Theory of a Deadman

Sun Dec 19 2021

7:30 PM (Doors 6:30 PM)

Cargo Concert Hall

255 North Virginia Street Reno, NV 89501

$29.50

All Ages

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All Ages.  Drugs/weapons confiscated.  No refunds.  We will be following the state mandates regarding Covid. 

JMax Productions
Theory of a Deadman

  • THEORY

    THEORY

    Post-Grunge

    “Complacency is such a disease when you’re in a band,” says Tyler Connolly, singer and guitarist for Theory. “People are so afraid to progress, but you have to change—you can’t just write the same song over and over. So when I saw where this record was going, I said to the other guys, ‘We’re in a car and it’s going off a cliff. Do you want to jump out or ride it to the bottom?’ “
     
    With their sixth studio album, Wake Up Call, Theory hit the reset button, diving into a new sound, a new approach, even a new location. The more melodic, intimate style that defines the project is a bold move for one of the leading rock bands in the world. Since forming in British Columbia in 2001, Theory of a Deadman—Connolly, guitarist Dave Brenner, bassist Dean Back, and drummer Joey Dandeneau—have placed nine songs in the Top 10 on the rock charts, including the Number One hits “Bad Girlfriend,” “Lowlife,” “So Happy,” and “Angel.”
     
    Following the success of 2014’s Savages album (which reached the Top Ten on the Hot 100 albums chart, and topped both the Alternative and Hard Rock charts), Connolly began writing again, but he was frustrated by what he was hearing. “The songs all felt like they were in the same place as the last record,” he says, “and I wasn’t happy, I just didn’t like what we were doing.”
     
    He bought a piano for himself, an instrument he had never played, and he soon discovered that it was unlocking something new. “I started writing songs that felt musically different,” he says. “It opened my mind to different ideas, and I think that was the catapult for where this album went.”
     
    But maybe this story starts much further back. Connolly’s father was a piano player, and he grew up surrounded by the sound of the keyboard. “As soon as I started noodling, thirty years of hearing my dad play opened up this whole thing that didn’t exist before,” he says. “There were sounds I heard my whole life but ignored, ingrained inside me.
     
    “It was crazy how fast stuff came out of me,” he continues. “Every time I sat down at the piano, I would write a song. And I don’t think I’ve ever felt such freedom—I could write anything, I felt no fear about upsetting people or pressure to write any specific kind of song.”
     
    Connolly noticed a shift not only in the melodies he was coming up with, but in the words as well. “When I finished the lyrics to ‘RX’ [the first single from Wake Up Call], I felt like I had something to say. I really wanted to write great lyrics, not just throw stuff on there or give the fans something to crank up in the car.”
     
    The songs also tapped into a new sense of maturity, even contentment. “On our fourth record [2011’s The Truth Is…], I had just gone through a divorce and I was so angry, stuff came out that was really hateful,” he says. “This time, there’s much less aggro stuff—nothing comes from a place of spite or anger.”
     
    Connolly and drummer Dandeneau worked up demos for the new songs via email, initially trying to make them “as naked as possible.” Only when they went into the studio did they think more consciously about how to present the new material; as Connolly says “to put the clothes on—like, ‘Does this one need jeans or a suit?’ “
     
    The band’s next decisive move was to commit to a new producer for Wake Up Call. In fact, though, Martin Terefe—who has worked with a wide range of artists including Jason Mraz, Mary J. Blige, and Train—expressed interest in collaborating with them first. “Our label sent Martin some of the songs blind,” explains Connolly, “and he heard them and said, ‘Is this a pop artist?’ They told him no, it was the opposite, it was a rock band, and he said he wanted to do it.”
     
    Theory headed to Terefe’s Kensaltown Studios in London for a grand experiment. “It was like a first date,” says Connolly. “He was on ground he was not comfortable with, and everything seemed so scary to us—everything he suggested was the opposite of what we wanted. We definitely had some sleepless nights, but we just had to jump in the water and go for it.”
     
