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New Old [7-inch]

A/B [7-inch]

Restorations [12-inch]

Strange Behavior [12-inch]

Jena Berlin

13 years ago

10 years ago

Restorations: "film maudit”, restorations announce new record and single, lawrence arms announce supporting bands for war on x-mas shows, restorations - "radio free europe" (r.e.m cover), tom may/roger harvey (uk), hot water music announce supports for their 25th anniversary tour, restorations (uk and belgium), more bands added to manchester punk festival 2019, restorations records audiotree live, restorations: "caretaker".

Restorations

Restorations is an American rock band, based in Philadelphia, Pennsylvania.[2] They formed after the dissolution of Jena Berlin, post-hardcore band from Philly that featured guitarist/singer Jon Loudon on vocals, guitarist Dave Klyman, plus third guitarist Lee Hartney & original drummer Jeff Meyers (Belgrade (band), Ma Jolie). Originally considered to be a "once-a-month/easy-band" with limited touring[3] the band now tours regularly. The band initially released a 7" with Evil Weevil records featuring the songs "Frankford" and "Of Trees"[4] and then partnered with Paper + Plastick for their Strange Behavior EP release both digitally and on 10" vinyl. After that financial arrangement fell through[5] the band moved on to release their first LP on Tiny Engines.[6] Following this they partnered with SideOneDummy to release LP2 and LP3, both recorded by Jon Low, who has engineered and worked on records for the National, Twin Sister and more at Miner Street Studio.

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Album Review: Restorations – LP3

• Restorations

Riot Fest 2014 will go down as the first large-scale punk festival powered almost entirely by nostalgia. The backward-looking bill featured something for every generation of punk-turned-grownup, from Cheap Trick’s vintage power pop to Mineral’s wistful emo. Younger bands still in their best years were pushed to the side stages or slotted to play for sparse crowds in the afternoon. One such band was Philadelphia’s Restorations , though to call these guys “young” would be to contradict their maturity as musicians, as songwriters, and as people.

Restorations may deal in the currency of nostalgia, but they’ll never be confused for a nostalgia act. On last year’s excellent LP2 , they treated the individual subgenres of rock as colors on a palette, blending the urgency of hardcore, the jarring dynamics of emo, and the giant choruses of heartland rock into a collection that marked a huge step forward from their previous work. Before LP2 , it was easy to lump Restorations in with all the other bearded punks playing monotonous anthems about heartbreak. But that album blew away the band’s peers in musical ambition and lyrical scope. These were guys with something to say and the tools (sharp guitar solos, a keen sense of texture, even the occasional organ) to communicate it effectively.

LP3 is a big rock record that builds on the successes of its predecessor even as Restorations’ DIY punk roots start disappearing in the rearview mirror. Whereas LP2 seemed at times to make uneasy concessions to those roots, LP3 finds the band indulging their own instincts without questioning whether or not the results will translate to a sweaty basement show. As singer and guitarist Jon Loudon recently told NPR about the recording process, “We got to do all the things we like … heinous feedback, giant chorus[es], too many guitar solos.”

The song he’s referring to specifically is “Separate Songs”, the album’s lead single and, sure enough, one of its most enthralling tracks. Here, appropriately enough, Loudon employs his bark to contemplate moving on from a long period of stasis: “Imagine not waiting for something to come along,” he implores during the bridge. “Imagine going outside to hear the sweet sound of separate songs.” It’s a lyric that could just as easily apply to the band’s own development as artists who came of age in the punk scene but have since come to embrace a diverse web of influences, from Tom Petty to Canadian indie rockers Constantines.

Though “Separate Songs” serves as an ideal entry point to Restorations, it’s one of a handful of tracks that captures the band’s elusive appeal. The intro to “Misprint” feels like hardcore slowed down to match the tempo of a bleeding heart at rest, but the song soon settles into a contemplative middle third where Loudon channels Eddie Vedder. At one point, the band drops out entirely save for one guitar, as he sings, “There’s this low hum/ All the things we left behind.” It’s a vulnerable moment that calls attention to what lies beneath the layers of distorted guitars: reminders of life’s little tragedies that can’t be drowned out by all the noise around them.

