An Evening With Johnny Marr

An Evening With Johnny Marr

Saturday, May 18th, 2019

7:30 pm (event ends at 1:00 am)

$32.00 - $45.00+

This event is 18 and over

$32.00 General Admission, $35.00 General Admission (day of show) $45.00 Club Level 

All guests must have a valid government/state issued ID for entry to the venue. No refunds.

International customers, if you are having issues purchasing, please reach out to us at 702-862-4728 for help completing your purchase.

Tickets purchased in person, subject to $2.00 processing charge.

All general admission tickets are standing room only.




Special room discounts via Caesars Hotels & Resorts for traveling fans. For hotel rooms use promo code: BRB15 at applicable for rooms at The LINQ Hotel and the Flamingo.

 *Advertised times are for doors -- show time not available*

* Venue closes between 12am - 1am unless otherwise noted*

Johnny Marr
Johnny Marr
“Don’t ask me why I obsessively look to rock ‘n’ roll bands for some kind of model
for a better society . . . I guess it’s just that I glimpsed something beautiful in a
flashbulb moment once, and perhaps mistaking it for a prophecy have been seeking
its fulfillment ever since.”
Lester Bangs, 1978
“This is the most complete thing I’ve ever done”, says Johnny Marr. “There are no
songs I’m not sure about. And for me as a listener, it’s made up of entirely the
music I like, and have liked.”
Call The Comet is his third solo album. Recorded over nine months in his new
studio and HQ just outside Manchester, it’s a vivid, immersive, brilliantly
evocative record, which develops the music explored on its two predecessors –
2013’s The Messenger, and Playland, released in 2014 – and adds a new
emphasis on atmosphere and drama. In response to our confused, fretful times,
many of its songs look to ideas of an alternative society and utopian futures,
while retaining an all-important openness and sense of mystery. Most obviously,
the album is also full of the pre-requisites of compelling music, which Marr
understands as a matter of instinct.
“Everybody who knows about rock music knows who I am,” he says. “They know
what my values are. So they don’t need my songs to be any kind of exposition.
They want good riffs, and good singing, and good guitar music.”
The album was initially worked on in the slipstream of “Set The Boy Free”, the
autobiography published in 2016, whose writing demanded a year-long
immersion in Marr’s past. “I felt like I’d literally written all the chapters of my life
and career up to that point,” he says. “It felt like, ‘I’ve told my story – what I have
I got to say now?’ The past had been dealt with. Baggage had been dropped off,
packed and sent away.”
“I also felt that my solo career has got its own steam, and it can stand or fall on
what it is in itself. So I felt free. And I was intrigued myself about what I was
going to come up with. It was, ‘What are my ideas about, looking forward?’”
The answer began to materialize in the autumn of 2016, when Marr did a series
of book talks in the USA. He arrived in New York two days after Donald Trump
had won the Presidency – and in his hotel, he wrote the lines that would
eventually open the album, on a song titled Rise: “Now here they come/It’s the
dawn of the dogs/ They hound, they howl/Never let up.”
When he then travelled to Los Angeles, he met friends who suddenly felt “there
was no future.” And at that point, he began to get a sense of where the song
might go: “I put it all together, and imagined two people saying, ‘Right – we’re
going to build a new society.’ And once I got that, I began to tie in the whole of

