,” she explains. “There aren’t cool clubs or cafes, so after school I would just go home and listen to music.” It was at home that she fell in love with the smart song-writing and powerhouse vocals of Taylor Swift, Lorde and Haim as well as the musicians her Dad, a keen gospel singer, used to play around the house; artists like Stevie Wonder and Aretha Franklin.

Griff was just eleven when she started making music. She borrowed her brother's Logic software, beginning a long process of teaching herself how to record and produce her own songs, completely self-sufficiently. Learning to make music became addictive, and it also provided her an outlet to process her emotions when life felt particularly tough. Griff’s parents are foster care takers, and for as long as she can remember, she’s grown up alongside not just her two biological brothers, but a revolving door of foster children. While the experience taught her a lot about the world, it could also be overwhelming at points. Through music, Griff found a kind of solace; creating raw and ruminative pop songs from the privacy of her bedroom.

One of these was “Good Stuff;” a poignant and heartfelt ballad she released earlier this year. “Why'd you leave me with the good stuff, babe / And forget about the mess we made?” she asks, with powerful and honeyed vocals that sound much older than her nineteen years. While it could easily be about a break-up; the tell-tale donning of rose-tinted glasses where an ex is concerned, Griff wrote “Good Stuff” as a way of processing her relationship with the foster children who would live with her, become part of the family, but ultimately always leave to go to new homes and start new lives.

“It was rooted in  conversation with my family about how, even though we probably had really, really hard times with all our foster kids, you only remember the best memories.” Despite writing the song about a unique element of her own life, “Good Stuff” has clearly resonated with a much wider audience.  “A lot of people messaged me saying how it helped them through a break-up or a difficult time; I think it’s so cool that other people can relate to my experiences as a human being.” 

It’s this kind of connection and community that motivates Griff as an artist. Her father introduced her to gospel songs, and when Griff joined Hillsong - a modern Evangelical church with a big emphasis on music as a form of worship - she began performing regularly. “From a young age I saw how music is so much more than just something you hear on the radio. People connect to it spiritually, it has healing powers and I've always loved that.” She continues, “when I write, I like having the same uplifting quality; a sense of hope that comes with the music. I think that comes from being in church, where music is used in this anthemic, powerful way.” 

After years honing and perfecting her craft alone, Griff began to start playing some of her own songs to other musicians she had met at church. Impressed by her songwriting and powerful vocals, they introduced her to industry contacts, and she quickly picked up a management deal at just thirteen, though she quietly waited several years, not releasing music until she knew herself as a person and artist. By the age of sixteen Griff was ready to flex her creative artistry and appealing to the contacts she’d met along the way, she started booking studio sessions; all while in high school.

She was still at school when she released her debut single “Mirror Talk,” a rousing yet unflinchingly honest ode to overcoming anxiety and the need to “make up with yourself.” “That song is about feeling a bit shit” Griff admits. “I wrote it when I was sixteen, and I think when you are a teenage girl, hormones are so heightened and every difficult thing feels like the end of the world. It’s about taking time to just be by yourself, to listen to music and read...to talk to yourself in the mirror.” With Gen-Z, “Mirror Talk” found a devoted audience who flocked to pop’s new rising star; one who straddled soul and R&B influences, and approached every track with a unique sense of honesty and creativity.

In pairing her powerful teenage emotions and experiences with her stripped back, DIY production style, Griff has successfully created a pocket of pop that is as raw and honest as it is dancefloor ready. In the same way that Robyn brought heartbreak to the dancefloor with “Dancing on My Own,” Griff never shies away from making party songs out of painful moments. “I love to tap into relationships that aren't necessarily romantic” she says, citing mental health and foster care as just some of the themes from which she’s drawn inspiration.  Against the lush synths and dreamy melodies of “Say It Again” she celebrates the importance of female friendship, especially given the struggles that young women face. “There’s so much pressure on teenage girls, I’ve seen my friends suffer from eating disorders and depression. When you’re young and you see those girls every day at school, they’re your sisters.”

