Fozzy is an American heavy metal band formed in Atlanta, Georgia, in 1999 by lead singer Chris Jericho and guitarist Rich Ward. The band is signed to Century Media Records and has released two studio albums through this label
The Underground Is A General Admission Standing Room Only Venue! Doors Open At 6:00pm & Show Begins At 7:30pm! All support acts are subject to change without notice.
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Public Onsale : Fri, 11 May 2018 at 10:00 AM
Citi® Cardmember Presale : Tue, 8 May 2018 at 02:00 PM
Live Nation Presale : Wed, 9 May 2018 at 10:00 AM
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Citi® Cardmember Preferred Tickets : Fri, 11 May 2018 at 10:00 AM
In America today, anyone can engage in spiritual surrender. Performing the rite is simple: one first gathers with their community in a room of mirrors (in peripheral vision these mirrors appear as windows). Next, the agendas, hopes, and grievances of each individual are written down and cast along pulsed radio frequencies to data centers. From here they are automatically sifted through a neural network of graphics processing units, and contributed to an artificial intelligence engine. The principal aim of the ritual is to preserve the cosmic movement of collective perception. Secondary aims include catharsis, prosperity, and (occasionally) procreation. Because of the persistence of social stresses and mounting political dread, the ritual’s cyclic performance is necessary (twice daily, once at dusk and once at dawn).
Paradoxically, even those who question the efficacy of this tradition must do so from within the same framework, in the form of status updates, tweets, or blog posts. In the early part of 2017 Noah wrote:
“This is our voice. The Aether. An invisible platform. A maze of wires and boxes safely containing our proclamations… While white men with pens close their doors, stuff their ears with cotton, and break the world… we piss in the ocean… we drown in white noise.”
(Once upon a time, Noah Gundersen poetically sang that the storms which make us tremble also “fill our organs up with air,”…allowing us to sing “honest songs”. What of our songs now? Are they just piss in the ocean? White Noise?)
A longtime fan responded via Facebook, referring to the entry as “a goddamn dumpster fire of a post”.
“Your early records are masterpieces,” he commented, “…but this scramble to be anything but what your parents are is killing your authenticity.”
Authenticity can be a fickle mistress it seems. Noah has been peddling sincerity and introspection in musical form for almost a decade; songs that give listeners a taste of the emotional nectar in the pit of another human’s gut. He’s been dredging up viscous fistfulls of his own being and shaping them into little waxen votives, candles meant to illuminate the territory between shameless confession and hopeless redemption, for all of the other twenty-somethings who’ve been groping around in that long existential shadow.
At some point this whole process must have lost its charm. It was two years ago that Noah, like some artistic ouroboros, began to sing the words “Am I earning the right to live by looking in a mirror? There’s nothing more sincere than selfish art?” The cyclic ritual of self-induced nausea, staring in the mirror mouth agape, waiting to wretch new words and sounds, was catching up with him. Not long after, in the early part of 2016, he sat down for a show and felt like he was dying.
“Instead of my life up to that point flashing before my eyes, it was my future. A future playing songs I didn’t believe in… pouring my soul out into a vehicle I no longer recognized or loved.”
Noah turned to a fellow songwriter, who shared this mote of reassurance from dancer and choreographer Martha Graham:
“No artist is pleased… There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.”
This crisis was an opportunity for the serpent to relinquish hold of its own tail, for forward motion. To turn his gaze away from reflection, and maybe instead at the mirror itself, alternate voices and distorted perceptions that throw their weight onto the human psyche in powerful ways, but evade expression in introspective storytelling.
So, that’s White Noise, I think: the fluorescent glow of queer divine dissatisfaction. The distorted buzz manufactured by dumb metal phalluses thrust into a vacuum of waves and signals. It doesn’t dwell on (and in fact seems uninterested in) introspection. Not a guiding light. Not the reasoned problem-solving of the ego, but the muddled demands of the id. It’s a myriad of interpolated signals, symbols, and voices, like a tube-TV greedily flipping through channels on auto-program:
“Heavy Metals” is cosmic dismay that’s been pasted over with a sugary synth veneer. “Cocaine, Sex, and Alcohol (From a Basement in L.A.)”, like a messy public broadcast, leverages a din of drunken band sounds and disoriented muttering, “I’ve got all this alcohol… do you wanna see my show?”
The decadent yearning of “Bad Desire” sits between the other songs of dissolution like a soap opera broadcasting alongside the evening news. Just as Noah finishes crooning the final honey-sweet chorus, “…and I wanna see you tonight, one last time,” we transition into night sweats, the frantic yelling of sleep terrors, all heralding the cathartic industrial funeral dirge of “Wake Me Up, I’m Drowning”.
Noah is no longer lighting votives, but dumpster fires—big, bright, symbolic and chaotic. Musical vignettes of combustion, rubbish, degeneracy and, perhaps most comfortingly, warmth; because sometimes overlooked in the mad grasping for heady, introspective Authenticity is music that’s heartfelt. In “The Sound”, Noah scourges a source of entitlement that is entirely ambiguous, but does so with a sort of exasperated conviction that is only ever reserved for one’s nation, one’s God, or one’s self. The words “How many times will you shit on what you’re given? How many times till you shut up and listen?” escape his throat with a desperation that (bafflingly) surpasses even his most vulnerable songs about heartbreak, addiction, or loss of faith.
