Never Shout Never
special guests Plain White T's, A Rocket To The Moon, Fake Problems, Carter Hulsey
Fri, October 21, 2011
Doors: 6:00 pm / Show: 7:00 pm
Terminal 5
New York, NY
$22 Adv by phone Box Office, $24.95 online*, $27 Day of Show
Tickets
This event is all ages
*Tickets purchased online include a copy of Never Shout Never's new digital album 'Time Travel'
http://www.terminal5nyc.com/event/57029/Never Shout Never
Never Shout Never is the alias of American acoustic pop musician, Christofer Ingle. Ingle began making music as NeverShoutNever! in September 2007. His first exposure came through the internet, where he achieved success on MySpace before issuing the Yippee! EP on July 29, 2008.[10] On July 30, 2008, he was featured on TRL, where he performed his single 'Bigcitydreams'. He toured with Hellogoodbye and Ace Enders in the fall of 2008.
As of November 17, 2008, the official spelling of Ingle's alias became NeverShoutNever! It had previously been listed as Never Shout Never on iTunes and his management company's site. An official statement regarding the reason behind the spelling change has not been made available. In an interview, Ingle revealed that there is no longer an exclamation point after his name and that he will spell NeverShoutNever as one word when he is feeling happy, but three words when he isn't. Warner Bros. Records is spelling his name as "Never Shout Never" for the upcoming release.
Never Shout Never started touring with The Scene Aesthetic, The Honorary Title, and The Bigger Lights in late February 2009 and then toured with bands such as Forever the Sickest Kids, The Cab, and Mercy Mercedes, among others in spring 2009 as part of The Bamboozle Roadshow 2009. He played at both The Bamboozle Left 2009 and The Bamboozle 2009.
The next EP from Never Shout Never was released on June 23, 2009. The first single off the EP was released on iTunes on March 3, 2009.
It was announced on May 29, 2009, that Ingle had signed to Warner Bros. Records, ending a major-label bidding war. As part of the deal, Ingle will run and make releases on his own imprint label, Loveway Records.
The debut full-length album from Never Shout Never is being produced by Butch Walker.
Ingle follows a strict vegan diet. His music career caused him to drop out of his high school, Joplin Senior High, before graduation.
As of November 17, 2008, the official spelling of Ingle's alias became NeverShoutNever! It had previously been listed as Never Shout Never on iTunes and his management company's site. An official statement regarding the reason behind the spelling change has not been made available. In an interview, Ingle revealed that there is no longer an exclamation point after his name and that he will spell NeverShoutNever as one word when he is feeling happy, but three words when he isn't. Warner Bros. Records is spelling his name as "Never Shout Never" for the upcoming release.
Never Shout Never started touring with The Scene Aesthetic, The Honorary Title, and The Bigger Lights in late February 2009 and then toured with bands such as Forever the Sickest Kids, The Cab, and Mercy Mercedes, among others in spring 2009 as part of The Bamboozle Roadshow 2009. He played at both The Bamboozle Left 2009 and The Bamboozle 2009.
The next EP from Never Shout Never was released on June 23, 2009. The first single off the EP was released on iTunes on March 3, 2009.
It was announced on May 29, 2009, that Ingle had signed to Warner Bros. Records, ending a major-label bidding war. As part of the deal, Ingle will run and make releases on his own imprint label, Loveway Records.
The debut full-length album from Never Shout Never is being produced by Butch Walker.
Ingle follows a strict vegan diet. His music career caused him to drop out of his high school, Joplin Senior High, before graduation.
special guests Plain White T's
In some of the most quantifiable ways, the Plain White T's count as a veteran outfit. After all, the band formed in the late '90s, when cofounder Tom Higgenson was still in high school, and the T's had several independent releases already to their credit even before "Hey There Delilah" became an international sensation and cultural touchstone in 2007.
But as far as the Plain White T's are concerned, they're just entering their sense-of-wonder years.
The need to hold onto or reclaim the marvels of youth is a determined thread running through the band's third Hollywood Records release, Wonders of the Younger. Even the love songs that don't directly deal with the ostensible theme of mentally dialing back the aging process have references to nostalgia, childhood lost, or innocence regained. (In "Broken Record," Higgenson references "Billie Jean" and sings, I knew it was final / Got in her daddy's car and she was gone like vinyl.) The message throughout is clear: They were so much older then… they're younger than that now.
Higgenson had the album title and concept come to him in a place not usually associated with tender innocence: Las Vegas. It was there, on a Valentines Day 2009 visit, that he was bowled over by a Cirque du Soleil show, O, and wondered if it would be possible to capture the same anything-can-happen spirit on record. "The entire show has pirate ships, clowns and carousel horses coming up and going back into the pool, and at one point there's a piano that comes up out of the water, and it was really epic," he says. "I just loved it, and it gave me that feeling of being a kid and seeing Goonies for the first time, or Indiana Jones —so adventurous and imaginative and different. I left there wanting to make an album that gave people that same feeling."
