May 6, 2013 - Ogden Theatre
Door Time: 5:00 PM

Day: Monday, May 6, 2013
Door Time: 5:00 PM
Location: Ogden Theatre

Age: All Ages
Advance Ticket Price: $24
Day Of Show Price: $25
SOLD OUT

Pierce The Veil & Sleeping With Sirens
LOS ANGELES, CA - (MONDAY, July 21, 2014) — This Fall just got a whole lot better because two of the most exciting and compelling forces on the music scene today are headed out on the road together, and Rockstar Energy Drink will present all dates.   Sharing the stage for the first time since their completely sold out “Collide With The Sky” 2012 tour, Sleeping with Sirens and Pierce the Veil announce a five-month, multi-leg, co-headline world tour - “The World Tour.”  With PTV and SWS alternating the closing spot on the bill, the tour will kick off with an 19+ date U.S. trek, launching November 5 at Woodward Park Rotary Amphitheater in Fresno, CA.   Beartooth and This Wild Life will support on all of the Fall dates. Check out this special video message from SWS’s Kellin Quin and PTV’s Vic Fuentes.  VIP Packages and limited pre-sale tickets are available now at www.theworldtour.info.  Tickets go on sale to the public Saturday, July 26 at 10AM local time.
 
 
Said PTV’s Vic Fuentes, "Our fans inspired us to create this tour, so that makes it extra special, and very meaningful for us.  Doing a world tour is something that not a lot of bands get to do in a lifetime, so we plan on making these shows the best we've ever done.  We can't wait to see you all there!"
 
“It’s been awhile since either Sleeping with Sirens or Pierce The Veil have toured, and I think it’s truly special to travel the world together,” said SWS’s Kellin Quinn.  "So to do a tour this long that hits so many countries?  What more could you ask for?  It’ll be insane, so don’t miss out!”

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All Time Low
All Time LowAll Time Low has emerged as one of the most popular new bands in recent memory, beloved by an increasingly fervent fan following for their fast-paced and fizzy brand of pop-punk. Now, with the hugely anticipated “NOTHING PERSONAL,” the Maryland-based band has exceeded all expectations with a collection of effervescent new songs, marked by unstoppable hookiness and a newly discovered knack for exploration and invention. Where other bands might have played it safe by rehashing established hits, All Time Low instead opted to push the envelope by collaborating with a veritable who’s-who of producers, each with their own unique sonic stamp. Unified by singer/guitarist Alex Gaskarth’s clever lyricism, songs like “Weightless” and “Therapy” are marked by a range of diverse musical approaches, all the while retaining the patented All Time Low energy and enthusiasm.

“This record was less about doing what the bands we grew up listening to did,” Gaskarth says. “It was more about knowing what we do, developing that sound, but also stemming out, trying new things, and exploring other veins.”

Gaskarth, guitarist Jack Barakat, drummer Rian Dawson, and bassist Zack Merrick first got together while attending high school in the suburbs of Maryland. In 2005, the band released its debut album, “THE PARTY SCENE,” the success of which led to their signing with Hopeless. The “PUT UP OR SHUT UP” EP arrived in the summer of 2006, mere weeks after the band members’ high school graduation. “SO WRONG, IT’S RIGHT” followed in 2007. Fit to burst with overwhelming singles like “Dear Maria, Count Me In” and “Poppin’ Champagne,” the Matt Squire-produced collection scored major MTV rotation, instantly placing ATL at the forefront of modern pop-punk. The band further sealed its status by touring nearly non-stop, with highlights including multiple Vans Warped Tours, co-headlining the AP Tour 2008, and a series of their own sold-out headline tours, both here and abroad. In December 2008, All Time Low were named “Band of the Year” by Alternative Press, a remarkable achievement that even now feels like something out of a dream.

“It’s still all catching up with us,” Gaskarth says. “It was a sort of seamless transition from being nobody to being a band that people wanted to go see. It happens so quickly that you almost don’t realize that it’s happening, it just becomes a blur. Then when you get home and suddenly you’re being recognized in the mall, it takes you aback, because it’s just not something you’ve come to expect.”
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MAYDAY PARADE: The Glamour Kills Tour
MAYDAY PARADE: The Glamour Kills Tour

Mayday Parade takes their music seriously. In 2010, Songkick, the web’s live music bible, recognized them as the hardest working band of 2010, with 194 bookings and 74,000 miles on the road. “We’ve always toured as much as we can,” says Derek Sanders, Mayday’s singer and piano player. “I didn’t realize how many miles we logged, so it was nice to be acknowledged.”

The band hails from Tallahassee, Florida and includes vocalist/pianist Derek Sanders, bassist Jeremy Lenzo, lead guitarist Alex Garcia, Brooks Betts on rhythm guitar and drummer Jake Bundrick. Since getting together in 2005, the boys have been inseparable, playing as hard as they work, forging strong bonds of friendship as they travel the world, delivering a high octane stage show driven by their strong songwriting and charismatic stage presence.

