The Roxy Theatre presents
Redlight King, Kingsize, Lost In Atlantis
9009 West Sunset Blvd.
West Hollywood, CA, 90069
Watch & Listen
Even if you don't know Sydney, Australia modern rock trio Sick Puppies, you've probably seen their groundbreaking "Free Hugs," video, which has garnered more than 11 million views on YouTube.com since it started streaming on the site last year. The heartwarming clip chronicles the true life adventures of a man who walks around holding a billboard that reads "Free Hugs," the police who ban his humanitarian crusade, and the petition that earned him back the right to provide hugs to citizens in need.
The "Free Hugs" video, which accompanied the band's song "All The Same," earned Sick Puppies exposure on Oprah, Jay Leno, "60 Minutes" and CNN, and inspired people around the world to begin their own free hugs campaigns. It also propelled "All the Same" into a top-requested single at commercial radio stations across North America. But while the "Free Hugs" video helped spread the music and message of Sick Puppies, the band is anything but an overnight success.
Years before YouTube, Sick Puppies were winning prestigious commendations, including "Best Song" from Triple J Unearthed, and "Best Live Performance" from the Australian Live Music Awards. The Australian edition of Rolling Stone even called Sick Puppies "the most dynamic new band in the country."
The band's North American debut, Dressed Up As Life, validates the praise with a heartfelt collection of exultant rhythms, propulsive beats and choruses that span miles. It's the kind of record that captures the beauty, pain and endless possibilities of LIFE.
The aching vocals, melancholy acoustics and triumphant guitar swaths of the renowned "All the Same" transcend even without the video. "My World" pinpoints the moment where epiphany turns regret into acceptance by juxtaposing layered instrumentation with bare, simple arrangements. "Pitiful," combines start-stop blasts with brooding atmospherics, resulting in a song that's both angry and undeniable. And, "Asshole Father" is even more sweeping and multidimensional, intermingling serene vistas with stabs of animosity.
"The record is an honest reflection of what we were feeling and going through when we were making it," says singer and guitarist Shimon Moore. "There were times when we were really depressed and then suddenly we were happy. So these songs capture that whole rollercoaster ride."
"The songs are a combination of all of our influences, from Rage Against the Machine to Green day, mixed in with our own style," bassist Emma Anzai adds.
The origin of Sick Puppies dates back to 1997, when Moore and Anzai met in their high school music room. Moore was bashing away on the drums and Anzai walked in looking for someone to jam with. "She stared at me and asked if I knew all these songs by different bands, and I was like, 'Yeah,' and, we just started rocking," says Moore. "At the end of the week she said, 'You wanna start a band?' and we've been together ever since."
Moore stepped out from behind the kit and strapped on a guitar, and the two hired Chris Mileski to play drums. They started playing covers, then wrote their own material and booked local gigs. In 1999, Sick Puppies released their first Australian EP, Dog's Breakfast, and two years later, their song "Nothing Really Matters" won Triple J's Unearthed band competition. Their debut album, Welcome to the Real World came out later that year. After numerous tours across the country, Sick Puppies went on hiatus for a while so they could achieve their goal to record their North American debut.
Anzai got a job in telemarketing and Moore carried a billboard of a lollipop sign advertising two-for-one shoes at an outdoor shopping mall. It was there that he met Juan Mann, who came to the mall every Thursday with his "Free Hugs" sign. "We started talking and became really good friends," Moore recalls. "Then I asked if I could film him. But we never ended up doing anything with the footage until we came to Los Angeles."
Since Mileski was unable to come with them to the U.S., Sick puppies placed an advertisement on the Internet site Craig's List, looking for a new drummer. Soon, they hooked up with Mark Goodwin, whose hard-hitting style perfectly complimented the band's aggressive style. While they worked on the new album, Moore kept in touch with Mann, and during one of their phone calls, he learned that Mann's grandmother had died unexpectedly. To help cheer him up, Moore pulled his old footage off the shelf and edited together the "Free Hugs" video and sent it to Mann.
"It was meant just as a video get well card, and that's the only reason it got made," Moore says. "He saw it and said, 'Why don't you put it on YouTube.' I still have no idea how it got as big as it did."
