Beartooth - The Below Tour Part II
Silverstein - The Devil Wears Prada - Erra
Event Info
Brooklyn Bowl Las Vegas
The Linq Promenade
Las Vegas, NV
$32.50 General Admission
$35.00 General Admission (week of show)
$37.50 General Admission (day of show)
Citi Presale: Tues, Dec 14th @ 9am PST
KF Presale: Wed, Dec 15th @ 7am PST
Ticketmaster Presale: Wed, Dec 15th @ 12pm PST
Live Nation Presale: Thurs, Dec 16th @ 12pm PST
BBLV Presale: Thurs, Dec 16th @ 10am PST
ALL SUPPORT ACTS ARE SUBJECT TO CHANGE WITHOUT NOTICE
**Tickets for this event will be delivered to your email 3 days prior to the show**
Based on the latest local guidelines, attendees are no longer required to provide proof of negative COVID-19 test AND/OR vaccination for entry into this event. Brooklyn Bowl encourages mask wearing and encourages you to get vaccinated if you aren’t already! Be sure to check our venue website for the latest updates and guidelines as entry requirements are subject to change.
An inherent risk of exposure to COVID-19 exists in any public place where people are present. COVID-19 is an extremely contagious disease that can lead to severe illness and death. According to the local health authorities, senior citizens and guests with underlying medical conditions are especially vulnerable. By visiting our establishment, you voluntarily assume all risks related to the exposure to or spreading of COVID-19.
All support acts are subject to change without notice.
All guests must have a valid government/state issued ID for entry to the venue. No refunds.
Tickets purchased in person, subject to $2.00 processing charge (in addition to cc fee, if applicable).
All general admission tickets are standing room only.
ALL TICKET PRICES INCLUDE NEVADA'S 9% LIVE ENTERTAINMENT TAX
Special room discounts via Caesars Hotels & Resorts for traveling fans. For hotel rooms use promo code: BRB15 at www.caesars.com applicable for rooms at The LINQ Hotel and the Flamingo.
*Advertised times are for doors -- show time not available*
Artist Info
Beartooth
The band Forbes declared is “inching towards a tipping point of becoming the latest arena headliner” takes a step closer with “Riptide.” BEARTOOTH's 2022 anthem sees Caleb Shomo put the pain of the past in the rearview mirror as he takes the steering wheel from fate to command his own destiny.
The furiously courageous (almost unnervingly optimistic) song of self-empowerment is a victory lap. “Riptide” memorializes the struggle with mental health and self acceptance, which has defined so much of BEARTOOTH since its inception. Shomo started this band in his basement, playing all the instruments to challenge and purge inner darkness, purely for himself at first. As the band he assembled to play the songs traveled, they discovered how many people recognized the same demons.
As Kerrang! observed, “Caleb Shomo is one of his generation’s most remarkable songwriters.” It’s a testament to the purity of intention manifested by the multi instrumentalist from the start.
Songs like “The Past is Dead,” “Fed Up,” and “In Between” have pushed BEARTOOTH past 850 million streams. The band’s fourth album, Below, topped the Rock, Hard Music, and Alternative charts in 2021 and found its way into Best Rock/Metal Albums of the Year lists assembled by the likes of Revolver, Rock Sound, Kerrang!, Loudwire, Knotfest, and a slew of like-minded media outlets.
Rolling Stone introduced BEARTOOTH as one of 10 New Artists You Need To Know, and they rightly described the sound as “like a nervous breakdown, usually with enough optimism to push through.” As the band grew (grabbing trophies at genre events like the Golden Gods and Loudwire Awards), the raw nerve simply became more exposed, sounding wilder yet accessible all at once.
Steadily, without pretension, the fearlessly determined and boundlessly creative Ohio-based powerhouse perfected a sound sought by a generation of bands, equal parts solitary musical confession and celebratory exorcism. Their marriage of colossally catchy choruses and post-hardcore-soaked-in-sweaty-metal is without rival. Its effect is evident by their deeply engaged audience; tours with Slipknot, Bring Me The Horizon, and A Day To Remember; and an RIAA-certified gold plaque.