Such tragedies come to the forefront on “All My Home”, which opens with a tastefully subdued guitar riff. “Spent far too much time this year … scouring old photo books,” Loudon sings. Moments like this serve as the emotionally raw counterpoint to the album’s soaring, stadium-ready melodies. This is music that’s both triumphant and downtrodden, listless and visceral.

It’s a delicate balancing act, and certain moments suggest that the band is still fine-tuning its approach. The finger-tapped guitar solo on “No Castle” is a bit much, and the otherwise excellent closer, “It’s Not”, probably overstays its welcome by about a minute. “These days I believe in everything I’m hearing,” Loudon shouts as the song appears to be winding down. But then it punches the throttle and commits to another searing guitar solo, as if refusing to die.

Restorations is a band that indeed seems to believe in everything: the raw gut-punch of punk, the catharsis and euphoria of stadium rock, the necessity of looking backward and moving forward. In the hands of inferior musicians, that commitment to indulging all these beliefs would result in disaster. Here, it makes for one hell of a ride.

Essential Tracks: “Separate Songs”, “Misprint”, and “All My Home”

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Tour Journal #1: Restorations Embark On United Kingdom Tour

• July 15, 2015
• No Comments

Restorations are currently touring the United Kingdom with Crazy Arm and Sam Russo, and while they cross the halfway point we’re excited to bring you an inside glimpse at what’s been going on. So without further adieu, check out the first installment of Restorations tour journal!

Written by guitarist Dave Klyman

Monday, July 6th – Tuesday, July 7th – Departures and Arrivals

Flying internationally as a band can be a trying experience. No matter how simplified you try to stream the process or how lightly you think you’ve packed, there can always be complications. Thankfully, this cross-Atlantic trip proved the exception and not the assumption. Compared to last time we flew into the UK, this time was fairly painless. Boarding the plane seemed almost unreal. Somehow, when all passengers had been seated, most of us wound up with full rows to ourselves. Things were looking good. Learn a lesson from us and never talk about what seems like good luck out loud. Soon as we voiced our disbelief at our seating success, a flight attendant brought a seating change directly behind us and our delicate and precious musician’s ears; one of, if not the most hated of flying cliches: the crying baby. Seeing how the trade winds were blowing, I feverishly looked around the cabin, spied an open two-seater toward the front and beat a hasty retreat to the tip of commercial class. Crisis averted for me. Not so much for Jon and Dan. Also, we weren’t even sure Jeff made it on the plane as he wound up seated in the far back. But no baby. So who won that seating raffle? Taxiing, building momentum, and liftoff. Here we go. It’s Restoration’s and my second time flying to and touring the UK. Braving a tin foil tube of jet fuel whose cabin pressure crushes my sinuses to a painful singularity to bring a few songs across the sea.

After about six and half hours of overnight flight (gratefully, we made great time) we made it from New York to Manchester where we met up with our driver/sound tech/all around great guy, the ever inimitable Dave March. He’s been described as the “best beard in the business.” We concur. Once we got ourselves settled into our friends’ Louise’s and Francis’s, flat the battle against jetlag began. And jetlag won for the most part. Some naps were taken by some. Waking was followed by a few drinks and a walk to Manchester’s Curry Mile for a truly delicious dinner. And then we all crashed hard. Some of us fared worse than others.

Wednesday, July 8th – Brighton – Sticky Mike’s Frog Bar

After much needed sleep, the group woke at 8:00 a.m. to get on the road to our first show in Brighton. It’s at this point that it finally becomes clear that we’ve come to a different country. Sometimes it can take a while for the reality of a tour to sink in, the realization that you’re not going home the next day. Or the next week. And so on. Some of the differences are subtle and negligible: driving on the opposite side of the road, using different currency, calling cilantro coriander, etc. These are no big deals. And then you see a sign on a petrol station that offers “The Best Handjob in the World” and you wonder where the connotations got scrambled between here and the US.

We take a momentary stop in Haverhill, Suffolk county, Easternmost county in England, where apparently the sun rises first. Home to the only laser studded roundabout in the whole nation. Most of this information was provided by the reasons we stopped over: picking up tour mates Sam Russo and his lady-friend, Clare. We met Sam and Clare on our last European tour and have stayed in contact ever since. They’re great folks by all accounts, so it was a pretty easy decision to ask Sam along for this run. And Clare joining as support? Hell yes. Despite the disappointment of it being the wrong time of day to see England’s only laser studded roundabout, we nevertheless carry on to Brighton to meet up with our other tour mates, Crazy Arm, at Sticky Mike’s Frog Bar. Once at the venue, a really nice space for a band our size, we began the process of organizing our UK backline and getting setups and sounds where they should be. It turned out to be a solid night for everyone. Solid venue, solid sound, solid audience. Touring with Sam and Crazy Arm is going to be a treat each night. After the show we retired to our friend Jay’s flat right off the ocean for nightcap cocktails. Again, a solid night all around.

