The Black Keys and The Flaming Lips – Simpsonville, SC – Friday, July 12
Friday, July 12 | 7:30pm
at Simpsonville’s Heritage Park
Tickets On Sale Now: at Ticketmaster.com, by phone at 800-745-3000, at all Ticketmaster outlets, and at the Bridgestone Arena Box Office.
(purchase limit of eight tickets)
$54.50 | $39.50
(additional fees may apply)
Official Facebook Concert Group:
NS2 | Frank Productions | C3 | AEG
The Black Keys
“…tremendous, hook-laden, all-killer-no-filler, by some distance the most powerful, compelling rock album of the year.” —Independent, *****
“This is both a supremely confident record and a ridiculously enjoyable one. A decade into their career The Black Keys have not only outlasted their more celebrated peers but outstripped their own past achievements. El Camino feels like the dawn of greatness.”—Uncut
The Black Keys will embark on the first leg of their U.S. tour this March, with shows in arenas such as New York’s Madison Square Garden, Boston’s TD Garden, and Chicago’s United Center. The shows are in support of their new album, El Camino, due out December 6 on Nonesuch Records. In advance of the release, five tracks from the record are currently streaming on the band’s website which has the album available for preorder. El Camino can also be preordered at, Nonesuch, and iTunes, with an instant download of the single “Lonely Boy” included.
Concert ticket and album packages are available at the band’s site. Additionally, The Black Keys are teaming up with Tickets-for-Charity to offer fans access to some of the best seats in the house. Proceeds will benefit Community Support Services in Akron, OH and W.O. Smith Music School in Nashville, TN.
In anticipation of the release, the duo will join Steve Buscemi on tomorrow’s episode of Saturday Night Live. This is the band’s second time this year as musical guests on the show, a “rare distinction,” says Rolling Stone. Other television appearances next week include The Colbert Report on December 6 and the Late Show with David Letterman on December 7. Moreover, the band is being featured on several MTV programs, including the week-long series Road to Release: The Black Keys, an interview with Matt Pinfield on MTV2’s 120 Minutes, and a live stream of their album release show at New York’s Webster Hall on December 5 exclusively on MTV Hive.
Produced by Danger Mouse and The Black Keys, El Camino was recorded in the band’s new hometown of Nashville during the spring of 2011. In advance of the release, the album’s first single, “Lonely Boy,” was released October 26, to acclaim from fans and press; the song has been climbing the radio charts rapidly and is rising toward #1 on the Alternative and AAA charts. Additionally, the accompanying video has been viewed nearly three million times on YouTube.
Describing the sound of the album, drummer Patrick Carney tells Rolling Stone, “Every record, we figure out the mood and stick with that. With Brothers, we were listening to a lot of hip-hop and old R&B and drawing from that. This is the first record we’ve made where it’s all rock & roll.” And in an interview with Spin Magazine Auerbach says, “I’ve never been into guitar solos. I really like when every instrument in the band is a rhythm instrument. This record has a lot of that going on—guitar, bass, drums, and keyboards all working together as a rhythm instrument. But unlike Brothers, which has more of these slower songs with an open feeling, [the new LP] is definitely fast.”
The Flaming Lips
Even within the eclectic world of alternative rock, few bands were so brave, so frequently brilliant, and so deliciously weird as the Flaming Lips. From their beginnings as Oklahoma weirdos to their mid-’90s pop culture breakthrough to their status as one of the most respected groups of the 2000s, the Lips rode one of the more surreal and haphazard career trajectories in pop music. An acid-bubblegum band with as much affinity for sweet melodies as blistering noise assaults, their off-kilter sound, uncommon emotional depth, and bizarre history (packed with tales of self-immolating fans and the like) firmly established them as true originals.
The Flaming Lips formed in Oklahoma City in 1983, when founder and guitarist Wayne Coyne allegedly stole a collection of musical instruments from an area church hall and enlisted his vocalist-brother Mark and bassist Michael Ivins to start a band. Giving themselves the nonsensical name the Flaming Lips (its origin variously attributed to a porn film, an obscure drug reference, or a dream in which a fiery Virgin Mary plants a kiss on Wayne in the back seat of his car), the band made its live debut at a local transvestite club. After progressing through an endless string of drummers, they recruited percussionist Richard English and recorded their self-titled debut, issued on green vinyl on their own Lovely Sorts of Death label in 1985.
When Mark Coyne soon departed to get married, Wayne assumed full control of the group; in addition to remaining its lead guitarist, he also became the primary singer and songwriter. Continuing on as a trio, the Lips released 1986′s Hear It Is, followed a year later by Oh My Gawd!!!…The Flaming Lips. While touring in support of the Butthole Surfers, they played Buffalo, NY, where they were befriended by concert promoter Jonathan Donahue; after a jam session with Donahue’s nascent band Mercury Rev, he and Coyne became close friends, and Donahue eventually signed on as the group’s sound technician.
After recording 1988′s difficult Telepathic Surgery, English exited, reducing the Lips to the core duo of Coyne and Ivins; after adding drummer Nathan Roberts, Donahue adopted the name Dingus and became a full-time member in time to cut 1990′s stellar In a Priest Driven Ambulance while simultaneously recording the brilliant Mercury Rev debut, Yerself Is Steam. Following a series of hopeful phone calls to Warner Bros., the company signed the band in 1991, and in 1992 their oft-delayed major-label debut, Hit to Death in the Future Head, appeared to little commercial notice. Donahue soon exited to focus his full energies on Mercury Rev, followed by the departure of Roberts.