Upon arriving in Los Angeles, the band signed a new recording contract with indie label RMR Music Group run by Paul Palmer, co-founder of Trauma Records (Bush, No Doubt). The tremendous success of the video piqued the interest of numerous record distributors, including Virgin Records, which signed Sick Puppies to a deal in 2006, right as their new album neared completion.
"It was far more difficult to make than we expected," Anzai says. "It was a lot of hard work and it basically took us a year to finish. We spent a lot of time discussing the style of the music and the arrangements, and we reworked the songs over and over until they felt right. So, it was definitely grueling, but it was character building as well."
In addition to learning to write better rhythms and melodies, Moore flexed his lyrical muscles and tapped into a new level of emotional poignancy. He penned songs about his fear of abandonment ("My World"), a desperate effort to save a crumbling relationship ("All The Same") and a freaky stalker ("Deliverance").
"I think the songwriters who really connect with people are the ones who are willing to release their deepest, darkest secrets," Moore explains. "So, I decided to bare my soul regardless of how embarrassing or frightening it might be. And I think when you give in to that, it can be very liberating."
With infectious tunes, a jaw-dropping stage show and equal doses of hits and hugs, Sick Puppies are striking a blow against the horde of faceless modern rock bands that are virtually all the same.
There's stubborn. And then there's Kaz stubborn. The singer-songwriter of Redlight King refused to take no for an answer when music business suits denied his request to sample a Neil Young classic, pressing relentlessly until he got a "yes." More importantly, Kaz held on to vanquish the inner demons that nearly wrecked him several years ago. Now, with "Something for the Pain," Redlight King's redemptive Hollywood Records debut album, Kaz relives both his darkest days and the turn-around, when he clawed his way back to the light.
A latticework of rock and hip hop, the album conjures old school sounds, thanks to Kaz and producers Wally Gagel and Xandy Barry, as well as the good vibes at Hollywood's TGG Studios (now called Wax Studios, whose alums include Jimi Hendrix, the Doors and, yes, Neil Young). "I'm all about mixing in the old sounds," Kaz says, "and giving it that warm, analog feel. There is sampling, hip hop grooves and beats, but I also wanted good old fashioned meat and potatoes: bass, guitar, drums."
The sound may be warm, but his songs revisit the cold climate of Kaz's native Hamilton, Ont., and the even chillier emotional landscape of his lost years. In the astonishing hip-hop flavored debut single, "Old Man," Kaz offers a reluctant salute to his father, a larger-than-life figure who taught school by day and raced stock cars at night ("The life he demanded/Kept us all in a struggle/When he ruled with his fist/It kept us all out of trouble"). "No father issues here," says Kaz with a laugh.
Hard-edged rockers like the blustery "Bullet in My Hand," "The Underground" and the title track take listeners on a vertical drop into an abyss Kaz once knew all too well. "Most of it was written while the feelings were still there," he recalls. "My songs are written about real issues, real experiences. I like to bring listeners in deep, and give them time to look around."
Kaz starts "digging six feet up" (as he puts it) on songs like "Comeback," "Built to Last" and the irresistibly melodic "Driving to Kalifornia." Collectively, they describe the hard labor of rebuilding a life, then hitting the road, with the wintry east receding in the rear view mirror. The album ends with the acoustic-flavored "Past the Gates" and "When the Dust Settles Down," the former a hope-filled forward glance, the latter a last look back. He may be whistling past the graveyard, but it's such a pretty tune.
Kaz grew up in Hamilton, Ont., once a booming steel center on the shores of Lake Ontario, and now struggling in the global economic meltdown. He grew up in middle class home where his parents "struggled to pay the bills." Like his dad, Kaz loved cars and drag racing (Redlight King is named for the light "tree" that signals the start of a race). As he grew, music also began to take hold. He loved Queen, Springsteen, Dylan and Lennon no less than A Tribe Called Quest, Rakim, Treach and Nas. He started writing early on, recording his first track at age 16. But in his teens, music took a back seat to judo. He was good enough for a shot at Canada's Olympic training center to prepare for the 2000 Games. But he didn't make the team -- a blow that would take a toll later.
