In addition to managing the careers of artists worldwide, Fly South also produces concerts on their home turf in Florida. Over the years acts we promoted on Florida stages include Passion Pit, Wiz Khalifa, LMFAO, Atmosphere, Paul Oakenfold, Snoop Dogg, Girl Talk, Minus The Bear, Matt & Kim, Pete Yorn, Spoon, Hank Williams III, Yeasayer, Crystal Castles, The Misfits, Bad Brains, Pierce The Veil, Animal Collective, Mute Math, Conor Oberst, Lou Barlow, Bob Mould, Cee-Lo Green, Robyn, Dead Kennedys, Streetlight Manifesto, All American Rejects, Of Montreal, Suicidal Tendencies, The Walkmen, Damian Marley, Stephen Marley, Julian Marley, Ky-mani Marley, Marky Ramone, All That Remains, The Tennessee Three, Butthole Surfers, Mindless Self Indulgence, Mudhoney, Kasabian, Gogol Bordello, Supersuckers, Aesop Rock, Ratt, Shiny Toy Guns, Shwayze, Cisco Adler, Cut Copy, Seu Jorge, Kottonmouth Kings, Insane Clown Posse, KMFDM, Thrill Kill Kult, Bone Thugs N Harmony, Yelawolf, Gary Numan, Peaches, KRS-One, Brand New, Deerhoof, Wesley Willis, Suicide Girls, Jay Farrar, Yacht, MC Chris, Mumiy Troll, Copeland, Jimmy Gnecco, The Aquatbats, The Bravery, Emmure, Saliva, Days Of The New, Sevendust, Seven Mary Three, Os Mutantes, Sage Francis, Rx Bandits, GWAR, Murs, Motion City Soundtrack, Matchbook Romance, From First To Last, The Ataris, LA Guns, Faster Pussycat, Escape The Fate, Melt Banana, Rasputina, BT, DJ Krush, CKY, Against All Authority, King's X, Exodus, The Gossip, DevilDriver, The Stills, Yelle, Trivium and others.
Fly South formed in 2007 by partners Mark Mercado, John Youngman and Randy Dease. The company is based in Orlando with offices in Nashville and Los Angeles.
When Hayley Williams began writing lyrics for the songs that appear on Paramore’s selftitled new album, she found herself feeling more optimistic than ever before about the future of the band she has fronted since she was 15. “I had this kind of Tony-in-West-Side-Storymoment when he sings about how something is coming. He doesn’t know what it is, but it’s going to be great,” she says with a laugh. “A lot of the new songs came out of that. They’re about needing to find whatever’s next.”
Lead-off single “Now” — with lyrics like “if there’s a future, we want it now” — sets the urgent tone of Paramore, the Nashville, Tennessee-bred band’s fourth album. Given the choice of packing it in or reinventing themselves as a trio, Williams, guitarist Taylor York, and bassist Jeremy Davis chose the latter and made a positive, uplifting album that reflects who they are in the present. “I’m really proud of the fact that this is not an angry Paramore album,” Williams says. Adds Davis: “It’s a lot happier and brighter album than people might expect given what’s happened. We’ve wanted to write songs like this for so long, but weren’t there emotionally. Now we are.”
The band members holed up to write over the past year and a half and emerged with a collection of songs that retains Paramore’s youthful spirit, but clearly shows their evolution. It’s the most musically adventurous set they’ve released to date. Which isn’t to say the album won’t thrill longtime fans. Still present is a ferocious, churning energy (a hallmark of Paramore’s sound) on “Now,” “Fast In My Car,” “Proof,” “Anklebiters,” and “Be Alone.” But the album should also earn Paramore new listeners, thanks to the trio’s willingness to explore uncharted sonic territory, like the funky, high-stepping “Ain’t It Fun” (featuring soulful vocals from Williams, slap-bass from Davis, and the soaring sound of a gospel choir), the doo wop-inflected “(One of Those) Crazy Girls,” and the lilting, string-filled “Hate To See Your Heart Break.” “People obviously give Hayley credit for being an amazing singer, but I don’t think they really understand how versatile she is and how much her voice can do,” York says. “You really hear different sides of her on this album.”