With new guitarist Ronald Jones and drummer Steven Drozd, the group cut 1993′s sublime Transmissions from the Satellite Heart, which they supported by playing the second stage at Lollapalooza and touring the nation in a Ryder truck. Initially, the album stiffed; however, nearly a year after its initial release, the single “She Don’t Use Jelly” became a grassroots hit, and against all odds, the Flaming Lips found themselves on the Top 40 charts. They took full advantage of their requisite 15 minutes of fame, appearing everywhere from MTV’s annual Spring Break broadcast to an arena tour in support of Candlebox to a memorable, surreal, lip-synced performance on the teen soap opera Beverly Hills 90210, where supporting character Steve Sanders (portrayed by actor Ian Ziering) uttered the immortal words, “You know, I’ve never been a big fan of alternative music, but these guys rocked the house!”
After the 1994 release of a limited-edition sampler of odds and ends titled Providing Needles for Your Balloons, the Lips returned in 1995 with Clouds Taste Metallic, a strikingly mature and diverse collection highlighted by the singles “Bad Days” (also heard in the film Batman Forever), “This Here Giraffe,” and “Brainville.” Despite the inclusion of the remarkably melodic “Psychiatric Explorations of the Fetus with Needles,” “Christmas at the Zoo” (rumored to be under consideration for inclusion on an upcoming John Tesh holiday record), and the epic “Guy Who Got a Headache and Accidentally Saves the World,” the album nonetheless failed to live up to the commercial success of Transmissions, and the band was once again relegated to cult status.
In 1996, the Lips’ world went haywire; first, Jones disappeared to undertake a spiritual odyssey from which he did not return, then Drozd’s hand was almost needlessly amputated after he was bitten by a spider. At about the same time, Ivins was the victim of a bizarre hit-and-run accident after a wheel came off of another vehicle and slammed into his car, trapping him inside. Ironically, Coyne was having car problems of his own when rumors of his latest sonic foray — conducting an orchestra of 40 automobiles, all with their tape decks playing specially composed music at the same time — prompted fan discussion of his possible psychological collapse. “I would try to tell people what I was doing and found that I couldn’t explain it very well,” Coyne later remarked about the project, dubbed the Parking Lot Experiment. “Plus, I had a sore on the side of my tongue for a week and it made me talk kind of weird. I’m sure they thought I was retarded.”
By the following year, the Flaming Lips (who continued as a trio, opting not to attempt to replace Jones) were back in the studio, recording an album that, according to Coyne, would be “so different and exciting it will either make us millionaires or break us” — in short, 1997′s Zaireeka, a breathtaking and wildly experimental set of four discs designed to be played simultaneously. A previously unreleased track, “Hot Day,” also appeared earlier that year on the soundtrack to Richard Linklater’s film SubUrbia. A Collection of Songs Representing an Enthusiasm for Recording…by Amateurs, a retrospective of their Restless label material, followed in 1998, and a year later, the Lips returned with a breathtaking new studio effort, The Soft Bulletin.
After a three-year absence from the shelves, 2002 brought several new releases, including the new record Yoshimi Battles the Pink Robots and a two-volume retrospective of the Restless years. Yoshimi won the group even more popular and critical acclaim than The Soft Bulletin, which the group maximized by spending half of 2002 appearing with Beck on his Sea Change tour as both his opening act and backing band. The Lips kept busy over the next two years by touring in support of Yoshimi Battles the Pink Robots and working on their movie Christmas on Mars. They returned to the studio in 2004 and spent much of 2005 recording; that year, the Flaming Lips documentary, The Fearless Freaks, and their VOID video collection were both released, whetting fans’ appetites for the band’s 2006 album, At War with the Mystics.
In 2007, the Flaming Lips were nominated for a Grammy for Best Alternative Album for Mystics and won a Grammy for Best Engineered Album. One year later, the band’s long-awaited, seven-years-in-the-making film Christmas on Mars made its debut at the Sasquatch Festival in George, WA; that fall, the movie and its soundtrack were released as a CD/DVD set. During 2007 and 2008, the Lips began working on the follow-up to At War with the Mystics, taking a looser, more experimental approach than they had in years. The results were released as Embryonic in fall 2009, followed by the band’s quirky remake of the Pink Floyd classic Dark Side of the Moon. The Flaming Lips worked with several different artists on the latter album, which was billed as The Flaming Lips and Stardeath and White Dwarfs with Henry Rollins and Peaches Doing the Dark Side of the Moon. The band continued to shy away from full-length releases for the next couple years, opting instead to work with a number of collaborators on various, limited edition EPs. Working with artists like Neon Indian, Prefuse 73, and Lightning Bolt, the Lips released tracks over the next couple of years in various, non-traditional formats incliding USB keys embedded in gummy skulls, limited edition vinyl, and candy fetuses. Their series of team-ups came to a head in 2012 when the band released The Flaming Lips and Heady Fwends, which collected songs from their previous collaborations, as well as new material recorded with artists like Keha, Bon Iver, and Erykah Badu.