Meanwhile, Kaz returned to music, landing a deal and releasing an album in Canada. That led to a Juno Award nomination for Best New Artist, but the affirmation wasn't enough to halt a steep slide. "You know why it's happening," he recalls of his struggle with substance abuse. "You don't know where the end is, you've lost all rationality. You're borderline insane. But in the end, you make a decision to start again, and the only way was to forgive myself for my mistakes."
It worked. Kaz came back strong, headed to California in a rebuilt '49 Mercury pick-up and converted his two-year nightmare into the song cycle that became "Something for the Pain." Says Kaz, "Writing songs when you're in a dark place is dangerous. The songs I wrote for this album I won't write again. I won't have to."
Just because he lives in Los Angeles now doesn't mean he's gone Hollywood. When the mood strikes, he takes his rebuilt 1950 Harley up the PCH, just to clear his head. Hot rodder that he is, Kaz is currently restoring a rare 1937 Lincoln Zephyr coupe, with plans to make "a film capturing the journey and process of bringing the car back to life," he says. "Hot rod culture runs deep in my roots."
Music runs even deeper, and with the release of "Something for the Pain," Kaz will take the show on the road very soon. He knows his music touches a raw nerve, but that's part of the appeal for him. "I hope people will be able to connect with it and take from it what they need," he says. "It's about the human condition. In the end, we're all the same."
It’s broad daylight and Jason Thomas Gordon, lead singer and drummer of a new LA rock band, hangs over the rooftop of Tower Records on Sunset Blvd. Like so many independent stores along the way, not even this giant landmark record chain could stave off the crumbling music business. Dressed in workmen’s clothes, Jason has commandeered a ladder and climbed to the top of the vacant record store. He quickly ties knots along the ledge then unfurls two 17-foot banners from both sides of the building. A message from the band now faces the city streets: SAVE YOUR RECORD STORES!
This is the band at their core. Romantic and defiant. Their sound is a ramshackle mixture of classic rock ‘n roll combined with the darkness of the post-punk era. Listening to these guys it’s easy to understand why they’d be so indignant about watching another record store fall. They remember when music wasn’t so disposable, when every new release was an event, when fans thrived on the mystery about a band instead of the neediness of social media. Jason sings, “We’re awake tonight and we will never cave!” And their live show proves his point. The energy is frenetic but focused. The music is raw but glorious. This is Kingsize.
It wasn’t just record stores closing or the watered down fluff on the radio that would become a defining moment for the band. “The music scene here sucked,” states guitarist Cary Beare. With his trademark long hair, he looks part 70’s rock god, part Tolkien character. “I was ready to hang up my dreams and move back to the mountains in Idaho.”
But, right before Cary left town, his old friend Jason, asked him if he wanted to jam. The sound and the songs they created convinced Cary that the dream was far from over. Cary explains, “Jason immediately wanted to form a band with him on drums, me on guitar but, I loved how his voice sounded with the stuff we were writing. I didn’t want anyone else ruining it so I said, ‘I’ll only do this if you sing your own lyrics.’”
Jason spent the next week sick to his stomach. “It really felt like a life or death decision for me,” recalls Jason, “ I was serious about forming a band but not as the singer!” So, how did it happen? “Cary acts like he’s this peaceful old hermit in the hills but, he’s a punk ass kid when he plays guitar. He can also write beautiful melodies that’ll crush your heart. I wanted to be in a band with him. So, I said, ‘Screw it. I’ll be the singer.’ Sold out on day one!”
At first, Jason and Cary played all the instruments themselves. Then they heard Matt DelVecchio playing bass in a friend’s band around town. He could groove, he could sing, he was creative and solid. He was also a card-carrying ambassador for Maker’s Mark whiskey. Kingsize swiftly put their friend’s band on notice, “We’re stealing your bass player.” They consider it one of the best moves they ever made.
Kingsize released The Good Fight EP on their own Good Fight Music label in 2008. As the title suggests, these were songs that had come looking for a fight. Songs like “Elevator,” “Miss America,” and “House on Fire” do just that.
The message of the music was driven home by the striking image on the album cover -- the world famous 1989 photograph of a lone man defiantly standing up to an onslaught of tanks in China’s Tiananmen Square.
