THE ORPHEUM PRESENTS:
Art of Dying, Blacklite District
1915 East 7th Avenue
Tampa, FL, 33605
Doors 6:00 PM (event ends at 11:00 PM)
This event is all ages
Saving Abel has emerged in recent years as one of the most successful rock bands in the United States. The band is widely known via multi-format hits at radio, and has taken the stage at hundreds of venues across the U.S. Like many of their rock brethren, a true picture of who they really are individually and collectively is just beginning to take shape as critical mass builds. When that picture comes in to focus, the colorful, yet truly down home, altruistic, and sincere personalities of these five men will emerge. In looking forward towards their second studio album MISS AMERICA, the band is optimistic that their evolution and experience will serve them well. Guitarist Bartlett observes, "We are creating the new Southern Rock. Not to say we are pioneers, but it is VERY exciting. We are five unique individuals with five dominant personalities. This is typically an ingredient for disaster, but we make it work and wouldn't have it any other way." Drummer Dixon continues, "We've become better writers and musicians. You go from working a 9 to 5 to playing music all day every day, and you get better." Bassist Taylor adds, "The heavy's are definitely heavier, but this album shows how much we have improved as writers and musicians." As guitarist Null sees it, "We are evolving into our own as a band, and picking up where 'Addicted' left off. Singer Weeks adds, "The second album is definitely going to bring more of an in-depth Southern Rock sound, and it is going to show more of who we are as a band. Totally excited about this one!"
Saving Abel formed in Corinth, Mississippi in 2004. Four years later on March 11, 2008, the quintet's major label debut was released by EMI. One year and five days later on March 16, 2009, it was certified gold by the RIAA. As the mere existence of artist development is under attack, this story of establishing a career remains a bright spot within a landscape littered by casualties of a changing music industry and deep worldwide recession. As they emerged from the shadows cumulatively selling millions of digital downloads of singles which included "Addicted," "18 Days," and "Drowning (Face Down)," and enjoyed the certification of their debut, the band has laid the foundation for a long, successful future. The band is made up of a very distinct set of five lively guys, and the world is just beginning to get a clear picture of who they are as people and as a band. Singer Weeks offers, "The personality that Saving Abel has is one hell of a hard working, focused band that also knows how to have a good time. All of the guys are goofy (including me) but overall you can tell that each of us LOVE our job and wouldn't trade it for anything." He continues, "Scott Bartlett is a true lover of Southern rock; It shows in every note that he plays plus he loooves his Whiskey! Jason Null is totally dedicated to the cause of Rock and Roll and has motivated me at times when I just wanted to quit and go home. Eric Taylor is truly the heart of this band. He loves his job and it shows every day. Blake is the driving force of the band. He keeps us all motivated
and focused on our goals, He's always practicing to make himself better, and because of that we are all a better band." Bartlett adds, "Blake is a closet songwriter. Jared's heart is perpetually on his sleeve. Jason could find a song lyric in book of illustrations. Eric could get along with the anti-Christ if they had enough time to sort out their differences, and ultimately from my point of view we are simply redneck metal heads whose guilty pleasure is the rock ballad."
The band's connection with its fans is undeniable. Weeks' perspective of taking ownership of the repertoire and frequently singing from the position of "I," "We" or "You," unquestionably contributed to this bond felt by the band's audience. There are not whimsical tales of fantasies, but relatable clear statements on the world and relationships as the band sees it. Weeks states, "Of course I write in the first person perspective, I like to put myself in situations (sometimes) because how else are you gonna reach people if you haven't been there. It helps when you're writing to actually relate to people. Emotion is what moves me and I feel like I get a connection with people when I write from the heart."
Amongst the new repertoire on MISS AMERICA, Bartlett reveals, "we all contributed to the song writing process which means we could showcase our individual talents as well as how we play off each other." When asked which songs stand out to them individually, "Hell of a Ride" is mentioned specifically by Taylor, Dixon, and Bartlett. Taylor shared, "It has been one 'hell of a ride' the last couple of years for the five of us. This song puts it in perspective." Dixon continued, "The name alone describes where we are from and how far we've come. We may not always see eye to eye but we have seen the country together and soon the world." Weeks offers, "My favorite is 'I'm still Alive' because to me it speaks about being on the road and dealing with all the problems with facing another day as hard as it is to live this life." Null, mentions the ballad "Angel Without Wings," in sharing, "It was just good to hear that song come to life. It was the very first song I had ever written and just never finished it.
