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 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

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ABOUT THE ARTIST

WEBSITE | FACEBOOK  | INSTAGRAM | TWITTER | LISTEN

When you turn on a record from The Front Bottoms, you hear the trials, tribulations, and triumphs of two  lifelong friends who stare down personal tragedy and the madness of a world gone haywire by simply  playing a little louder together. The duo—Brian Sella [vocals, guitar] and Mat Uychich [drums]—spin all of  these emotions into a tapestry of punk, folk, and alternative on their new full-length album, In Sickness &  In Flames. 

“When you listen to this, I definitely want you to feel the anxiety,” affirms Brian. “There are some pretty  rock and roll songs and heavy moments on In Sickness & In Flames. I hope the tension comes across. We  went through all of these unbelievable life changes, and then all of these insane things happened in the  world. If you get anything out of it, we want it to be that creativity can basically solve any problem and  will save us. This was made from a tense place. Look around. You literally see sickness and flames right  now, but we can grow from it. Metaphorically for The Front Bottoms and the community, we’re basically  saying, ‘There’s a lot of craziness happening, but here’s an album out of it’. This is the creativity we need  to keep our heads above water.” 

They’ve shared in that same creativity since back in grade school. The New Jersey natives began performing in high school bands and after Brian finished college, The Front Bottoms officially formed.  Brian’s mom gifted the boys 12 hours of recording time at a local studio for Christmas, resulting in their  2011 self-titled independent debut. A whirlwind of prolific output and countless gigs followed. The Front  Bottoms reached a critical peak with 2017’s Going Grey. It received praise from the likes of The FADER,  Stereogum, VICE, A.V. Club, and more. Along the way, the band performed on Late Night with Seth  Meyers and NPR’s “Tiny Desk,” graced the stages of Coachella, Lollapalooza, Austin City Limits and  Bonnaroo, and toured with the likes of Blink-182, Manchester Orchestra, and many more. Not to  mention, the group has tallied nearly 100 million streams, sold over 500,000 album equivalents, and  launched the annual holiday festival Champagne Jam, which expands year over year at an  unprecedented rate.  

Their union only grew strong with each subsequent show and release. 

“It wouldn’t be The Front Bottoms, if there wasn’t a partnership. We just naturally always progressed by  figuring everything out together,” smiles Mat. 

“He handles the business though…I need to call him to find out my social security number,” laughs Brian. 

However, it seemed like life began testing them last year. In between tracking everywhere from their New  Jersey home studio to the famed Sonic Ranch in El Paso, TX on the Mexican border, the guys assembled  what would become In Sickness & In Flames. Following an appendicitis diagnosis, Brian underwent  emergency surgery in December. The property they co-owned as a creative hive caught fire and burned  down. Still, the musicians soldiered on. 

“It felt like every time we came home, some other shit would happen,” recalls Brian. “Finally, we finished  the album, and the pandemic hit.” 

In the middle of this upheaval, they introduced the record with “camouflage.” A palm-muted verse rolls  towards caustic confessions like, “Think I was having a mental breakdown the same time you were  painting your walls.”

“It goes back to this idea of wanting to connect with nature, disappear into the background and blend in,”  Brian explains. “I wouldn’t normally wear camo, but it’s how I feel sometimes.” 

A wall of distortion absorbs lush strings on “everyone blooms” as it blossoms into a grand chorus. 

“It follows the overarching themes of growing up, coming into your own, and realizing everything you’ve  been told is a lie,” says Mat. “Flowers all bloom, but not at the same time. I’ve always related to late  bloomers. Everyone grows at his or her own pace. There’s no rush.” 

On the single “montgomery forever,” a nimble bass line crashes into fleet-fingered acoustic fretwork and  a call-and-response chant, “We used to live here; now they’re blowing it up.” 

“There was a public housing building called Montgomery that was going to be demolished in Jersey City,”  says Brian. “My girlfriend and I woke up early at like 8am to see it, and the city blew it up. It was super  emotional and intense. As I was walking back to my apartment, there was a woman with a shirt that said,  ‘Montgomery Forever’. I definitely saw her emotion. These were people’s homes. It’s the emotion of losing  everything. It sparked the inspiration for me.” 

“Fairbanks, Alaska” hinges on a thought-provoking visual as Brian admits, “I haven’t checked my mind  since I saw the Northern Lights of Fairbanks, Alaska.” Refracting a burst of raw energy, a rattling scream  quakes through “leaf pile.” On the other end of the spectrum, the record closes out on the sparse piano  of the poetic ballad “make way.” 

“The original thinking of In Sickness & In Flames related to me getting married,” Brian reveals. “However,  it makes even more sense now. We needed all of this crazy stuff to happen to make the album, and now  it speaks to the times for us.” 

However, as with everything The Front Bottoms have done, it speaks beyond the times as well. 

“Everything’s been bad news, but we hope this is good news for our fans,” Mat closes out. “We’re just  documenting our lives through music.” 

“We’ve dedicated our entire lives to this,” Brian leaves off. “It’s the creative expression of what we’ve  been going through. Because of that, we keep getting closer and growing up.” 

BOILER 

When you turn on a record from The Front Bottoms, you hear the trials, tribulations, and triumphs of two  lifelong friends who stare down personal tragedy and the madness of a world gone haywire by simply  playing a little louder together.  