BEARTOOTH is both bomb and balm. An outright refusal to suffer in silence, BEARTOOTH weaponizes radio-ready bombast to deliver raw emotion mixed with noise-rock chaos. Other bands play the “devastating riffs and catchy hooks” game, but for BEARTOOTH, this music is the difference between life and death. As easygoing, charming, and outgoing as these young men may appear, there’s an inner turmoil churning away, only satiated by the savage music they perform onstage.
Hard rock and hardcore combine in a way that’s smart, lean, melodic, and irresistible, without apology. The stadium-sized type of riffs found in Metallica and the explosive passion of The Used are equally at home. Back in Black was the first album Shomo ever bought with his own money, and the straight-to-the-point stomp of AC/DC’s masterpiece remains entrenched in the BEARTOOTH backbone. Motörhead’s fast-paced groove and “let it rip” attitude is another part of the anatomy.
Like Nine Inch Nails and early Foo Fighters, BEARTOOTH is a one-person band in the studio, written, arranged, engineered, produced, mixed, and mastered by Shomo. The 2013 Sick EP was an emotionally stranded Shomo’s “message in a bottle,” tossed into a figurative ocean. The message was received, and the throngs of like-minded people who responded became his lifeboat.
Disgusting (2014), Aggressive (2016), Disease (2018), and Below (2021) expanded those themes of desperation, each sonically getting a step closer to the magical balance between the blood, sweat, and tears of classic recordings and the smooth gloss of modern production. “Riptide” is a challenge to shake loose the confines of past trauma and self-loathing and blaze a trail toward better days ahead.
In 2022, Shomo speaks openly about his mental, physical, and emotional repair, after a lifetime of fighting depression, anxiety, and doubt. “Riptide” celebrates newfound clarity, with stark honesty. It’s a torch lighting the way for the next era of BEARTOOTH, and a promise of bigger things to come.
BEARTOOTH offers no cure. But the recovery comes in the process; the journey is the destination. As long as the dueling dichotomy of mental health anguish and cathartic creative expression remain bound together, Shomo and his mates will continue to white-knuckle the wheel. So, enjoy the ride.
Silverstein
Few bands on their 22nd lap around the scene could claim to be in “just getting started” mode as much as punk stalwarts Silverstein.
The release of their tenth studio album, Misery Made Me, finds the group spring boarding off the heights they’ve reached over the past handful of years; their latest album (2020’s A Beautiful Place To Drown) adding 80 Million streams to a mind-numbing career total of 500 Million; it collecting a nomination for Rock Album Of The Year at the esteemed Juno Awards; and its most recent headliner selling out nearly every date in elite rooms.
In bringing Misery Made Me to life Silverstein have continued to build on their already-wide reaching impact. Immersing themselves in new technologies like TikTok, Discord, NFTs, the metaverse and Twitch (even holding public writing sessions with fans over the latter) during its formation, the band have confirmed their unique ability to adapt and connect in all cycles of their career.
Interestingly, amid all the positivity and connectivity injected into its creation there comes a dark set of themes underpinning the album, as its title might suggest. Inspired by the past two years, Misery Made Me is a depiction of Silverstein – and world at large’s – collective turmoil, frustration, and anxiety.
“I wanted to explore the meaning of ‘Misery’ as a main theme throughout the album,” says vocalist Shane Told. “Despite the mountains climbed and boulders pushed during recent years, we were confronted by the weight and misery of staying relatively in the same place for a long period of time. Finding peace in the reality of this misery became important. The record is about the acceptance of a new reality and adapting to it.”
Ultimately, Misery Made Me finds the band trying to navigate the ever-worsening challenges of our modern world – angst, doomscrolling, and disassociation. It’s a record that is a product of the moment in time in which it was created yet doesn’t feel like it will date itself anytime soon, as many of its topics of loneliness, anxiety and isolation are eternal human struggles.
