PierceTheVeil / AllTimeLow

Rockstar presents

PierceTheVeil / AllTimeLow

Mayday Parade, You Me At Six

Thu Apr 11

Cain's Ballroom

Tulsa, OK

Adv $22, DoS $24, Door $26, Mezz $32

Sold Out

This event is all ages

Show :: 6:30pm (times subject to change)

Pierce The Veil
Pierce The Veil
A lot has happened in the three years since Pierce The Veil released their debut A Flair
For The Dramatic in 2007. The band have toured the world including Warped Tour in
2008 and Taste Of Chaos in 2009; converted countless fans to their unique brand of
progressive post-hardcore; and, most notably, grown as both people and musicians from
these cumulative experiences. All of this figures into the group's long-awaited
sophomore release Selfish Machines, an album that sees the band—frontman Vic
Fuentes, drummer Mike Fuentes, guitarist Tony Perry and bassist Jaime Preciado—
coming together to craft an inventive album that is certain to challenge people's
perception of the band.
Recorded with Mike Green (Paramore, Set Your Goals) in Los Angeles, the album ended
up being more involved than initially planned—but that ended up being a blessing in
disguise. "It was actually a pretty intense process," Vic explains, adding that the band
didn't finish the album in the time allotted which forced him to stay in LA for an extra
two months working on vocals and bouncing between recording studios working on new
ideas. "It was definitely necessary to take the extra time with this recording," he
continues. "We're not settling on anything with this record."
From the soaring pop sensibility of songs like "Bulletproof Love" to the upbeat
aggression of "Caraphernelia", the album shows how versatile Pierce The Veil have
become, whether they're screaming their hearts out or gently bearing their souls. There
are also plenty of sonic surprises on Selfish Machines, most notably the emotive, piano-
driven ballad "Stay Away From My Friends" which displays the band's growth as
songwriters. "That song was my first crack at writing on piano," Vic explains. "I've got a
piano in my house now so I'd been messing around on it and ended up writing some
riffs, which I think definitely gave the album a different feel," he continues, adding that
he hopes to eventually implement keyboards into the band's live performances.
Although Pierce The Veil have toured incessantly for the past three years, they made
some time late last year to write these tracks and instantly threw themselves into the
songwriting process. "It's pretty hard for us to write on the road because we're touring in
an RV most of the time with tight quarters, which doesn't bode well for creativity," Vic
acknowledges with a laugh. "We have a studio at home that I like to hang out in, so I
basically just shut myself out from the world for three or four months and spent all day
and night writing," he continues. "Every song is super personal; they're all very real

about our lives and I think once people read them they can probably see a little bit about
what's going on with us."
"We are all in one way or another selfish machines," Vic explains when asked about the
album's title. "In no way is this a negative thing, it's human nature.We all have natural
tendencies to want, love, and take.When it comes down to it, humans have animal like
qualities that we keep inside and even try to deny—but no matter how morally good
someone may think they are or try to be, we are still humans," he continues. "One
example of this is how we are all constantly searching for someone to love, or even more
desperately, someone to love you.It is human nature broken down to its bare bones, no
bullshit, just rock bottom honest feelings and desire.No trying to be nice, shy, or
respectable, it's about the 'evil' thing inside of us that is really not evil at all, it's just
there and always will be inside of us all."
Having played with bands in nearly every subgenre, Pierce The Veil have always prided
themselves on not confining their band to one particular scene or genre—and the
harmony-rich songs like "I Don't Care If You're Contagious" are guaranteed to expose
them to entirely new crowds of followers with Selfish Machines. "Every band that I've
ever loved and admired has constantly grown and each record is a little different in their
own way and I think that's how it should be because it keeps you setting new goals and
trying to change for the better," Vic explains. "This record is definitely going to take us
new places and after this we'll keep writing and try to make the next one even better," he
summarizes. "We're always looking ahead."
Pierce The Veil recently signed with Fearless Records, and continues their live attack
this fall in support of Selfish Machines, with a tour of South America this September
with Sum 41, Four Year Strong and Attack Attack!. The band then heads to
Europe with labelmates blessthefall and Motionless In White, before kicking off
the "No Guts, No Glory" Tour this November with Miss May I, Woe, Is Me, LetLive
and The Amity Affliction. Pierce The Veil will head back into the studio early next
year to record album three, set for release later 2012.
All Time Low
All Time Low
The members of All Time Low have always been very open about their formative musical influences:
New Found Glory, Fall Out Boy, Green Day, Third Eye Blind and, of course, Blink-182. They’ve also been
open about how their icons have inspired their previous albums—from the Saves The Day-esque pop-
punk jams populating 2007’s So Wrong, It’s Right to the upbeat rockers on 2009’s Nothing Personal and
the eclectic, ecstatic pop of 2011’s Dirty Work. But when it came time to make their fifth album, Don’t
Panic, the band decided to look inward for inspiration.

