Feb 26, 2013
Door Time: 7:00 PM

Day: Tuesday, February 26, 2013
Door Time: 7:00 PM
Age: All Ages
Advance Ticket Price: $15
Day Of Show Price: $15
Buy Tickets

The Ready Set & Metro Station
The Ready Set:
Jordan Witzigreuter was only 20 when it all happened. Nearly overnight, the young Indiana-born musician—who had spent the better part of his teens writing an arsenal of illegally catchy, electro-pop songs—was plucked from near obscurity and thrust into the spotlight. “I started playing shows to a couple people in someone’s basement,” Witzigreuter remembers. “Then, a year and a half later, I was playing radio festivals with Maroon 5 to 10,000 people.”
 
It’s the ups and downs of life, love and music that inspired the singer’s latest and long-awaited album, The Bad And The Better, out May 20 on Razor & Tie. “To me, my whole life, my whole career—the good and bad—has been about taking things as they come,” waxes The Ready Set centerpiece. “Everything goes up and down like a rollercoaster. You just have to go along with it and not hang on too tight to anything. You have to let life happen and enjoy it.”
 
Five years have passed since the release of TRS’s debut album, I’m Alive, I’m Dreaming, which hit No. 3 on Billboard’s Heatseakers chart, thanks to the platinum-selling success of the LP’s first single, “Love Like Woe”—and a lot’s happened to Witzigreuter since. Lucky for fans, you can hear the singer’s ongoing evolution—both personally and musically—in each of the 11 songs on The Bad And The Better, produced by Ian Kirkpatrick (Neon Trees, Young The Giant, Breathe Carolina).
 
“When my first song, (“Love Like Woe”) did really well, people kept telling me, ‘Do that again.’ After a while, it becomes really transparent.,” says Witzigreuter. “A lot of pop albums can be bland if they’re just chasing this one sound throughout. I wanted to make sure my [album] sounded exactly like me.
 
From the first guitar strums of the album’s opening song, “Higher,” which also happens to be the lead single, it’s almost impossible not to smile and dance along with Witzigreuter’s signature rapid-fire verses and synth-fueled choruses. “I wanted to make a really uplifting, inspirational song because I wrote it at a time when I was in the opposite mindset. I wrote it to almost convince myself things could get better, so it came out of this anxiety-fueled state. It’s about being able to look beyond the things in front of you that weigh you down and rise above it.”
 
The Ready Set has always written misfit anthems, and new song “Castaway” is a great theme song for dark horses everywhere. Featuring an appearance from rapper Jake Miller, the lyrics are driven by all the TRS fans who’ve approached him over the years to express how much the band’s music means to them. “I was really inspired by all the things I’ve heard from my fans through their notes and letters,” says Witzigreuter, who admits his fans were the ones to give him faith when he was going through his own dark times. “I wanted it to be one of those songs that lifts up the underdog a little bit and gives people hope.”
 
Witzigreuter is looking forward headlining this summer’s Warped Tour, which will be a great opportunity to introduce new songs off The Bad And The Better and connect with fans, both loyal listeners and recent converts. After all, the release of the band’s sophomore album marks a new chapter in the life of The Ready Set—and no one’s more excited to turn the page than Witzigreuter himself. “The new music really captures the essence of who the band is right now, which kind of translates into a new beginning for me as an artist."
www.thereadyset.com                   www.facebook.com/thereadyset               www.twitter.com/thereadyset
www.youtube.com/thereadyset            instagram.com/thereadyset

Metro Station:
In April 2010, after months of rumors and whispers, Trace Cyrus took to Ustream and made the announcement fans dreaded: “As many of you already know, Metro Station is taking a break—and I think it’s a permanent break.” Wearing oversized sunglasses, sporting a pin-straight, asymmetrical haircut and rocking a jean jacket open enough to show his many chest tattoos, the singer/guitarist said the words with conviction. The band was over and everyone was moving on. Cyrus had already started his own solo project, Ashland High, and while fellow Metro Station singer Mason Musso continued to produce music and perform under the existing moniker, the resurrection was half-hearted and intermittent, at best. However, the combination of time and perspective managed to make the impossible occur by bringing two former musical collaborators and best friends back together.