The songs on MISS AMERICA tackle some heavy themes, alongside others which are more lighthearted. Referencing the song "Secrets," Null shares, "I began writing that song from a life experience having being involved in a relationship that was kept as a secret from the beginning. I'm also a fan of JFK, and 32nd degree Mason, and was aware of the speech the President had given. Just thought it would be a cool addition to the song. In discussing the track's message Bartlett adds, "The road teaches you a lot about relationships and love and loss. We are all hypocrites to a certain degree. The song is about everyone." The band recorded a cover of CCR's "Have You Ever Seen The Rain," and amongst the many reasons why that selection was chosen, Bartlett's is most poignant, "We knew Jared's vocal would shine, and I knew I wanted to play pedal steel. Ultimately, it is the only song that CCR wrote together." Throughout the rise of Saving Abel, the band has always made time to support the service men and woman of the military, and as a group are deeply patriotic. Taylor shares, "every one of us has a family member that is either currently fighting or has fought for our freedom. We thank them and everyone who has put on a uniform to do so. As far as playing for the troops, it is an adrenaline rush to look out at thousands of men and women all dressed in camo jumping and yelling. We just returned from overseas where we played for the soldiers. It is an honor to go there and give them an hour of freedom after all they have done for us. Weeks adds, "No matter where we go or who we are playing in front of, we always make sure people know that from our perspective it is each and everyone's responsibility to support our troops. They do so much for us, they deserve to be recognized."
Through this successful ride, the band has spent some time in and around NASCAR. Ironically, per Null, at both of the events they performed at, Weeks told the fans Jimmie Johnson would win, and he did, "A favorite NASCAR memory would be backstage in San Diego at Camp Pendleton. We were doing a show for the troops and their families with special NASCAR guest Jimmie Johnson (who is my favorite driver). Jimmie came backstage and hung out with us, spending most of the time 'quoting' lines from the show Eastbound and Down. He is a really funny guy, and I thought it was nice of him to come and spend some time with us. Made my day!!! Another was singing the National Anthem at the Fontana Speedway - Jimmie won that race that day!!!" A lot has transpired since the early history Dixon recalls, "when the band practiced in the gutted, hollowed out, single-wide trailer in Farmington, Mississippi, where more than half of our songs were written and or worked up, and the stories of drinking wine in Nulls dingy, mold infested basement." As Saving Abel looks towards the future, the years of collaboration has prepared the quintet for continued success largely fueled by the inherent ability of this collective to write music that connects with an exponentially growing fan base. As they continue heading down this road, two things are for certain – success will come on their terms, and no matter how great it will be, these five men will be one in the same as the individuals who began this journey together back in 2004.
Art of Dying
Growing up in the Canadian Prairies in the '90s, Jonny Hetherington was inspired and elated by the energy and realism of alternative rock bands that mixed equal doses of aggression and melody. However, he didn't really relate to the dark, negative energy and sometimes pessimistic lyrics of many of his favorite groups. So when he and guitarist Greg Bradley formed their own band, Art of Dying, in 2004, they made a conscious effort to be as sonically dynamic as their influences, but approach their songs with a greater sense of optimism.
"Most of our songs speak of hope and perseverance," says Hetherington. "There's an element of honesty and strength in our music that really comes through."
On the surface, the name "Art of Dying" might seem to contradict that ethos, but Hetherington says the phrase describes the band's life philosophy. "From the moment you're born, you're on an eventual path to death," he explains. "We all embrace life and enjoy it and make the most of every minute. Our art of dying is living and doing it with as much enthusiasm as possible. That's sort of our code."
The band's major-label debut, Vices and Virtues, expresses their energy and vitality with a blend of urgent, blaring guitar rhythms, atmospheric and transcendent counter melodies, and vocal harmonies that complement the heaviness of the music. Uptempo songs like "Die Trying" and "Straight Across my Mind" reverberate with the triumphant spirit of a raised fist, while tracks such as the acoustic-based "I Will Be There," "Best I Can," and "Raining" (which features guest vocals by Three Days Grace frontman Adam Gontier) are more reflective and vulnerable, revealing the pain of imperfect relationships and the redemption that lies within their repair. Hetherington wrote one of the most poignant and sonically turbulent cuts on the album, "Get Thru This," almost immediately after finding out his father had been diagnosed with cancer.
"It was a crazy day and making that song was very emotional for me," he says. "I was at my day job at a small futon store in Vancouver when I got the news. I locked the door, put up the 'Back in 5 Minutes' sign and let it all pour out. It's a really special song now because it turned what felt like a nightmare into this real celebration. Now that my dad has survived his battle with cancer it's become a song of triumph."