    Songs went into directions that surprised the band members. Dandeneau was especially taken with the sparse demo of a song called “Time Machine,” but in the studio it assumed a more breezy and rhythmic feel.
     
    Listening back to the album on the final night before they headed home, the band got to the track “Loner” and suddenly felt dissatisfied. “It was just terrible!,” says Connolly. “We were all like, ‘What happened?’ So it’s the last night, we’re eating dinner, and we said, ‘Let’s just bang it out.’ We deleted it and started over, slowed it down and changed the key, and we finished that night. It was such a pat on the back to the band that after seven weeks, we knew we could track a whole song in a few hours.”
     
    Connolly points to the song “Echoes” as a breakthrough for both his writing and his vocal performance. “It’s a very U2-ish song,” he says, “kind of that one-take, ‘Where the Streets Have No Name’ feel, and I’ve never really done that before. ‘Echoes’ really hits home with me—as you get older, you have more past and less future, more memories. It’s so hard to let go of all those past things, the things that I think about when I’m going to sleep.
     
    “Martin made me sing in this big room with everyone else watching,” he continues. “It was so emotional, you can hear my voice cracking—I’d never had that hard a time getting through a song. But I felt such attachment to these songs, you can really hear it in my voice.”
     
    In the year leading up to Wake Up Call, Theory released a series of unlikely covers—“Hallelujah” (which came out the week of Leonard Cohen’s death last November, though it had been recorded months earlier), Sting’s “Shape of My Heart,” “Cold Water” by Major Lazer. “Those were just me sitting at home bored, trying to get outside the box,” says Connolly. “They’re all so out of my element and so difficult to sing.”
     
    One of these covers, Chris Isaak’s “Wicked Game,” makes for an unexpected closing track on the album. “We had a bunch of great songs and didn’t need to throw in a cover,” says the singer, “but we thought this one could turn into something great.”
     
    Now comes the challenge of integrating this new material alongside the band’s beloved catalogue on stage. “There’s a real dichotomy of Theory now, two very different sides,” says Connolly. “Not that we want to get away from our old songs, but the new songs are so diverse, such a juxtaposition. We’ve been playing ‘RX’ and it’s super-different, and we’ll add another couple in the fall tour. We’re really working on building a big show, and trying to make it all more visual, as well.”
     
    Tyler Connolly knows that the ambitions of Wake Up Call—from its more atmospheric songs to its most propulsive and beat-driven—may meet with some resistance from Theory’s fan base. “It might be a little awkward, but we were always a songs band, not a sound band—we’re not AC/DC,” he says. “We’ve also been seeing that rock music was becoming smaller, more of an invite-only clique, and we really wanted to make something big and very progressive for us. And hopefully, the rest of the bands will cheer us on, and maybe be a little less afraid to try something different.”
     