Thursday, July 9th – Southamton – Joiners

Brighton Beach is an easy place to be. The bustling night life gives way to just as bustling days. Roving groups of students flooded the central areas. We got some proper English breakfast at a nice little cafe called the Kensington. Quite a different setting and experience than hanging around Kensington in Philadelphia. Unlike most that we’re used to, the beach around Brighton Pier is all pebbles and rocks rather than the typical sand. it’s surprisingly comfortable. Unless you’re the drummer in Crazy Arm and your band mates put rocks down your pants while your trying to lie peacefully on your stomach. He seemed ok with it. Everything was going swimmingly. And then a seagull flew overhead and decided to make a target out of me and crapped on my arm. Few things will make you feel more unclean. Oh well.

On to Southampton. Joiners is a club that we hit last year when we did a long tour of the UK and Mainland Europe with Astpai and The Smith Street Band. That was a great show that also included UK band Apologies, I Have None. Both Apologies and Crazy Arm came through and saved us when our touring van at the time broke down. That was a great show. It was gratifying to see that with Sam Russo and Crazy Arm in tow we could still have another great night at Joiners. Some technical issues born of still finding a home with touring gear wasn’t even close to derailing the night and all the bands had commanding sets. Sam pulled an old favorite move. At a venue with a stage that’s a touch too high for an acoustic act, he took his show to the floor. Southampton might not have the same picturesque qualities as Brighton, but it certainly has some colorful locals walking and falling around the streets. To and from the tour’s first (most likely not last) doner kebab, there were only a couple witnessed incidents of brazen public urination. But with nine shows left, there’s still plenty of time. After we retired to and closed down the preferred local bar, Marshall’s, we then retired to the flat and closed down our consciousness.

Friday, July 10th – Bristol – The Exchange

According to Mr. March, there used to be a dirt road of sorts where you could pull off the highway, stop your vehicle, and get a decent look at Stonehenge. But they’ve since let the grass grow and cut that path off. So the best you can get without stopping and paying like a tourist is to watch it grow over the horizon and fade away as you pass by. Maybe that’s what lessens the gravity of the site? Either way, we drove past without too much in the way of ooh and ahhs. But when in the UK, it should be seen. And Spinal Tap should be referenced.

On to the venue. The Exchange in Bristol holds positive memories for Restorations. It was our first stop last time we came over here. It was a hell of show that also included friend and admired musician, Laura Stevenson, playing acoustic. Sam fills that this time around. Having an acoustic performance really helps round out and diversify this tour. The show tonight turned out just as well as the last time around. It’s great to see the room fill up for every part of the touring package. From start to finish it was a solid night, ending in, you guessed it, late night hanging with local friends and doner kebab part two. It’s a delicious (albeit kinda unhealthy) way to end the night.

Saturday, July 11th – Cardiff – The Full Moon

The morning started with sunny and temperate backyard hangs at the Bristol flat of Crazy Arm’s bassist, Nathan. To counteract the hedonism of the night before we opted for a vegan breakfast (except for maybe the traditional beans). After some quality lazy time, we leisurely hit the road to Cardiff, Wales. Stopping along the way, we took a look at Caerphilly Castle. Built between 1268 and 1290, it’s the second biggest castle in Britain. It’s also been the setting for a few Doctor Who episodes. The scenery surrounding Caerphilly was expansive and beautiful UK hills and valleys. We made a round of the castle and its moat and then wandered back to the van to finish the drive.

The section of Cardiff hosting our show is in the stadium district and there was a big cricket match taking place. This assured that the streets were crowded with folks in varying states of clothing and drunken disarray. Many were openly enjoying beverages in the streets. Keeping the idea of hopefully healthier cuisine in mind we got dinner at Vegetarian Food Studio, a nearby, mostly Indian restaurant with many vegan/veg options. After a great meal we checked out another castle. This time we wandered around the outskirts of Cardiff Castle and the giant park that contains it. Classic castle architecture and nature in a city center is always interesting to see.

