This show has passed.
Beartooth and Of Mice & Men
with Hands Like Houses and Like Pacific
From the Promoter
Standing Floor (aka the Pit) and Main Level Orchestra (the seats behind the Pit) are general admission within those sections only.
Balcony has been set up as reserved seating for this show, so those who buy tickets first get the best seats.
limit of six tickets per household/credit card.lineup, date, venue, times and ticket price subject to change without notice.all tickets sales are final. no exchanges, upgrades, or refunds. any tickets purchased by suspected resellers are subject to cancellation.
presented by Beau's All Natural Brewery and supported by Ontario Creates.
In the two short years since their debut album was cooked up in front man Caleb Shomo’s basement, BEARTOOTH has catapulted into heavy music’s stratosphere. “The Lines,” “Beaten in Lips,” “In Between,” and “Body Bag” collected over 10 million views on YouTube, as BEARTOOTH trekked around the globe with Slipknot, Pierce The Veil, Bring Me The Horizon, Sleeping With Sirens, Reading & Leeds, Download Festival and the Vans Warped Tour.
BEARTOOTH has as much in common with stomping metalcore as old-school punk, vintage screamo, and harder edged pop punk, with a bit of cinematic extravagance.
Whereas Disgusting was the sound of a man pushing forward, Aggressive is a battle cry vowing to never retreat back into the dark. BEARTOOTH’s second Red Bull Records full length arrives filled with unapologetic power and focused determination. It’s the inevitable result of a fiercely dedicated, immensely talented, often troubled young singer who found purpose in sharing his insecurity, hostility, and regret with likeminded people the world over, people he never dreamt would hear his music let alone connect with it.
“’Crazy’ doesn’t even begin to describe it,” Shomo says of the BEARTOOTH journey. “It’s been the biggest whirlwind of unexpected things happening over and over.”
The title track on the band’s sophomore set, Aggressive, plays like a BEARTOOTH mission statement. The song boasts impassioned throaty verses, pressure mounting build-ups, cathartic breakdowns, crowd moving bounce and savage riffs. “Who knew you’d be hated for being who you are? And be a big target for all the insecure?” Shomo croons at the start of “Hated,” an outsider anthem with the urgent momentum of the best of the ‘90s punk set with a soaring Active Rock chorus. “Loser” is every bit as driving as Foo Fighters or Rise Against, with the sweaty exuberance championed in the underground scene. Alternately, “Always Dead” is a circle-pit inciting banger worthy of any hardcore festival, while “Rock is Dead” makes for a huge exhale from serious reflection into full-blown reckless celebration.
Nobody comes to a BEARTOOTH show to stand around. The audience craves involvement, yearns for participation, insists on mixing it up and always sings along. BEARTOOTH’s Sick EP (2013) and Disgusting (2014) debut full-length saw Shomo painstakingly executing all of the instrumentation and vocals himself, working to exorcise the demons of a deep depression, self-doubt, and creative frustration. Aggressive is a natural step forward, defying the temptation to remain in despair.
“I want people to understand that I get it,” Shomo explains with characteristic honesty. “We’ve all been there. A lot of us are still there and a lot of us will go back to that place. But you don’t have to let it win or let it define you. Whatever you need to fight depression, whatever it takes to fight this darkness in your life, if you really put your head against it and really fight for it, you can overcome and come out on top.”
Shomo and his bandmates are more than happy to let BEARTOOTH define them. Aggressive is filled with screaming verses, soul moving riffs, and mosh parts, yet at the same time, it’s incredibly catchy. That’s what BEARTOOTH does best: bridging raw authentic intensity with accessibility, much like the balance between the sobering reality of personal demons and the hope attainable through perseverance.
“This band is who and what I am now,” Shomo says proudly. “I want this band to be the stamp I leave with my name for the rest of my life. And I want this record to prove it. This is my chance to prove, to myself, that BEARTOOTH isn’t a fluke.”
Nothing about Shomo’s career could be described as a “fluke.” ‘Though still in his early twenties, he’s experienced many of the highs and lows associated with creative expression, underground subculture and commercial charts. Starting as Attack Attack!’s keyboard player at age 15, the Columbus, Ohio native had moved into the frontman position by the time their third album debuted Billboard’s Top 10. Shomo eventually left Attack Attack! in order to face his depression and anxiety directly.
BEARTOOTH began as a purely solo expression of pain and mental illness. Following the recruitment of guitarists Taylor Lumley and Kam Bradbury, bassist Oshie Bichar, and the band’s original drummer, to tour in support of Sick and Disgusting, BEARTOOTH evolved into something more resembling a traditional band. The setup is similar to entities like Marilyn Manson, The Cure or Nine Inch Nails, where one person leads the charge creatively but feeds off the energy of trusted confidantes and comrades-at-arms who execute the overall vision.
Shomo spent a grim Midwest winter back in his basement, obsessively tinkering with BEARTOOTH’s much-anticipated follow-up to the point of exhaustion. He’d tried sharing the workload with outside mixers on the first album, but there are so many nuances to BEARTOOTH’s sound that none of the people he tried quite got it.
Enter veteran hit-maker David Bendeth, whose discography includes important albums by Paramore, Breaking Benjamin, A Day To Remember, and Taking Back Sunday. Sensing something of a kindred spirit, Shomo entrusted Bendeth with mixing duties on Aggressive, soaking up the producer’s knowledge and experience.
The new BEARTOOTH album also features a bit of co-songwriting contribution from John Feldmann, whose work as producer, mixer, and cowriter includes albums by Good Charlotte, The Used, and 5 Seconds Of Summer.