Exemplified by the anthemic opener ‘Our Song’, Misery Made Me is part acceptance of the band’s personal miseries, and part declaration that they will not be buried by them. At the back end of the record lies ‘Live Like This’ (ft. nothing,nowhere.) and arguably its most bleak and haunting lyric: “I don’t want to die, but I can’t live like this.”
Singles ‘It’s Over’ and ‘Ultraviolet’ dive deeper into this feeling of desperation, describing the utter helplessness of losing control to anxiety.
“’It’s Over’ is about the spiral that leads to giving up,” shares guitarist Paul Marc Rousseau. “Those anxiety packed hours when you can’t feel anything but the low, steady crescendo of panic that eventually gets so intense your fingertips lose sensation. It’s hopeless to feel but pointless to endure. I didn’t learn anything from feeling that way. I just wanted it to stop.”
“’Ultraviolet’ is about feeling powerless and under the control of the chemicals in your brain,” he adds. “Ultraviolet light itself being invisible felt like the right way to describe this notion. To get lost in this unseeable thing. UV also causes physical damage to our skin, so it serves as a sort of ‘proof’ that something invisible like anxiety can hurt us.”
Filled with moments of relentless energy throwing back to their hardcore roots (‘Die Alone’ ft. Andrew Neufeld), to visionary moments of modern heavy (‘The Altar / Mary’), Misery Made Me fastens Silverstein’s status as torchbearers of the scene on all fronts.
It’s both intriguing and inspiring that a band – who could have merely rested on the impressive legacy they’ve already cemented – would continue to dig deep and find the inspiration to reach people in meaningful new ways. Misery Made Me is a campaign hinged on Silverstein’s reflection and gratitude for their roots, their honouring of their earliest fans, and their staunch desire to explore forward-thinking and adventurous ways to connect with new ones.
Misery Made Me is out May 6 via UNFD.
ERRA
ERRA HAS MADE A NAME FOR THEMSELVES ON THEIR OWN TERMS. DETERMINATION AND STEADFAST DEDICATION HAVE DEFINED ERRA’S PATH, FORGING A UNIQUE CONNECTION WITH AN EVER-GROWING AUDIENCE, WITHOUT THE ADVANTAGES OF TRADITIONAL RECOGNITION. TITANIC RIFFS AND ENCHANTING MELODIES LITTER THE CEREBRAL, IMMERSIVE SOUNDSCAPES POWERING EACH OF THE PROGRESSIVE METAL MERCHANT’S ALBUMS, CULMINATING IN A CAREER-DEFINING FIFTH, BOLDLY TITLED ERRA.
NEW SONGS LIKE “SNOWBLOOD,” “HOUSE OF GLASS,” “DIVISIONARY,” AND “SHADOW AUTONOMOUS” CONJURE THE CRUSHING HEAVINESS AND SOARING MELODIC MIGHT OF FAN-FAVORITE ANTHEMS LIKE “BREACH,” “SKYLINE,” AND “EYE OF GOD,” WHILE BROADENING THE BAND’S REACH WITH MEDITATIVE EXPANSIVENESS, TRIPPY NEAR-PSYCHEDELIA, AND HAUNTING HOOKS.
ERRA WAS RECORDED, MIXED, AND MASTERED BY CARSON SLOVAK AND GRANT MCFARLAND, THE GRAMMY-NOMINATED DUO RESPONSIBLE FOR ESSENTIAL RECORDS FROM AUGUST BURNS RED AND FROM ASHES TO NEW. IT’S A DEFINITIVE MISSION STATEMENT FOR GUITARIST/VOCALIST JESSE CASH, VOCALIST J.T. CAVEY, DRUMMER ALEX BALLEW, BASSIST CONOR HESSE, AND GUITARIST SEAN PRICE, EACH OF THEM ALREADY WELL-RESPECTED PLAYERS REVERED FOR THEIR INSPIRING TECHNICALITY AND RAW, NATURAL TALENT.
