Fueled By Ramen 15th Anniversary


fun., The Stereo, The Swellers, This Providence (acoustic)

Wed, September 7, 2011

Doors: 6:00 pm / Show: 6:30 pm

Terminal 5

New York, NY

$45 advance / $50 day of show

Sold Out

This event is all ages

As Paramore embark on the most successful year of their career, there seems to be no limit as to what they can accomplish. The band's last 2007 album RIOT! has sold over two million copies worldwide, the group was nominated for a Grammy Award in 2008 for "Best New Artist" and even their live CD/DVD The Final Riot! has gone gold. However while these statistics are impressive, record sales have never been the driving force behind Paramore and that fact has never been as evident as it is on the group's highly anticipated third full-length brand new eyes. In fact, as excited as this group of young adults from Franklin, Tennessee are to have had the opportunity to tour with their heroes like Jimmy Eat World and No Doubt over the past few years, they seem even more ecstatic to share brand new eyes with the world. "I hope that every record is a progression for us, but this one is definitely a huge leap from RIOT!," the band's front woman Hayley Williams explains. "I just can't wait to get back on the road and start playing these new songs live."

Anyone who has seen the band on the road already knows Paramore have an incendiary live show; however with brand new eyes, the group has proved they're also able to juxtapose all of their indie-minded influences into a seamless collection of songs that embrace the future without abandoning the band's past. Additionally, the process of making brand new eyes seems to have taught the group--Hayley, guitarists Josh Farro and Taylor York, drummer Zac Farro and bassist Jeremy Davis--countless lessons about who they are both inside and outside of Paramore. "We've been through a ton of stressful, pressure-filled situations since RIOT! came out and I feel like I'm a completely new person," Hayley explains, adding that brand new eyes ended up being the perfect cathartic outlet for the band's creativity and, yes, frustration. "I think making the record was part of the healing process," Hayley elaborates. "It was good for me both as a person and as an artist."

Considering the fact that RIOT! went gold in Ireland, Canada, New Zealand and the U.K. and the band cracked the top five on the radio charts in the U.K. Australia, Mexico, Brazil, France, Germany and Southeast Asia, this global success story had a lot to live up to with brand new eyes. Co-produced by the band and Rob Cavallo (Green Day, My Chemical Romance), who Paramore also worked with on the track "Decode" from the double-platinum soundtrack for the movie Twilight, the album is also the first disc to officially feature new guitarist Taylor York -although York has been a writing partner and frequent touring member since the band's inception back in 2004. "It's really nice having Taylor there because he's the only other guitarist that I trust with our songs," Josh explains. "It's so exciting to be a five-piece again," Hayley concurs, "that's what we were originally intended to be, so I think the writing process was a lot more rewarding having him there." While Josh and Hayley once again made up the main songwriting team on brand new eyes, Hayley is also quick to stress that this album is the most collaborative creation of the band's career, a fact that is evident in the disc's sonic diversity.

In fact brand new eyes is a case study in the band's versatility and contains as many driving, first-pumping anthems like "Ignorance" as it does upbeat pop masterpieces like "Where The Lines Overlap" and lilting, acoustic ballads such as "Misguided Ghosts." "We really tried to venture out and experiment with our sound to see how far we could push ourselves this time around," Josh explains. "?Misguided Ghosts' is just finger-picking and that's not really Paramore's sound but for some reason it works," he continues. "I don't think it would have fit on RIOT! at all, but it's definitely the perfect song for this album." While Rob Cavallo was instrumental in helping the band fully realize their sound, the end result wouldn't have come to fruition in the studio so quickly if the band didn't have a clear-cut idea of what they wanted to accomplish from the onset. "I think we did a good job of guiding ourselves on this record," Hayley explains, "but if there was ever was a time [Cavallo] had to step in he did and it was always perfect."

