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NYC band Swans have become loved, respected, and downright notorious for their dark, moody, visceral and always loud music. We're talking heavy-metal volume with an emphasis on the kind of textures you'd expect from one of those building-sized earthmovers you'd likely see in the pages of National Geographic. Swans frontman Michael Gira stepped away from this band to work on his Angels of Light project; yet a few years ago, Gira and some collaborators thought the time was nigh to unleash their apocalyptic brand of music on those who desire uncompromising art. Expect even more Swans in the near future, as they'll be soon releasing their ninth live album and their 13th studio LP. But we strongly urge you to keep an open mind and set of ears as Swans often take their tunes in wildly different directions on stage than they do in a live setting. Most of all, expect unrelenting emotion conveyed through heaviness. As Spin’s Christopher Weingarten wrote of Swans’ most recent album, The Seer: “The Seer is a planet-eating Galactus of an album....The title track tells the album's story, a 32-minute Glenn Branca guitar symphony played at Ozzfest volumes, microtones clashing and clanging in anguish while Thor Harris' orchestra bells chime and shimmer. There's a humanist/mystic mantra ("IseeitallIseeitallIseeitalIseeital") and suffocating ziggurats of dissonance. It pummels you with volume and noise and speed, then cold-cocks you with the lumbering electroshock blues of early Swans (*blam* *silence* *blam*). But what was once crusted over with downtown noise-metal scabs now sounds like it was played on Godspeed You! Black Emperor's widescreen backline.” I mean, come on. Live life to the fullest: experience Swans. Power electronics artist Pharmakon opens.


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