None of us were sure what to think about the show seeing as how it had seemingly sparked the least amount of advance buzz and conversation. As a result, expectation were lower than those surrounding other stops on the run. But since it’s tour and preconceived notions of success and failure are pointless constructs anymore, we went in hoping for the best but prepared for less. Every once in a while having that thin ray of hope pays off exponentially. Cardiff represented and brought the most enthusiastic crowd that we’ve played to on this tour and many others. Apparently when we were heading into the final throes of the set closer, “Separate Songs,” one quite zealous individual tossed back his beverage, tossed the empty container over his back, magically produced another from his back pocket, and started imbibing it immediately. This was all in one fluid motion. Wales, you’re a whacky place. After loading through a predictably rowdy street crowd we made the haul back to Manchester, arriving arse early in the morning and passing out at Francis’s and Louise’s once again.

Sunday, July 12 – Manchester – Sound Control

Waking up in the city you’re playing that night and not having to power through a drive is a wonderful tour feeling. So many thanks go to Francis and Louise for putting us up and putting up with us for three days of this tour. You meet a lot of people in this weird vocation, good and ill. Frances and Louise are some of the best. Any folks that graciously accepts a large group of odd, battered, sweaty, weary traveling musicians and open their homes without batting an eyelash, these are the people that keep bands going. The reason you get to go see your favorite bands all over the world is only partially due to musical talent. Most of what keeps a band functional is the kindness of others, the pure desire to help a band, the compunction to keep music alive through any and all means. And if they can use their home to make a musician’s life easier, they don’t even think about it, they just open their doors. It’s one of the few things that keeps faith in humanity something that can be considered a reality. Thank you all so much.

With the luxury of a calm morning, we were able to take our time, make our own traditional breakfast, and take a quick spin over to Manchester United’s arena for some quick photos. This can be a divisive topic. None of are die hard fans by any means, but when in Manchester… Anyway, on to Sound Control. Things got off to a shaky start as the sound system was a bit on the fritz. Luckily, Dave March and Francis (Sound Control’s in house engineer) were on hand to quickly suss out the issue and patch it all up. To reiterate the earlier point, there are so many people outside of the band that keeps the music going and they deserve all the recognition. Beyond that nothing crazy happened at the show. Just a solid experience all around. Some music was played, some drinks were had, some hanging out happened. Turns out the Iron Maiden beer isn’t too bad. Things went late into the evening/morning but that’s ok because the next day is off. Let’s see what Scotland has in store for us.

Stayed tuned for the second installment of Restoration’s UK tour journal!

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The Battle Over Classic Rock Band the Guess Who Just Went Nuclear

By Ethan Millman

Ethan Millman

For the past six months, Burton Cummings, founding singer and songwriter of classic rock group the Guess Who , has been in a bitter legal dispute to wrest control of his old band’s legacy. Now he’s adopting an aggressive and relatively unheard of approach to make that happen: giving up on certain royalties so the band can’t play his songs.

As Rolling Stone previously reported , Cummings and original Guess Who guitarist Randy Bachman sued the current iteration of the Guess Who (as well as the band’s original drummer and bass player Garry Peterson and Jim Kale) last October, alleging that the group that currently holds the Guess Who trademark is “a cover band” using the original group’s recording in ads “in an effort to boost the Cover Band’s ticket sales for live performances and to give the false impression that Plaintiffs are performing.”

“I’m willing to do anything to stop the fake band; they’re taking [Bachman and my] life story and pretending it’s theirs,” Cummings tells Rolling Stone. “They’re not the people who made these records, and they shouldn’t act like they did. This doesn’t stop this cover band from playing their shows, it just stops them from playing the songs I wrote. If the songs are performed by the fake Guess Who, they will be sued for every occurrence.”

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“Not a lot of artists are both the writer and the publisher on their songs, and Burton Cummings fortunately is, so this is a very rare case where the artist can take this action,” Yu says. “And I think this situation shows the direct nexus between their false advertising and who they say they are.”

