Letters From The Fire, The Black Moods, Conflict Of Interest
Thursday, March 2nd, 2017
This event is all ages
$15 in advance. $20 day of show.
All guests must have a valid government/state issued ID for entry to the venue. No refunds.
TICKETS PURCHASED IN PERSON AT THE BOX OFFICE INCLUDE A $2 BOX OFFICE FEE
All general admission tickets are standing room only.
ALL TICKET PRICES INCLUDE NEVADA'S 9% LIVE ENTERTAINMENT TAX
Brooklyn Bowl Las Vegas is excited to offer special room discounts via Caesars Hotels & Resorts for traveling fans. For hotel rooms use promo code: BRB15 at www.caesars.com applicable for rooms at The LINQ Hotel and the Flamingo.
*Advertised times are for doors -- show time not available until day of show*
On their upcoming third album, Adelitas Way intensify their brand of hard-edged rock with a tighter songwriting sensibility and more brutally raw energy than ever before. To create the album, the Las Vegas-based quartet joined forces with Nick Raskulinecz (a Grammy-winning producer who’s previously worked with artists like Alice in Chains, Foo Fighters, and Queens of the Stone Age) and holed up for eight weeks of nonstop recording in a cabin deep in the woods outside Nashville. Featuring the brooding but fiery lead single “Dog on a Leash,” the follow-up to 2011’s Home School Valedictorian proves to be the most refined yet thrillingly gritty album that Adelitas Way has offered up so far.
With “Dog on a Leash”—a slow-burner that blends lead-heavy riffs, thunderous drums, haunting guitar tones, and stirring vocals—Adelitas Way has deepened their sound while staying true to the fierceness of spirit the band’s embraced since their 2009 debut (a self-titled effort featuring the chart-topping single “Invincible,” now the theme song for WWE Superstars). For singer/songwriter Rick DeJesus, guitarist Robert Zakaryan, bassist Andrew Cushing, and drummer Trevor Stafford, striking that balance began with devoting nearly two years to writing the songs that would eventually make up the album. “Coming up with the songs for this record, it was really important for us to take the time we needed to let everything come together naturally, and also to make sure the lyrics and melodies and music were the strongest we’ve ever done,” says DeJesus.
Along with developing more powerful hooks and broader arrangements to shape each of the new songs in the band’s arsenal, Adelitas Way allowed an urgent, gut-punching intensity to fuel every step of their songwriting process. “I wanted the emotion of each song to be so strong that you could feel it bleeding through the music, whether it’s angst or heartbreak or loss, or even something from one of the more feel-good songs on the album,” DeJesus points out. “To me songs that have that kind of raw feeling are the ones that really get through and change people.”
While some of the songs saw their inception with a lyric or a melody from DeJesus, other tracks were born from riffs that the band generated during their many tireless jam sessions. “We spent weeks jamming and working on songs, which helped the final version to feel natural and real once we actually recorded,” says DeJesus. That prep work turned out to be invaluable in readying the band to record with Raskulinecz, an experience that DeJesus likens to a musical boot camp. “Nick’s not the kind of producer who’ll tell you, ‘Oh, we’ll just edit it later,’” says DeJesus. “There was no cutting or pasting or computer magic—it was just like, ‘You’re gonna sing it and play it right all the way through, and that’s what’s gonna go on the record.” Raskulinecz also helped Adelitas Way cultivate a more dynamic sound by working with the band to strengthen their arrangements and take their songs into directions they hadn’t explored before. “It was a constant learning and growing process, and Nick really helped push us both mentally and physically,” DeJesus notes.
When it came time to record, Adelitas Way and Raskulinecz spent ten hours a day working on songs in their cabin studio. “We were pretty secluded out there in the woods, which I think is better for making a record than being in a city like L.A. where you have so many distractions,” says DeJesus. “There’s a different level of focus in working like that, and all we had to think about all day long was building a connection with the people who were going to hear this album.” Even after leaving the studio for the day, DeJesus continued to work on crafting the band’s latest batch of songs. “I’d go back home and sit down and work on lyrics some more, making sure all of the songs were right and telling the story I needed and wanted to tell,” he says.