For her part, Williams says that York stepping into a songwriter role was key to the album’s musical diversity. “I don’t think anyone knew Taylor had it in him,” she says. “Not that we had any reason to doubt that he did, but he just never had the opportunity before. While we were writing, I would walk into the room and hear something he’d be working on and be like, ‘What is that? That sounds insane.’ He’d say, ‘Oh, it’s just something I was doing for me,’ and I’d say ‘No, we’re going to use that.’” Says York: “Hayley and I really challenged each other during the songwriting process. It was a really cool experience to write with her and go on a new journey together. Once we found our own dynamic, it led to something different than our classic Paramore sound.”
All three band members agree that the album‘s producer, Justin Meldal-Johnsen, encouraged them to follow through on the chancier ideas that came up in the studio and not cut them off at the pass because they didn’t sound like traditional Paramore. Meldal Johnsen (known as JMJ) is a former musical director for Beck and Gnarls Barkley, who also played bass with Beck and Nine Inch Nails, and produced M83’s Grammy-nominated Hurry Up, We’re Dreaming — one of Paramore’s favorite recent albums. “JMJ really found the heart in our new songs,” York says. “He didn’t want to change them, he just wanted to bring more life into them. He knows how to support other people’s music and I really respect that about him.” Adds Davis: “He really helped us be as creative possible and paint the exact picture we wanted.”
The album was mixed by former Failure frontman Ken Andrews. “Having JMJ work on the project meant that we got to bring in some of his friends who are heroes of ours, like Ken,” Williams says. “As a 13-year-old girl listening to Fantastic Planet, I never expected that the guy singing on that record was eventually going to mix not only our album, but our fourth album. He even sang a little background part on ‘Be Alone.’ I smile like an idiot every time I hear it.”
Lyrically, Williams found herself inspired by being on her own for the first time after moving to Los Angeles to record the album (“Be Alone,” “Ain’t It Fun”) and the effect it has on her loved ones (“Still Into You”). Then there’s “Last Hope,” which Williams considers a song the band was always meant to write. “There were moments over the last year and a half that I really was just hanging by a thread,” she says. “I felt like my purpose was gone. The song is about how I crawled out of it.” On the flipside is “Fast In My Car,” which Williams says “is the story of the three of us as friends. We got to this place where it was like, ‘Let’s make it easy on ourselves by just being open and honest and having a good time hanging out as a band.’ When I hear that song, I think about us all piling into a car and going out on the town.” That camaraderie is something that Paramore has striven for ever since they formed in Nashville in 2004 when they were teenagers. Since releasing their gold-certified debut All We Know Is Falling in 2005, the 3x-Grammy-nominated band has shot to international stardom thanks to a strong connection with its fans that has translated into a string of platinum and gold singles, including “Misery Business,” “Crushcrushcrush,” and “That’s What You Get” from 2007’s platinum-certified Riot!, “Decode” from 2008’s Twilight soundtrack, “The Only Exception” from 2009’s platinum Brand New Eyes, and “Monster” from 2011’s Transformers: Dark of the Moon soundtrack. It’s also led to a series of sold-out arena tours, including headlining the 2010 Honda Civic Tour and multiple visits to Europe, Asia, Australia, New Zealand, and South America.
More than anything, Williams, Davis, and York are ready to get back on the road. “Our connection with our fans is the most important thing to us,” Davis says. “I’m really excited to get back into the swing of it and feel that energy coming from the audience.” They also can’t wait to hear how the fans react to the new songs. “We really mean it when we say this album feels like the record our band was always supposed to make,” York says. Which is why they’ve chosen to self-title it. Says Williams: “We felt that the best way to give it a name was just to call it what it is. This album is us.”
