HALLOWEEN HAUNT with The Struts & Meg Myers

Z104.5 The Edge Presents

HALLOWEEN HAUNT with The Struts & Meg Myers

Albert Hammond Jr., Thunderpussy

Wed Oct 31

Doors: 6:00 pm / Show: 6:45 pm

Cain's Ballroom

Tulsa, OK

$27.00 - $42.00

Tickets at the Door

This event is all ages

Advance $27

Day of Show $29
Door $29
Mezz 21+ $42

There is a $2 fee that applies to each ticket purchased at the Cain's Box Office.

No re-entry! No smoking! No refunds!

Support acts are subject to change without notice!

Halloween Haunt
Halloween Haunt
Z104.5 The Edge presents Halloween Haunt at Cain's Ballroom on October 31, 2018 featuring The Struts, Meg Myers, Albert Hammond Jr. and more!
The Struts
The Struts
In just a few years, The Struts have found themselves massively embraced by some of the greatest icons in rock-and-roll history. Along with opening for The Rolling Stones, The Who, and Guns N’ Roses, the U.K.-bred four-piece was hand-picked by Mötley Crüe to serve as the supporting act for their last-ever performances, while Dave Grohl praised them as the best band to ever open for Foo Fighters.

After making their full-length debut with 2016’s Everybody Wants, The Struts now return with a new single “Body Talks.” On the song, The Struts let loose with the sing-along-ready and riff-heavy sound they’ve brought to stadiums and arenas all around the world. The blues-spiked track captures what Spiller calls “that moment when you mosey on over to someone on the dancefloor, and the music’s blaring so loud you can’t even talk to each other.”

Formed in Derby, England, in 2012, The Struts almost instantly drew a major following with their outrageous live show, and later made their debut with Have You Heard (a 2015 EP whose lead single “Could Have Been Me” hit #1 on Spotify’s viral chart). Before they’d even put out their first album, the band opened for The Rolling Stones before a crowd of 80,000 in Paris and toured the U.S. on a string of sold-out shows. Known for his lovably swaggering stage presence—the very factor that gave The Struts their name—Spiller soon inspired legendary designers like former Queen costumer Zandra Rhodes to custom-create his lavish and glittering onstage attire. As the frontman points out, that heightened element of spectacle is all a part of the band’s mission of making an unforgettable impact on the crowd. “We believe in giving our absolute all every night, because that’s what our fans deserve,” he says. “The goal is always to get everyone dancing and screaming and shouting, and to make sure they leave dripping in sweat with huge smiles on their faces.”
Meg Myers
Meg Myers
Meg Myers is collapsed like a broken ragdoll on her hardwood floors in her Los Angeles apartment — crying uncontrollable, feeling something she's never felt before. It's that kind of cry you don't even wish upon your worst enemies — the kind that comes from that hidden place where all your demons are trying to break free.

You'd think something terrible had just happened, but quite the opposite. The singer/songwriter was just listening back to rough mixes of her new record, Take Me to the Disco (300 Entertainment), when a profound realization swept over her. "When I first wrote some of these new songs, I thought I knew what I was writing about. A lot had to do with a breakup. But since then I'd been on this spiritual, therapeutic journey and had a lot of revelations about myself and why I am the way I am," explains the Nashville-born, L.A.-based singer/songwriter.

"Listening back to some of these songs made me realize what I was really writing about... what was underneath it all," continues Myers, who grew up in a Jehovah's Witness household before breaking free to pursue music in L.A. at the age of 19. "All of a sudden it all made sense to me and that moment of realization just overwhelmed me with a flood of tears and joy. On the surface, I thought I was writing about love loss but I've learned it goes much deeper than that. It's going back to the child in me that needed to be healed. I've always written from a true place, but in getting to know myself better, I'm now writing from an even deeper level of honesty."

The dreamy, atmospheric title track, is one such song. "I had an epiphany on this one," she admits. "It started out being about wanting to escape, which is a common theme I write about it. I've always been a little obsessed with death and wanting to just be taken away from it all. It's something I've never been able to understand about myself until now. But, I realized that it wasn't about disappearing and disconnecting. It was actually about a primal need to not just connect to myself in a deeper way, but to connect to something larger than myself."