The rollercoaster ride that Paramore have experienced over the past few years was also a huge influence on the lyrics for brand new eyes, however it was important for Williams not to write a cliched collection of songs about the perils of success. "I watch all these bands go from being really hungry on their first album to talking about paparazzi following them around on their next one," Hayley explains with a laugh. "I was so afraid of sounding like that." Instead Hayley decided to dig into her own psyche and explore some of her deepest emotions. "I would sit in my room all day and not go anywhere, because I felt like I had to keep myself secluded in order to write lyrics," Hayley recounts. "I'm really proud because looking back on all the songs this is really exactly what I was going through?and I think a lot of people are going through this, too."

Hayley's honesty is evident in tracks like the acoustic ballad "The Only Exception" and album closer "All I Wanted," both of which give an unapologetic glimpse into the inner workings of what was happening in her head over the past two years, a reality that was initially scary for the 20-year-old to advertise to the rest of the world. "Now that it's all said and on paper I'm not as insecure about [these lyrics] because I think these songs form a full story that people are going to be able to connect with," Hayley explains, adding that once the songs started to flow in the studio the band were instantly rejuvenated and remembered why they started Paramore in the first place. "There's something Hayley is able to draw out of me that I can't seem to do with anyone else," Josh responds when asked how the band are able to craft music that defies gender and genre stereotypes. "Hayley hates the word ?mature,' but I think it's really suitable for this record because there's much growth that's evident on this album."