Paramore is out now and features the Top 15 hit single “Still Into You.” The band will embark on “The Self-Titled Tour,” a major US headline arena tour including their very first headline Madison Square Garden date, beginning October 15.
Hailing from Ocala, Florida, A DAY TO REMEMBER is one of the hardest working bands in the business. They have sold nearly 900,000 albums since forming in 2003. While topping the Billboard charts, they have also sold out entire continental tours all over the world.The band’s latest album “What Separates Me From You” on Victory Records debuted at # 11 on the Billboard Top 200 selling over 58,000 copies first week and the first single off the album, the guitar-charged anthem “All I Want” was one of 2011’s most played songs at alternative radio. The album also debuted as the # 1 Rock Album in the UK. The band featuring vocalist Jeremy Mckinnon, guitarists Neil Westfall and Kevin Skaff, bassist Joshua Woodard and drummer Alex Shelnutt not only sold out nearly every date on their headline tour supporting the new album, they did it all around the world – UK, Europe, Australia, Southeast Asia, South America and more. The band headlined the Warped Tour in summer 2011 to record crowds. The band has been a mainstay on the major worldwide festivals including Soundwave (Australia), Bamboozle (US), Rock am Ring / Park (Germany), Redding Leeds (UK), Download (UK) and KROQ’s Weenie Roast (US), among others. A Day To Remember was MTV Buzzworthy’s “Breakthrough Band Of The Year” in 2011. The band has performed on Jimmy Kimmel Live (ABC), Hoppus On Music (Fuse) with their songs used in television programming as diverse as MTV’s Jersey Shore and ESPN. They have graced magazine covers worldwide in Alternative Press, Kerrang, Rock Sound, Blunt and have been featured in USA Today, Billboard Magazine, Guitar World and others.
Now three years into their existence, the post-hardcore quintet Sleeping With Sirens continue to evolve and mature as artists, gradually shaping their unmistakable blend of fury and melody into a sound that’s wholly their own. The band’s new five-song acoustic EP, If You Were a Movie, This Would Be Your Soundtrack, presents another crucial step on the band’s ongoing journey toward
their sonic destiny.
Featuring three new cuts as well as two previously recorded songs radically re-arranged for the acoustic setting, the EP showcases the group in a different venue than their usual, high-volume environment, while also giving new subtlety to the re-recorded tracks. Sleeping With Sirens are famous for their informal acoustic shows—usually performed outside venues for fans after gigs—and now that magic has been captured for listeners everywhere to enjoy.
“We wanted to put out a record you can listen to while chilling at night and kind of winding down, or while doing your homework, or of you want to have some quality time with your girl or your guy. We wanted to give fans an album to listen to then, instead of just something that’s always in your face and heavy,” explains vocalist Kellin Quinn. “We don’t want our band to be defined to a certain sound or theme; we want to be able to dabble in everything and accomplish different styles of music. This acoustic album was a way for us to grow up and show people that.”
Sleeping With Sirens—which also includes guitarists Jesse Lawson and Jack Fowler, bassist Justin Hills and drummer Gabe Barham—was formed in 2009. The Grand Rapids, Mich.-based group’s first album for Rise Records, With Ears To See And Eyes To Hear, debuted in March 2010 at #7 on Billboard's “Top Heatseekers” chart, and at #36 on “Top Independent Albums.” Guitarists Nick Trombino and Brandon McMaster departed after the album, and were later replaced by Lawson and Fowler, who first appeared on the retooled band’s second album, Let's Cheers To This. Released in May 2011, the record peaked at #78 on Billboard’s “Top 200” chart, as well as #13 on “Top Independent Albums” and #5 in “Hard Rock.” The band has toured extensively, sharing stages with fellow scene stalwarts like We Came As Romans, Falling In Reverse, Alesana, A Skylit Drive, Blessthefall, Emmure, For All Those Sleeping and Motionless In White.