After a long period of introspection and reflection, Griff has successfully created her own world from scratch - and now she’s ready to let the rest of the world in. Having signed to Warner Music, Griff’s Mirror Talk EP was released to widespread acclaim in 2019 (just as she graduated high school). In 2020, even a pandemic could not stop Griff’s growth: under lockdown she released two hugely acclaimed singles, “Forgive Myself” (complete with a video shot at home on her iPhone), and “Say It Again,” before being nominated for an Ivor Novello Award (their first Rising Star category). Collaborations followed with electronic duo Honne (1,000,000 X Better) and producer Zedd (on his single, “Inside Out”), as Griff continued to work hard on new music.

Griff then closed out 2020 with two more pinch-yourself moments. She took over the Tate Modern for her second ever London show, framing the singer, producer, DIY fashion designer and future-pop-star as the world-class talent that she is. Dressed in Gucci, Griff’s dynamic set was filmed in one shot, with the performance documented by life-drawers she approached from 2BorNot2B: a BIPOC collective whose images were live-streamed and projected during the set. The vast brutalism of the Tate space proved to be the perfect playground for Griff’s rawly fantastical output to date – the central bed and curtain nodding towards both the traditions of life-drawing, but also the audience at home (not to mention the bedroom-pop star at the centre of it all).

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        Ticket:         
Tue
25
Jan
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  string(1260) "
An exercise in self-forgiveness and an eventual understanding of unresolved trauma. Jilian Medford’s third record as IAN SWEET unfolds at an acute juncture in her life, charting from a mental health crisis to an intensive healing process and what comes after. How do you control the thoughts that control you? What does it mean to get better? What does it mean to have a relationship with yourself?
Recorded with Andrew Sarlo (Big Thief, Empress Of) and Andy Seltzer (Maggie Rogers), among others, Medford approached this album as a curator. She handpicked the producers that fit each song, which explains the range and experimentation showcased. Medford then recruited Chris Coady to mix and tie everything together into one cohesive piece.
Dizzying and enthralling, Show Me How You Disappear is the sound of someone coming apart and putting themselves back together — the moment an old mantra, repeated into the mirror time and time again, finally clicks. To look at your reflection, and finally feel seen.
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Fri
29
Jul
        object(WP_Post)#4902 (24) {
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  string(1601) "
In 2003, Brooklyn’s A Place To Bury Strangers emerged on the scene out of Oliver Ackermann’s psychotropic vision. Often cited as ‘ the loudest band in New York’, APTBS is known for their vicious live performances overloaded with all-consuming visuals, experimental sonic warfare, and treacherous stage antics.
-- 2021 welcomes a lineup change for A Place To Bury Strangers. New members John Fedowitz (bass) and Sandra Fedowitz (drums) of Ceremony East Coast cement the most sensational version of the band to date. John and Oliver were childhood friends who had played in the legendary under ground shoegaze band Skywave, crafting futuristic punk music together. This next phase is a sonic return to APTBS’s most raw and unhinged endeavors, pushed even further into a new chaotically apocalyptic incarnation.
--
Swoll is the minimal bass-centric electronic project of Matt Dowling (The Effects, Paperhaus, Deleted Scenes). Matt started working with Benjamin Schurr(Br'er/Blight Records) on a series of sparse, melancholic yet hooky new songs. Utilizing limitations as a compositional tool, the duo focused on a spare sonic palate of old drum machines, bass, mellotrons and haunting synths.
     " ["post_title"]=> string(36) "A PLACE TO BURY STRANGERS - NEW DATE" ["post_excerpt"]=> string(0) "" ["post_status"]=> string(7) "expired" ["comment_status"]=> string(6) "closed" ["ping_status"]=> string(6) "closed" ["post_password"]=> string(0) "" ["post_name"]=> string(25) "a-place-to-bury-strangers" ["to_ping"]=> string(0) "" ["pinged"]=> string(0) "" ["post_modified"]=> string(19) "2022-06-09 00:07:45" ["post_modified_gmt"]=> string(19) "2022-06-09 00:07:45" ["post_content_filtered"]=> string(0) "" ["post_parent"]=> int(0) ["guid"]=> string(59) "https://songbyrddc.com/?post_type=event_listing&p=1820" ["menu_order"]=> int(0) ["post_type"]=> string(13) "event_listing" ["post_mime_type"]=> string(0) "" ["comment_count"]=> string(1) "0" ["filter"]=> string(3) "raw" } Ticket:
Tue
07
Jun
        object(WP_Post)#4905 (24) {
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  string(4437) "