Never content to rest on their laurels, Paramore continue to look toward the future and can't wait to see what the next few years have in store for them. "I don't really care how many records we sell," Josh explains, citing that this album is a full representation of the band's disparate influences which include Mew, Jimmy Eat World and Death Cab For Cutie. "I want to come out on the other end happier than ever just knowing that we've done this together and it was fun," Hayley summarizes. "I just want to feel like this is my band, this is awesome, I'm living the dream," she adds, her voice taking on a palpably excited tone. "If we can accomplish that together, there's nothing more that we can ask for."
Close your eyes. Okay, no wait — open them because you need to keep reading — but close them in spirit. Now pretend fun. is not a band, but an amusement park. Just replace the guitar with a log flume and the percussion with a carousel. Now imagine the crowds lining up for a ride on fun.’s sophomore record, Some Nights. The line snakes around the whole park. Maybe there are some bearded ladies on it. Maybe lots of bearded ladies. Anyway. As you get closer, you see the entrance to Some Nights is actually Nate Ruess’ head. His mouth is open wider than should be physically possible and his uvula dangles in the dark. The musical tracks harden into wooden rollercoaster tracks. You get on the car, and with a jerk, it starts to move. There’s that familiar feeling that tells you something pretty transformative is about to happen. Lights flash as you go plummeting into the darkness. The rollercoaster version of Some Nights follows the same path as the album version: colorful on the outside, deeper than you had imagined in the center, and so good it’ll make your head spin.
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“I had met Jack briefly once and thought he was kind of a douche,” says Nate Ruess of his first encounter with Jack Antonoff. They were 18 years old and going, separately, to punk rock shows in southern New Jersey. Nate had worked at one of the clubs since he was 16 (“It’s how I developed a sense of what really works, and what is boring.”), and Jack was in love with the whole scene--well, almost the whole scene.
“In the late 90s there was just a brilliant punk world happening in legion halls and fire houses. I was immediately taken with Nate’s voice but everything else – no.” Years later, Nate, who was the lead singer of The Format at the time and Jack, Steel Train’s front man, wound up on tour together. Impressions hadn’t changed much. “It was just like an, ‘Oh God, this guy,’ vibe from both of us right off the bat. But 24 hours into that tour, Nate and I became inseparable.”
When The Format broke up, Nate’s first call was to Jack.
Though not a “meet-cute” tale, it’s indicative of who fun. is as a band. You hear them and think, “Are they really going to pull off this sound, this arrangement, and create a moving, catchy, memorable rock song?” It’s become their signature. So long as that signature has one last element: Nate’s second call was to Andrew Dost, the force behind all the literal bells and whistles of fun. “Andrew,” says Jack, “is one of those people who see the world like a giant art project. I can’t begin to tell you how vital he is in our band.”
“My first impressions of them were both overwhelmingly positive,” says Andrew Dost, “I’ve heard they were….unsure of each other when they first met?”
fun. has not stopped living up to its name since their 2009 debut, Aim & Ignite. A year after the debut they were opening for Paramore on their headlining tour and performing at Coachella along with The Strokes and Jay-Z. Now they’ve teamed up with Janelle Monáe, a melodic collaboration on display in one of three videos for “We Are Young.” In addition, the TV series “Glee” plucked “We Are Young” and the title track off Some Nights to cover on the show, an experience that meant the world to a band that prides itself on appealing to any demographic that might feel disenfranchised or just plain odd. “None have us have ever felt like anything but outcasts our entire lives,” says Jack, “and I know that’s something that has resonated with fun. fans. They are the same people as us — kids who never fully latched onto a specific music scene because it couldn't define them.”
With a trail of accolades behind them, fun. knew they had to step up their game in an unexpected way when it came to producing their second record. “I got really got into hip-hop,” says Nate, “I mean really into it. Songs started coming to me in the middle of the night, and I would hear them with breakbeats and samples, and it all made sense… I told everyone I wanted the next record to sound like a hip-hop album, and I don’t think they were unsupportive, but they were definitely confused.” Then, a few hours before a show in Phoenix, the band snuck into a music room at Arizona State University. Nate doesn’t play any instruments, but by now Jack and Andrew have learned to “crack the code.” This time the code was for the track that would become “Some Nights.” Andrew pounded out the chords out on a piano, while Nate sang, and Jack stomped his feet and clapped as hard as he could to establish the pulse of the song. “That moment really brought us together as the band that was going to be making this album….I just had to explain how the MPC (Music Production Center) would be our new best friend.”
Jack is a whip-smart horn-rimmed glasses-wearing guitarist whose influences are Tom Waits, Jack White, and Neil Young.
Andrew counts the flugelhorn and glockenspiel among his conquered instruments. (Influences: Weezer, ELO, and Claude Debussy.)
And here they were, jumping out of their skin, listening to My Beautiful Dark Twisted Fantasy and Drake in a concrete building in the middle of the desert.
“What can I say? Eventually they fell victim to Drizzy,” laughs Nate.
When pressed by their label and management for a list of potential producers, Nate consulted the albums he loved most. The name that appeared time and time again was "Jeff Bhasker.”
The legendary Grammy-winning producer for Alicia Keys and Kanye West had his hands full at the time, working with Beyoncé, and the band worried that they might not have a chance to meet him. Finally, one night late at The Bowery Hotel, Nate got his chance. Their relationship was one that fit nicely into the grand tradition of fun. “Jeff wasn’t very, shall we say, warm. He had been working on Beyoncé all day, and he really gave the vibe that he didn’t want to be meeting with me...but thank God for alcohol. We ended up hitting it off, and since I was drunk and lacking self-awareness, I decided to sing him something I had been working on. I remember singing the chorus for "We Are Young" kind of loud and out of key. That’s when I learned that Jeff does this thing when he’s excited where his eyes perk up and somehow his ears move all the way to the top of his head. He told me we had to work together.”
fun. was on their way to becoming the band that would — that could — produce Some Nights.
“Jeff left a huge imprint in our brains,” says Andrew, “and for me at least, made me realize all over again that songs are special, and that they deserve to sound unique. His palette of sounds is huge.” Or, as Jack says: “Jeff pushed the shit out of us, and he’s nothing like us. He helped us do something way bigger than what we could have done on our own."
Jeff heard the songs stripped down with just vocals, acoustic guitar and piano before the band went into the studio with him.
“Jeff has an energy, a talent, confidence, and a way of making you feel confident, like no one I've ever met, or probably will ever meet,” says Nate. “Suddenly here was a gigantic beat on top of those acoustics and pianos. Jack’s guitar solo in ‘Carry On’ was one of those magical moments. I’ve never seen anyone so in control of their tone, and for him to take the lyrics, internalize them, and redistribute it into the form of a guitar solo, is just so unbelievable, and it’s a huge testament to his passion for music.”
Lyrically, Some Nights has a uniquely impactful note — and it’s not always an upbeat one. See also: the line “I got nothing left inside my chest but it’s all alright” in “All Alright.” “I was just coming off of a darker and more introspective year,” Nate remembers, “You know, I remember being a freshman in high school and feeling like an outsider who always wanted this one girl to notice me, and I would listen to ‘El Scorcho’ by Weezer and couldn’t help but smile because there was at least one other person in the world who felt how I felt. That’s what I hope to accomplish as a lyricist. But I was having anxiety attacks about whether or not I could still write a song, let alone still wanting to make music. The only way to cope with it was to write about it.”
Some Nights earned the band six total nominations for the 55th Annual Grammy Awards, including nominations in all “Big Four” categories, marking fun. the first rock ever to achieve such a feat.
Maybe it’s Nate. Or Andrew. Or Jack. Or Jeff. Or the acoustics at Arizona State. Either way, it’s a good problem to have when you’re pointing fingers at each other, laying the blame for the magic of your new record on your band mates. Even with the “new and improved” sound, fans will never forget what it is this band wants: “Some Nights has a common theme of guilt and depression and laying everything on the table, sure, but there’s always some sort light at the end of the tunnel,” says Nate. “That’s what this album is striving for, to say something along the lines of ‘Okay, I found that light, but it’s just led me to another situation where I need to find the light again.’”
And down the tracks we go.
The Stereo
The Stereo
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THE STEREO: Biography
Related Genres: Rock