“It was a case of too much success too quickly,” Cyrus admits while sitting outside a coffee shop in North Hollywood in July 2014. “I remember when we were doing it—playing with Fall Out Boy, Good Charlotte and Miley [Cyrus], filling arenas, opening for Lady Gaga overseas—we always wanted more. Instead of sitting back and saying to ourselves, ‘Whoa, we’re really doing something great,’ we just wanted more.”

“Our 20-year-old egos were going, ‘I’m the shit,’” Musso interjects, sipping on a large ice tea next to Cyrus. “I never felt like anything was enough, but as Trace always says, it’s a marathon, not a sprint.”

Judging from their familiar rapport, it’s hard to believe the two spent four years apart with zero communication—Cyrus didn’t even have Musso’s phone number during that time—until Musso decided to reach out in October 2013. Much like a clandestine relationship, the pair have been hanging out ever since, but they chose to keep their reconciliation private instead of flaunting it to the world, at least not until they were both ready to go public. So how was the duo able to work through their problems? “I think we both just matured as people and as musicians,” Cyrus explains. “As far as friendship goes, at 25, you realize what’s important to argue about and what’s not. It’s easier to communicate when you’re older. When you’re younger, you let your emotions get in the way. Now we can talk it through. That’s what our issues were in the past; we had horrible communications skills.” 

What was never an issue for Cyrus and Musso was writing hit songs together. The band’s 2007 self-titled album—which included tracks like “Seventeen Forever” and “Kelsey”—has sold more than 500,000 copies and its third single, “Shake It,” was certified platinum, having sold more than 2.7 million copies. The song also cracked the Top 10 on the Billboard charts in 2008 and the accompanying video has racked up 47 million YouTube views to date. In other words, when Metro Station decided to throw in the towel, they were experiencing the kind of exponential rise most bands would kill for. “The goal is to be the biggest band in the world,” Cyrus says with the confidence of a star athlete. “If you’re going to do something, why not try and be the best? Even if we don’t achieve that one day, we know we tried. We did all we could. Everyone has the same chance to make it in this industry; it just depends how good your songs are and how hard you’re willing to make it.”

Now that Musso and Cyrus have reunited, it’s time to get back into the studio and make more Metro Station music. Up first is a new EP called Gold, which features new songs like “Love And War” and “She Likes Girls,” both of which blend the group’s signature electro-pop melodies and newfound lyrical depth. The band has recorded tons of new material but they aren’t in a rush to put out a full-length album—yet. Instead, they’re choosing to release Gold in October 2014 and then hit the road with The Ready Set this fall.

Not only does the future look bright, but the possibilities are endless for Metro Station. “I really think in the long run, we’re going to look back at the breakup as a blessing from God,” Cyrus says with complete sincerity. “I’m very religious so I feel like God kinda came in, took everything we had away from us and slapped us on the wrist, saying, ‘You need to learn, you need to appreciate what I’m giving you.’ I feel like this is our second chance to make things right and to prove that we enjoy doing this and appreciate it.”



Outasight
OutasightOutasight wants to take you back. Back to a time before his momentous first single, last year’s don’t-worry-let’s-party anthem “Tonight is the Night,” became the #1 most-added song on Top 40 radio in its first week, went platinum in sales, scored national exposure in ad campaigns for Pepsi, Honda, and Pizza Hut and was performed on The X Factor, Late Night with Jimmy Fallon and 90210. Back to a time when the Yonkers-bred hip-hop artist was just a college dropout working 12-hour shifts on the fryer at a takeout restaurant, scraping up the cash to rent studio time in Bed-Stuy, Brooklyn. Back to his road trips with friends—windows down, NYC-bound on the FDR (“because we were so broke, and you can take the FDR without having to pay a toll,” he says), searching for a rave, drum ‘n’ bass club, or open mic where he could freestyle, vibing off the energy in the room. Every song on Nights Like These, Outasight’s infectious LP debut, pays homage to the big-dreaming outsider he once was. “I think music needs honesty,” Outasight (“OU” for short) says. “It’s always awesome when authentic shit cuts through the b.s. Every song on this album comes from a real place and a real moment. I had a lot of low points—my parents were pissed at me for dropping out of college, I was broke as a joke, making crap money, just fighting to survive. It’s about me telling my story. And if I can tell the story of not just myself, but of all the people who have to fight for everything they’ve got—then I might be on to something.”