"Plain White T's goes along with the theme of the album," he says. "With a plain white T, there are no limits there. You can wear it with anything. You can put anything on it. It's that blank canvas—kind of like your imagination when you're a kid."
But as far as the Plain White T's are concerned, they're just entering their sense-of-wonder years.
The need to hold onto or reclaim the marvels of youth is a determined thread running through the band's third Hollywood Records release, Wonders of the Younger. Even the love songs that don't directly deal with the ostensible theme of mentally dialing back the aging process have references to nostalgia, childhood lost, or innocence regained. (In "Broken Record," Higgenson references "Billie Jean" and sings, I knew it was final / Got in her daddy's car and she was gone like vinyl.) The message throughout is clear: They were so much older then… they're younger than that now.
Higgenson had the album title and concept come to him in a place not usually associated with tender innocence: Las Vegas. It was there, on a Valentines Day 2009 visit, that he was bowled over by a Cirque du Soleil show, O, and wondered if it would be possible to capture the same anything-can-happen spirit on record. "The entire show has pirate ships, clowns and carousel horses coming up and going back into the pool, and at one point there's a piano that comes up out of the water, and it was really epic," he says. "I just loved it, and it gave me that feeling of being a kid and seeing Goonies for the first time, or Indiana Jones —so adventurous and imaginative and different. I left there wanting to make an album that gave people that same feeling."
"Plain White T's goes along with the theme of the album," he says. "With a plain white T, there are no limits there. You can wear it with anything. You can put anything on it. It's that blank canvas—kind of like your imagination when you're a kid."
A Rocket To The Moon
Looking back now, it’s difficult to believe that A Rocket To Moon all started in Nick Santino’s bedroom three years ago when he harmlessly posted a few songs on the Internet. However what began as an electro-tinged sonic experiment quickly snowballed into a full-fledged band that’s toured with acts like 3OH!3 and Cobra Starship, played festivals like the Vans Warped Tour and Bamboozle and gained fans all over the world. “I never actually intended for A Rocket To The Moon to get this far,” Santino admits, adding he couldn’t be more thrilled about the current incarnation of the band.
Fake Problems
Evolution is a naturally occurring force in life, however there’s nothing predictable about Fake Problems sonic journey from underground heroes to indie rock trailblazers. Since forming in Naples, Florida, five years ago the group—which includes vocalist/guitarist Chris Farren, bassist Derek Perry, drummer Sean Stevenson and guitarist Casey Lee—have released two critically acclaimed full-lengths, won over countless fans all over the world and toured and played shows with everyone from The Hold Steady to Frank Turner. However with their sophomore release on Side One Dummy Records, Real Ghosts Caught on Tape, Fake Problems have exceeded even their own lofty expectations by creating a cerebral masterpiece that sees the band fully reconciling all of their seemingly disparate influences and proving it’s finally their time to step into the spotlight.
Recorded with Ted Hutt (The Gaslight Anthem, Lucero) in California, the album sees the band stripping down the expansive orchestration of 2009’s It’s Great To Be Alive and discovering what magic lurks at the core of Fake Problems’ collective psyche. “We wanted the album to be a little more subtle and let it speak for itself,” Farren explains when asked how found the act found the inspiration to craft a unique brand of music that manages to incorporate elements of infectious indie rock & roll and ‘60s girl groups—the latter of which is aided by crooning vocals courtesy of Fake Problems’ longtime friends/fans Arrested Development’s Mae Whiteman and Alia Shawkat.
Farren also acknowledges that Hutt helped the band realize their Phil Spector-esque wall of sound production style they had in their heads, which allowed them to transcend the DIY punk scene they grew up in without abandoning their roots. “In the past we would jam so many ideas into one song and it would just be too much,” Farren admits. “Ted helped us realize that while that approach is very creative, it’s wasn't the best way to go about writing this record” he continues. “This album was a good exercise in restraint and filtering the ideas so we could make every good idea really count. “
From soul-inspired indie-rock experiments like “5678” and chilling compositions like “Ghost To Coast” to sparkling beach punk-inspired gems like “Complaint Dept,” Real Ghosts Caught On Tape effectively shows how Fake Problems have organically developed into one of rock’s most exciting acts and will undeniably see them attracting a whole new base of music fans who are looking for something in what they listen to that can’t be easily described or marketed. “The song ‘Complaint Dept’ was such a different thing for us to do because all of the guitar parts are so intricate and noodly,” Farren says when asked about some of his favorite moments on the album. “It was just so fun to be able to do that with our band because it’s surprising for a Fake Problems song, but it works for us.”