The Stereo plays catchy rock with the levity of Weezer, mixing pop-punk with the big, honest super rock of groups like Journey and just a hint of the heartfelt, piano romping of Billy Joel.

The group began in 1999 when two musicians -- Jamie Woolford of Animal Chin and Rory Phillips of the Impossibles -- combined their solo projects at the recommendation of their label. After tape trading and phone calls, Woolford jumped in his van and drove to Austin, TX, where the duo recorded their entire full-length debut, Three Hundred. The material was then sent to producer J. Robbins, who gave it his famous touch, and was released on Fueled by Ramen in 1999.

After touring in support their first record, Phillips left the group. But Woolford pressed on, enlisting the help of friends and releasing the New Tokyo Is Calling EP along the way. Guitarist Erik Hanson joined, soon left the group, and was replaced by Ross Felrath, only to re-join the band again. The Stereo's second album, No Traffic, not surprisingly, dealt with issues of betrayal, loss, and abandonment, but secured the band an offer for a large-scale tour of Japan.

At this point, Jamie Woolford was the only remaining member of the Stereo but in need of a touring band, so Woolford asked friends from Animal Chin and Pollen to join him, and in the process secured the Stereo's lineup.

With a collection of musicians including Ben Woolford, Dan Hargest, Thomas Laufenberg, Kevin Scanlon, Christopher Serafini, Bruce Joshua Wuollet, and Katie Riemann, Jamie Woolford went into the studio to record the band's third album. Rewind + Record, released on Fueled by Ramen in June of 2002, realized Woolford's goal of crafting a big album with songs that inspire listeners to get their lighters out on the slow songs and enjoy the rock show.
The Swellers
The Swellers
From the perpetually down-on-its-luck, blue collar, rustbelt factory town of Flint, Michigan, comes new Fueled By Ramen signees The Swellers, a punk band that knows a thing or two about making hard, no-nonsense, but infinitely catchy music.

Following in the footsteps of other hard- Flintites who've made their name on the world stage—film provocateur Michael Moore, ’70s hard rock pioneers Grand Funk Railroad, ’80s grindcore/death-metal pioneers Repulsion, and the late rapper M.C. Breed—The Swellers have forged a hard-edged, yet accessible style of punk over the better part of a decade, the last three of which have been spent touring non-stop with the likes of Less Than Jake, Set Your Goals, Four Year Strong, A Wilhelm Scream and Streetlight Manifesto, among numerous others.
Venue Information:
Terminal 5
610 W 56th St
New York, NY, 10019