To record If You Were a Movie, the band traveled to Los Angeles for sessions with veteran producer Mark Trombino (Jimmy Eat World, Finch, Blink-182). The result was five rich, stripped-down cuts loosely presented in the structure of a film, with each song title starting with a scene number. Even the album cover illustration, which pictures a couple seated in a car overlooking a sweeping skyline, reinforces the EP’s cinematic theme.
“When I started dating my fiancée, we spent all our time watching movies at home, hanging out at the house. We’re both fans of movies and the cinematic portion of life,” remembers Quinn. “I made her a mixed CD a long time ago called If You Were a Movie, This Would Be Your Soundtrack. I just thought it would be a cool name for an actual album. It’s got a little history.”
Quinn utilizes the moody, dynamic textures of If You Were A Movie to reach new heights of lyrical depth and intimacy, tackling topics like love and relationships with a more nuanced approach than past recordings. The constant amorous tug-of-war that most couples inevitably face is given particular emphasis in the previously unreleased “Scene Four: Don’t You Ever Forget About Me.”
“I was thinking about a fight I was in and decided to write a song about it,” says Quinn. “I had the idea that ‘no matter how hard we fight or how tough things get, just don’t forget about me. Don’t go to sleep without thinking about me,’ just clinging onto that idea that anything can work as long as you put forth the effort.”
On a different note, Quinn and company take a moment to acknowledge their good fortune as artists, and blast other bands who aren’t as humble, in the new track “Scene Two: Roger Rabbit.” “’Roger Rabbit’ was written about just feeling really uninspired with everything that was going on with music. Everybody wants a hand-out; they want everything to come easily,” says Quinn. “I think that’s the wrong vision and the wrong understanding of what it is to live. Sometimes things take time, they’re not easy, and that’s ok. That’s part of the adventure of everything.
“It’s important to use the time you have and take advantage of it, because you never know when it’s all going to go away,” continues Quinn. “You never know when you’re going to take your last breath, and all your fame and everything you’ve worked for will disappear. When you have the day, you should say all you have to say.”
Fans will also be pleasantly surprised by the two stripped-down rearrangements of prior recordings that appear on If This Were A Movie. Both “With Ears To See And Eyes To Hear” and “James Dean & Audrey Hepburn” take on a new life on the EP, and in the process, convey entirely different emotions as acoustic recordings. Quinn says the new version of “James Dean,” which was written in a moment of homesickness, is even more powerful than the original.
“It was the first time I’d been away from home for a while, the first experience of the band, I was just missing home, missing my fiancée and our life together, because you have to sacrifice a lot of time apart to be in a band and be a musician and be on the road,” Quinn reflects. “It’s a sacrifice because you’re doing good things for the people that want to come out and see you and love you, but you’re sacrificing the person you want to be with all the time. It was cool to rewrite that song acoustically, because I feel like it really shows the emotion that you can’t really capture with screaming. The real passion and longing comes through in the acoustic track.”
The remainder of 2012 and all of 2013 promise to hold even more exciting new developments for Sleeping With Sirens, starting with the band’s first-ever run on the Vans Warped Tour this summer. After more touring in the fall, the group also plans to head into the studio in winter 2013 to begin work on their forthcoming third full-length. Until then, If You Were A Movie will serve as the latest reminder of the dazzling directions in which Sleeping With Sirens are headed.
“Get excited for 2013: There are a lot of big things coming, and this acoustic album’s something to tide you over. Listen to it and enjoy,” says Quinn. “Get ready for the new [full-length] record, because it’s going to be insane. It’s going to be the best thing we’ve ever done. We’re going to go 100% into next year. We’re excited for our band, and our fans, to be part of it. We’re making music that is still going to be the Sleeping with Sirens that everyone loves, but we’re definitely also growing and maturing. We’re always moving toward bigger and better.”
Hopeless Records is excited to announce that we have partnered with The Used and their label, Anger Music Group to release their highly anticipated follow up to 2009’s Artwork.
The final touches are being made to the album which will be released in the Spring of 2012. Vulnerable will be the bands 5th studio album.