Over the years, many bands had been told they couldn’t use the iconic image as album art but Kingsize wouldn’t take no for an answer. They appealed to photojournalist Jeff Widener personally. “I wrote him a letter and asked if he’d take a listen to us,” says Jason, “I told him I wanted the band to sound like that picture.” Soon after, they got a call from the Pulitzer Prize nominee. Widener said he loved what he heard and Kingsize became the only band to ever receive permission for its usage.
A few months later, Kingsize released a sister EP to The Good Fight. The Bad Night EP. From the opening bars of “Nice Dress Pt. II” to the final fade of “Tourniquet Queen,” these were songs that spoke of the loneliness of the city and the mistakes we can make while trying to escape it.
Thanks in no small part to their emotionally charged live shows, Kingsize has quickly become a force on the Southern California music scene. Three songs off their EPs are available for download in the popular videogame Rockband 3. They’ve written the theme song for the CBS sitcom Gary Unmarried and are featured on the soundtrack of Philip G. Flores’ award-winning film The Wheeler Boys. Their song “Rabbits” was recently added to 32 Clear Channel stations from Nikki Sixx’s radio show The Sixx Sense, and “Sweetheart, I’m Only Stopping to Start” just earned a spot in the new Robert DeNiro movie Freelancers co-starring Forest Whitaker and 50 Cent.
But, their most important achievement is the huge part the band plays in the lives of children battling cancer and other catastrophic diseases. Music Gives to St. Jude Kids is a new campaign created by Jason with the sole purpose of raising money and awareness for St. Jude Children’s Research Hospital through music-based initiatives. Jason’s grandfather, Danny Thomas, founded the hospital in 1962. So far, Music Gives to St. Jude Kids has been lucky enough to partner with artists like Sheryl Crow, Kings of Leon, and Stone Temple Pilots and has garnered the sponsorship of both Live Nation and Ticketmaster to name a few.
Both Cary and Matt have joined their friend, taking on his family’s crusade as their own. “It’s been great to reach a lot of younger people who might not know about how St. Jude is finding real cures for cancer,” smiles Matt. Cary nods in agreement, adding, “The two things we’re most proud of are Music Gives and the fact that we’ve finally finished our record.”
Plagued by false starts, chaos, heartbreak, and setbacks, the band has finally finished recording their debut album All These Machines. Billboard Magazine’s discovery department wrote, “Kingsize is individual enough to take on the music world with eight cylinders blasting. All These Machines should be just the ticket to propel these guys to the top of the heap.” But, all that matters to them right now is that they’re somewhere new. They’ve made it here together. And besides that, there’s still nothing like a good fight.
Lost In Atlantis
Lost In Atlantis, also known as LIA, was formed in 2008. Their 15 song debut album, “Silent World”, is available on BigCartel, iTunes, CD Baby, Napster, etc. Lost In Atlantis has been on multiple U.S. Tours and recently made a National TV Appearance premiering their song “Freak Out” where they played for Rolling Stones producer, Don Was and was filmed by FORD. LIA’s hit single “Tek No” has been featured on MTV, MTV Latin America and has over 40,000 views on YouTube. They’ve recently released their highly-anticipated album “Lover Freak” on iTunes. Recorded and produced by Erich Talaba (Yellowcard, Fall Out Boy, Linkin Park)
LOST IN ATLANTIS recently performed multiple dates at Vans Warped Tour 2013 on the Kevin Says Stage. They were hand picked by Kevin Lyman, founder/owner of Warped Tour. LIA did interviews with THE GRAMMYS, Fuse, Purevolume and many more. Lost In Atlantis just finished filming a music video with RSM Creative for their newest single “Zombie Love” which will be released in a couple months. Go to www.Facebook.com/LostInAtlantis for more updates.
$20.00 - $22.00
The Roxy Theatre is an all ages, general admission, standing room only venue. If you are under 21 you must purchase a $3 food and beverage coupon at the door. For VIP accommodations, please e-mail VIP@THEROXY.COM. If tickets are not available on this site please contact The Roxy Theatre box office at 310-278-9457. PLEASE NOTE THAT DOORS, SET TIMES AND LINE UP ARE SUBJECT TO CHANGE. YOU MUST BRING A VALID PHOTO ID TO PICK UP YOUR TICKETS AT WILL CALL.
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