Making the most out of difficult situations has become a modus operandi for Hetherington and his bandmates. Exhibiting determination in the face of adversity has allowed them to excel and succeed. In fact, it was Art of Dying's persistence and relentlessness that first attracted Disturbed guitarist Dan Donegan to the band four years ago. It all started when a radio promoter in Boston suggested Donegan check out Art of Dying's 2006 self-released debut.
"One day I got a phone call from Dan saying, 'Wow, I really like your band, music, and work ethic,'" Hetherington says. "We chatted for an hour about what we were doing and how we felt about our music and he said he'd love to help us out and offer us any opportunity he could, which was very cool. We didn't hear from him for about another year, so in the meantime we just kept doing our thing."
The second time Donegan called Hetherington, it wasn't just to talk. The guitarist invited Art of Dying to open for Disturbed on 12 U.S. shows. While the Canadian band didn't know how they were going to pay for a tour across the U.S., they accepted the offer anyway because they knew playing for thousands of Disturbed fans was a once-in-a-lifetime opportunity. What they didn't know was that Donegan and Disturbed frontman David Draiman were silently courting Art of Dying to be the first band on their label Intoxication.
"At the time, we had no idea they had a label," Hetherington says. "We knew they were watching us every night, but we didn't know they were thinking of signing us. It's kind of comical because we actually invited other labels out to some of the shows to check us out. And it was a real nice surprise for them to offer to do an album with us."
Intoxication isn't exactly a new venture. Donegan and Draiman co-formed the Warner Bros. Records subsidiary seven years ago, but never found the right band to debut – until they heard Art of Dying.
"In years of searching for a band to begin the saga at Intoxication Records, we finally found the fiercely talented boys of Art of Dying delivering uncompromising, harmony-filled anthemic rock moments fused with the right amount of attitude," Draiman says. "They won over our fans time and time again, and we are betting that they will win over the world."
No one can say Art of Dying haven't earned the support of Disturbed through hard work and painstaking perseverance. Even in his youth, Hetherington was determined to reach his musical goals, busking in the streets of Vancouver for spare change and singing songs he'd written since he was a teenager. He was actually standing on a street corner, guitar in hand, when he first met Art of Dying's other founding member, guitarist Greg Bradley. "I was trying to learn how to sing and play at the same time and Greg was playing with some friends he'd been jamming with for a while. They heard me from a couple blocks away and followed the sound of my voice. The guys were looking for a singer and asked me if I wanted to get together and try rehearsing with them."
The next day, Hetherington met Bradley's band at their rehearsal space and the musicians immediately vibed off each other. "We plugged in and I started singing melodies and humming over this musical jam that was going on," Hetherington recalls. "We actually wrote a song that day. We could tell right away we had something real, and over the years Greg and I steered the music through the different band names — Pan, Sun Like Star. We finally decided on Art of Dying as the music evolved." When they had enough original material they recorded an album, formed their own label (Thorny Bleeder) and released their self-titled debut in 2006. They sent the disc to radio stations and promoters across the country, and before long their efforts were rewarded with a nomination for a Canadian Radio Music Award. They also won the prestigious Seeds radio contest from Vancouver radio station 99.3 The Fox for the song "Get Thru This." Past winners had included Nickelback and Theory of a Deadman. The Seeds victory led to numerous tours and eventually an offer to play the third stage at the Download Festival in England.
"Greg and I made a pact a long ago to never say no to an opportunity, no matter how lofty it seemed," Hetherington says. "So we went over to England and that led to our being invited back for a tour of the U.K. with Seether. We've gotten good at making miracles come to fruition. It's like, 'Okay, how are we gonna do this? Beg, borrow, and steal and do it all again.'"
After going through a variety of players, Art of Dying cemented their lineup with guitarist Tavis Stanley, bassist Cale Gontier (cousin of Three Days Grace's Adam Gontier), and drummer Jeff Brown. Cale and Tavis spent years growing tight in Ian Thornley of Big Wreck's solo project "Thornley," and had known Jeff from a young age growing up in Ontario. Jeff brought the five musicians together at a Toronto watering hole where an instant connection was made over pints of Guinness. Without even stepping into a rehearsal space, the newly formed group's first note struck was on stage together on the first date of a Canadian tour. It was that night that they discovered a common musical thread that ran through each of them and began to hone their signature three-part harmonies.