Already chosen as one of Alternative Press Magazine’s Most Anticipated of 2012, front man Bert McCracken explains, “Vulnerable is about taking one step back and two steps forward. The sound of the record is as evolved as it possibly could be, it maintains the same emotional integrity as the first record [2002’s The Used], yet it sounds like the future (and the future sounds bright). Vulnerable is about taking a chance to let the real you shine. This record is for the outcasts, the misfits, the misunderstood, and the ones who have always dared to be themselves. I can’t wait for you to hear it.”
Forming in 2001 and hailing from Orem, Utah, The Used have released four studio albums: The Used, In Love And Death, Lies for the Liars and Artwork. Their self-titled debut, In Love And Death and Lies for the Liars have all been certified Gold by the RIAA. The band has performed on the Vans Warped Tour, Taste Of Chaos, Ozzfest and Projekt Revolution and have toured with bands such as Atreyu, Chiodos, Box Car Racer, Three Days Grace, Glassjaw, Green Day and Andrew WK.
Highly stylized aesthetics and lushly layered pop might be where to find the roots of States in terms of sound, but the essence of the band holds itself under the idea that creation comes from collaboration. Ideas need to be cultivated, grown, and harvested. "Here we are," front woman Mindy White declares, “and we can go wherever we want." With no confines and no chief-songwriters to be praised—or the pressures of hype and business—States debut album Room to Run is much more than an album full of '90s chart minded hooks; it's a debut of a band that works as a collective.
In fall of 2009 the emotionally driven outfit Copeland had announced that their time was at an end, and with a farewell tour in the works guitarists Bryan Laurenson and his brother Steve, who had become a touring member of the band, knew they had to begin weaving themselves into a new project, one that would be more focused on urgent grandiose melodies than soft spoken ballads. "I was the pop kid in Copeland," Bryan added, which makes him and his brother's return to pop centric music all that more natural.
Wanting to move on as soon as the final curtain fell the two quickly turned to former Lydia keyboardist, and past tour mate, Mindy White to see if she had interest in stepping to the front of the stage, but even before she heard a song or mention of the project she asked if the two wanted to start a band together. The three began organically refining the early demos that both Laurenson brothers had sketched. Once hearing early mixes ex-Copeland drummer Jonathan Bucklew and bassist Dean Lorenz joined in to fill out the line up.
By the fifth adaptation it was clear the songs could be released on their own, making the Line 'Em Up EP act as a preview of what States had in store and reintroduced them to the fans they had gained from their previous bands. Soon after release States embarked on their first tour opening for Anberlin.
"We’re doing what we wanted and we'll take the band where's is supposed to go,” White explains, a child-like joy and smile marks her statement. It’s in the creative freedom that Room to Run acts as a story of the band itself. "I know there is a purpose in us finding each other."
Under the production guise of Aaron Sprinkle at the Compound Recording Studios in Seattle, Washington each song’s eclectic axis became multi-layered portraits shedding light on what it took to get States to be a band, their past growth and self-discovery had been frozen and framed into a debut album.
From Versus the Mirror, a song inspired by the self-doubt that grabbed White on initially leaving Lydia, to the reoccurring themes of journeying into the unknown of one’s own decisions, it's quite clear that States is band that makes their own path.
Room to Run is an album about moving on as much as it is about the surprise of crafting songs free of hesitation—a glorious letting go to roam free, unbound, like the lost boys in Neverland. The rules here are what you make it.
Forget everything you knew about The Devil Wears Prada.
The technically proficient, guitar-driven American metal that you’ll hear on the band’s fourth studio album, Dead Throne, is bigger and more balanced than what was contended with on 2009’s breakthrough offering, With Roots Above and Branches Below, and 2010‘s Zombie EP.
Dead Throne signals a more evolved, more progressive The Devil Wears Prada that is not only larger sonically, but goes much deeper, lyrically. The album contains more than a dozen cutting-edge, razor-sharp, straight-ahead metal tracks that are utterly brilliant not only in their composition, but also in their flawless delivery.