The New Jersey natives went from playing in the woods to performing in high school bands. After Brian  finished college, The Front Bottoms officially formed. Brian’s mom gifted the boys 12 hours of recording  time for Christmas, resulting in their 2011 self-titled independent debut. A whirlwind of prolific output  and countless gigs followed. The Front Bottoms reached a critical peak with 2017’s Going Grey. It received  praise from the likes of The FADER, Stereogum, VICE, A.V. Club, and more. Along the way, the band  performed on Late Night with Seth Meyers and NPR’s “Tiny Desk,” graced the stages of Coachella, Austin  City Limits, and Bonnaroo, and toured with the likes of Blink-182, Manchester Orchestra, and many more.  Not to mention, the group has tallied nearly 100 million streams, sold over 500,000 album equivalents,  and launched the annual holiday festival Champagne Jam, which expands year over year at an  unprecedented rate. Overcoming a series of challenges, the duo—Brian Sella [vocals, guitar] and Mat  Uychich [drums]—spin raw emotions into a tapestry of punk, folk, and alternative on their fifth full-length 

and second album for Fueled By Ramen, In Sickness & In Flames, led by the singles “camouflage,”  “everyone blooms,” and “montgomery forever.”

________

 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

________

ABOUT THE ARTIST

WEBSITE | FACEBOOK  | INSTAGRAM | TWITTER | LISTEN

Centered on the deeply personal, often biographical songs of singer/guitarist Andy Hull, Georgia’s Manchester Orchestra are known for their emotive, textured blend of post-hardcore rock. Barely out of high school when they debuted with 2006’s I’m Like a Virgin Losing a Child, Manchester Orchestra gained greater recognition with 2009’s Mean Everything to Nothing, which cracked the Top 40 of the Billboard album charts. They have continued to mature, embracing a stylistically wide-ranging sound that touches upon everything from acoustic folk balladry to kinetic prog rock, and placing several Top Ten Billboard Rock Albums, including 2011’s Simple Math and 2014’s Cope. Inspired by their work crafting the soundtrack to 2016’s independent film Swiss Army Man, the group has grown increasingly concept driven, a style they brought to fruition with 2017’s A Black Mile to the Surface and 2021’s The Million Masks of God.

Formed in 2004 in Atlanta, Georgia, Manchester Orchestra grew out of songs that singer/guitarist Andy Hull had begun writing while in high school. Encouraged by positive response, he opted for homeschooling during his senior year, which afforded him enough time to compose and record in the studio. Friends began collaborating with him over time, and Manchester Orchestra soon solidified into a trio comprising Hull, bassist Jonathan Corley, and drummer Jeremiah Edmond. Hull’s songwriting noticeably progressed with the addition of his friends, and the band courted its first fans with an EP release. You Brainstorm, I Brainstorm, But Brilliance Needs a Good Editor thus appeared in 2005 through the band’s own label, Favorite Gentlemen Recordings. With the EP out, Manchester Orchestra began playing shows around the Southeast and added keyboardist Chris Freeman to the mix. Buzz about the band’s music began creating a stir beyond the Atlanta city limits, and the guys were invited to play slots at the South by Southwest and Lollapalooza festivals in 2006 before beginning to work on their full-length album that summer. The resulting I’m Like a Virgin Losing a Child was issued by the year’s end, offering up a poignant collection of memorable hooks and thoughtful narratives that showcased a similar style to acts like the Weakerthans and Death Cab for Cutie.

Eventually, studio intern turned guitarist Robert McDowell joined the lineup permanently, and as a steady buzz continued to grow — especially on Internet blogs — Manchester Orchestra snagged an opening spot on Brand New’s largely sold-out tour in spring 2007. The increased exposure caught the interest of Canvasback Recordings, which reissued the band’s debut album that summer. A second EP, Let My Pride Be What’s Left Behind, followed in October 2008, and the band remained in the studio during the subsequent months to perfect its sophomore album. Released in 2009, Mean Everything to Nothing found the band working alongside producer Joe Chiccarelli, famous for his work with the Shins and My Morning Jacket.

In 2011, the band released its third full-length studio album, Simple Math, a concept album built around Hull’s life story. They then delivered a fourth album, 2014’s heavy, post-hardcore-infused Cope. That same year, the band returned with Hope, a companion piece to Cope, featuring reworked, largely acoustic versions of all the album’s songs. Hull and McDowell then collaborated on the soundtrack to the 2016 film Swiss Army Man. Consisting entirely of layered vocal tracks, the soundtrack was well received and garnered nominations for Best Original Score for a Comedy Film and Film Music Composition of the Year at the 2016 International Film Music Critics Association Awards.

The following year, Manchester Orchestra returned with their fifth full-length album, A Black Mile to the Surface. Produced with Catherine Marks (Foals, Wolf Alice), the album found the band taking a conceptual, cinematic approach inspired by their work on Swiss Army Man. Buoyed by the singles “The Gold,” “The Alien,” and “The Moth,” the album hit number 33 on the Billboard 200 and reached number seven on the Top Rock Albums chart. A cover of the Avett Brothers’ “No Hard Feelings” appeared in 2018, followed in 2020 by the holiday-themed EP Christmas Songs, Vol. 1. A second Marks production, The Million Masks of God, arrived in 2021 and again found the band adopting a conceptual approach as they explored themes of birth, death, and what lies beyond.