Mndsgn, aka Ringgo Ancheta, was born in San Diego, raised in the southern region of New Jersey, and is currently based in Los Angeles. The youngest of four in a family of Filipino descent, Ringgo grew up in a household where the love and appreciation for music was always synonymous. Self discovery began with illustrating the world through drawing and bboying which then evolved into a deeper appreciation for music as his older brother introduced him to rap music and beat production at a pivotal age. In 2008, platforms like Myspace and AIM messenger played a key role in bringing Mndsgn together with beatmakers Knxwledge, Suzi Analogue and devonwho to form a voltron of kindred musicality and sensibility. The collective, known at the time as Klipmode, played and released beat tapes through a then-budding platform, Bandcamp, and as the music gained a cult following, Ringgo relocated to Los Angeles in 2011. Inspired by the flourishing community of producers on the West Coast, he self released beat tapes as well as a few projects distributed by labels Leaving and Fresh Selects, and regularly performed at local hubs such as Low End Theory. From early on, Ringgo has aimed to explore the human condition in his music. Taken as a whole, his body of work chronicles the evolution of self, asking throughout: how can we live in a way that is true to ourselves? How can we find beauty in the everyday and unfamiliar? Mndsgn began exploring these questions on his Stones Throw debut Yawn Zen (2014), which he followed up with Body Wash (2016), an album that drew heavily on ’80s R&B and boogie, approached from a psychedelic, cosmic angle. Raw, mixtape-style records Snax and Snaxx followed in 2018 and 2019, along with the self-released Gonna B OK. In the fall of 2018, Ringgo began building on dreams and sketches of songs that would later form new record Rare PleasureRare Pleasure brings together the music that has inspired Mndsgn over the years — R&B, soundtrack music, psychedelia and jazz — into a rich, expansive record. To bring his vision to life, Mndsgn assembled a cast of musicians: Kiefer Shackelford (piano), Swarvy (guitar, bass), Will Logan (drums), Carlos Niño (percussion), Fousheé, Devin Morrison and Anna Wise (vocals), Miguel Atwood Ferguson (strings) and many other master craft contemporaries. Ringgo says: “Although this record took two years to write and record the demos, it didn’t reach something much closer to its final form until we were able to record the final sessions in the studio with all of the musicians, taking only a week to lay everyone’s parts down. The process was quite natural and much more aligned with my approach to capturing the illusiveness of a moment in time as opposed to something more diary-esque.” Ringgo describes the concept of ‘Rare Pleasure’ as an appreciation of sharing life, inward reflection, and the gift of joyful catharsis. Threaded throughout the album is a ‘Rare Pleasure’ theme inspired by soundtrack music, specifically 70s/80s library and theme music, whose repetitions and variations, Ringgo says, “echo the recurring motifs we experience in life, sometimes being revisited by the same lessons in different shapes and forms.” Experiences in Ringgo’s own life informed many of the songs’ lyrics: ‘Hope You’re Doin’ Better’ was written while processing a loved one’s struggle with mental health. “Although communication between each other was severed, it allowed the opportunity to truly acquaint myself with the concept of loving from afar,” Ringgo explains. ‘Medium Rare’ and ‘Colours of the Sunset’ seek transcendence through simple acts of self-love and introspection. ‘Abundance’ continues on the same theme, gesturing towards “the journey of realizing the inner abundance that’s always accessible whether we realize it or not.” ‘Slowdance’ was written as a dedication to the vulnerability of growth in new relationships. Though the message of Rare Pleasure feels especially relevant to the present moment, it has been a guiding principle throughout Mndsgn’s life: “We are beings living this human life that’s only going to happen once and only once, every moment infused with a magical impermanence, a rarity.”
" ["post_title"]=> string(21) "MNDSGN AT UNION STAGE" ["post_excerpt"]=> string(0) "" ["post_status"]=> string(7) "expired" ["comment_status"]=> string(6) "closed" ["ping_status"]=> string(6) "closed" ["post_password"]=> string(0) "" ["post_name"]=> string(6) "mndsgn" ["to_ping"]=> string(0) "" ["pinged"]=> string(0) "" ["post_modified"]=> string(19) "2022-04-24 00:08:02" ["post_modified_gmt"]=> string(19) "2022-04-24 00:08:02" ["post_content_filtered"]=> string(0) "" ["post_parent"]=> int(0) ["guid"]=> string(59) "https://songbyrddc.com/?post_type=event_listing&p=1811" ["menu_order"]=> int(0) ["post_type"]=> string(13) "event_listing" ["post_mime_type"]=> string(0) "" ["comment_count"]=> string(1) "0" ["filter"]=> string(3) "raw" } Ticket:
Fri
22
Apr
        object(WP_Post)#5058 (24) {
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  string(19) "2021-10-29 21:47:58"
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  string(3935) "In a world filled with bullshit, Rare Americans are the real deal. The genre-bending Vancouver punks have already built a passionate fanbase with their all-in-it melodicism and inventive storytelling. Their music and messages cement them as a force to be reckoned with. Bandleader, James Priestner, and his gang have levelled up their sound by drawing across a myriad of genres while keeping true to what makes them unique: Telling crooked and catchy stories.