It was this spirit of camaraderie that brought them to a beach house in Panacea, Florida, to write the songs for Mayday Parade. “Alligator Point is an hour away from where we live,” Sanders explained. “We decided the best way to write an album was to get away from everything and jam. There were no distractions, just the five of us and the ocean, although I don’t think we went swimming more than a couple of times. We set up the equipment in the living room and played when we wanted to. We structured the songs together to come up with the best possible result. We all contributed lyrics, lead lines, bass parts, bits of melody and ideas for arrangements. We didn’t bring in any outsiders to do co-writing, like we did on Anywhere But Here. Every song was a full collaboration. We decided to call it Mayday Parade, because, as much of a cliché as it is, we feel like a new band after all the stuff we’ve been through in the last six years.”

After a month of intense composing, the band chose 12 of the best songs and went into the studio with Zack Odom and Kenneth Mount, the duo that helmed their first album, A Lesson In Romantics. “Ken and Zack are funny, talented and easy to work with,” Sanders says. “They have a lot of passion and make the studio a fun environment. We met them for two weeks of pre-production, getting the songs into shape and talked about adding strings, trumpet and other things to the sound. We had complete artistic control, which was cool.”

With the exceptions of Mount’s trumpet, Odom’s cello and a small choir and string section, the band played every note on the album in real time. They recorded group vocals by gathering around a single mike. The songs on Mayday Parade include rousing anthems, solid mid-temp rockers and a handful of heartfelt ballads, all in keeping with their desire for musical diversity.

The set opens with “Oh Well, Oh Well,” which will be the first single and the first video from the record. Acoustic piano, subtle cello and Sanders’ wrenching vocal lead into the band’s blistering sonic attack. “We all love this song,” Sanders says. “It starts slow, kicks in fast and energetic, and keeps building. We put a lot of feeling and emotion into it.” Mayday has been working out the arrangement for “When You See My Friends” at sound checks for the last year. It’s a fatalistic mid-tempo rocker about a nasty break up marked by fervent group vocals, solid rhythm work by Betts and Garcia’s wailing lead guitar.

Other choice cuts include “Priceless,” a rocker with a driving rhythm, strong harmony vocals from the band, soaring guitars and unexpected changes in tempo; “Stay,” a mid tempo heartbreaker that features a small string section and builds to an aching, emotional climax and the power ballad “Without The Bitter The Sweet Isn't As Sweet.” Garcia’s quiet acoustic guitar introduces the tune to set up one of Sanders’ most emotive vocals. He also plays a subtle counter melody on grand piano. When the band kicks in, they knock the tune out of the park.

The men of Mayday Parade got together in the winter of 2005, part of the natural evolution of the thriving Tallahassee scene. “All the bands in town supported each other,” Sanders recalls. “We met at a warehouse a lot of bands used for rehearsing and hanging out. There was a community of musicians and local clubs that supported original music. I was in a band called Defining Moment with Brooks (Betts, rhythm guitar) and Jeremy (Lenzo, bass). Alex (Garcia, lead guitar) and Jake (Bundrick, drums) were in Kid Named Chicago with Jason Lancaster (the band’s former vocalist and guitarist). We started hanging out and realized we took the music more seriously than the other guys in our bands. Some of them were married and had kids; they didn’t want to tour. The six of us started jamming and writing songs and it felt great. We quit our old bands and started Mayday, although we didn’t have a band name at first.”

The unnamed band went into the studio to record Tales Told by Dead Friends, a six song EP produced by Lee Dyess. “We played our first show and decided on a band name while we were making the EP. We put up a few songs on MySpace, then hit the road with Van’s Warped Tour.” The band didn’t have a slot on the tour, but they sold their CD to people hanging out in the parking lots and standing on line to get into the venue. They moved more than 10,000 copies in a few months. “We had CD players and headphones and CDs in our backpacks. It was good training for promoting the band.”

Mayday Parade’s MySpace page got thousands of hits as the EP built up an underground buzz. Labels started to take notice. “We were only a band for seven or eight months and hadn’t gone on tour yet, when we were contacted by Fearless Records,” Sanders says. “They called our manager, we met them in a studio for an audition and got signed.”

In 2006, Mayday Parade toured with Wheatus, Brandston and Melee, then went on the road with Plain White T’s. Between dates they cut their debut, A Lesson In Romantics. MTV’s GirlsGonePunk called it “the best album to come out this year. ” The video for “When I Get Home, You're So Dead” got over 75,000 hits in two days when it premiered on the front page of MySpace Music. It went on to sell more than 170,000 copies and reached the Top Ten on the Billboard Heatseekers chart. Jason Lancaster left the band before A Lesson In Romantics was released.

The band made Anywhere But Here, their second album, with the help of producer David Bendeth (Paramore, Underoath). The band distilled the essence of the 50 songs they’d written on the road into another powerful statement. Mayday Parade followed it up by headlining the Ernie Ball Stage on the Van’s Warped Tour in 2010, as well as touring the UK with The Maine. In February of 2010, they released Valdosta, a six song, mostly acoustic, EP. “We had a couple of new songs we wanted people to hear and decided to revisit a few older songs with acoustic instruments,” Sanders says.

