Tuesday, March 8^th, 2022

Parcels

Mildlife

Doors: 7:00 PM 18+ Years

Event Info

Venue Information:
Brooklyn Bowl Las Vegas
The Linq Promenade
Las Vegas, NV

$25.00 General Admission

Parcels Pre Sale - September 29th @ 10am
Brooklyn Bowl Pre Sale - September 30th @ 10am
Public On Sale - October 1st @ 7:00am

Proof of your vaccination record (vaccination card or picture of your card with a matching ID card), demonstrating you were fully vaccinated at least two weeks in advance of the day of show. OR proof of a negative COVID test, administered within 72 hours of the day of show, with matching ID card.

A negative PCR or antigen COVID-19 test will be accepted. Please be sure to bring printed or digital proof of your negative test result, dated and time-stamped. At home test will not be accepted for entry

By purchasing a ticket you acknowledge you will be required to show proof of vaccination or a negative test result. There will be no refunds for purchased tickets based on non-compliance of venue COVID-19 protocols, however, if you are unable to attend a show due to a positive Covid-19 test, please reach out to vegasinfo@brooklynbowl.com and we will help facilitate a full refund.

An inherent risk of exposure to COVID-19 exists in any public place where people are present. COVID-19 is an extremely contagious disease that can lead to severe illness and death. According to the local health authorities, senior citizens and guests with underlying medical conditions are especially vulnerable. By visiting our establishment, you voluntarily assume all risks related to the exposure to or spreading of COVID-19.

For testing locations visit:
https://www.clarkcountynv.gov/top_services/covid19/testing_locations.php

Free Local Parking

- Residents of Clark County who purchased a ticket will receive free parking the night of the show at any Caesars Self-Parking locations. The Parking Validation Machine is located inside the Retail Store of Brooklyn Bowl.

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

Tickets purchased in person, subject to $2.00 processing charge (in addition to cc fee, if applicable).

All general admission tickets are standing room only.

ALL TICKET PRICES INCLUDE NEVADA'S 9% LIVE ENTERTAINMENT TAX

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*

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

Artist Info

Parcels

Parcels are on a lifelong journey through the endless realm of popular music. The Australian quintet have literally grown up together while developing their unique and expressively melodic musical language, which continues to elevate their sound and career to new heights. With their forthcoming sophomore effort underway, Parcels are set to chart new territory for themselves and their listeners, cementing the band as true aesthetes channeling their influences and lived experiences into music that’s wholly transportative.

Parcels’ five members-keyboardist Louie Swain, keyboardist/guitarist Patrick Hetherington, bassist Noah Hill, drummer Anatole "Toto" Serret, and guitarist Jules Crommelin-all grew up in the Australian town of Byron Bay before properly forming as Parcels during their final year of high school: “We were producing and writing music by ourselves, and we found something in that process that felt new and exciting,” Hetherington explains.

After relocating to Berlin, Parcels released their alluring debut EP Clockscared in 2015, which featured the spellbinding slow-burn of its title track. The EP led to signing with the attention of legendary French label Kitsuné in 2016, who released an excellent series of singles from the band in 2016 and 2017, including the gorgeous and moonlit “Gamesofluck.”

In 2016, Parcels also played their first gig at Paris venue Les Bains, where Daft Punk’s Thomas Bangalter and Guy-Manuel de Homem-Christo happened to be in the audience. The two groups struck up an artistic kinship, and Parcels spent considerable studio time with Daft Punk to craft the elegant, airy 2017 single “Overnight,” which followed the Kitsuné-produced EP Hideoutand would be performed on Conan later that year for Parcels’ U.S. television debut.

Parcels’ proper debut LP was released in 2018, launching the group to new levels of critical and commercial visibility. A lush, exquisitely produced trip through the many intersections between pop and dance music, Parcels showcases just how tight and inventive the group’s songwriting had become, with snapping rhythms and tricky basslines accompanying the group’s feathery, flesh-and-blood vocals.

With over 300 million streams on Spotify, appearances at festivals like Glastonbury and Coachella, and sold-out headline shows across the world, Parcels have already found great success on their winning approach to dance and pop music. And as the group currently puts the finishing touches on their ambitious second album, Parcels are focusing on what it means to be in tune with the world around us, as well as ourselves means being in tune with ourselves—a reflection of the creative process that brought them to this point.

‘We came into this album process with an intention of growth, as individuals and as a band,” Crommelin states while talking about the band’s creative aims as they prepare for this next chapter in their career. “We saw it as a place to really deepen our understanding of ourselves and the environment around us, and to try and make space for each other to be truly vulnerable. We really look after each other and want the best for each other.” That sense of vulnerability is key to what’s coming next from Parcels, and listeners will surely feel it deeply as well

Mildlife

When Mildlife’s debut album, Phase, was released in 2018 it didn’t so much explode on to the scene as ooze. Their mellifluous mix of jazz, krautrock and, perhaps more pertinently, demon grooves, was the word of mouth sensation of that year among open-minded DJs and diggers searching for the perfect beat.

Their emergence was backed up by European tours that demonstrated a riotously loose-limbed approach to performance that was every bit as thrilling as Phase’s tantalising promise. What was more impressive was how lightly they wore influences that took in Can, Patrick Adams and Jan Hammer Group, while primarily sounding precisely like Mildlife.

By the end of 2018 they’d been nominees for Best Album at the Worldwide FM Awards (Worldwide’s Gilles Peterson was a notable champion) and won Best Electronic Act at The Age Music Victoria Awards back home in Melbourne. Their progress post-Phase was cemented with a UK deal with Jeff Barrett’s Heavenly, who released How Long Does It Take? replete with Cosmic doyen Baldelli and Dionigi remixes, while last year they were officially anointed by DJ Harvey when he included The Magnificent Moon on his Pikes compilation Mercury Rising Vol II.

With Automatic, the band have made a step-change from their debut. It’s more disciplined, directional and arguably more danceable. As on Phase, they are unafraid to let a track luxuriate in length without ever succumbing to self-indulgence. The arrangements, tightly structured thanks to Tom Shanahan (bass) and Jim Rindfleish’s fatback drumming, permit space for the others to add spice to the stew, topped off with Kevin McDowell’s ethereal vocals as Mildlife effortlessly glide between live performance and studio songwriting. “The recorded songs kind of become the new reference point for playing the songs live,’ says Kevin. “They both have different outcomes and we make our decisions for each based on that, but they’re symbiotic and they both influence each other. It’s usually a fairly natural flow from live to recorded back to live.”

The centrepiece of Automatic is the title track where the band sound like Kraftwerk and Herbie Hancock on quarantined lockdown in Bob Moog’s Trumansburg workshop. It’s both a departure and quintessentially Mildlife. This is music you can dance to rather than ‘dance music’ and it’s all the better for it.

- Bill Brewster