“With this record, a big part of the process was finding what made our band special on each of our
past records,” says singer/guitarist Alex Gaskarth. “This time around, rather than taking influence from
anything we were listening to at the time—or anything we want to touch on generationally—the goal
was to make an album that we felt reflected the best aspects of our previous releases.”

Indeed, Don’t Panic—which marks All Time Low’s return to Hopeless Records after a stint on a major
label—brims with the type of energetic, hook-filled songs the band’s fans have always gravitated
toward. Mixed by Neal Avron, the album encompasses anthemic pop-rock (“The Irony Of Choking On
A Lifesaver”), ferocious punk-pop (“So Long Soldier,” a song with guest vocals from Bayside’s Anthony
Raneri) ‘90s-influenced alt-rock (“To Live And Let Go”) and gritty emo-pop (“Somewhere In Neverland”).
Don’t Panic is a record meant to be played at top volume in the car, with the windows all the way down.

In that sense, Don’t Panic recalls the fast-and-loose vibe of the band’s breakthrough album, So Wrong,
It’s Right—a record the band members made when they were just barely out of high school. But All
Time Low have grown up considerably since that release. Their last two albums debuted in the Billboard
Top 10, while videos for the songs “Weightless” and “I Feel Like Dancin’” received love from MTV.
Additionally, All Time Low grew into a fierce live act: Besides tours with Fall Out Boy, Yellowcard, Third
Eye Blind, Simple Plan and Good Charlotte—as well as multiple stints on Warped Tour’s main stage and
appearances at major festivals such as Reading, Leeds and Summer Sonic—they’ve even had the chance
to play shows alongside idols Blink-182, Green Day and Foo Fighters.

For the band—which formed in the suburbs of Baltimore, Maryland, nearly a decade ago—making
Don’t Panic was a much different experience than creating Dirty Work. First and foremost, the songs
came together quicker: Gaskarth first brought musical ideas to his bandmates in fall 2011, and then put
the finishing touches on them this past spring with Mike Green, who also produced multiple songs on
Dirty Work. Right away, the rest of All Time Low—lead guitarist Jack Barakat, bassist Zack Merrick and
drummer Rian Dawson—could tell there was something special about this new music.

“I’ve never really heard a song that Alex has written or we’ve written and not been completely stoked
on it,” says Dawson. “But for some reason, these just felt more us. There was less need to force
anything, less need to prove anything, less need to chase anything. It was All Time Low writing All Time
Low songs.”

Driven by these positive vibes, All Time Low chose to record the entire album with producer Green at
his Los Angeles studio. The consistency was a relief—and a change from the recent past, when the band

constructed albums with multiple collaborators in different studios. “It was a lot more relaxed,” Barakat
says about the Don’t Panic recording process. “We didn’t have a timeline; there was no pressure from a
time standpoint. You would just go in and write a bunch of songs—and when we felt like we had enough
great songs, then we’d record the album. It was doing everything on our own terms.”

Still, it’s not like these sessions were easy. Green urged each member of All Time Low to push
themselves and stretch their abilities; for instance, Dawson needed to practice for “three to four hours
a day” to get some of his parts right, while the always-driven Merrick says the producer encouraged
him to “try anything” in order to see what worked. All Time Low welcomed being challenged, though—
especially because it came from someone who truly understands the band. “He’s not trying to force us
to be something we don’t want to be—and he’s not cluttering up our vision,” Gaskarth says. “He allows
us to be ourselves, but takes us in positive directions rather than taking us down paths we might not
want to go down.”

This hard work resulted in the most complex All Time Low record, one with compelling sonic twists
and turns. Take the fist-pumping lead single “For Baltimore,” an intricate combination of several
distinct styles—spinning-top electric riffs, hard-charging chorus breakdowns and a tasteful, acoustic-
driven bridge—which succeeds despite being wildly diverse. Or “Backseat Serenade,” which boasts
hollering guest vocals from Cassadee Pope and a swooning string section on the bridge. And then there’s
the marching, melodic “Outlines,” a tune co-written by Patrick Stump which boasts bright, stacked
harmonies from former Acceptance vocalist Jason Vena.