“The process of making this record was truly life changing, more than any other experience I’ve had in a long time,” says Shomo, who worked hard to get in better physical shape, too. He points to one two hour-long conversation with Bendeth as pivotal in the album’s journey and speaks affectionately of Feldmann as well, who he credits with helping to bring out some of the brighter/melodic spots on Aggressive.
“It was a really delicate process. The reason I was able to work with those two is because we’re so close, it’s become a little family. They have a lot of respect for what I do and how I like to do it. They really understood what it means to me mentally to make a BEARTOOTH record. All they want to do is take that process further, push the envelope, get better songs out of me and for the record.”
Part of that process involved drawing upon the past two years of touring. “If I was at a show, which parts would have me wanting to jump on top of people’s shoulders to sing along as loudly as I can? What part will really pull me into a show? Sure, there are heavier songs and more chilled out songs. But I don’t want there to ever be a dead moment. I want everything to have an intense vibe and good energy to it.”
Disgusting dealt primarily with self-hatred. This time around, on Aggressive, there’s a different type of aggressiveness driving the proceedings thematically. “Look at an orchestra: nobody is saying a word but some people literally live and die for it. It touches you. It moves you,” Shomo points out. “I do not want to be one of those people leading people into a weird place with the lyrics just because they’re captivated by something else in the song. I want people singing along to things that empower them, that make them want to go out and experience life in new ways.”
What once belonged solely to Caleb Shomo in his basement has been shared with the world, connecting with an increasingly broad audience. Now BEARTOOTH belongs to the people as much as it did to the person. Aggressive is an inevitable evolution, as BEARTOOTH sinks its bite into the world.
OF MICE & MEN
Of Mice & Men is an American metalcore band from Costa Mesa, California.
HANDS LIKE HOUSES
Hands Like Houses are a fresh and explosive 6 piece from Canberra, Australia. With a rapidly expanding international fanbase, the band has captivated audiences with their electric blend of technical, effects- heavy songwriting with post-hardcore passion and stage presence. Driven by rich lyricism and melodic, emotive vocals in the vein of Emarosa and The Getaway Plan, the band presents a complex and finely crafted mix of guitar and electronics, drawing from a broad range of influence including Thrice, The Receiving End of Sirens and Closure in Moscow.
The closing of 2011 saw the band sign to the respected record label Rise
Records, with their highly anticipated debut album ʻGround Dwellerʼ
subsequently announced to be released worldwide on March 13th.
HLH traveled to the USA in 2010 and 2011 to record ʻGround Dwellerʼ with Cameron Mizell of Chango Studios (Woe, Is Me, Sleeping With Sirens, Memphis May Fire). The subsequent single releases, 'This Ain't No Place For Animals', and 'Lion Skin (feat. Tyler Carter and Jonny Craig)' earned the band over 5,000 independent single sales via iTunes during 2011, and their most recent single ʻAntarcticaʼ, released on YouTube through Rise Records, amassed almost 200,000 views in its first month. This, along with the band's self-produced acoustic versions of 'Lion Skin,' 'The Sower', and other tracks off ʻGround Dwellerʼ, their YouTube channels have seen over a million views, growing daily. Boasting a dedicated and fast-growing international fanbase, built through years of personally managing their social networks and independent promotion and touring, Hands Like Houses released their hotly anticipated debut album ʻGround Dwellerʼ on March 13th worldwide through Rise Records. Buoyed by exceptional online hype and pre-order numbers for a debut release, the record broke into the US Billboard Heatseekers and Top 200 charts at #2 and #140 respectively in itsʼ first week, and is well on track to move over 10,000 copies in the US alone within 4 months of the release.
To date, the band has supported a number of notable acts from Australia and around the world, including The Getup Kids (USA), As Tall As Lions (USA), The Getaway Plan (AUS), Dream On Dreamer (AUS), Hopes Die Last (ITA) and Tonight Alive (AUS). Their 2011 touring schedule saw the band play 50+ shows across Australia and Europe, impressing audiences with a sound and stage presence beyond their standing. 2012 has already seen Hands Like Houses add to their list of local, national and international supports, beginning with Pushover Festival in Melbourne Australia in support of Parkway Drive, Tonight Alive, 360 and others, and continuing onto the USA on the Rise Records Freshman Tour with The Air I Breathe, My Ticket Home, and Palisades. In addition, the band performed on the entire 2012 Scream It Like You Mean It festival tour, performing in support of Attack, Attack, We Came As Romans and The Acacia Strain, and will be supporting Pierce The Veilʼs Fall headlining national tour with Sleeping With Sirens.
That's the calling card of Toronto pop punk group Like Pacific. Since 2010, the band has been developing its own unique space amongst its peers in pop punk's newest wave, channeling anger and frustration in lieu of sadness and defeatism. The lyrical sentiments are met by the band's sound, borrowing from early 2000's emo-drenched pop punk but with their own twist of hardcore ferocity.
Now, with the release of their self-titled EP on New Damage Records and Pure Noise Records, the Toronto five-piece plans to bring their angst-filled, anthemic songs to anyone who will hear them. Like Pacific has already gotten off to a fierce start in 2015, including tours with the likes of Vanna, A Loss For Words, Pentimento, and a festival appearance at Southeast Best. All this to be done before the year is even half over.
The band's tireless work ethic and unique spot in a crowded genre take centre stage in watching their growth, with their debut full length record on the horizon."