Despite all that steadfast effort, the album emerges as a product of pure passion, nervy energy, and an irresistible simplicity that’s evident in its bold and brash sound. “With this album it wasn’t like, ‘Let’s try out all these new things’—it was more like we were trying out less things,” says DeJesus. “We weren’t saying, ‘Let’s try hiding the guitar tone, let’s stack 50 guitars to make it sound huge, let’s tune the vocals and add synth and beats and whatever else.’ We just wanted to keep it stripped-down and make some really great music.” Noting that his songwriting is largely influenced by the visceral, uncompromising alt-rock that bands like Nirvana and Soundgarden pioneered in the late-‘80s and early-‘90s, DeJesus adds that Adelitas Way was adamant about limiting the new album to live instrumentation (including a grand piano and string section along with the built-in lineup of guitar, bass, and drums). “When I was younger I watched Nirvana wipe out an entire generation of pop, which was something really inspiring to me in making an album at a time when rock’s become sort of a black sheep in the music world,” he says.
For Adelitas Way, one of the most crucial benefits to keeping their sound rough and rugged is clearing a more direct pathway to connection with the listener. “A song like ‘Dog on a Leash’—that’s about feeling like you need to ask permission to do what you want, like you’re under the mercy of someone else, whether it’s your boss or an overbearing girlfriend or boyfriend or whoever, which is something I’ve seen happen so many times to people in my life,” DeJesus explains. By drawing out those pained and primal emotions in their music, Adelitas Way aim to ultimately empower their listeners with a sense of release. “Hearing a song that’s about something you’re dealing with and realizing you’re not alone is so important for getting through things,” says DeJesus. “That’s what I want our songs to help people to do. And when someone connects with a song so much that they think we wrote it specifically about them, that’s when I know we’ve gotten the job done.”
Letters From The Fire
Worth the Pain “These are our stories our trials and tribulations. This is who we are.”That’s Mike Keller, the guitarist/founder behind the Bay Area rock powerhouse Letters From the Fire, explaining his band’s moniker. Ostensibly lifted from an old lyric, the phrase now serves as both a reminder of the band’s sometimes turbulent origin—as well as a rallying cry as the group moves forward and (re)introduces themselves to the music world. While Letters From the Fire has existed for a bit, the group only recently solidified a lineup that best represents Keller’s original vision (the band is rounded out by Alexa Kabazie, Cameron Stucky, Clayton Wages and Brian Sumwalt). The band found a modicum of early success doing national tours with the likes of Fuel, Trapt, Non Point and Pop Evil, recording with former Evanescence guitarist Ben Moody and scoring a few rock radio hits (“Zombies in the Sun,” a cover of “Eleanor Rigby”). But singer changes abounded... until they met Alexa Kabazie. “We heard about this singer from Kile Odell, this producer we were working with,” says Keller. “She was killing it on the demos we heard. We had to fly to North Carolina just to see if she could do it in person. She nailed the audition literally on the first try. Two weeks later, we already had seven songs ready to go. She’s a star in the making.” With Kabazie now helping out on melody and lyrics, the band shifted gears. “She was all over the heavy stuff,” says Keller. “We actually scratched a lot of stuff and wrote around her voice. It’s interesting what she brings, because we’re not really like In This Moment or Halestorm or anything you’re hearing in rock right now.” You can hear the band’s new focus on Worth the Pain, 13 new songs that offer a beguiling mix of melody and heaviness. Along the way, the album offers twists and turns: The slow piano build of “At War” gives way to the harsher realm of “Control,” while the heavy groove of “Last December” co-exists near the perfect mix of pop and aggression in “Mother Misery.” Throughout, Kabazie sounds both defiant and reflective, stating “I’ve been a soldier in every battle except my own” and, in the title track, simply stating “Thank you for walking away.” There are wounds here. “The record is full of stories,” says Keller. “And this is the first time I really felt something lyrically when we were writing the record. Alexa actually says what she means. Her songs actually have helped me get through a lot of my own personal shit.” The first single, “Give In to Me,” a pummeling mix of electronics and heavy guitar, centers around a person who has an addiction that gives into their dark side. To compliment the song, the video features a mysterious stranger torturing a prisoner, who (Fight Club-esque spoiler alert) ends up being themselves. After the video and album release, the band plans to hit the road for the foreseeable future, concentrating on the now. “We’re just going to play the new stuff,” says Keller. “Shed the past, let this stand on its own.” Expect the album’s title track to be a highlight. Like the band’s name, it seems to summarize the group’s early struggles and present triumphs. “With everything we’ve gone through, we kept fighting,” says Keller. “There were times we were so close to giving up and moving on. At the end of the day, it’s been worth the struggle and the fight to do this.”