But while All Time Low enjoyed recording Don’t Panic, the lyrics they came up with weren’t exactly
universally upbeat. As Dawson bluntly puts it, “being let down, basically, was the general concept” of
the record. While romantic dissatisfaction comprises some of this disappointment—getting into ill-fated
relationships against your better judgment or missing a long-distance love—other songs address much
darker topics. On “So Long, And Thanks For All The Booze,” Gaskarth sings about needing to reclaim
identity—“You gotta let me be me,” he begs repeatedly—while “The Irony Of Choking On A Lifesaver,”
describes being unpleasantly taken by surprise by something he thought was an ally: “But you’re always
out to get me / You’re the snake hidden in my daffodils when I’m picking flowers.” Even “Outlines,”
which Gaskarth asserts is “a song about legacy and leaving your mark on the world” is bittersweet: “I’m
just a moment, so don’t let me pass you by.”

Much of this residual frustration is left over from the aftermath of Dirty Work’s release, a time which
found All Time Low and their then-label parting ways. “There was a lot to say about what we had been
through, how it affected us and where we want to go now,” Gaskarth admits. But in true All Time Low
fashion, they found the silver lining in this disappointment: “Thanks To You” is about breaking free from
negative energy, people and habits, while the chugging “The Reckless And The Brave” celebrates the
band’s status as defiant misfits.

“A big part of the way this band has always written is to find the good in things,” Gaskarth says. “I don’t
think we’ve ever been one of those bands that dwells on the dark times. It’s really more about pushing
through it. That’s always been something unique about this band. It doesn’t dwell on hardship—it takes

hardship and offers a solution.”

Even the title Don’t Panic, which stems from Douglas Adams’ The Hitchhiker’s Guide To The Galaxy, is a
reference to this forward-thinking attitude. The sci-fi book’s theme—staying zen in the face of chaos—
resonated deeply with Gaskarth, especially where it related to All Time Low. “We went through some
rough times for the first time in our band’s career, being a part of a label that didn’t quite understand
us,” he says. “Through it all, we stayed positive. That’s the general outlook on the whole record—move
forward, keep looking forward and keep grinding.”

Now and as always, what keeps All Time Low moving forward are their dedicated fans, the ones who
have championed the group through thick and thin. All four members of the band know how lucky they
are to have such loyal listeners—and don’t take their support for granted. “We’re not going anywhere,”
Barakat says. “We’re going to keep releasing music our fans love and we’re going to keep touring. We’ve
always been the same four dudes who’ve been releasing music non-stop. This is our music. We’re here
to stay.”
Mayday Parade
Mayday Parade
It doesn't happen very often, but every once in a while a band comes along who have crafted a sound that's so unique it's hard to believe they haven't been playing together for decades. For the past four years, the members of Tallahassee, Florida's Mayday Parade—vocalist/keyboardist Derek Sanders, bassist Jeremy Lezno, guitarists Alex Garcia and Brooks Betts and drummer Jake Bundrick—have been perfecting their unique brand of pop-inflected punk rock, a process that is currently culminating with the release of their major-label debut Anywhere But Here. "We really just wanted to follow our own path on this record and not worry about if we fit in anywhere," Bundrick explains. "We were striving to make a record that meshed together really well and that was actually an album in the sense that all the songs sound different, but are working together toward a common theme."
Correspondingly Anywhere But Here shows how versatile Mayday Parade are, a fact that has endeared the band to fans all over the world and helped them forge their own niche in the rock community. From soaring and instantly accessible anthems like "Anywhere But Here" and "Get Up" to heartfelt ballads such as "Save Your Heart" and melodic midtempo tracks like "Bruised and Scarred," Anywhere But Here shows how much the band have grown since their 2006 debut A Lesson In Romantics and also proves that when it comes to Mayday Parade, songwriting takes precedence over gimmicks or fleeting fashions.
You Me At Six
You Me At Six
Often abbreviated YMA6 or YM@6, You Me at Six are a pop/rock outfit that formed in Surrey, England, in 2005. They quickly released an EP at the time, entitled We Know What It's Like to Be Alone, but it would be their subsequent live work and recorded output after signing with Slam Dunk in 2007 that would earn the band quite a bit of success, including a nomination from Kerrang! for Best British Band in 2008. With a more "screamo" sound as their foundation, You Me at Six slowly built a buzz around themselves in 2006-2007, playing larger and larger venues and attracting the attention of the aforementioned Slam Dunk. Soon after the deal was done, YMA6 released their first album, Take Off Your Colours, in late 2008. The album would go on to crack the Top 25 on the U.K. album charts, and earn the band an opening slot for Fall Out Boy on that band's U.K. tour. ~ Chris True, All Music Guide
Venue Information:
Cain's Ballroom
423 N Main St.
Tulsa, OK, 74103
http://www.cainsballroom.com