Metric - The Doomscroller Tour
Brooklyn Bowl Nashville
925 3rd Avenue North
Nashville, Tennessee 37201
Metric has partnered with PLUS1 so that $1 per ticket goes to supporting War Child and their work to empower children and families in communities affected by war throughout the world.
This event is open to all ages. Valid government-issued photo ID is required to purchase and consume alcohol.
There are no COVID-19 vaccination or test requirements for this event. An inherent risk of exposure to COVID-19 exists in any public place where people are present. By visiting our establishment, you voluntarily assume all risks related to the exposure to or spreading of COVID-19.
This ticket is valid for standing room only, general admission. ADA accommodations are available day of show.
All support acts are subject to change without notice.
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ALL SALES ARE FINAL
The vinyl artwork for Metric’s new album, Formentera, includes a motto that sums up the past few years: This Is What Happened. It’s an understatement that manages to say everything.
Even real places become imaginary when they are so far out of reach. Named for an idyllic island near Ibiza off the coast of Spain, Formentera is a place that, for Metric, only existed on a page in a “dream destinations” travel book that lay open on a desk in the new recording studio that guitarist Jimmy Shaw built in 2020, in a rural hamlet north of Toronto. This is the setting where the band’s eighth album took shape.
Metric’s sound is both genre-defying and genre-defining. Emily Haines, Jimmy Shaw, bassist Joshua Winstead and drummer Joules Scott Key started playing together in NYC in 2001. They are just getting started.
The band will be hitting the road on a North American headline tour, The Doomscroller Tour, and have partnered with PLUS1 so that $1 per ticket goes to supporting War Child and their work to empower children and families in communities affected by war throughout the world.
"One of the high points of 2022 for us has been working on putting everything together for The Doomscroller Tour," says frontwomen Emily Haines. "We’re crafting a set list based on fan favorites including deep cuts from Live it Out & Old World and it’s been wild to see how the new songs from Formentera flow with the classics from Fantasies & Synthetica. I’m really happy with the venues we chose, they suit the lighting and sonics and the whole mood of the show we’re crafting. I want Metric fans to have the best concert experience possible and feel like they got to escape into another reality with us for the evening. Can’t wait to get this show on the road!"
heady, largely overlooked hint of the decade-long slumber they’d slip into two years later. After all,
the circumstances surrounding the record would test the resolve of even the most tight-knit bands.
In 2007, co-founding guitarist Benjamin Curtis — who passed away from a rare form of lymphoma in 2013 — left his
brother Brandon and Secret Machines’ stellar drummer Josh Garza behind to focus on his new project School of
Seven Bells. The saving grace of Benjamin’s departure from Secret Machines despite two buzzworthy albums and
years of electrifying live shows together, however, was guitarist Phil Karnats. A fellow Dallas native who played
alongside Brandon and Benjamin in the psych-pop band Tripping Daisy, he wasted no time falling into place
alongside Josh’s lead-footed rhythms and Brandon’s sinewy, rip-roaring hooks.
Or As Pitchfork wrote in its review of Secret Machines nearly 15 years ago, Karnats’ robust, laser-focused riffs lock
right into “the group’s menacing melodies and pulsing beats” for 48 winding minutes, “lending even
relatively short tracks... the feel of epics.”
Here’s the thing though: Secret Machines’ original label (the Frank Sinatra-founded Reprise Records) never
quite got the group. Warner Brothers’ way of supporting the trio’s powerful sound in the four years between their
breakout debut (2004’s Now Here is Nowhere) and the Secret Machines sessions wasn’t to try and wrap their heads
around it. They’d rather boost the band’s studio budget until it burst and hope a hit would emerge from the ether.
That is until they heard Secret Machines’ third album. Reprise was so perplexed by the bold LP they immediately hit
the brakes and refused to promote it. “One particular guy epitomized the vibe,” explains Brandon. “He was
obviously unhappy with the record, but the way he communicated his feelings was so convoluted. He asked us to
make changes, and as I expressed our willingness to discuss any ideas he may have, he just kept saying ‘no.’ I’m not
sure what he was even saying ‘no’ to!”
“At that point,” adds Josh, “the writing was on the wall. They felt like they’d given us a chance and were really upfront.
So we asked them to give us the album and they were like, ‘Sure, take the album; no harm, no foul.’”
Reprise’s eagerness to cut their ties from Secret Machines led to a rushed, ill-fated deal with World’s Fair Label
Group. While it had already worked with such reputable artists and imprints as Rough Trade, Jarvis Cocker and
Daptone, the part-time PR company shuttered its own label right in the middle of a Canadian tour that was supposed
to support the band’s self-titled record. A record it hadn’t bothered to officially release, mind you.
“People didn’t even know the album was out,” says Josh. “Things got really bad from there and started leaving a bad
taste in our mouth. Our problem was never with the music, though; it was with the business itself.”
The good news about Secret Machines’ DOA status is that it’s finally being released as it was originally intended.
Much like a long overdue director’s cut, it now features a dynamic sequence that makes far more sense in the
long run than the original and boasts the added benefit of hindsight and a renewed sense of purpose within the
group’s widescreen back catalog.
Rather than spark the record’s proceedings with the candy-laced chords and immediate hooks of “Atomic Heels,” the
power trio now knocks our jowls back like a Maxwell ad with the jarring opening of “The Fire is Waiting.” It’s as
if they’re daring us to step one foot closer, only to reward our patience with a subtle recorder pattern from glam-rock
demigod Tony Visconti and a windswept, 11-minute sequence Phil rightfully describes as “like being swallowed up by
an indomitable, mountainous wave, bated breath and an inevitable end.”
Bringing the record into full relief are crisp remastered recordings by Slowdive drummer Simon Scott, and tracks that
have taken on a new life in 2022 — from the torn space-time continuum of “The Walls are Starting to Crack” to
the simmering intro and gleaming, rigid groove of “Have I Run Out.”
“In keeping with the themes of this album,” says Brandon, “chaos prevails....”