The move is focused on agreements set through groups called performing rights organizations (PROs). The termination targets all the venues the band would play. Almost every concert venue in the country has blanket agreements with various PROs such as BMI and ASCAP, who collect royalties on behalf of songwriters for the public performances of their works. If a venue has licensing agreements in place, the venues’ artists are free to cover any song from the PROs’ repertory. 

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By Thursday morning, the Florida Theatre in Jacksonville, the Saenger Theatre in Mobile, Alabama, and the Peabody Auditorium in Daytona Beach, Florida — who would’ve hosted the Guess Who’s next three shows — announced cancellations as well. Tickets for shows beyond those dates remain on sale as of this article’s publication.

An attorney for the Guess Who didn’t respond to Rolling Stone’s request for comment regarding the shows. In December, the band took to social media calling Cummings’ and Bachman’s suit “meritless.” In a memorandum, the band argued that “there is no dispute that Defendants lawfully own ‘The Guess Who’ trademark,” and that Consumers who see an ad for a concert by the Guess Who would not reasonably assume that Bachman and Cummings are performing merely because they were in the band many years ago.”

Assuming the group does play the classic-era songs at their upcoming shows, both the band and the venue they played at could be on the hook for legal recourse, Cummings and his team tell Rolling Stone . 

But like most nuclear options, Cummings’ strategy doesn’t come without the risk of some mutually assured destruction. While terminating the rights complicates the current Guess Who’s performances, it may also significantly hit Cummings’ own earnings. Aside from working with concert venues, PROs also collect royalties from when songs are played on the radio, on TV shows, or even when they’re played in the background at restaurants or shopping malls. With the license terminated, Cummings will likely lose out on seeing those royalty payments. And that’s not just on the versions he recorded, but on covers such as Lenny Kravitz’s Grammy-winning “American Woman” cover.

The termination is the latest development in a decadeslong dispute that bubbled over with last year’s lawsuit . The fight began when the band’s original bassist, Jim Kale, obtained the trademark to the Guess Who name in 1986, as the band hadn’t secured the trademark before then . From then on, Kale had organized several tours using the Guess Who name featuring a heavily rotating lineup. 

By the late 1980s, the Guess Who’s original drummer, Garry Peterson, joined the band as well. Kale retired in 2016, leaving Peterson as the only original member left. But he doesn’t play every show, Bachman and Cummings alleged, meaning some shows feature no original members of their band. 

Since Cummings filed the suit, he says that the band had removed his access to the Guess Who’s Spotify for Artists page. (When the suit filed last fall, the band’s Spotify page showed a picture of the current Guess Who lineup, but as of publication, it’s now a picture of the old band.)

Cummings also tells Rolling Stone that within the past month, the band’s lawyers said they’d “sue me if I ever even say I was ever in the Guess Who.” “You know how ridiculous this is? What next, can I not say I was born and raised in Winnipeg? That I’m Canadian?”

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“How much is my life’s work worth? You can’t put it in dollars and cents,” he says. “It’s wrong what they’ve done and for years, nobody did anything about it. But we’re doing something now, and this may set some precedents because there are other acts out there that aren’t real either.

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Paul McCartney's psychedelic Wings 1972 double-decker tour bus goes up for auction - here's how much it could sell for

T he famed psychedelic Wings tour bus that housed rock legend Paul McCartney, Linda McCartney, his family and the band is heading for auction next week.

In a rare opportunity to snap up a time capsule of rock 'n' roll history, the double-decker bus that took Wings on a Europe Tour during the summer of 1972 is up for sale with Car & Classics, with pre-bids already open.

The auction runs from 22 to 29 April with bids expected to reach between £150,000 and £200,000.

Paul McCartney fans can get their hands on rock 'n' roll legacy set in perfect period condition, with the bus having been meticulously restored to the heyday of the bands' success and styled to recall The Beatles' Yellow Submarine album cover.

The 1953 open-topped bus travelled 7,500 miles across nine countries and 25 cities , taking Wings on tour. 

It quickly gained worldwide fame, becoming the epicentre of an extraordinary band and family adventure.

Before Paul McCartney chose it for the Wings' tour, it was first used in the early '50's for Chelmsford bus routes as a closed upper deck bus before being converted to an open-top bus in '66 to take holiday-makers to and from Butlins.

In full running and working order - UK road registered and MOT testing and road tax exempt - the Bristol Gardner-powered 5LW 7-litre diesel bus is ready to take rock to the roads again. 

