Triple headline show with Memphis May Fire / The Devil Wears Prada / Silverstein! Like Moths To Flames in support as opening act.
MEMPHIS MAY FIRE:
The music of Memphis May Fire is the sound of hope and compassion, delivered by a dedicated group of men striving for something greater than the world around them. Memphis May Fire is a clarion call to those who insist on bettering themselves, their loved ones and the conditions afflicting the world. It’s not about divisive politics, it’s not about polarizing debate – it’s about the transcendent power of love through heavy rock.
Memphis May Fire return to the Vans Warped Tour this summer, on the iconic annual subcultural celebration’s mainstage. But first, they’ll headline the charity-driven Take Action! Tour (created by Sub City and Hopeless Records), following in the footsteps of a diverse group of groundbreaking Take Action veterans like Jimmy Eat World, The Used, Pierce The Veil, All Time Low, Breathe Carolina, Chiodos, Anberlin and Every Time I Die.
Crossing genre-barriers and standing side-by-side with the musical elite of the heavy music scene is nothing new for Memphis May Fire, who closed out 2014 co-headlining clubs across America with platinum-certified screamo/pop-punk merchants Yellowcard.
The body of work Memphis May Fire has crafted over four ambitious albums, most of them with producer and collaborator Cameron Mizell (Sleeping With Sirens, The Word Alive, Tyler Carter), represents a creative achievement beyond even what the band’s formidable success would suggest. Sure, Unconditional arrived at #1 on Billboard’s Rock, Independent and Hard Music charts, but that was just the mainstream icing on a cake that was lovingly baked by fans around the world who’ve discovered Memphis May Fire in the live setting, from satellite radio, from social media and from each other.
Make no mistake, Memphis May Fire deliver hard rock anthems steeped in modern subculture and the best of radio rock, but their purpose continues to evolve into something greatly bigger than themselves, with no limit as to what they can achieve.
It takes numbers to craft a movement out of sound. It takes numbers, and it takes throat, calloused fingers, worn out joints, and a sea of voices singing along. It takes numbers, and it takes work. It takes playing basements and community centres as much as it takes stages, and festivals. It takes years of dedication, sincerity, and community. And yet, only a few artists are so honoured as to become synonymous with their era. Since 2000, Silverstein has kept its roots firmly planted in the terrain of post- hardcore. Sixteen years later, the genre is impossible to talk about without mentioning this seminal group.
Well over a decade of performances, of writing, and recording has afforded the group time to evolve and push forward, and Silverstein have taken the whole scene on this ride with them. To speak about the differences— whether musical, lyrical, or tonal— between When Broken Is Easily Fixed and their latest effort, I Am Alive In Everything I Touch, speaks about the differences in post-hardcore at large then and now. Since the release of When Broken, Silverstein have continued to reimagine their sound, and the genre with it. 2016’s I Am Alive is a monument to their career. The record takes its listener on a tour bus driven odyssey that is all too familiar to a group used to packing its life in suitcase and hitting the road. Distant milestones, and the homeward reach help to carve out a concept that could have only been pulled off by a band with such a cultivated relationship with the terrain of North American alternative music. And though the record ends back home in Toronto, ON, you can be sure that the group doesn’t intend to let the dust settle on their suitcases just yet.
As they’ve done so many times in the past, Silverstein are hard at work in the studio and on the road this year. Their shows continue to fill rooms with energy and life, and their records continue to reach eager ears. Their music continues to marry aggression and melody in a way that only Silverstein seems able to. And their dedication to their craft is more evident than ever before. Sixteen years and their outlook hasn’t changed: more days on the road, more songs, more work, more fans, more music, more friends. The numbers grow with everything they touch.
THE DEVIL WEARS PRADA:
The Devil Wears Prada is the musical embodiment of a generational shift. Built on a diverse array of heavy, dark, melodic and genre-defying music; hardened and sharpened by putting in road work together since the days when they had to skip class to tour: The Devil Wears Prada is at the forefront of a movement that bridges the gap between Rockstar Mayhem and the Vans Warped Tour.
The passionately inspired band’s album for Roadrunner Records, cryptically titled 8:18, embodies an unflinching, uncompromising authenticity born from revelatory introspection and obsessive workmanship. The dichotomies are refreshing, invigorating and boundless. There’s an oppressive, suffocating darkness to their heavy music, counterbalanced by the hope within their collective faith. The most brutal of crowd-moving breakdowns ignite with friction, bristling against soaring melodies, progressive yet catchy riffing and keyboard soaked atmospheric esotericism. To put it simply: The Devil Wears Prada have developed the chops, the cred and the audience of a true-blue thinking person’s heavy metal band, while simultaneously welcoming fist-pumping hellraisers and youthful moshers alike. 8:18 continues the war against humanity’s dark urges, pointing the finger inward and outward through a medium that is itself both bleak and grand.
The Devil Wears Prada are unwavering in their commitment to each other, their fans, their art, their higher calling toward truth and to their desire to engage. The emotion remains sincere, the musicianship supreme.