The Black Moods
The Black Moods are a 3-piece rock outfit hailing from Tempe, Arizona, by way of the Missouri Ozarks. This band is bringing a new level of heat out of the Sonora desert. Led by one of the most electric front men/guitarists in music today. The Black Moods bring to the world what rock music has been missing for quite some time - PURE, EFFORTLESS TALENT. The band's self-titled debut album is packed with a healthy dose of guitar driven power houses such as "Can't Sleep at Night" & "Like A Wave," to compelling sing-along anthems like "Hey You" & "Don't Let Them Get You Down." Comprised of Josh Kennedy (lead guitarist/vocalist), Johannes Lar (bassist), and Danny "Chico" Diaz (drums), the trio blends various Rock & Roll styles that span from the past 4 decades to form their own signature sound that resembles what would be the musical offspring of Bad Company and the Foo Fighters. The band's live show is filled with high energy, infectious guitar solos and attitude that can keep the crowds' attention for hours. Having received acclaimed praise from fans and critics alike as equal parts natural talent and live performance superstars, the group delivers powerful guitar riffs, melodic bass and drum beats that make your heart pound like a kick drum. Fresh out of the studio with producers Kenny Carkeet (AWOLNATION) and Jim Kaufman (Helmet, Opiate for the Masses), The Black Moods have been touring since their debut album was released in April 2012. Don't miss your chance to see this band live and get your own personal glimpse of rock & roll history in the making.
Conflict Of Interest
From the town that produced acts such as Imagine Dragons and Adelitas Way comes the next big thing in Hard Rock…Conflict Of Interest. Hailing from Las Vegas, NV and turning heads all over the country with melodic heavy rhythms and vocal hooks that leave a crowd screaming and wanting more. As far back as 2009 the band took over their hometown by winning the “Rock The Roof” battle of the bands at Diablo’s on the Las Vegas Strip. This provided the band $10,000 with which to record an album with David Adam Monroe (A Day To Remember, Lady Gaga) in Boston, MA. Since then the band has written and recorded songs with award winning producers Kevin and Kane Churko (Five Finger Death Punch, Papa Roach) and Dave ‘Lord’ Lichens (Atreyu, Petra) that have made their way to radio stations in Las Vegas and beyond. Their song “No Mercy” was seen and heard by millions when it was picked up by the San Fransisco 49ers as part of their “Quest For Six” campaign in 2012 & 2013. “No Mercy” was featured on the 49ers website and played live at all their home games. No stranger to the road, Conflict Of Interest has toured to states like California, Arizona, Oklahoma, Missouri, Colorado, Utah, and Idaho sharing stages with bands such as Adelitas Way, Rob Zombie, All That Remains, In This Moment, Sick Puppies, and more. COI was also the first original band to secure a residency at House Of Blues in Las Vegas working alongside big sponsors like Bacardi. Karen Mandall of Music Tour Reviews called them “the next big thing out of Las Vegas. The fact that they have achieved this level of popularity on their own, without the backing of a label is beyond impressive”.