Phenomenon Concerts & The Rialto Theatre Present...

Less Than Jake & Bowling For Soup: Back For The Attack Tour w/ Cliffdiver and Doll Skin

Thursday, August 4
Doors: 6:00pm / Show: 7:00pm

Price: $29.50-$43 + Taxes and Fees

Buy Tickets

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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 LESS THAN JAKE

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The story of ska-rockin’ maestros Less Than Jake isn’t told in their sizable discography. It can’t be calculated by the amount of road miles they’ve logged. (But if we’re forced to calculate, we think they might be a block or two short of the Van Allen belts.) Nah! Less Than Jake’s cumulative worth is all about what they bring to your party. From sweaty club shows to uproarious festival dates to opening up for America’s most beloved rock acts, these five lifers’ deeds are best measured in the smiles they’ve slapped on the faces of true believers and new listeners, alike. Silver Linings is the name of the new Less Than Jake album, their first fulllength for the Pure Noise label and the follow-up to 2013’s See The Light. It also doubles as a bunch of sonic diary pages and a mission statement that cements their conviction after two decades in this rock ‘n’ roll circus. Indeed, LTJ—frontman/guitarist Chris DeMakes, bassist/vocalist Roger Lima, trombonist Buddy Schaub, saxophonist Peter “JR” Wasilewski and new drummer Matt Yonker—have escaped most (but not all) forms of ennui, depression and violence against screen-based objects to create an endorsement of humanity. Silver Linings also does a good amount of myth-exploding in its pursuit of joy. The songwriting core of DeMakes, Lima and Wasilewski wrote all the lyrics. New drummer Matt Yonker, whose former positions included LTJ tour manager and hammering along with such punk outfits as the Teen Idols and the Queers, helps bring a new sense of urgency. And that album title? Yeah, that was decided upon long before bands began to offer face masks in their online merch stores. Pro tip: Dial back your preconceived notions. The only things the Jakes have to prove are to themselves. Their laurels aren’t so comfortable that they’d willingly choose to be painted into a retrocolored corner. While Silver Linings doesn’t skimp on the joy, fun or grooves, careful listeners will sense a bit more reality seeping into LTJ’s escapism. The calisthenic bounce of “Lie To Me” is slightly undercut by Lima’s tales of how “the flames we hold the closest burn the worse.” On the urgent track “The Test,” DeMakes dares to seek some self-examination through someone else’s prism. “Dear Me” might be the first rock song that doesn’t couch its disdain for technology with poetic metaphors. That track addresses the loss of friends via distance and tragedy. The word “love” also appears in the album’s lyrics at three junctures. That detail should not be lost on anyone. “We allowed ourselves to be vulnerable,” offers Wasilewski. “In the past, previous records’ lyrics were about leaving a specific place or time. This is more about the departures in our personal lives: family, friends, relationships. We’ve never really explored that side. With this record, we tried to pull back that curtain. We’re showing some fragility in a time when people seem so hardened. “We’re not looking for silver linings,” he clarifies. “The record is about appreciating them. Nobody appreciates them until maybe it’s too late or maybe it’s after the fact.” Don’t worry. The phrase “woe is we” isn’t in the LTJ lexicon. “King Of The Downside” is the best self-affirmation track we can learn from. “Monkey Wrench Myself” could either mean fixing one’s self or hammering said tool repeatedly into your noggin just because you can. (“Gonna do what you told me not to/I’m gonna get myself through.”) “Bill” is a loving, full-throttled tribute to legendary drummer/producer Bill Stevenson. As a member of crucial punk outfits Black Flag, Descendents and ALL, he helped blaze the trails driven on by every aggregate describing themselves with a “-punk” suffix. LTJ know this and have acted accordingly. And if you’ve been paying attention, you already know that “So Much Less” features Wasilewski’s first ever sax solo on an LTJ record. What else do you need to know about Less Than Jake in 2020? The band would tell you quite unpretentiously that they are here to bring a good time. Of course, LTJ would’ve said the exact same thing back in ’97, 2006, 2011 or 2018 when the Warped Tour’s punk ‘n’ roll roadshow was coming to an end. What makes things different now? Why, nothing less than a divided nation and a dangerous pandemic. Consider Less Than Jake the first responders when your psyche doesn’t think it wants to continue. Because we do need all the joy and levity a seasoned ska-punk band can dish out. The reality that LTJ are also feeling reminds us that some kind of triumph is within our reach. “We hope that the record transports you,” Wasilewski resigns. “We’ve always hoped our music takes listeners from the troubles of the world. Nowadays, that very act seems to be more important. Once you turn your phone and your TV off and venture outside with a mask, and actually talk to someone else, you realize that the world is not the worst place ever. We hope the takeaway from this album is that there is always a light at the end of the tunnel. It’s not that hard—it’s just easier to be downtrodden.” In 2020, there’s no “scene,” merely good times and worse ones. For Less Than Jake to call their new album anything else but Silver Linings? Well, that would be fronting.

