ALT AZ Ugly Sweater Concert Series
Angels & Airwaves
4 TICKET LIMIT PER CUSTOMER. YOUR NAME, CREDIT CARD, ADDRESS, AND EMAIL ADDRESS WILL BE VERIFIED. TICKETWEB AND LUCKY MAN PRESENTS/THE MARQUEE RESERVE THE RIGHT TO CANCEL ANY ORDERS IN EXCESS OF THE STATED TICKET LIMIT.
ANY TICKETS SUSPECTED OF BEING PURCHASED FOR THE SOLE PURPOSE OF RESELLING CAN BE CANCELLED AT THE DISCRETION OF LUCKY MAN CONCERTS/THE MARQUEE/TICKETWEB.
THIS EVENT IS GENERAL ADMISSION. NO SEATS ON THE MAIN FLOOR. STANDING ROOM ONLY. LIMITED SEATING AVAILABLE IN BALCONY. BALCONY IS FOR PATRONS 21 YEARS OF AGE AND OLDER WITH PROPER ID. BALCONY SEAT TICKET MUST BE PURCHASED FOR SEATING.
THIS EVENT IS 13+
NO REFUNDS/ EXCHANGES UNLESS HEADLINER CANCELS.
ALL TICKET SALES ARE SUBJECT TO SERVICE FEES.
PARKING IN THE MARQUEE LOTS IS AN ADDITIONAL $10.00 PER SPACE USED. CASH ONLY AND PAID TO THE PARKING ATTENDANTS NIGHT OF THE EVENT.
This September 4th – almost seven years to the day of their last performance (which was September 2, 2012 in Bologna, Italy), ANGELS & AIRWAVES (guitarist/vocalist Tom DeLonge, guitarist David Kennedy and drummer Ilan Rubin) will kick off a long-awaited North American headline tour with a show in Phoenix, AZ.
DeLonge, a founding member of seminal pop punk band Blink-182, formed Angels & Airwaves in 2005. A year later came debut album We Don’t Need To Whisper, which hit No. 4 on The Billboard 200 and featured Top 5 modern rock hit “The Adventure.” 2007’s I-Empire followed, hitting No. 9 on The Billboard 200 and featured rock radio hit “Everything’s Magic.” In 2010, AVA released Love and a year later, Love: Part Two accompanied by a critically acclaimed film, Love, which was shown in 460 theaters nationwide during a one-night film screening and live-streamed concert event titled Love Live. The band’s last full-length album was 2014’s The Dream Walker, which hit No. 1 on iTunes and No. 5 on Billboard’s Top Alternative Albums chart. A multimedia project, the album was accompanied by a graphic novel, comic books and a Blade Runner-meets Harry Potter short film, which won Best Animation at the Toronto International Short Film Festival.
“Rebel Girl” follows 2016’s Chasing Shadows EP, which was released alongside Sekret Machines, a novel DeLonge co-wrote with New York Times bestselling author A.J. Hartley.
In addition to his work with ANGELS & AIRWAVES, DeLonge created To The Stars, a multimedia entertainment company that creates original content across music, film, television, and publishing. To The Stars' content plays an essential role DeLonge’s To The Stars Academy of Arts & Science, a think tank of artists, scientists, intelligence officers and technology experts that explore, engineer and educate the public about unexplained scientific phenomena. DeLonge currently has a television series (“Strange Times”) in development at TBS and is executive-producing a 6-part docu-series on The History Channel titled “Unidentified: Inside America’s UFO Investigation."
“After my kids, music has and will always be the most important thing in my life,” says DeLonge. “It’s given me everything - every opportunity and every relationship I have. There is no stronger art form than rock ‘n’ roll to deliver a galvanizing message and at the end of the day, change lives.”
It began in the days of excess, when video killed the radio star, and a new cultural frontier beckoned. A time punctuated by the whirring of videotapes capturing endless hours of Night Flight and Top of the Pops; of mixtapes passed back and forth between sweethearts, lovingly collected and assembled by passionate pop diehards. The world wasn’t ready for IDKHOW back then. They’d better get ready right now.
Part archeological excavation and part forward-thinking vision, I DON’T KNOW HOW BUT THEY FOUND ME is as Day-Glo nostalgic and optimistically futurist as Back to the Future, the cinematic classic in which their band name was born. Doc Brown utters the famous line just before telling Marty McFly to “run for it.” And just as Marty traveled 30 years into the past and righted the wrongs of the present, so have Dallon Weekes and Ryan Seaman, resurrecting the songs and innovative spirit of IDKHOW for a new generation starved for creative risk taking and unbound joy.
IDKHOW’s music is from a time when fashions were loud, melodies were infectious and iconoclastic pop trailblazers broke through commercially without compromising artistically; those who didn’t succeed despite creative courage but because of it. IDKHOW channels the legendary spirits of sixties garage, seventies glam, eighties new wave, and the early days of Britpop, merging the greatest strengths of bygone eras into a transcendent sound of the future. Imagine a nightclub powered by T. Rex, Bowie, Oingo Boingo, and Tears For Fears, distilled into pop rock anthems that are as instantly memorable as they are timeless.
This isn’t ironic hipster satire; the IDKHOW movement is one of earnest reverence for an era that has much to offer the present day, through the lens of a postmodern possibility. The thrill of new discovery is central to the IDKHOW manifesto. “There are so many brilliant artists that I’ve been exposed to because of the Internet,” says Weekes, brimming with enthusiasm. “Acts like Death, The Nerves, or Sparks.”
The frontman has plenty of experience with the potential for a great song to move crowds, propel late night drives, soundtrack makeups and breakups, and to top the Billboard charts. As bassist/backing vocalist for Panic! At The Disco from 2009 to 2017, Weekes co-wrote massive hits “This is Gospel” and “Girls/Girls/Boys,” and is credited on nearly all of the songs that comprise Too Weird to Live, Too Rare to Die!.
When Weekes discovered these “lost” recordings, this forgotten band, he knew Ryan Seaman was the perfect drummer to help him reignite the IDKHOW aesthetic.
The resurrection of IDKHOW’s forgotten music arose organically, through word of mouth, social media, and increasingly larger pop-up shows along the West Coast. A band once so elusive that, whenever asked about playing shows in secret, would deny the band even existed at all. Soon, the IDKHOW revolution was undeniable, as evidenced by the over 10 million YouTube views and six million streams they amassed of self-released songs like, “Choke,” “Modern Day Cain,” and “Nobody Likes the Opening Band.” Now partnered with tastemaker label Fearless Records, IDKHOW continues to mount an assault on the vacuous nature of fake relationships and the dirty underbelly of Hollywood glitz.
Once confined to forgotten cable access TV, IDKHOW “returns” with a grand debut, in opposition to the traditional “rules” of pop and the music business. It’s art for its own sake. It’s left of center, challenging, bigger than middle-of-the-road party jams. IDKHOW is fun and exciting, smart and engaging, and always wholly authentic.
“The hard working people at IDKHOW are pleased to align with Fearless Records to unearth and uncover the rare and forgotten recordings of I DON’T KNOW HOW BUT THEY FOUND ME,” Weekes explained. “We are all rediscovering this long-forgotten music together and giving IDKHOW a second chance. For the first time.”