THE DECISION TO SELF-TITLE THE ALBUM SUITS THE THEMES OF SELF-REFLECTION AND CONFRONTATION WOVEN THROUGHOUT THE RECORD’S MESMERIZING 12-SONGS. PREVIOUS ERRA ALBUMS IMPULSE (2012), AUGMENT (2013), DRIFT (2016), AND NEON (2018) SAW THE BAND SPOTLIGHTED ON TASTEMAKER PLAYLISTS, AS THE BAND’S SPOTIFY PLAYS SOARED PAST 72 MILLION.
“IT’S CLEARLY AN EVOLUTION OF THE SAME BAND, IT SOUNDS LIKE A RECORD WE WROTE, BUT IT’S SUCH A BIG STEP FORWARD FROM THE LAST ONE THAT IT SEEMED LIKE THE PERFECT TIME TO SELF-TITLE A RECORD,” CASH EXPLAINS. “PEOPLE WHO HAVE BEEN FOLLOWING ERRA, WE WANTED TO GIVE THEM THE SENSE THAT WE’RE STARTING A NEW CHAPTER, WITH SOMETHING FRESH.”
CAVEY CONCURS. “WE’VE ALWAYS TRIED TO HAVE A BALANCE OF CLASSIC SONG STRUCTURES, INTERTWINED WITH EXPERIMENTAL ADVENTURES,” HE SAYS. “THIS ALBUM ESPECIALLY IS MUSIC WRITTEN FOR MUSICIANS THAT ALSO APPEALS TO THE MASSES. THERE ARE A LOT MORE BREAKDOWNS ON THIS RECORD, BUT ALSO BIGGER MELODIES. I PUT A LOT OF FOCUS ON SIMPLIFYING WHAT I’M DOING, PERSONALLY, TO MAKE THE SONGS MORE MEMORABLE. THE MOST IMPORTANT THING WAS TO WRITE MUSIC WE ENJOY.”
FACEBOOK GROUPS AND HASHTAGS ORGANIZED AROUND THE BAND’S DENSE MUSIC AND HEADY BUT RELATABLE LYRICS HAVE HELPED FURTHER THE ERRA MISSION, RESULTING IN MULTIPLE NO. 1 HEATSEEKERS PLACEMENTS ON BILLBOARD. ERRA HAS TOURED THE WORLD WITH DANCE GAVIN DANCE, AUGUST BURNS RED, TESSERACT, AND THE ACACIA STRAIN, AMONG OTHERS. IT ALL RESULTED IN A WORLDWIDE AUDIENCE DEVOTED TO THE ALABAMA BASED BAND’S CATALOG, EAGER FOR EACH NEW MISSIVE.
ERRA CONFRONTS DEPRESSION, ANXIETY, AND DESPERATION THROUGHOUT THEIR NEW ALBUM. THEY TAKE LISTENERS ON A NEAR-OUT-OF-BODY JOURNEY TO THE INFAMOUS SUICIDE FOREST OF JAPAN; INTO EPISODIC STORYTELLING THAT WOULD MAKE BLACK MIRROR WRITERS PROUD; AND INTO THE LITERARY WORKS CORMAC MCCARTHY AND PLAYRIGHT/FILMMAKER DAVID MAMET.
“I WAS GOING THROUGH A TOUGH TIME, AFTER A BREAKUP, WHEN ANDY GLASS FROM WE CAME AS ROMANS TURNED ME ON TO ECKHART TOLLE,” CASH SHARES. “A LOT OF THE INFORMATION REALLY SEEMED TO STICK. MANY OF THE SONGS TALK ABOUT BEING PRESENT, BEING CONSCIOUS, WITHOUT SOUNDING FORCED OR CONTRIVED, OR LIKE STANDARD OPTIMISTIC METALCORE CLICHES.”