 

ABOUT BOWLING FOR SOUP

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Known for their cheeky take on pop-punk and melodic alt-pop, Texas four-piece Bowling for Soup found mainstream success in the early 2000s with their breakout fourth album, Drunk Enough to Dance, which earned a Grammy nomination for its hooky pop culture-referencing single “Girl All the Bad Guys Want.” Over the ensuing decade, the band continued to nurture a hardcore fan base, breaking the Billboard Top 40 with 2004’s A Hangover You Don’t Deserve and finding increased success in the U.K., where they became a touring mainstay. During the course of their career, Bowling for Soup have managed a fairly diverse and prolific output within their tuneful pop-punk confines, releasing three live albums (all recorded in the U.K.), two Christmas albums, a collection of movie and television themes, and an acoustic release — they even wrote the theme song to the Disney cartoon Phineas and Ferb. After a decade with RCA‘s Jive Records, they launched their own Que-So imprint and turned to their fans to help fund albums like 2014’s Lunch. Drunk. Love. and 2016’s Drunk Dynasty.

Bowling for Soup were formed in 1994 in Wichita Falls, Texas, featuring lead vocalist/guitarist Jaret Reddick, guitarist/vocalist Chris Burney, bassist Erik Chandler, and drummer Gary Wiseman. However, they didn’t rise beyond local prominence until 1997, when a heavy touring schedule helped broaden their fan base and landed them opening spots for nationally prominent punk and ska bands. The following year, Bowling for Soup recorded a debut EP for the local FFROE label, titled Tell Me When to Whoa!; by this point, their base of operations had been moved to Denton, Texas, the site of the label’s headquarters. Later in 1998, Bowling for Soup issued their first full-length album, Rock on Honorable Ones!!! Both it and its predecessor proved to be popular around the state (Honorable Ones sold over 10,000 copies alone), and the band ended up scoring a deal with Jive/Silvertone.

For their 2000 major-label debut, Let’s Do It for Johnny!, Bowling for Soup re-recorded some of the best songs from their indie records and added a few new tracks, including lead single “The Bitch Song” and a cover of Bryan Adams’ “Summer of ’69.” Two years later, the band released Drunk Enough to Dance, and nabbed a Grammy nomination for the single “Girl All the Bad Guys Want.” Hangover You Don’t Deserve followed in 2004, and the band landed another hit single with “1985,” which helped propel Hangover to number 37 on the Billboard 200. Bowling for Soup returned in 2005 with Goes to the Movies, on which they tackled various television and movie theme songs. The Great Burrito Extortion Case followed in the fall of 2006, spearheaded by the bouncy single “High School Never Ends,” while Sorry for Partyin’ — the group’s seventh studio effort — arrived in late 2009. After rounding out the year with a holiday album, Merry Flippin’ Christmas, Vol. 1, Bowling for Soup launched an acoustic tour in 2010 and began recording their 11th studio album later that summer. The resulting Fishin’ for Woos was finished in three weeks and released in 2011; they also released a second holiday album, Merry Flippin’ Christmas, Vol. 2, that year.

In 2013 the bandmembers announced that, due to the toll the rigors of touring took on their personal lives, Bowling for Soup would no longer be touring in the U.K. after that year, which would find them returning to Europe one last time after the release of their 12th album, 2014’s entirely fan-funded Lunch. Drunk. Love. In 2014, to celebrate their 20th anniversary, they released a greatest-hits album called Songs People Actually Liked, Vol. 1: The First 10 Years 1994-2003, which featured newly re-recorded versions of 17 songs along with one new track. Two years later, they again turned to their fans via PledgeMusic to help fund their next studio effort. Released in October 2016, Drunk Dynasty was Bowling for Soup’s 13th studio album. In 2018, the band decided they’d give the U.K. one more go and returned overseas for their Get Happy Tour which included a February date at London’s Brixton Academy. That show was released later in the year as Live from Brixton: Older, Fatter, Still the Greatest Ever! In January 2019, it was confirmed by the band that founding bassist Erik Chandler had left Bowling for Soup and was being replaced by Rob Felicetti. ~ Steve Huey, Rovi

 

The Rialto Theatre Foundation is a 501(c)(3) non-profit organization dedicated to the stewardship and preservation of the historic Rialto Theatre, a unique entertainment venue and cornerstone of downtown Tucson, offering a broad range of high-quality performing arts that are reflective of the diverse and vibrant community it serves.

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Clear Bag Policy

Rialto Theatre & 191 Toole Switch to a clear bag policy as of 3/1/22 – February 2022

To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole will be instituting a clear bag policy on 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 12” x 6” x 12”
  • One-gallon clear plastic freezer bags (Ziploc bag or similar)
  • Small clutch bags, approximately 5” x 7”

*All bags subject to search.
**Clear bags are available for sale at the box office.

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Para ofrecer un entorno más seguro a los invitados y agilizar la entrada a nuestros edificios, el Rialto Theatre & 191 Toole comenzará a aplicar una norma sobre bolsas transparentes el 1 de marzo de 2022.


La norma limita el tamaño y el tipo de bolsas que pueden introducirse en nuestros edificios. La siguiente es una lista de bolsas que serán aceptadas para la entrada:

  • Bolsas de plástico transparente o de vinilo que no superen las 12″ x 6″ x 12″.
  • Bolsas de plástico transparente para congelar de un galón (bolsa Ziploc o similar)
  • Bolsas pequeñas tipo clutch, de aproximadamente 5″ x 7″.

*Todas las bolsas están sujetas a registro.
**Las bolsas transparentes están a la venta en la taquilla.