Tue Nov 9 2021

8:00 PM (Doors 7:00 PM)

Soul Kitchen

219 Dauphin St. Mobile, AL 36602

$32.00

All Ages

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***All tickets that were purchased for the original date will be honored for the new date***

Doors open at 700 and show time at 800.

Tickets are $32 in adv and $36 day of show (if avail).  Seated Side Riser tickets are $76 (ltd qty - avail online only). 

Get adv tickets starting Friday Dec 6th at 10am at www.soulkitchenmobile.com or by calling 866.777.8932.

Under 18 with a parent only.

All support acts are subject to change without notice.

Theory of a Deadman has partnered with PLUS1 so that $1 from every ticket sold will go to support organizations dedicated to breaking the cycle of domestic violence and building a community free of abuse. www.plus1.org
 

TK101, Steve Hall Prod, & Soul Kitchen Present
Theory of a Deadman

  • THEORY

    THEORY

    Alternative Rock

    “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

    Growth transpires over a lifetime. The process never stops. Rather, it ramps up as time passes. 10 Years accelerate this cycle on their ninth full-length album, Violent Allies [Mascot Records / Mascot Label Group]. The gold-certified Knoxville, TN alternative hard rock trio—Jesse Hasek [vocals], Brian Vodinh [guitar (live) /drums, bass, backing vocals (recording), and Matt Wantland [guitar / synth programming]—progress as a unit once more. Embracing heightened vulnerability, elevated songcraft, and sonic adventurousness, they convert the push-and-pull of their collective creativity into a cohesive, clear, and cathartic body of work.

    “We don’t ever try to recreate what we’ve done in the past,” explains Jesse. “We knew we had to challenge ourselves to see what we had in us. If it’s not stressful, you’re not challenging yourself to grow. From the beginning, music has always been therapy and an outlet. We let ourselves enjoy the process, be vulnerable, and talk about those emotions. We got back to why we love music with the maturity of where we’re at in our lives. We were able to harness that love of creating from a wiser and more developed perspective.”

    “We were hard on ourselves,” admits Brian. “It was more intense than during records past, but it was worth it. The outcome was exactly what we wanted it to be.”

    For nearly two decades, 10 Years have quietly pushed themselves and modern rock towards evolution. Building a formidable catalog, the group’s gold-selling 2005 breakthrough The Autumn Effect yielded the hit “Wasteland,” which went gold, infiltrated the Billboard Hot 100, and clinched #1 at Active Rock Radio and #1 on the Billboard Alternative Songs Chart. They landed three Top 30 entries on the Billboard Top 200 with Division [2008], Feeding the Wolves [2010], and Minus the Machine [2012]. Most recently, 2017’s (How to Live) As Ghosts marked a reunion between Jesse, Brian, and Matt and achieved marked success. Not only did the album bow in the Top 5 of the US Top Hard Rock Albums Chart, but it also yielded the hit “Novacaine.” The single ascended to the Top 5 of the Billboard US Mainstream Rock Songs Chart and tallied 16 million Spotify streams, alongside 29 million streams across all dsp’s.  The cumulative total for all track streams from repertoire on How To Live (As Ghosts) exceeds 51 million plays. Along the way, they sold out countless headline shows and toured with everyone from Korn, Deftones, and Stone Sour to Chris Cornell and Linkin Park. During 2019, these three musicians headed to Los Angeles, rented an Airbnb in Woodland Hills, and spent five weeks recording with GRAMMY® Award-winning producer and Feeding the Wolves collaborator Howard Benson [My Chemical Romance, Halestorm, Papa Roach, Three Days Grace].

    When talking to the band members they share, “Time spent in the studio or simply collaborating on our vision was a catalyst in reaching creative clarity like we’ve never had before.  It reminded all three of us that this bond created over the last two decades is best served when individual voices becomes collective vision.  It was fun, because we were back to being brothers. No matter how frustrated we might get, once we looked out at it, the energy was unexplainable. Our mission was to really connect with the songs, break them down, and build them back up.” Brian adds, “The younger versions of us would’ve been going to Hollywood every night and partying.  It was different. We actually came up with a lot of ideas, melody tweaks, and had really good brainstorming sessions in the car on the PCH. The whole vibe contributed to what the record is.