By the time Art of Dying were signed to Intoxication, they were jonesing to start working on their second album. Hetherington presented a stack of songs he wrote at home to his bandmates and the group took a hiatus to work on the tunes and write additional material together. "We made songwriting a priority and actually went on some writing retreats with each other," Hetherington explains. "The five of us would get together in weird locations and just lock ourselves in a place with gear and try and make whatever we could come up with in that five or seven days. That's where several of the songs for Vices and Virtues came from. In the end we had well over 50 songs to choose from."
By the time they entered the studio with veteran producer Howard Benson (Papa Roach, Three Doors Down) in October 2009, Art of Dying had narrowed their repertoire of new tunes down to 18 songs. They spent the next three months at Benson's studio in Los Angeles tracking the first batch, then, after taking a few months off, they traveled to Chicago to finish the album with Donegan.
"It was really important that we had this balance between L.A. and Chicago because I think environment plays a key role in your sound," Hetherington says. "We definitely ended up with the perfect mix of L.A. shine and Chicago grit. It was a golden middle ground."
While Art of Dying worked on Vices and Virtues for over a year, they were never overwhelmed or frustrated by the recording process. Although they were putting in long hours and recording multiple takes, they remained excited and composed throughout. "It was super natural — beyond easy," Hetherington says. "The caliber of musicianship in this band is extraordinary. Everybody's got each other's backs and when we go, we just go!"
Even as Vices and Virtues was being completed, Art of Dying were picking up steam in the media. The WWE played "Get Thru This" in their Survivor and NXT programs. The track was used in several Canadian TV programs and was the theme music for the hockey reality show Making The Cut.
Now that the complete album is finally ready for release, the full scope of Art of Dying's musical diversity and artistic vision is swimming into focus, and it's as clear as Steuben crystal and as euphoria-inducing as a runner's high. "Sorry" is a beautiful song about a broken relationship that starts with a pensive, acoustic arpeggio and soaring vocal harmonies, and peaks with an anthemic mid-paced chorus. "Whole World's Crazy" kicks out the jams with a propulsive riff and minor-key hooks and builds into a rousing refrain, in which Hetherington sings "I don't want to believe there's no way out, is the whole world crazy now?" Then there's the start-stop barrage of "Completely," which punctuates each yearning phrase with a musical exclamation point and the defiant, tuneful thunderstorm of "You Don't Know Me."
"It's a middle finger in the air to everyone who judges others," Hetherington says. "You know that feeling when you're in a crowd and certain people might be looking at you a certain way? It's a horrible feeling, but it's empowering to say, 'Fuck you! You don't know me.'"
On first single "Die Trying" Hetherington sings: "If it takes forever, I will die trying," reaffirming his commitment to attain happiness through his music at all costs. At the rate the band are going, Art of Dying won't take forever to reach their goals, and they're determined to enjoy every minute it takes to get there. Right now, the band is excited to take part in the Avalanche tour with Stone Sour, Theory of a Deadman, Skillet, and Halestorm. The tour launches March 24th in Chicago and runs through May 1st in Uncasville, CT. After that, Art of Dying plan to play other major support tours and summer festivals, as well as headline clubs.
Art of Dying are especially excited to meet the "Die Hards," as they consider themselves at one with their audience. "Since day one we have embraced our fans and included them in our world online and off," Hetherington says. "We are known for being the last people out of the venue at the end of a concert because we're so busy talking to the fans. The countless stories of how our music touches their lives is something we don't take lightly and has become inspirational in our own lives."
Hetherington pauses, then concludes with a statement that clarifies their belief in the power and spirituality of their art. "We believe in the circle or circuit of music that is closed only when it flows through the listener and back to the artist. It's an ongoing cycle, and being a part of that has been one of the most rewarding aspects of what we do."
Combing the sound of vintage heavy metal, with a new twist on todays hit rock/pop sound and updated appearance is one of the main themes of the current Hard Rock scene. Blacklite District brings all of that to the table with the addition of an explosive live performance and music that truly sticks out from the rest.
Blacklite District is originally from the Black Hills of South Dakota, and was founded by guitarist Kyle Pfeiffer, and vocalist Roman James. After years of writing songs and playing live in the Black Hills area, Kyle and Roman were discovered by Grammy Award-winning producer, Stephen Short in early 2011. This brought upon two new members to bring into the equation, bassist Chauncey “CK” Köchel, and session drummer Matt O'Rourke. CK and Matt began rehearsing with the band in the weeks leading up to entering the world’s largest residential recording studio, Sonic Ranch. With producer Stephen Short and engineer Charles Godfrey on board, Blacklite District recorded their 7-track debut album, “This is Where it Ends”