“The songs are inspired by a lot of the things in my heart, per usual,” explains frontman Mike Hranica. “A lot of the subject matter was very specific for this record, which is something that has evolved for me. I’d call the album very ‘lyrically intentional.’”
Dead Throne was expertly produced by Killswitch Engage mad genius Adam Dutkiewicz at his Massachusetts-based recording studio -- a collaboration born out of a mutual admiration first realized in early 2010, when The Devil Wears Prada supported Killswitch Engage on tour.
“We got along with Adam very well and he dropped some hints about how he was interested in working with The Devil Wears Prada,” Hranica said. “Like any heavy band, clearly we've always been curious about working with the dude, so when he was so cool with us, it really felt natural and right. His impact as far as sound and engineering is purely his ability to capture the rawness of our band and reduce the sterility of it; something I've wanted for a very long time. I couldn't be happier with Adam’s influence and I think it works really, really well for us.”
Rounded out by guitarist and clean vocalist Jeremy DePoyster, guitarist Chris Rubey, bassist Andy Trick, keyboardist James Baney, and drummer Daniel Williams, The Devil Wears Prada wrote all of the songs that appear on Dead Throne before heading into the studio with Dutkiewicz, a man the band trusts and respects.
“Adam did have an impact as far as structure and pulling things out and reorganizing. He sped up a number of the songs, cut measures in half, and generally trimmed fat,” Rubey offered. “Usually, this would be something that we wouldn’t be into coming from a producer, but with Adam it totally worked for the best,” he added.
With Dead Throne, The Devil Wears Prada has turned a corner, by turning up the aggression and turning on the emotions. Dead Throne is the product of hard work and The Devil Wears Prada’s inevitable musical evolution, which tends to focus more on the band’s unique, punishing dual-vocal assault this time around.
“We aim to give listeners and fans something they can enjoy, but we’ll also always make songs we personally stand behind,” says Hranica. “We'd write differently if we were purely trying to sell albums: that’s just not how it works for us. No compromises.”
Dead Throne finally takes hold of what the band has merely hinted at in the past, and fans both old and new will quickly see this album for what it is -- a brilliant, emotional, captivating and brutal journey brought forth from the heart of a band that won’t conform to the latest trends. Ultimately, Dead Throne tackles issues of failed relationships and perseverance of faith.
“The album has a number of love lost songs,” says Hranica. “It’s a poetic topic I’ve always touched upon in the songs, and exaggerated, but this time around it was a little bit different as far as where it was coming from. My biggest lyrical models for the album are also very ‘love lost’-generated writers, which have an influence on me. The record contains a lot of self-loathing and a lot of bitterness, which all has a spin on it to where the only thing that does not pass in our lives is our faith and our trust in God. Dead Throne takes a bitter perspective: the world is dead and the only thing we have is the Lord.” And as for the world, the The Devil Wears Prada have already set their sights on breaking territories around the world the same way they established their loyal following in the States, through non-stop touring. The band toured Europe multiple times in 2011, with the last run ending at the UK’s premier rock event, Download Festival with a main stage performance. 2011 and 2012 will see The Devil Wears Prada touring throughout America, Europe, Australia and South America, among other territories.
dangerkids (stylized as DANGEЯKIDS, dk, >>) is an American rock band from Dayton, Ohio, formed in 2012. The current lineup includes five members: Andy Bane, Tyler Smyth, Jake Bryant, Jake Bonham, and Katie Cole.
The scene’s most notorious front man Ronnie Radke returns from years of mandatory silence to form Falling In Reverse, the loudest, most hard-hitting rock outfit to hit streets since his departure from Escape The Fate over three years ago. The Drug In Me Is You drops on July 26th and features eleven mega-hits that can be pre-ordered today along with the first single, “Raised By Wolves” available now on iTunes. Check out what Ronnie has been up to here.