Likewise, on another album standout "Tourniquet," she looks at the stranglehold a bittersweet romance has had on her. "It's about knowing that you need to get out of something, but you can’t because you are trapped. It's that moment you realize you're going to have to change everything you've ever known. It's time to turn off the life support machine and risk everything for your only chance to be re-born.” she says.

Anyone familiar with Meg Myers' work shouldn't be too surprised at the intensity of what she just said. With her first three critically acclaimed releases, the EPs Daughter in the Choir (2013) and Make a Shadow (2014), and her 2015 full-length debut, Sorry (Atlantic Records), the artist made a name for herself on the emotional intensity of her lyrics and music and her uncanny ability to vacillate between seducing the listener with an innocent whisper before jarring them with a guttural scream. Entertainment Weekly aptly described her knack for such emotive vocal dynamics as "mysteriously shape-shifting."

Billboard echoed that sentiment: "Myers delivered a strikingly visceral feeling and the sort of deeply relatable angst artists like Fiona Apple came up on. The result is at times guttural and primitive in its execution." Her unique brand of alt-rock spawned the Top 15 and Top 20 alternative radio hits, "Desire" and "Sorry," respectively, with MTV calling "Desire" the female answer to Nine Inch Nails' "Closer." Myers, who's graced the pages of every major publication from Rolling Stone to Cosmopolitan to the New York Times, landed coveted opening slots with the Pixies, Alt-J, and Awolnation, and featured on such notable festivals as Lollapalooza and Governors Ball Music Festival.

The difference, though, between her previous work and the 12 songs on Take Me to the Disco is quite profound. Sure, the angst is still there. So is the push-and-pull of those light and dark moments, but it's now peppered with newfound wisdom and perspective... and a little bit of humor.

Take the first single, "Numb," for instance. In the quiet moments in the verse, Myers almost jokingly succumbs to being a record label puppet as she sarcastically states, "Tell me how to write this/Tell me how to fight this war," before busting out her true feelings in a bombastic chorus where she wails, "You think you want the best for me/But nothing really matters/If you force it, it won’t come/I guess I'm feeling numb." In another breath of vocal gymnastics she cheekily sings in a girlish tone, "I don't want to grow up. La la la la la." "There are definitely more light-hearted moments on the record," she says. "It comes with finally being past certain situations and being able to look back and laugh at things."

The end result is the feeling of empowerment that comes when the artist realizes that she can use the trials and tribulations of the music industry and life to fuel her creativity instead of stifling it. "When I first wrote 'Numb,'" explains Myers, whose influences range from Tori Amos to Nine Inch Nails to Danny Elfman scores to classical music, "it was about my experience with a major record label. But as I dug deeper, I found that it goes back to some early childhood stuff and how shutting down, or escaping, felt like the safer thing to do. It used to be that all of the pressure made me lose feeling, but now I feel stronger to face the tougher stuff and let it empower me instead of drag me down. But, there are times I still fail at this."

Myers credits her new collaboration with the album's producer and main co-writer, Christian "Leggy" Langdon, with some of her creative breakthroughs. "Leggy had this amazing ability to really pull things out of me and he also knew what I was feeling unlike anyone else," says Myers.

Another standout on the album is the sexy rocker "Jealous Sea" where Myers faces her inner green-eyed monster head-on. "This is definitely a walk on the darker side, but it also shows the beauty in the darkness. I've always been drawn to those minor notes, and the dramatic swells and dynamics that you hear in classical music. But it's also influenced by bands like Nine Inch Nails and Depeche Mode."

To bring some of that vibe to the record, Myers enlisted Victor Indrizzo, who has played with Depeche Mode, to contribute drums/percussion to most songs on Take Me to the Disco. And, Myers used a live string section for the first time —The Section Quartet appears on six songs on the album.

Music is a form of escapism for many. But, Myers is finally done escaping. On Take Me to the Disco, she bravely faces her own reality head-on — fearless and empowered. But there is still work to be done. Adds Myers, "Making this record was healing, cathartic, and sometimes scary, but I think it made me a better artist. And, it's just the beginning. I have a lot of work to do. I have more to confront, and more to understand... more to say."
Albert Hammond Jr.
Albert Hammond Jr.
Albert Hammond Jr’s fourth solo album, Francis Trouble is available everywhere globally. The album explores a deeply personal topic – the stillborn death of Albert’s twin brother, Francis, and the lingering effects that event has had in his life and music.