  • 10 Years

    10 Years

    Alternative Rock

    After a year and a half on the road touring 2010’s Feeding The Wolves, 10 Years reached
    a turning point. It was time to move forward and take full control of their career by
    launching their own label, Palehorse Records. In addition, the band decided to selfproduce
    their fourth album, Minus the Machine, at drummer/guitarist Brian Vodinh’s
    Kashmir Recording.
    Splitting up with a major label after five years was “a very scary step to take,” Hasek
    admits. “It’s like breaking up with a longtime girlfriend. You’re used to the motions, but
    when it becomes stale and unhappy, you need to move on and get energy back into your
    life. There was no anger on either side. We just painlessly parted ways.”
    Working together as a band for the first time since writing the Gold-selling album The
    Autumn Effect helped 10 Years go back to their roots, without label-enforced pressure to
    create a radio-friendly “hit,” and free to experiment with the hard rock sounds that lie at
    the core of their music. “Our true fans who buy the albums, not just the singles,
    understand that our singles, for the most part, misrepresent the entire album,” says Hasek.
    “As a band, we like to explore more and go a little left of center with song structures. We
    wanted to create an album that has no boundaries, and where we didn’t have to make
    every song ‘three minutes and 30 seconds’ for a label to approve it. There’s a fine line
    with that, of course, and we’re very aware of it. We all grew up on rock music, and as
    many albums as we’ve written, the way we’ve written them, it’s ingrained in us to work
    within a time frame that fits radio. There are definitely songs that work well for that, but
    as a whole, we wanted this album to represent a journey in a sense.”
    This chapter of 10 Years began in 2001, when Hasek took over as vocalist. Three years
    later they released their independent album, Killing All That Holds You, featuring the
    groundbreaking single “Wasteland,” which led to their signing with Universal Records.
    “That song was created in 2001 or 2002,” says Hasek. “We weren’t seeking to write a
    smash single. We were just writing music.” The Autumn Effect (2005) led to widespread
    radio and video play, a fiercely loyal fan base, and tours with heavyweights like Linkin
    Park, Korn and the Deftones. When their sophomore effort, Division, was released in
    2008, 10 Years had cemented their place as one of hard rock’s top contenders and most
    sought-after live bands. Still, says Hasek, despite the success, “it all came to a head” with
    the band’s 3rd major label release, Feeding The Wolves. “When you feel like you’re being
    told to go through motions and jump through hoops, it takes the heart out of it,” he says.
    “We know that we need a hit and we understand that it’s important. However, as
    musicians, we’re not a band that says, ‘We’re going to make a hit.’ It’s better to do what
    comes naturally and then figure out the after-effect.”
    With that in mind, 10 Years created their most powerful songs to date for Minus The
    Machine, with Hasek again relying on personal experiences for his lyrics. [Insert
    something about the songs here; reference titles and content.] “Everyone asks about my
    inspiration for lyrics, and the best thing I can give them is a very generic answer: life,” he
    says. “Life is the experience — it’s everything you go through: the ups, the downs. I tend
    to gravitate more toward the therapy method. I’m not great at writing happy pop songs.
    So, I usually get the negative emotions out through music. As a person, I’m very happy
    and thankful for my life, but when it comes to lyrics, it’s therapy for me.”
    One thing that won’t change is 10 Years’ connection with their fans. With the release of
    Minus The Machine, the band is looking forward to hitting the road, performing in close
    contact with their dedicated audience. “After the last touring cycle, we realized where we
    should strive to be, and that’s to be totally fine in the club environment,” says Hasek.
    “We don’t plan to chase after arena rock or amphitheaters. If things like that happen, then
    so be it, but we live and die by the loyalty of the club audiences. Our fans are loyal. They
    travel with us, and they want us to be loyal to ourselves. That’s what keeps them coming
    back. What we tried to do on this album is really give them what they want and what they
    need because they’ve been so good to us through the ups and downs of our career.”
    “First and foremost, when it’s all said and done, we’re proud of this album in its
    entirety,” he says. “That speaks volumes to us because we’re our own worst critics. We
    pick everything apart. An album is your child, it’s your baby, and you know it better than
    anyone. To sit back and be 100 percent proud of what we’ve accomplished is so
    gratifying, and we think everything else will fall into place. We hope that everyone will
    enjoy what we’ve tried to do.”

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limit 6 per person
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$29.50

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Openers subject to change. Drugs and weapons will be confiscated. 10% LET included in Ticket price.
JMax Productions

Theory of a Deadman

Sun Dec 19 2021 7:30 PM

(Doors 6:30 PM)

Cargo Concert Hall Reno NV
Theory of a Deadman

$29.50 All Ages

All Ages.  Drugs/weapons confiscated.  No refunds.  We will be following the state mandates regarding Covid. 

Please correct the information below.

Select ticket quantity.

Complete the security check.

Select Tickets

All Ages
limit 6 per person
General Admission
$29.50

Delivery Method

ticketFast
Will Call

Terms & Conditions

Openers subject to change. Drugs and weapons will be confiscated. 10% LET included in Ticket price.