From the slick up-tempo rhymes of swag-heavy “Shine,” feat. Chiddy Bang (“Took a long while, didn’t always come easy, had some good friends, girlfriends who didnt believe me. This ain’t no victory lap, I don’t sleep I don’t nap, I’m just trying to do me, see where I’m at”), to the wistful pop-rock of “Let’s Go” (“All that glitters ain’t gold, another story gets told, ‘bout an underdog trying to overcome some issue they can’t get ahold of”), Nights Like These is undeniably OU’s own DNA-print on record. Outsight’s sound may be rooted in hip hop, but has now gone beyond that musically, into an amalgamation of different forms. The album is the culmination of a long grind that began with a handful of self-released mixtapes, starting with 2007’s Employee of the Year and 2008’s Radio New York, which landed him on MySpace’s homepage and led to an MTVU Freshman award. His third compilation, 2009‘s From There to Here, along with an impressive live set opening for Ryan Leslie at NYC’s SOB’s, scored him a meeting with former Asylum Records CEO and current Warner Bros. Records Co-President & CEO Todd Moscowitz. But at the time, OU was bound by a smaller label that didn’t support his vision. “I’d just jumped at the first little bit of money so I could quit my job,” he explains. “I wanted to be on Warner Bros. but there was a bad relationship with the other company, so I wasn’t allowed to release any music. It was like this amazing lifelong dream was hanging in front of my face, and I couldn’t grab it. I was in the studio, but I was really depressed, literally in a state of flux. What kept me going was the songs I was creating.”

Finally signed with Warner Bros., OU’s days of singing for just a sound engineer are over. In “Now or Never,” his second single on the album, he declares, “It’s now or never, I’m about to get mine”—and he couldn’t be more right. He’s spent most of the past year building fan momentum on tours with Cobra Starship, 3OH!3, and Gym Class Heroes. His set at 2012’s Lollapalooza led Billboard to remark, "The BMI stage has been known for finding potential hitmakers early; like pre-"Just Dance" Lady Gaga in 2007 and Ke$ha in 2009. With electro-pop tracks like "Tonight Is The Night" and "Now Or Never," (the latter being his best live track of the set), it may not be long before BMI can brag about Outasight playing their stage first."

OU’s version of the day is predictably grittier. “I’ll just break it down for you,” he says. “I had a 6 a.m. flight from Boston—we were trying to rush over to Chicago for a daytime set—so we’re at the airport since 4 a.m., and our flight gets delayed. We finally get to the stage, start setting up. I haven’t slept. I look out to the crowd area, and there’s nobody there. I crack a beer, just to have something in my system. I’m preparing myself for that disappointment— ‘Oh, it’s empty, it’s just early,’ etc. The band goes onstage and they start doing the intro. I’m so out of it, I have no idea what’s going on. I walk out onstage—and there’s thousands of kids there. What the fuck just happened?! It was insane. And we tore that shit down.”

Quite a story—told by one of music’s best new storytellers. Outasight’s debut album, Nights Like These, drops November 27th 2012.

“Turn the lights down low, I don’t wanna see the crowd cause I know, I made a bunch of calls tonight to everyone I know, but no one could go. I close my eyes now, and hear the whole crowd—open them up, start looking out, like damn, what the hell I do now?....All our lives we dream and dream and dream for nights like these.”—Outasight, “Nights Like These,” Nights Like These, 2012.

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