the record.” These threads run through songs that define “Call The Comet”’s core:
Rise, New Dominions, the lead-off single The Tracers (whose lyrics contain the
album’s title), and Spiral Cities – in lyrical and musical terms, evocations of what
Marr calls “alternative societies”, which partly draw on the example set by his
earlier work – the 2014 single Dynamo is probably the best example – but also
push into completely new areas.
To a greater extent than in the recent past, their music reflects the work Marr
has done with the film composer Hans Zimmer, on both Inception, and The
Amazing Spider Man 2. “It’s a nice area to draw from,” says Marr. “I had a rule on
the first two albums that no song could be longer than four minutes. I don’t know
whether I stuck to that – I think I did pretty much. But on this record, I just
wanted to follow the feeling; follow the drama. And I’d say my work with Hans
has awakened that in me.” These songs lyrics, meanwhile, were influenced by
the kind of the literary sources that have run through all three Marr solo albums.
The Tracers, he says, is “totally HG Wells”, while Spiral Cities was inspired by the
Crystal Chain Letters, “a book by different architects in the early 20th century,
writing and conceptualizing the utopian city of the future.”
These influences make for heady, deeply-textured stuff, which underlines
something very important: the fact that Call The Comet is a work of art and
imagination – sparked by the era of Brexit and Trump, perhaps, but intended to
transport people somewhere completely different. To some extent, it songs do
not need explanation: like all great music, the better society they evoke is there
as a matter of artistry and alchemy, and the inarticulable qualities that only
music possesses.
“I was trying to reconnect with the value of being an artist, and the escape from
what I see going in society,” Marr explains. “I was saying, ‘I’m not going to do
something political – it’s too obvious, and also, I don’t want it dominating this
record.’ This record had to be about atmosphere, and drama. I wanted to retreat
into that. And also, I didn’t have an answer to what had gone on.”
In the wake of the 2016 referendum on Britain’s place in Europe, he says, “I
heard my wife talking to some of our friends, and the tone of her voice reminded
me of the way we were when were 15, 16 – which was ‘we’re musicians, we’re
artists – fuck them.’ I had to do something more esoteric, and bohemian, and
artistic. I really wanted to honour that.”
This impulse was assisted by Marr’s new working environment, where he
worked on the album with the three musicians who now form the band that
helps to turn his ideas into reality, not least on the live stage. “It’s literally the top
floor of an old factory,” he says. “It’s very industrial, and I can see the Pennines
from there. Places like that are really rare these days. So for example, I wrote
Actor Attractor on a really foggy, dark Sunday evening – not unlike the night [The
Smiths] recorded Hand In Glove, to be honest. I’m very pleased that I’m working
in an industrial, factory space. And quite quickly in the process, I turned one of
the sofas in the studio into a bed, and kind of moved in there. I thought I’d got
over that kind of nonsense [laughs]. But I felt I was on to something, with that

atmosphere. I would just stay up really late, and when the band clocked off, I’d
wander the halls, and get lyrics.”
These experiences fed into the album’s prevailing sense of realities beyond the
here and now, but there are at least two occasions when Call The Comet directly
describes events in the everyday world. The first is Bug – probably the album’s
most instant, infectious piece, and self-evidently a comment on the more malign
aspects of life in 2018: “Everybody feels the aching/Population is sick and
shaking/Can’t think straight /Minds breaking/ And the world is burning up.”
“Bug is an out-and-out pop, rock’n’roll song,” says Marr. “It’s deliberately written
with catchy verses that sound quite glam rock. I very deliberately made it so it
sounded like it could be sung by The Sweet, or Marc Bolan. With that, and the
sound of the words, it almost sounds like a 50s rock’n’roll song. It amuses me
that it’s not po-faced. It’s so pop that I could be describing a dance - like, ‘Do the
bug’. It sounds like what I call a jukebox record. I’m not sitting there with an
acoustic guitar on the porch, talking about the woes of the world.”
The album closes with A Different Gun, a transcendent, reflective end piece
which came to its author in the wake of awful events in France in the summer of
2016. “I wrote all of it about the Bastille Day attack in Nice. Since then, I’ve
thought that I want to keep that quiet, because I don’t want to appear
sensationalist or draw much attention to it. I was a little self-conscious about it.
But I am proud of it. When I saw what happened being reported, like everybody,
I was incredibly shocked. But I got this feeling about this dichotomy that happens
in life. I saw the palm trees, and what hit me very hard was the image of bodies
strewn on the road in the warm, sultry night. It wasn’t in the middle of war-torn
devastation; it was on that clean tarmac, where people were on holiday,
celebrating. A lot of children; families. It really hit me, and that feeling stayed
with me. I couldn’t shake it off. I wanted to create music that was poignant, and
had an air of suspension, in a way. And the truth of it is that when I was working
on the vocals, the Manchester Arena attack happened. By that time, it was
summer again. And again, this idea of this horrible shutdown of humanity, in the
sun, made me write those lines: ‘Every day is a different sun/Blown away with a
different gun.’ At the end, the line ‘Stay and come out tonight’ is there because I
can’t leave things bleak. There would be something about wrong about that. All
of us need to stay out. We can’t lock ourselves away.”
Not many musicians create songs like this. And by the same token, only Johnny
Marr could have made an album that combines the fundamentals of great music
with such imagination and substance. Such is the singular magic of Call The
John Harris, April 2018
Venue Information:
Brooklyn Bowl Las Vegas
3545 Las Vegas Blvd. South
Las Vegas, NV, 89109

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