After years of drama and speculation following Ronnie Radke’s departure from Escape The Fate, the talented frontman lifts himself from the depths of adversity to emerge as one of the most dynamic and talented stars in the music scene today. Joining Radke on his forward climb to claim his position at the top are Jacky Vincent (Lead Guitar), Ryan Seaman (Aiden, I Am Ghost) on drums, bass player Mika Horiuchi and rhythm guitarist Derek Jones.
“Raised By Wolves,” the first digital single from Falling In Reverse is a 3:25 minute journey into the mind of Radke - where his brutally honest lyrics break down his tumultuous past, while Falling In Reverse’s ferocious sonic breakdowns pick up right where Ronnie leaves off - shredding guitar solos, massive hooks and in your face guitar riffs, reminding us all of what Ronnie is capable of…
Formed in 2007, the band has built a following with two previous records, Fury And The Fallen Ones and Returners, as well as their riveting live performances touring with bands such as Bring Me The Horizon, Parkway Drive and The Devil Wears Prada.
The Ghost Inside’s powerful and affecting sound merges insightful and introspective lyrics with charging drums, lightning fast riffs and devastating breakdowns. The group is currently working on their yet untitled Epitaph debut with Jeremy Mckinnon (of A Day To Remember) producing.
t The Ghost Inside will be taking their energetic live show on the road when they tour North America.
It's a truly rare occasion when a debut by a band is met with the kind of feverish fan anticipation that encircled Lucky Street, the full-length debut by Tallahassee, Florida melodic rockers Go Radio. But then again, none of those other groups have Jason Lancaster at the helm.The Go Radio singer/songwriter, who's been crafting unflinchingly honest, breathtakingly beautiful music since venturing out on his own in 2007, boasts arguably the most goosebump-inducing combination of raw vocal talent and songwriting prowess in rock today. Backed by a gifted band with two stellar EPs under their belts, Lancaster Go Radio are only just beginning to explore the seemingly endless potential for their mind-blowing creations. Go Radio released the Lucky Street Deluxe Edition, featuring stunning fan-loved ballad "Goodnight Moon", in fall 2011. The Deluxe Edition features un-released tracks, demos and a cover of Adele's "Rolling In The Deep". Go Radio has toured with A Day To Remember, Secondhand Serenade, Mayday Parade, and most recently with Yellowcard and label-mates Every Avenue.
Throw rock, reggae, punk, and pop into a blender, power it up and you get Ballyhoo!, acclaimed by fans to be “America’s-Favorite-Feel-Good-Party-Band.” It’s hard to argue with the masses, but these road-warriors have tirelessly toured to bring their music to the people. Between the road and the studio, Ballyhoo! has crafted a sound distinctly their own; fresh, fun, and embodied by the soul of the party lifestyle. Lead singer and guitarist, Howi Spangler, has a reputation for mixing slick lyrics with his smooth but powerful voice. Drummer Donald “Big D” Spangler lays out the hard-hitting beats, which are underlined by JR Gregory’s funky and witty bass lines. Scott Vandrey (aka DJ Blaze) rounds it out on the turntables and keys.
BALLYHOO!’s unique sound, hardcore devotion to the road and their fans has pitched them into snowballing success. After concluding the Last Calls and Liabilities tour with respected contemporaries, Pepper, they were honored with being included on the ever-popular 2011 Hollister Holiday Playlist. Ballyhoo! has toured with a myriad of the genre’s biggest names; Authority Zero, The Expendables, 311, and The Supervillains. In Jan 2011, they got a well-deserved nod from LAW Records and were signed to the Hawaii-based independent record label. Yesod Williams of the dub rock music mega-sensation PEPPER and owner of LAW Records says of his newest addition, “Having BALLYHOO! join the LAW Records family is a perfect fit. They are an incredibly talented band with a really catchy style”. 2011 has been a paramount year for Ballyhoo! as they wrap up the year with a few holiday bashes.