Whether the voices he channels are symbolic or literal, paralyzed with fear or pushing a manic brand of salvation, each amounts to something laced with warm, ruddy veins (I have a feeling that Noah’s music always will). If you listen closely you’ll hear the spiritualist, who takes solace in the fact that when he’s gone, the water in his body may be the beginning of something new. There’s also the doomsayer, certain of his fate, but still so afraid, who can’t help but ask of his own violent trembling, “Are these my feet attempting to dance?” Then there’s mortality, trying to shout through all of the noise, “Send my love to everyone.”
White Noise was produced by Nate Yaccino and features long-time band-members and collaborators Abby Gundersen, Jonny Gundersen, and Micah Simler. It will be released into the Aether on September 22nd, 2017
Start Time: 8:00
Harrison Whitford is a musician and songwriter based in Los Angeles. He has performed as a guitarist for the likes of Ryan Adams, Conor Oberst, Robert Randolph, Hubert Sumlin, Jonny Lang, Willie Nelson and Phoebe Bridgers. Harrison’s own debut solo album, ‘Afraid of Everything’ was released in January, 2018 and is available on all digital platforms.
The Broken Spoke, 227 Southside Drive, is a distillery with a cocktail lounge. It features small plates, craft cocktails, and warm hospitality. Enjoy award-winning spirits hand-crafted right here in Charlotte.
It hosts a free open mic on Wednesdays at 7:30 p.m. Signups start at 7 p.m.
It’s free to attend and to participate.
On Wednesdays, glasses of wine will be half off.
Contact George 502-907-7979 with any questions.
Also, check out more Open Mics in Charlotte.
Located in the beautiful Center City Charlotte ( 4th street and Tryon), just a few blocks from the Belk Theatre, Overstreet Mall and the Bobcats Arena. Chima offers authentic Brazilian cuisine and chic dining experience. Enjoy cocktails and the best view of Uptown Charlotte in our elegant upstairs lounge. Chima also offers live music every Thursday at the bar & Lounge from 6 to 9.
The U.S. National Whitewater River Center’s River Jam is a great way to spend your weekend! Free concerts take place every Thursday, Friday and Saturday evening from May 3th, 2018, to September 29th. The music will go from 7 p.m. to 10 p.m.
Admission is free. Parking is $6 per car.
Toad the Wet Sprocket (Glen Phillips on lead vocals and guitar, Dean Dinning on bass and vocals, Todd Nichols on lead guitar and vocals, and Randy Guss on the drums) share in the kind of musical chemistry that can only come from meeting in high school and writing, recording and touring on albums over the course of those 25 years. After “Bread & Circus,” they followed with “Pale” in 1990, “fear” in ’91, “Dulcinea” in 1994, and “Coil” in 1997, as well as some compilations and rarities compilations along the way. While most will feel the comforting familiarity of the Billboard-charting hits, “Walk on the Ocean,” “All I Want,” “Something’s Always Wrong,” and “Fall Down,” new fans will also be well familiar with their new hits such as “California Wasted” which continues to climb the charts. Even with a period of the band members weaving in and out of each other’s musical lives, the same creative curiosity that inspired the band to form in 1986 has brought them full circle to come back together again. Toad the Wet Sprocket’s last album “New Constellation,” which was launched with an impressive #3 most funded Kickstarter Campaign in music for the year, was the bands’ first new album in 16 years when released in 2013, and features the singles “New Constellation”, “The Moment”, and “California Wasted.” The band’s current release, the EP “Architect of Ruin” was released in June of 2015.
The Fillmore Charlotte
Blue Madonna available now: http://smarturl.it/BlueMadonna
BØRNS has partnered with PLUS1 so that $1 from every ticket on select dates will go to support the Environmental Working Group as it empowers people to live healthier lives in a cleaner environment, through research, education, and civic action. www.ewg.org
Looking for a place to showcase your musical talent? Look no further! Join us every Thursday for our Open Mic. It’s free to watch and play! If you would like to perform, please show up at 7pm to sign up.
Before there was light, there was sound. Come writhe and wriggle as proto-rhythmic psycho-active jams swirl about and merge with each and every molecule in your body. Tune in, turn on, expand infinitely.
Every Thursday, resident DJ, Buckmaster, fills the void with a rotating cast of DJs and performers from the neighborhood and around the world for activated brains to explore.
The Shana Blake Band is an innovative new take on the old soul cover band. The ensemble hails from Charlotte, North Carolina and features singer/songwriter Shana Blake (The Near Misses, Wavy Space, Tesser), veteran guitarist Keith Shamel (Virgo Musik, Daily Soul), bassist Dave Eatman (Bellyful, Automatic Chi) and drummer/percussionist Scott Newell (Vonce, Justice League). The expressive vocals and rich textures of the instrumentation fuse coherently to create a sound that’s as smooth as honey, with a hint of R&B, funk, reggae, southern rock, gospel, country, jazz and the blues. The repertoire covers the gamut from emotionally-charged ballads to energetic, danceable grooves. The song choices are anything but ordinary and, along with the original compositions, appeal to a broad spectrum of listeners. An evening with Shana Blake & Pivotal Soul is like a breath of fresh air. Funky fresh air.