Since their debut in 2018, the band has amassed almost 200M global streams, 1M social media followers, a 2020 Juno for their song “Brittle Bones Nicky”, a song featured in Warner’s Scoob! The Movie soundtrack, and a spot on the Billboard Top 100 album charts for their album RA2.This is an invitation to walk into RA’s world of colorful characters and stories— So what are you waiting for?

Rare Americans began its journey while James and his older brother of 11 years Jared, a co-writer but not performing member in the band, were on a vacation together in the Caribbean. James recalls jokingly saying to Jared, “We should write some songs together,” to which Jared responded, “Fuck that, what about an entire album?” A week and a half later, the two of them had created 15 songs in what would later become their eponymously-titled debut album. Since then, Rare Americans have rounded out the crew with the addition of Slovak guitarists Lubo Ivan and Jan Cajka, and drummer Duran Ritz. They’ve racked up over half a million monthly listeners on Spotify in the process.

Rare Americans are telling their stories directly to anyone who wants — or needs — to listen. These tales are easy to relate to for anyone who’s been down or has struggled to keep up, yet are also laced with devilish optimism and hope. “We’re trying to inspire and empower our fans,” Priestner states while discussing the band’s mission. “We’re an independent band, the underdogs, and I think a lot of our fans relate to that.”



--

Music oscillates as time does. Moods and motifs repeat at different junctures in time as they mold the future. A confluence of eras, styles, and emotions collide in DYLYN. The Vancouver-based singer, songwriter, and disruptor fuses moments of elation, agony, ecstasy, and triumph into an anachronistic symphony of indie-pop melodies, industrial-inflected heavy rock, and anthemic alternative. (If she stepped out of the screen of some long-lost David Lynch film about Lollapalooza 1993, no one would question it!). Her 2022 full-length debut album cements that vision. In 2018, she uncovered her independent debut EP, Sauvignon, and a Kimono. Impacting multiple strata of culture, the lead single “Secret” tallied millions of Spotify streams and inspired thousands of fan videos throughout the anime community, including Gacha Life, where she received her avatar. She remained prolific with a pair of EPs—Let You and Only Us—before the EP Make It Naked in 2021. Along the way, she architected what would become her next release. In between holding down a job in construction, she lived in a creative hive alongside various other artists and continued to write. Eventually, she hit the studio with producers Ryan Guldemond (of Mother Mother) and Parker Bossley (bassist for The Mounties, Hot Hot Heat). Out of those depths, DYLYN has created an album that “touches on subjects that are a little uncomfortable, aspects of anxiety, depression, and all our traumas,” she reveals. ““I hope those who listen to this record feel a wave of nostalgia and tap into emotions of power and vulnerability. I wrote these songs from my experiences, but ultimately it’s about how the listener is digesting them within their world and perspective.” In the collision of eras and styles, DYLYN comes to life.

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Sat
08
Oct