While they’re waiting for their new self-titled album to hit the streets in October, Mayday will stay on the road doing what they do best - wowing their fans with their heartfelt songs and energetic performances. “We’re very excited about this album,” Sanders concludes. “We want to thank everyone who believes in this band. It’s amazing that we’ve been able to make a living playing music. Our goal is to continue touring, nationally and internationally, and put on the best shows we can.”


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YOU ME AT SIX
YOU ME AT SIXA little more than one year after the release of the group’s debut album, Take Off Your Colours – a collection that propelled its creators into the UK Top 30 (number 25) and onto concert stages the world over – England’s You Me At Six return with Hold Me Down, their second full-length LP.

“We’re absolutely thrilled with the music we’ve recorded,” says Josh Franceschi, the band’s frontman. “We wanted to strike while the iron was hot. Obviously over the past 18 months or so we’ve had some momentum behind us, and we wanted to capitalize on that, to build on it. A lot of bands take two years off [between albums], but what the hell is the use of that?”

The momentum of which Franceschi speaks rose to a boil with the release of Take Off Your Colours, unveiled to the public in the autumn of 2008. But even prior to the release of this debut set, these Surrey boys had already begun to make waves. The group had supported Angels And Airwaves (the outfit formed by Blink 182 mainman Tom DeLonge) at London’s now demolished Astoria theatre. Without a debut album to their name, the young group also toured with Charlie Simpson’s Fightstar and American pop-punkers New Found Glory, to name but two.

Once Take Off Your Colours was finally released its creators slid further through the gears. First of all, they were able to sell-out Westminster’s 2,000 capacity Astoria theatre under their own steam. As if to prove this was no fluke, they then bettered this achievement with a sold-out headline performance at the 3,200 capacity Roundhouse in London’s famous Camden Town. YMAS also toured Europe under the wing of American teen idols Fall Out Boy and, separately, Paramore. In the United Kingdom YMAS appeared as part of the Download, T In The Park and Give It A Name Festivals; while in the United States and Canada the quintet toured as part of the Vans Warped Tour package and subsequently as one of the five groups that made up Alternative Press magazine’s AP Fall Ball Tour.

You Me At Six also accompanied Paramore on last year's European winter arena tour, which visited such venues as the world famous Wembley Arena, among others.

“It really has been an amazing time,” says Franceschi. “One minute we’re practicing in our rehearsal place in Leatherhead, and the next minute we’re onstage in Salt Lake City or somewhere. But nothing will sharpen a band up more than touring and working together. You can practice all you like, but there’s no substitute for real experience… of getting your hands dirty.”

Recorded before the clocks called time on British Summer Time – and, as with its predecessor, produced by John Mitchell and Matt O’Grady - Hold Me Down is the sound of a band who are proud to have learned their trade the old-fashioned way – with long haul travel in diesel vans and overcrowded buses; cheap food eaten at lonely hours and two-or-three-to-a-room in budget motels on the outskirts of sketchy cities. The band’s willingness to put in a shift shouldn’t be a surprise. Even in their earliest incarnation the members of You Me At Six – at the time aged no more than 15 - were willing to transport themselves and their instruments halfway across the UK on Happy Shopper buses and Network Rail in order to play a show they’d arranged with someone on MySpace.

But at some point between the recording of their first album and the release of their second, You Me At Six have gone from a hobby to vocation. And it shows.

“I know I’m expected to say this, but I can’t believe how strong Hold Me Down is,” says Franceschi. How so? “The fact that we play so much better now is obviously a result of the sheer amount of touring we’ve done. Such a heavy workload means that we’ve got to know each other really well, which infuses the music. If you’re all sharing the lounge of a tour bus on the kind of drives that go on all night – well, let’s say that you make friends with those people, or you get out. And I mean friends. When you’re out in the American Midwest for weeks on end, or in a van riding through the Canadian Rockies, there’s nowhere you can escape to.”

Both in terms of musical finesse and lyrical moxie, Hold Me Down is a stellar stride forward for You Me At Six. The words that can be seen shining back from songs such as Underdog – the verse to which warns of a feeling “that comes and goes like the strength in your bones”, but “to put your mind at rest/I’ll never let the two of us be friends.” Or in Contagious Chemistry where Josh Franceschi warns his “Dearest Enemy,” to, please, never “smother me/I swear that I need some room to breathe/ what with you all up, down and all over me/you’re not a name just a face/it’s contagious.”

To go with such foreboding and resolute sentiments, Hold Me Down is also fortified by the marriage of both the blueprints of classic songwriting – any of these 12 compositions could be distilled into its purest form of one acoustic guitar and one singing voice – with a band who whip and lash like a bed full of firecrackers. Noisy when they choose to be, tender when the occasion demands, usually infectious, You Me At Six are a surplus of energy and motion. Their music is a collection of songs in the key of life.

“Bands these days come and go so quickly,” says Josh Franceschi. “It’s terrifying. But we don’t want to be like that. We want to last, and I believe that we will last, and that we have what it takes. I think listeners will be surprised by Hold Me Down. Some of the kinds of preconceptions some people have about what we’re really about are wide off the mark, and I’m looking forward to putting that right. How are we going to do that? We’re going to do it by working hard: by getting into people’s faces and not going away.”
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