Real Ghosts Caught On Tape also sees Farren expanding his lyrical palette—and while he’s become well known for his theological imagery, this album sees Farren exploring himself more as opposed to any external deities. “There’s a theme in the lyrics of uncertainty,” he explains. “There’s an emphasis on fear, trying to persevere, not giving up hope and doing the best you can to stay positive,” he continues. “It’s more of a record about being yourself and living your own life than it is about any other person, concept or idea,” he summarizes. Although lines like “When I reach the pearly gates of hell, I'll send those dimes back up the wishing well with a note tied to each that reads 'Nobody's listening.'" (from “Complaint Dept.”) still display Farren’s gift for wordplay and metaphor, “it’s more of a conversation than a sermon.”
That said, Real Ghosts Caught On Tape isn’t going to make Fake Problems an easy act to categorize—but that’s something that they wouldn’t change for the world. “Creatively we always molded our band from the beginning so that we’d be able to do anything and tour with anyone from Against Me! to William Elliott Whitmore to even the Dillinger Escape Plan,” Farren explains. “I think it’s kind of hard to slap our name on a sticker and recommend us if you like another band, but I think in the long term it’s definitely a blessing that we’re not pinpointed into one thing,” he continues. “We really don’t ever want to be that type of band.”
“Sometimes I dream of getting in my car and driving straight through the night,” vocalist Chris Farren croons on the intricately arranged ballad “Ghost To Coast.” Real Ghosts Caught On Tape is the perfect soundtrack to that journey from darkness to light, showcasing a band who have grown to new artistic heights lying on the other side of the horizon.
Recorded with Ted Hutt (The Gaslight Anthem, Lucero) in California, the album sees the band stripping down the expansive orchestration of 2009’s It’s Great To Be Alive and discovering what magic lurks at the core of Fake Problems’ collective psyche. “We wanted the album to be a little more subtle and let it speak for itself,” Farren explains when asked how found the act found the inspiration to craft a unique brand of music that manages to incorporate elements of infectious indie rock & roll and ‘60s girl groups—the latter of which is aided by crooning vocals courtesy of Fake Problems’ longtime friends/fans Arrested Development’s Mae Whiteman and Alia Shawkat.
Farren also acknowledges that Hutt helped the band realize their Phil Spector-esque wall of sound production style they had in their heads, which allowed them to transcend the DIY punk scene they grew up in without abandoning their roots. “In the past we would jam so many ideas into one song and it would just be too much,” Farren admits. “Ted helped us realize that while that approach is very creative, it’s wasn't the best way to go about writing this record” he continues. “This album was a good exercise in restraint and filtering the ideas so we could make every good idea really count. “
From soul-inspired indie-rock experiments like “5678” and chilling compositions like “Ghost To Coast” to sparkling beach punk-inspired gems like “Complaint Dept,” Real Ghosts Caught On Tape effectively shows how Fake Problems have organically developed into one of rock’s most exciting acts and will undeniably see them attracting a whole new base of music fans who are looking for something in what they listen to that can’t be easily described or marketed. “The song ‘Complaint Dept’ was such a different thing for us to do because all of the guitar parts are so intricate and noodly,” Farren says when asked about some of his favorite moments on the album. “It was just so fun to be able to do that with our band because it’s surprising for a Fake Problems song, but it works for us.”
Real Ghosts Caught On Tape also sees Farren expanding his lyrical palette—and while he’s become well known for his theological imagery, this album sees Farren exploring himself more as opposed to any external deities. “There’s a theme in the lyrics of uncertainty,” he explains. “There’s an emphasis on fear, trying to persevere, not giving up hope and doing the best you can to stay positive,” he continues. “It’s more of a record about being yourself and living your own life than it is about any other person, concept or idea,” he summarizes. Although lines like “When I reach the pearly gates of hell, I'll send those dimes back up the wishing well with a note tied to each that reads 'Nobody's listening.'" (from “Complaint Dept.”) still display Farren’s gift for wordplay and metaphor, “it’s more of a conversation than a sermon.”
That said, Real Ghosts Caught On Tape isn’t going to make Fake Problems an easy act to categorize—but that’s something that they wouldn’t change for the world. “Creatively we always molded our band from the beginning so that we’d be able to do anything and tour with anyone from Against Me! to William Elliott Whitmore to even the Dillinger Escape Plan,” Farren explains. “I think it’s kind of hard to slap our name on a sticker and recommend us if you like another band, but I think in the long term it’s definitely a blessing that we’re not pinpointed into one thing,” he continues. “We really don’t ever want to be that type of band.”
“Sometimes I dream of getting in my car and driving straight through the night,” vocalist Chris Farren croons on the intricately arranged ballad “Ghost To Coast.” Real Ghosts Caught On Tape is the perfect soundtrack to that journey from darkness to light, showcasing a band who have grown to new artistic heights lying on the other side of the horizon.
