Blessthefall: Hollow Bodies 10 Year Anniversary Tour

Blessthefall

Our actions ripple over time. It can take months or even years to feel the impact of the choices we make. These days, the aftershocks of blessthefall’s music reverberate louder than ever before. Following a decade-plus highlighted by fan favorite albums and countless sold out shows, the Arizona quartet— Beau Bokan [vocals], Eric Lambert [guitar], Jared Warth [bass], and Elliott Gruenberg [guitar]—have only fortified an unbreakable connection with audiences worldwide.

Returning from a four-year period of dormancy, they strengthen this bond like never before with a series of singles for Rise Records and their forthcoming seventh full-length LP.

“On social media, I don’t post anything about the band, but I will see fans talking about us,” notes Beau. “It’s been years, and it blows me away that they’re still interested and they’ve been influenced by our music in a positive way. So, our comeback is for them.”

Blessthefall’s music has continued to resonate. The group notched back-to-back Top 25 debuts on the Billboard 200 with Hollow Bodies [2013] and To Those Left Behind [2015], while 2018’s Hard Feelings marked their third straight Top 5 bow on the Top Alternative Albums Chart. With the latter, Unclear claimed the band “may have struck serious gold,” while Alternative Press applauded how “blessthefall blend old-school vibes and a fresh new sound.” Speaking to their enduring legacy, they’ve racked up hundreds of millions of streams with “Hey Baby, Here’s That Song You Wanted” at 33.8 million Spotify streams followed by “Hollow Bodies” at 26.2 million Spotify streams in addition to landing syncs in franchises such as Splinter Cell. 

In the wake of a successful 10-year anniversary tour to celebrate Witness in 2019, blessthefall went quiet for the next two years. Between the Global Pandemic and various other gigs, the members still kept the lines of communication open.

“We had just burnt out to a degree,” admits Beau. “We took some time off, stepped away, and started chatting. We’d always kept in touch, but it got to a point where we really missed what we had. We were watching the younger generation take an interest in our band and other groups we came up with, which was cool to see. If you’re passionate about anything, you can’t totally give it up—you’ve got to do it in some fashion. There were multiple things at play, and we finally began writing again.”

As the musicians kicked around ideas, the first single “Wake The Dead” materialized. It steamrolls out of the gate with a pummeling riff, battering ram drums, and ominous electronics. Beau’s screams bleed into a bold refrain, “What will you do when your world stops turning? Do you really want to wake the dead?”

“I love how it kicks in and melts your face off from the get-go,” he smiles. “It’s the general mood of our comeback. There’s no fucking around and we’re having a good time. We’ve been sleeping for five years since we put out new music. ‘Wake The Dead’ conveys the message, ‘Hey, we’re back with a vengeance’. We recaptured the energy of the band, and it reflects how we are on stage—all energy.”

In the end, blessthefall’s energy will never relent as they ignite this chapter.

“We’ve seen life after the band, and we’re coming back to it because we miss it and love it,” he leaves off. “I never took this for granted. The band gave me an opportunity to live my dream. Making music is something special. You can’t get that feeling doing anything else.”

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Caskets

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Kingdom of Giants

KINGDOM OF GIANTS is poised to soar beyond “best kept secret” status and into the
modern metal and post-hardcore stratosphere, with a continuously evolving sound that
pushes both the band and their audience forward. While firmly rooted in classic metalcore elements, familiar to fans of Killswitch Engage and As I Lay Dying or international counterparts like Architects UK and Northlane, the six-piece California band bravely color outside the lines of the safe and predictable.

The only “constant” in the KINGDOM OF GIANTS discography is the constant motion, as the group works tirelessly to ensure each album will take listeners on a rich, rewarding, and diverse journey. “Passenger”, the band’s fourth full-length and first in partnership with SharpTone Records, arrives like a bolt of lightning, heralding a torrential downpour across a desert of cookie-cutter clutter.

The band’s ability to recreate the depth and power of their recorded compositions on the stage has been demonstrated on stages across North America and Europe, as KINGDOM OF GIANTS built a reputation as road dogs on tours with Fit For A King, As I Lay Dying, Born Of Osiris, and Phinehas.

Dana Willax and bassist Jonny Reeves share vocal duties, blending a mixture of scream/sing storytelling drawn from each of their life experiences and emotional obstacles. It’s less of a traditional metalcore screamer / “clean vocalist” pairing and more akin to the tradeoff in bands like blink-182, in spirit and structure if not in sound. The triple guitar attack of Max Bremer, Red Martin, and Julian Perez saves the terrifyingly aggressive technical prowess flourishes for when they’ll have the most impact. They adeptly focus on steady and catchygrooves that lock in place with Reeves and drummer Truman Berlin, whose skills are among the top levels within the genre.

That identity around inventiveness was first forged a handful of years ago in Northern California. The earliest incarnation of the band hit the road before they’d entered a studio. “Ground Culture” (2014) was the first true introduction to the scene. “All the Hell You’ve Got to Spare” (2017) followed. Both records were quickly recognized in the underground press for their deliberate emotional intensity. KINGDOM OF GIANTS is unafraid to tackle tougher subjects within their songs. This is dark, heavy, often “evil” sounding music, but it’s all driven by a sense of optimism and purpose.

“Damaged Goods,” “Endure,” and “Cash Out” quickly became anthems to the ever-expanding group of dedicated followers who’ve proven loyal to the group. But it was with “Bleach,” produced and mixed by Willax himself, that the buzz around KINGDOM OF GIANTS became a deafening roar. The song was the first taste of the group’s fourth album, crafted with up-and-coming engineer Matt Thomas of AshTone Audio, winner of a local Producer of the Year award in Sacramento.

Like the brightest spots of latter day Bring Me The Horizon, “Passenger” is a deft blend of bottom-heavy modern metal and melodic hardcore, with structural nods to smart pop and hip-hop, without sounding confused or incohesive. Perhaps most excitingly, KINGDOM OF GIANTS has found a way to infuse the 12-song album with elements of the 80s inspired synthwave and chillwave movements, popularized by groundbreaking retrofuturistic acts like The Midnight.

There’s something especially powerful and unique about each song, music video, and live performance. Sputnik Music quite rightfully predicted that if the band continues down the creative trail they’ve embarked upon, “they will conquer the metalcore scene with ease.” Capital Chaos TV put it even more simply: “KINGDOM OF GIANTS, if you don’t know about them, you should.”

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Dragged Under

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This event is open to all ages. Valid government-issued photo ID is required to purchase and consume alcohol. VIP Viewing Deck tickets and VIP Bowling Lanes are restricted to 21+ ONLY. No refunds will be issued for failure to produce proper identification. This ticket is valid for standing room only, general admission. ADA accommodations are available day of show. All support acts are subject to change without notice. Any change in showtimes, safety protocols, and other important information will be relayed to ticket-buyers via email. ALL SALES ARE FINAL

Doors: 6:00 PM Show: 7:00 PM