CANCELED: KORN & FAITH NO MORE

August 22, 2020  //  06:00 pm

05:00 pmDoors Open

06:00 pmShow Starts

About this show

KORN & FAITH NO MORE with Scars on Broadway / Spotlights at Germania Insurance Amphitheater at Circuit of The Americas has been canceled. You should have received an email with your refund options. If you did not receive an email, please contact your point of purchase.

About the Artist

KORN

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KORN changed the world with the release of their self-titled debut album.  It was a record that would pioneer a movement and blur genres, while the band’s enduring success points to a larger cultural moment.  The FADER notes, “There was an unexpected opening in the pop landscape and KORN articulated a generational coming-of-angst for a claustrophobic, self-surveilled consciousness. KORN became the soundtrack for a generation’s arrival as a snarling, thrashing, systemically-restrained freak show.”  Since forming, KORN has sold 40 million albums worldwide, collected two GRAMMYS, toured the world countless times, and set many records in the process that will likely never be surpassed. Vocalist Jonathan Davis, guitarists James “Munky” Shaffer and Brian “Head” Welch, bassist Reginald “Fieldy” Arvizu, and drummer Ray Luzier, have continued to push the limits of the rock, alternative and metal genres, while remaining a pillar of influence for legions of fans and generations of artists around the globe.  The level of KORN’s reach transcends accolades and platinum certifications.  They are “a genuine movement in a way bands cannot be now,” attests The Ringer.  They represent a new archetype and radical innovation, their ability to transcend genre makes barriers seem irrelevant.  

FAITH NO MORE

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Faith No More is Mike Bordin (drums), Roddy Bottum (keyboards), Bill Gould (bass), Jon Hudson (guitar), and Mike Patton (vocals). The San Francisco-born, platinum-selling  band have released seven studio albums: We Care A Lot (1985), Introduce Yourself (1987), The Real Thing (1989), Angel Dust (1992), King For A Day… Fool For A Lifetime (1995), Album of the Year (1997) and Sol Invictus (2015). Sol Invictus debuted atop the international sales charts: #2 in Australia, #4 in Germany, and #6 in both the U.S. and UK. Rolling Stone dubbed the 10-song album “triumphant,” the New Yorker called it “a reminder of everything that made Faith No More great in the first place,” and the Los Angeles Times said, “Faith No More has a history of defying expectations, and that’s what it’s doing again with Sol Invictus.” 

Scars on Broadway

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Spotlights

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This unpredictable, yet unassuming sound quietly heralded their arrival in 2016 on the D.I.Y. debut LP, TidalsBrooklyn Vegan stumbled upon the project and streamed “Walls.” The song eventually entranced musician and producer Aaron Harris (ISIS/Palms) who shared it with his Palms singer and Deftones frontman Chino Moreno. An invite to open the Deftones summer tour followed as the band would go on to share the stage with everyone from Melvins, Quicksand, Hum, and Glassjaw to Pelican and Pallbearer. Ipecac Recordings co-founders Mike Patton and Greg Werckman fell under the band’s spell and signed them. The Harris-produced Seismic dropped on Ipecac Recordings in 2017 to acclaim from RevolverMetal InjectionNew NoiseMetalSucks, and many others. Between tours, 2018 saw them reveal the Hanging By Faith remix EP and one-off single “Kiss the Ring” [feat. Allen Epley].

Mario may be able to explain how it all happened, but the “why” still eludes him…

“Three years ago, we were just playing tiny local shows, and all of these crazy things have happened since,” he smiles. “It’s an interesting story to us, because we’ve never had a gimmick or a hook. What sets us apart is the music. We try to bring different worlds together in a way that’s as original as possible. We know the specifics of how it happened, but we don’t really know why.”

The group’s 2019 third full-length, Love and Decay, may indirectly offer an answer. This time around, Spotlights once again personally handled production, working out of a tiny Brooklyn rehearsal space. However, for the first time, they enlisted the talents of drummer Chris Enriquez behind the kit on the entire body of work rather than a combination of Mario and guest performers.

Sonically, the group further canvased new territory. Whether it be the hummable guitar lead peeking through trudging grooves on “Until The Bleeding Stops” or the ghostly pop chorus of “Particle Noise,” they ascend to a tipping point between volumetric riffing and blissful melodies. “Xerox” bears a sense of delicate intimacy within the delivery. Meanwhile, the first single “The Age of Decay” crescendos towards an emotionally charged harmony colored by shimmering keys and bright guitars before off-kilter riffs seesaw back-and-forth on the bridge.

“‘The Age of Decay’ encapsulates everything we do on this record,” continues Mario. “It’s got some of the heaviest moments as well as the most dynamic and melodic. It shows little bits of what we get into throughout the whole album in one track. It’s a love story in this age of decay. There are some personal points connected to our relationship about how things grew from when we met. We moved around the country and chased this thing together we’ve been chasing our whole lives. Meanwhile, it’s also about being in a world that can be fucking hard to deal with. It’s a broad stroke. It’s not just a picture of darkness and decay, but love.”

In the end, Spotlights paint such a picture on their own terms and without template or form.

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