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Ticket Prices: $18.00 plus fees in Advance. $20.00 plus fees Day of Show.

Local Presale begins 12/7 @ 10AM

Public On Sale begins 12/9 @10AM

This is an All Ages event and standing room only venue.

Cult Records is proud to present City Club, the new long player from California scuzz rockers The Growlers. Produced by Cult label head (and frontman for The Strokes) Julian Casablancas in tandem with Grammy-winning engineer Shawn Everett (Alabama Shakes, Weezer), the album is a massive step forward for the band, showcasing a richer sound and focused, anthemic songwriting. 

From the disco skronk of title track “City Club” to the William Onyeabor-inspired Afrogroove of “I’ll Be Around,” the record marks a twist on their Beach Goth sonics. It’s still a swirl of reggae, punk, ragged country, and twangy psychedelia, but now with prominent synthesizers, danceable beats and some serious anthems.  “Less surf, more synth,” in the words of the band’s guitarist and music director Matt Taylor.

Things have definitely changed since The Growlers’ last record, Chinese Fountain, released in 2014. Famed director P.T. Anderson cast them in his 2014 film Inherent Vice, in an unforgettable Last Supper-esque pizza party scene that became part of the film’s visual signature.  They’ve toured the world multiple times and channeled that energy into their annual Beach Goth festival located in their backyard of Orange County. With a lineup this year that boasts arguably the coolest bill of any of its competitors featuring Bon Iver, Justice, King Krule, Patti Smith, James Blake, TLC among others, the festival will attract 18,000 in attendance with The Growlers headlining both nights. Fan favorites indeed.

But back to City Club. High in the hills of Topanga Canyon, California, the City Club demos began as loops on loops, with Matt inspired by his recent forays into the catalogs of weirdo geniuses like Haruomi Hosono, Dwight Twilley and Todd Rundgren. Singer and lyricist Brooks Nielsen then layered on vocal tracks and melodies. 

“I was really into Afrofunk when we made this record,” says Brooks, “and a lot of English 70s punk I listened to as a kid, particularly when Jamaica was mixing in with all the punk kids.” The band brought the works-in-progress to Shawn Everett’s studio in downtown Los Angeles. Production guidance came from Julian, and the record soon took on a new shape. 


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