    All we cared about was writing and recording the best songs we possibly could. We felt like we had something to prove, especially to our A&R guy and the President of North America for Mascot Ron Burman.”

    They prove it on cuts like the first single “The Shift.” Melodic guitars slide across a caustic beat before a rush of distortion ignites the refrain, “We are a violent virus, without a remedy.” “Lyrically, it’s about the polarization of society and the human impact on the earth itself,” states Brian. “We were thinking about how humans can be a virus to the Earth.”

    “While in the studio last fall, we were looking at the state of the world as we wrote ‘The Shift’,” Jesse reveals. “As a society, we’re so distracted that we’re not united. When the pandemic happened, it became so important to finally see the positivity of humanity. We’ve realized we’re all in this together. You can pick a side, but we’re sitting in the same realm.” Airy keys echo through “The Unknown.” It builds towards a sweeping celestial chorus. “We’re in a wide-open world we’ve created, but we have to step back and look at where we are and adapt,” continues Jesse. “We’re all in the unknown right now.”

    A clean riff snakes past the verses of “Without You” before a hypnotic hook unfurls. The instrumental “Planets” interludes thread the album together with soft piano and acoustic as a counterpoint to the explosive energy of “Cut The Cord” and “Start Again.” There is a broad, dynamic range of repertoire on the new album as exhibited by the lead single “The Unknown”’ and its opening with ominous yet hopeful piano notes alongside Jesse’s lamenting uncertain times in the vocals, to the heavy drums and distorted guitars on “Déjà vu.” Everything culminates on “Say Goodbye.” The conclusion’s cinematic soundscape and poignant lyrics bid farewell to Jesse’s late grandfather and emphasize “the band at our most vulnerable,” according to the frontman.

    Meanwhile, the title speaks to an overarching theme. “We came back to this quote, ‘There’s a strange power in the joining of unlike things’,” remembers Brian. “There is something incredibly special about how we create. Violent Allies is the perfect way to summarize it. We go through hell facing all challenges head-on, but the final product is worth it. Simultaneously, it reflects the state of divisiveness in The World. Everything is so political. Everyone is angry at each other. We’re better when we come together though.”

    In the end, 10 Years keep growing as Violent Allies. “This record wasn’t just another record,” Brian leaves off. “It’s the result of working hard to improve on all levels. There’s a lot to dig into. It’s a graduated state for the band.”

    “After all of this time, 10 Years is a brotherhood,” Jesse concludes. “I’ve spent the better half of my life accomplishing what I never thought was possible with these guys. It’s been an unexplainable, crazy, and awesome journey since Brian first asked me to join the band on his 19th birthday. We’ve beat the odds and continue to live life. It bothers me when people don’t try to push themselves to enjoy what life has to offer. Life is beautiful, if you really go for it and try. It can show you beauty—and that’s what this band has shown me.”
  • EVA UNDER FIRE

    EVA UNDER FIRE

    Rock

    If you think rock n’ roll fairy tales are a thing of the past, you haven’t met Eva Under Fire. These Detroit rock upstarts got their start five years ago and instantly began cutting their teeth in the underground rock scene, building an enthusiastic fanbase the old-fashioned way. However the band’s trajectory shifted toward the stratosphere when they sent an unsolicited demo to Better Noise Music, who recognized the band’s hybrid of rock, metal, pop and classic rock as something wholly unique. Inspired by everyone from the Deftones to Duran Duran, TBA combines soaring melodies and relentless riffing with the powerful pipes of vocalist Amanda Lyberg, who passionately spreads the band’s inclusive message of hope during these uncertain times.
     
    That said, it took a lot of hard work for them to get to this point. The group’s roots go back to 2015 when Amanda, guitarists Chris Slapnik and Rob Lyberg, bassist Ed Joseph and drummer Corey Newsom, decided to get together and write music that represented their diverse set of influences. The chemistry clicked and after releasing a well received full-length and two EPs, the band signed to Better Noise and  spent the past two years working on TBA, their most ambitious and fully realized release to date. “We really wanted to challenge ourselves with this record and focus on melodies and writing the best material that we could come up with,” Amanda explains. “We really came up with the best of the best when it came to our songwriting. Some songs are fun, others are more emotional.”
     