As well as the perfectly recreated Geoffrey Cleghorn's exterior artwork, the interior has been perfectly restored to the era's atmosphere by David Hoare of Chepstow Classic Buses and Bradley Earl of Simon Morris Thorpe Ltd in Essex.

The revamped interior has wooden bunk beds (reflecting the original sleeping space for the band members' children), bright yellow curtains and the upper deck has a bespoke cover displaying '1972 Wings Tour Bus' graphics on the roof.

Wings' drummer Denny Seiwell has even donated his 1972 Wings touring trunk which accompanies the bus. 

In additional rock era touches, the top deck restoration drew inspiration from The Beatles Rooftop Concert of 1969, featuring a newly imagined and engineered  performance space, now aptly named 'The McCartney Stage'. 

The bus wasn't just a comfortable way to travel Europe, it became the four-wheeled symbol of the tour that marked the rise of Wings after the glory days of The Beatles. 

And it's not beyond the realms of possibility that numerous hit songs were potentially written within, including the iconic Bond theme 'Live and Let Die' recorded later that same year (1972) .

McCartney said in an interview: 'We knew we were going to tour in Europe and that the weather would be nice, and the idea of being stuck in a bus all the time, going from city to city, hotel to hotel, wasn't too appealing so we decided to travel around in an open-top bus and get some sunshine as we travelled from one place to another.'

Post-tour, the bus went back into active public service, before being bought in 2019 and restored in 2022. 

Since its been  used to celebrate the 50th anniversary of the pivotal 1972 Wings Over Europe Tour at The Classic Motor Show at the NEC, Birmingham, in November 2022.

Now this piece of automotive history offers a glimpse into the 'swinging Sixties', Carnaby Street, and the universal message of peace and love. 

Incredibly it comes with the license by Sir Paul McCartney's company MPL to display the artwork, logos, band member's names and personal photos taken on the tour. It will be sold with artefacts and memorabilia. 

Ready for its next custodian, this vehicle is likely to reach up to £200,000 on the online auction.

It's one of just three  Beatles-related, custom-painted vehicles alongside John Lennon's psychedelic Rolls-Royce and George Harrison's similarly decorated Mini.

It's been features in numerous interviews and photographs with McCartney, Wings and even Princess Anne, as well as articles published worldwide.

K.C. & the Sunshine Band, Rose Royce, Dazz Band to play in Tuscaloosa

KC & the Sunshine Band, Rose Royce, Dazz Band will play Tuscaloosa's Mercedes-Benz Amphitheater at 6:30 p.m. June 7. Tickets go on sale at noon Friday through www.ticketmaster.com , or at the venue's box office, 2710 Jack Warner Parkway, downtown Tuscaloosa. Prices will be $99.50, $89.50, $59.50, $49.50, $29.50 and $19.50, not including fees and taxes.

Harry Wayne Casey lent his name to the disco-funk-pop band he co-founded in 1973, tied to the Sunshine State where it began, in Hialeah. Bass player Richard Finch was Casey's frequent co-writer, and brought in studio musicians and others from local bands.

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Their hits included "(Shake Shake Shake) Shake Your Booty," "I'm Your Boogie Man," "Get Down Tonight," "That's the Way (I Like It)," "Keep it Comin' Love," "Boogies Shoes," "Give It Up," and "Please Don't Go." KC and the Sunshine Band scored five No. 1s among those hits. Casey and Finch also wrote and produced for others, including the hit "Rock Your Baby" and "Queen of Clubs" for George McCrae.

As disco's glimmer faded, Casey had a duet hit with Teri DeSario on "Yes I'm Ready." Finch and he split, and Casey went into hiatus in the mid-'80s, but reformed the band, using some old and some new members, releasing compilations, live albums and some new original music.

Rose Royce worked up its first major success with the No. 1 "Car Wash," theme to the 1976 comedy movie. The soul-R&B group's other hits include "I Wanna Get Next to You," "Love Don't Live Here Anymore," "I'm Going Down" and "Wishing on a Star."

The Dazz Band has played the Mercedes-Benz Amphitheater in 2022, before it was renamed, as part of the Flashback Fun Fest. The name refers to its intended niche, disco jazz. The Cleveland, Ohio-born group's hits include "Let It Whip," "Joystick" and "Let it All Blow."

