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Jimmy Eat World

Lucky Man Concerts, Stateside & The Rialto Theatre Present

Jimmy Eat World

AJJ

Feb 24 Fri

Doors: 7:00 pm / Show: 8:00 pm

The Rialto Theatre

$35.00 - $45.00

Sold Out

This event is all ages

General Admission Floor, Reserved Balcony

Jimmy Eat World
Jimmy Eat World
Before Jimmy Eat World entered the studio to record their ninth full-length album, Integrity Blues [RCA], the members of the multiplatinum Mesa, AZ rock band did something they've never done in over two decades.

"We took a little break," smiles lead singer and guitarist Jim Adkins.

After a successful 10th anniversary tour revisiting Futures, the musicians briefly went their separate ways at the end of 2014. Adkins released a series of 7" & embarked on his first worldwide solo tour, Lind released an EP and toured with his wife in The Wretched Desert, Linton took up boxing, and Burch opened up CaskWerks Distillery in Arizona.

When the band reconvened in November 2015, they teamed up with producer Justin Meldal-Johnsen [Paramore, M83] and began sifting through ideas.

"I came to a realization," admits Adkins. "In the break, writing was a little trickier. I wanted to change things up. So, instead of writing about a problem, I wanted to write about a solution. If you look at your life for what's going wrong, it won't be too hard to find things. If you start looking at what you have rather than what you're missing out on, you come away from things with a much different perspective that's a lot more grateful and positive. As an album, Integrity Blues is about trying to overcome that personal struggle instead of getting upset with what life could be that it isn't."

They recorded in Los Angeles with Meldal-Johnsen, offering a different setting from their usual Arizona digs.

"We became willing to throw away our default responses to everything and search for the best answers rather than relying on what was familiar or comfortable. When you're younger and you make music, you do it for discovery. Being in this for a long time, it's about throwing out all of your expectations and comforts and seeing what you can do without them."
With warm production and a powerful upbeat groove, Integrity Blues first single "Sure and Certain" pairs a buzzing guitar hum with an unshakable chant.

"It's about the idea of having blinders on for what you want to do and achieve," the frontman explains. "Since you're so laser focused on what you think you want, you're missing out on everything around you. It can be a very limiting way to go about life."

Meanwhile, the gorgeously minimal title track "Integrity Blues" tempers orchestral, cinematic overtones with a stark and striking vocal performance.

"It was a song I wrote on the solo tour," he recalls. "Sometimes, the idea of walking your path the best you can feels like lonely work. The only way out is action. Feelings of being in a dark place are actually growth opportunities. It's emotional jiu-jitsu to shift your perspective into seeing it that way."

Elsewhere on the record, "Get Right" snaps into an energetic refrain, while "Through" serves up one of the band's hookiest moments to date.

"You Are Free" flaunts one of the group's most hummable and heartfelt refrains, serving as another high watermark. "It Matters" illuminates the band's diverse sonic palette and covers what Adkins describes as "a central theme about the idea that a sense of comfort comes from within and not just external validation."

"Pass The Baby" builds from a delicate heartbeat-style click into a deliberate and distorted explosion. Near seven-minute closer "Pol Roger" carves out an emotional and entrancing climax encased in a rapture of guitars and vocals, which according to Adkins, "Felt like the right way to sum everything up."

Surveying the journey thus far, Adkins maintains the same passion he did on day one, and it continues to fuel Jimmy Eat World. "I've wanted to play music since second grade, and here I am playing music. It's something we're immensely grateful for. That's why we don't take it lightly. We want to be in a constant state of progress. You have to move forward in a way that's challenging and evolving."

"At the end of the day, you have to be proud of your own work," he leaves off. "We are. If you breathe that in and believe it, you've won."
AJJ
For their sixth album, garbage-pop veterans AJJ chose to reinforce their strengths and leave any limp frivolities behind. They reconvened with producer John Congleton, who oversaw 2014’s sonically expansive Christmas Island, but recorded and mixed the album in a mere nine days,having arranged most of the songs during tour sound checks and down-time in the van. This made for a confident stride into more elaborate arrangements and wider dynamics while staying just as dour. They also opted, amid some sensation, for the simplified band acronym (previously
Andrew Jackson Jihad). Singer Sean Bonnette told The AV Club that, among many reasons, thechange cleared a space for new imagery and allowed their music to define them, not their band
name. As a result, their new album, The Bible 2, is their most ambitious and assured collection of scuzzy punk screeds, employing even more production heft while sparing none of the vulnerability. The album’s mantra is placed right at the center: “No More Shame, No More Fear, No More Dread”. The Bible 2 finds the band choosing intimacy over isolation, gravity over the vacuum, the stage instead of the scene. The album is also an examination of boyhood from an adult distance, putting some of its tumult and pain to rest. It’s also the most impressive work of Bonnette’s, who has honed his confessional lyrical prowess into a punk inflected mire of Trent Reznor’s unrestrained turmoil, Jamie Stewart’s profane gallows humor and a touch of David Berman’s surreal quotidian imagery. Opener “Cody’s Theme” rings like Jay Reatard distorted with Neutral Milk Hotel neuroses (“I set the mommy on fire / I set the baby on fire / not even Jesus could stop me”). The character of Cody, a recurring Bonnette motif, returns as a kool-aid stained kid navigating transience, intrusive thoughts and involuntary delusion, brimming wild with destructive energy and having nowhere to put it. Elsewhere, cross-eyed metaphors float above the shredded acoustic Pixies tension of “Terrifier” (“Some days you’re a member of Queen / other days you’re a Kottonmouth King”), and some of Bonnette’s most intense grotesqueries (“My blood is worse than your blood / this heart pumps baby piss”) get bit-crushed into the lo-fi Guided By Voices pop of “My Brain is a Human Body”.
But Bonnette’s narrative skills, and the band’s growing nuances, have never been more heartbreaking than on “Junkie Church”, a tender acoustic tale about affection and companionship on the lowest rung of society (“I used your ribs as ladders / and I climbed up on your chest / and I jumped up and down just like a trampoline” Bonnette sings). Preston Bryant’s synth, Mark Glick’s cello and Ben Gallaty’s bass are employed to haunting Leonard Cohen-like production ends, staccato plucks and serrated chords hiving like gnats then quickly dissolving into darkness.
This cinematic arrangement also bolsters the power-folk epic “Small Red Boy”, organ heaves and cymbal swells coloring Bonnette’s vivid story of rebirth. Near the album’s midpoint, right after spelling out their thesis, AJJ pounds through the jangly
throb of “Goodbye O Goodbye”. The song is a cathartic fever dream, the band walloping furious chords, a kiss-off to so many things worth shedding: the emotional heap of a past life, some
long-aching baggage, any and all expectations.