In November of 1979, Hammond Jr’s mother, Claudia, miscarried. Although they rushed to the hospital, Claudia and Albert Hammond Sr. were told that the baby was far too premature to live. Albert continued to grow inside of his mother undetected until she was nearly six months pregnant.

Although he had always known of the existence of Francis, it was not until he was 36 years old that he learned from an aunt that part of Francis had remained behind in the womb and was born alongside him – a fingernail. With his music moving in a different path than before, Hammond Jr wondered if this new direction came from another avenue of himself, perhaps emanating from whatever he and the departed Francis had shared for the few short months they had together.

Taking a page from Bowie, Hammond Jr says: “What the music says may be serious, but as a medium it should not be questioned, analyzed or taken too seriously. I think it should be tarted up, made into a character, a parody of itself. The music is the mask the message wears and I, the performer, am the message.”

Working within this mentality, Hammond Jr created Francis Trouble, an homage to both the death of his twin and his own birth, as well as the complexities of identity that arise because of their intermingling. The number 36 became especially relevant, as he had learned more of Francis’s story at that age, and because he was born on the 9th day of the 4th month of the year. Significantly, the album is exactly 36 minutes long.
What if Thor’s Hammer of the Gods from “Immigrant Song” landed in the hands of four wise, willful, and wild women? Well, it would sound something like Thunderpussy.

The quartet—Molly Sides [vocals], Whitney Petty [guitar], Leah Julius [bass], and Ruby Dunphy [drums]—do the most rock ‘n’ roll thing possible and quite literally fuck up every rock ‘n’ roll stereotype you know to be true, piercing the halls of Valhalla in the process. Think of it like an inverse Frank Frazetta painting where it’s the Amazonian siren wielding all of the world’s power instead of Conan (he’s on the sidelines in awe). More simply, instead of Page and Plant, Perry and Tyler, and Jagger and Richards, you get Molly and Whitney. Known for earth shattering pipes, heart-stopping performance art, and a propensity to literally writhe through a crowd, Molly is the consummate ideal front-person—bold, brilliant, brazen, and beautiful. At her righthand, you’ve got Whitney as the ultimate 21st century axe-slinger—cool, collected, and crazy on that fretboard. Rounding out the fray, Leah and Ruby cook up the tightest rhythm section this side of Cream (no kidding).

So, what is it that turned the Seattle-based group into a quiet phenomenon with the endorsement of Rolling Stone and Pearl Jam guitarist Mike McCready as well as a string of already legendary performances under their high-waisted belts (we’re looking at you, Sasquatch)? It’d be too easy say it’s the power of the P-----

Whitney steps in, “People talk about that magic. There’s some voodoo happening between Molly and I, which is like a cosmic connection. She has this power. Somehow, I’m under her spell when we’re performing—we all are.”

“The truth is, I feel the same way about Whitney, Leah, and Ruby,” smiles Molly. “We’re all in this together.”

That unity drives the band’s forthcoming full-length debut Thunderpussy [Stardog Records/Republic Records] produced by Sylvia Massy. The lead single Speed Queen begins with a revving engine and arena-size percussion before snapping into a muscular and majestic riff and vocal proclamation, “Long live the Speed Queen.”

“The ‘Speed Queen’ is this mythic and magical woman who rides a motorcycle and travels around the country,” explains Whitney. “Nobody knows too much about where she came from or where she’s going, but she changes everyone she meets because she’s that powerful. I was thinking of Molly when I wrote it.”

Its companion track “Badlands” evokes bluesy Zeppelin-style mysticism with a fury that certainly wouldn’t be out of place on Aerosmith’s Rocks—but is completely at home on Speed Queen.

“It nods to that classic Terrence Malick movie Badlands with Martin Sheen and Sissy Spacek,” adds Molly. “It’s an on-the-run love song between two outlaws.”

Among its arsenal, Thunderpussy also boasts a song produced by McCready “Velvet Noose.” Everything comes together into one cohesive and classic vision of rock music recharged, reinvigorated, and resurrected in what can only be described as a diamond in the muff: Thunderpussy.

“Being a lover of rock ‘n’ roll music for my whole life, you either have it, or you don’t,” Whitney leaves off. “If you find it, cultivate it, treat it like a wild animal, and tame that raw energy, but not too much. That’s what this is.”
Venue Information:
Cain's Ballroom
423 N Main St.
Tulsa, OK, 74103