Reach Mark Hughes Cobb at [email protected].

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Underoath announces ‘they’re only chasing safety’ anniversary tour. get tickets.

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It’s 2004 all over again.

“Mean Girls” topped the box office, fans can’t get enough of Usher and Underoath announced they’re going on tour to celebrate their breakthrough album “They’re Only Chasing Safety.”

From September through December, the ‘They’re Only Chasing Safety 20th Anniversary Tour’ will take the screamo metalcore quintet along with special guest Static Dress to theatres, ballrooms, event centers, pavilions and music halls all over North America.

That includes gigs at New York City’s Palladium Times Square on Friday, Sept. 20 and Sayreville, NJ’s Starland Ballroom on Wednesday, Dec. 4.

“This is going to be like nothing we’ve ever done,” the band shared on Instagram .

“(We’re going to perform) ‘They’re Only Chasing Safety’ in full every night plus another set of songs voted on by each city…Let’s get nuts.”

For those who can’t wait to scream themselves hoarse with Spencer Chamberlain and Aaron Gillespie later this year, you can pick up tickets for all 35 shows as soon as today.

Although inventory isn’t available on Ticketmaster until Friday, April 19, fans who want to ensure they have tickets ahead of time can purchase on sites like Vivid Seats before tickets are officially on sale.

Vivid Seats is a secondary market ticketing platform, and prices may be higher or lower than face value, depending on demand.

They have a 100% buyer guarantee that states your transaction will be safe and secure and will be delivered before the event.

Underoath tickets 2024

A complete calendar including all tour dates, venues and links to buy tickets can be found below.

“They’re Only Chasing Safety” album

Underoath’s fourth studio album was released on June 15, 2004.

If it’s been ages since you’ve listened, the lead single was “Reinventing Your Exit;” other big tracks include “A Boy Brushed Red Living In Black And White” and “It’s Dangerous Business Walking Out Your Front Door.”

Critics reacted favorably to the record; the band “(does) a decent job of integrating the honey and the vinegar,” Alex Henderson of AllMusic wrote.

Want to rock out like it’s 2004?

You can brush up on “They’re Only Chasing Safety” here .

Static Dress

Joining Underoath on the run is post-hardcore screamo group Static Dress.

The English outfit is known for their tracks “clean.,” “sober exit(s)” and “safeword,” all of which have garnered over a million streams on Spotify.

For those that have never heard the band live, you can listen to their complete discography here .

Huge rockers on tour in 2024

There will be many opportunities to have your face melted off at shows this year.

Here are just five heavy acts you won’t want to miss live these next few months.

•  A Day To Remember

•  Hawthorne Heights

•  August Burns Red

•  As I Lay Dying

Who else is out and about? Take a look at our list of the 50 biggest concert tours in 2024 to find the show for you.

Why Trust Post Wanted by the New York Post

This article was written by Matt Levy , New York Post live events reporter. Levy stays up-to-date on all the latest tour announcements for your favorite musical artists and comedians, as well as Broadway openings, sporting events and more live shows – and finds great ticket prices online. Since he started his tenure at the Post in 2022, Levy has reviewed Bruce Springsteen and interviewed Melissa Villaseñor of SNL fame, to name a few. Please note that deals can expire, and all prices are subject to change.

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The Beatles’ Let It Be Film No Longer Finds Itself in Times of Trouble

It’s Let It Be ’s turn to get back. A newly restored version of the Beatles ’ final documentary will hit Disney+ on May 8, marking the first time it has been publicly available in over 50 years. The project follows Get Back , Peter Jackson ’s 2021 docuseries composed of unused footage from Let It Be . Now, Jackson has used the same techniques to restore the original 1970 film, directed by Michael Lindsay-Hogg. Let It Be notably features the Beatles’ final rooftop concert (and an appearance by keyboardist Billy Preston), but it was released in 1970, just after the band broke up, making the film a more solemn project than intended. After Get Back , though, Beatles fans clamored for the documentary’s rerelease. “I’ve always thought that Let It Be  is needed to complete the Get Back story,” Jackson said. “Michael Lindsay-Hogg was unfailingly helpful and gracious while I made  Get Back , and it’s only right that his original movie has the last word … looking and sounding far better than it did in 1970.” And what’s an extra hour and a half to his nearly eight-hour series?

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