    For TBA, the band once again teamed up with local collaborators BJ Perry (I Prevail, Escape The Fate) and John Pregler, whose collective attention to detail helped the band fine-tune their sound. “BJ and John made sure everything was really focused and the best it could be, especially the melodies,” Amanda explains. That laser focus allowed the band to create an album that is as creative as it is authentic. “My biggest influence is probably Deftones because they have such an innovative mix of sounds,” Chris explains, “and Amanda’s voice is so powerful that she can sing anything. The album is basically a mix of everything we all listen to from classic rock to modern metal.” Amanda, who got her start singing along to show tunes and pop music before discovering acts like Evanescence and Breaking Benjamin, agrees. “It’s really a combination of a lot of different influences from all ends of the musical spectrum.”
     
    From the syncopated, distortion-drenched groove of the opener “Misery” to the palm-muted riffs and massive hooks of “Blow” and explosive anthemics of “Unstoppable,” TBA has plenty of moments of guitar-driven grandeur. However that aggression is balanced by gripping ballads such as “The Strong” and “Give Me A Reason,” which are as inspiring as they are impactful. Then there’s “Heroin(e),” an electronica-infused, arena-ready rocker that holds special resonance for Amanda. “I wrote that song from a personal space and the music was built around the lyrics,” she explains about the song, which deals with the experience of drug addiction within her family. “I was so grateful that the story could remain intact because it was so powerful, but it was so close to me that I wasn’t sure if it should go on the record or not.” Once the label heard the song they not only embraced it but included it in the upcoming Better Noise film, Sno Babies.
     
    That balance of style and substance lies at the core of Eva Under Fire. For that reason they weren’t scared to try new things on TBA, whether that was using Talk Box guitar effects, integrating shredding guitar solos or putting their stamp on the 1993 Duran Duran hit, “Come Undone.” Simply put, this collection of songs couldn’t have come from anyone else. “There’s a lot of grit in the vocals on this album and that’s because the aggression, anger and sadness are real,” Amanda explains. “In the studio I was able to tap into those real emotions on demand because I knew that this was important. This is our platform where you need to show how real and true it is—whether you’re having a blast in the moment or you’re on the verge of tears, that’s what you want to convey. I think our producers did a great job of making us feel at home.”
     
    “I’m really happy because this album isn’t twelve songs of the exact same style, there’s a variety where you can hear the different influences and that’s important to me,” Chris summarizes. “We wave a flag of humanity and I think this record is encouraging in the sense that whoever listens to this record will find something that will speak to them in its own way,” Amanda adds. “We worked so hard to get to where we are today, but we made it. I think this album will really bring a lot of people together and that’s so needed now,” she adds. “I can’t wait to see what that will translate to when we’re finally about to get out there and tour again.”
     
     

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TK101, Steve Hall Prod, & Soul Kitchen Present

Theory of a Deadman

Tue Nov 9 2021 8:00 PM

(Doors 7:00 PM)

Soul Kitchen Mobile AL
Theory of a Deadman

$32.00 All Ages

***All tickets that were purchased for the original date will be honored for the new date***

Doors open at 700 and show time at 800.

Tickets are $32 in adv and $36 day of show (if avail).  Seated Side Riser tickets are $76 (ltd qty - avail online only). 

Get adv tickets starting Friday Dec 6th at 10am at www.soulkitchenmobile.com or by calling 866.777.8932.

Under 18 with a parent only.

All support acts are subject to change without notice.

Theory of a Deadman has partnered with PLUS1 so that $1 from every ticket sold will go to support organizations dedicated to breaking the cycle of domestic violence and building a community free of abuse. www.plus1.org
 

Please correct the information below.

Select ticket quantity.

Complete the security check.

Select Tickets

All Ages
limit 10 per person
General Admission
GA
$32.00

Delivery Method

ticketFast
Will Call