THE ALBUM OPENS WITH A VIVID PICTURE OF HORROR IN “SNOWBLOOD.” “DIVISIONARY” DRAWS A DISTURBING PARALLEL BETWEEN TECHNOLOGY AND RELIGION. “HOUSE OF GLASS” TOUCHES ON SELF-HARM, ZEALOUSNESS, AND RECONCILING WITH THE LOSS OF AN ABANDONED IDEOLOGY. THERE IS A DUALITY IN “SHADOW AUTONOMOUS.” PHYSICS, VICES, CULTURAL DIVIDES, AND EVEN THE TALE OF TWO LOVERS CAN BE FOUND ELSEWHERE ON ERRA. (THE MAJORITY OF THE ALBUM’S LYRICS WERE PENNED BY PRIMARY SONGWRITER CASH, WITH JT HANDLING ALL OF “EIDOLON.”) “MEMORY FICTION” IS INSPIRED BY CASH’S FAVORITE CORMAC MCCARTHY QUOTE: “HE THOUGHT EACH MEMORY RECALLED MUST DO SOME VIOLENCE TO ITS ORIGINS. AS IN A PARTY GAME. SAY THE WORDS AND PASS IT ON. SO BE SPARING. WHAT YOU ALTER IN THE REMEMBERING HAS YET A REALITY, KNOWN OR NOT.”
THE DOWN-TUNED ATMOSPHERE OF DEFTONES AND TOOL ARE CENTRAL INGREDIENTS, ALONGSIDE THE INVENTIVENESS OF NINE INCH NAILS AND THE URGENCY OF NORTHLANE AND ARCHITECTS. THE MELODIC SIDE OF THE BAND OFTEN DRAWS FAVORABLE COMPARISONS TO CIRCA SURVIVE AND SAOSIN. ALL OF THESE COMPONENTS ARE FILTERED THROUGH ERRA’S UNIQUE SENSIBILITY AND EXPERIENCE, RESULTING IN A SINGULAR CREATIVE IDENTITY BOTH WARMLY FAMILIAR AND REFRESHINGLY FORWARD-THINKING.
“MOST OF OUR FANS KNOW THAT I WASN’T COMPLETELY HAPPY WITH OUR LAST RECORD. I WANTED IT TO BE BETTER,” CASH ADMITS. “I WAS STRUGGLING TO GET THROUGH IT, A BIT. BEING IN THE RIGHT HEADSPACE THIS TIME AROUND WAS JUST HUGE. IT CHANGED EVERYTHING. MAKING THIS RECORD WAS JUST FUN. THERE WAS NO REAL STRESS INVOLVED IN IT FOR US. IT WAS A BLAST.”
“BY NATURE, ERRA’S MUSIC IS GOING TO BE DIFFERENT THAN MOST METALCORE BANDS, BECAUSE WE ARE STILL PRETTY DAMN COMPLICATED,” CAVEY ADDS, WITH A LAUGH. “THESE SONGS ARE STILL NOT EASY TO PLAY. BUT WE PUT LESS PRESSURE ON OURSELVES TO BE CRAZY [TECHNICAL]. I MADE SURE A LOT OF MOMENTS ON THIS NEW ALBUM ARE JUST COOL AND CATCHY.”
AS THEIR MUSIC FINDS THE BALANCE BETWEEN THE CRUSHINGLY HEAVY AND THE HEADILY MELODIC, ITS MEMBERS SEEK TO FIND HARMONY BETWEEN THE NEEDS OF THE INDIVIDUAL AND THE NATURAL FLOW OF THIS SHARED REALITY. ERRA, AS A BAND OF BROTHERS AND CREATIVE FORCE, STRIVE TO LIVE IN ALIGNMENT WITH THE PRESENT MOMENT. ERRA, THE ALBUM, REPRESENTS REDEMPTION FOR THE BAND, WHO EMERGED FROM THE CREATIVE PROCESS WITH RENEWED FOCUS AND CONFIDENCE, OF CERTAINTY AND SELF. ERRA IS PART MILD-ALTERING SUBSTANCE, PART MEDITATION, REVELING IN EACH MUSICAL MOMENT OF EXULTATION.
Just Announced
