CW Detroit Events

Self Help Festival


Oct 7, 2017 – 2:00 PM

  • Pierce The Veil
  • Rise Against
  • A Day To Remember

More Info

Pierce The Veil: Pierce the Veil is a San Diego, CA hardcore/post hardcore band formed by brothers Mike and Vic Fuentes with Joe Tancil and Mitchell Balatore. The brothers came into the San Diego hardcore/punk scene when they were in high school with their band Early Times. When the owner of Equal Vision Records saw them at a show in San Diego, the brothers had a record deal right out of high school. They released A Celebration of an Ending under the band name Before Today, changing the name Early Times due to copyright infringement on the beer with the same name.

The band toured heavily after the album's release in 2006, and when they returned the band broke up, leaving Mike and Vic on their own. The duo was still backed by Equal Vision and they continued to write songs until they had enough for their second album, A Flair for the Dramatic. With the new album came a new name: Pierce the Veil. Pierce the Veil also acquired two new members: guitarist Tony Perry and bassist Jamie Preciado.

Pierce the Veil performed a number of concert dates for three months after the album's release, including tour dates on the '07 and '08 Warped Tours and The Delicious Tour, which they headlined. Their third album, Selfish Machines, was released in 2010 and made it to the number one spot on Billboard's Heat Seekers Chart. Following the success of the album, Pierce the Veil embarked on a year's worth of concert dates in 2010, including performances at Bamboozle, South by Southwest, the Take Action Tour with Attack Attack!, and tour dates on the This is a Family Tour, which ended in December of 2010.

In true Pierce the Veil fashion, the band has announced tour dates for 2011 on The Gamechanger's Tour. Concert dates for the 2011 tour will feature quite the line-up of supporting bands, including A Day to Remember, Bring Me the Horizon, and We Came as Romans. While Pierce the Veil hasn't been on the mainstream music scene for long, they are definitely on the rise and will put on a concert date that fans won't soon forget. Be sure to catch the tour dates in 2011 so that you can say "I knew them when."

Rise Against: Fans who are planning to attend their first Rise Against tour date in 2011 might be surprised to find how deeply the band's roots are planted in punk culture. Before the current incarnation of the band: Tim McIlrath was with punk band Baxter, bassist Joe Principe was originally with 88 Fingers Louie, and Dan Lumley of Screeching Weasel filled in on drums for a short while. Rise Against even signed with LA punk icon Fat Mike's record label Fat Wreck Chords in their early days, before they hit the mainstream with Siren Song of the Counter Culture. While the album broke into the Billboard 200, it marked a move from the traditional punk that had launched McIlrath and Principe's careers towards a more "melodic" hardcore sound. It is this signature sound that has already sold out several tour dates in 2011.

Rise Against used the popularity of their breakout album to embark on a rigorous concert schedule in 2005, including the Taste of Chaos tour, The Leeds Festival, and the Warped Tour. Even with such a hectic concert schedule the band was able to release The Sufferer & the Witness, which brought Rise Against back to their punk roots. By 2006 the success of the album had made the band headliner of Warped Tour concert dates that year, and they shared some of that fame by opening for My Chemical Romance at the onset of their concert schedule. It was also around this time that Chris Chasse left the band due to the innumerable tour dates, and was replaced by Zach Blair.

Immediately after the replacement, Rise Against once again went on tour dates until Appeal to Reason was released in 2008. The album received mixed reviews, with critics now claiming it was too mainstream and strayed from their punk roots once again. Fans of the album attributed the change to the ever-present pop influence in society, and that the songs themselves were strong and well-written.

Rise Against's new album, Endgame, is a blending of their melodic riffs and screeching guitars, which should please fans on both sides. While McIlrath claims the album is not a concept album, many of the songs deal with serious worldwide events such as Hurricane Katrina and the BP oil spill. Rise Against has been promoting the album on a South American and European concert tour, but will return to the US with tour dates starting on April 5 before heading back to Europe. Many tour dates are already sold out, including the Long Beach show which will feature popular punk band Descendents; their first time playing in fourteen years. Rise Against will be joined by Bad Religion and Four Year Strong on the remainder of the tour, so fans are advised to buy tickets soon.

A Day To Remember: A Day to Remember took a while to reach acclaim and headlining tour dates, mostly because the band is a true DIY success story. The band worked tirelessly to promote themselves and beg to play concert dates before hitting it big, but all the hard work paid off for this metalcore/pop punk band. "Metalcore slash pop punk?" you may cry. While many bands blend elements of the two into their music, A Day to Remember has both hard, screaming metal songs as well as melodic pop punk songs, all on the same album! After years of playing small concert dates that they painstakingly set up themselves, A Day to Remember is headlining a number of tour dates in 2011, including concert dates with Bring Me the Horizon and a headlining spot on Warped Tour dates in 2011.

The band was formed in 2003 in Ocala, Florida, by Neil Westfall (rhythm guitar), Tom Denney (lead guitar), Joshua Woodard (bass), and Bobby Scruggs (drums), after all being in separate local bands. The group scraped together some songs and embarked on a 200-concert date DIY tour. The band was soon signed to Indianola Records and their debut album, And Their Name Was Treason, was released in 2005.

Shortly after signing with Victory, the band replaced drummer Bobby Scruggs with Alex Shellnutt and headed to the studios to record For Those Who Have Heart. The album was released in January 2007 and broke into indie and newcomer charts almost immediately. With the success of the album, A Day to Remember embarked on a number of mainstream tour dates, including performances at Bamboozle Left and Right in 2008 and concert dates on the 2008 Warped Tour. In 2008, A Day to Remember embarked on a series of concert dates across Australia with Parkway Drive, both bands enjoying the success that hardcore music was bringing them. Even with constant concert dates, the group found time to record their third album, Homesick, released at the end of 2008.

In June 2009, lead guitarist Tom Denney left the band to focus on his family and his burgeoning recording career. Despite being replaced by Kevin Skaff (formerly of label-mate Four Letter Lie), Denney has contributed to A Day to Remember's new material as a writer. Following Denney's departure, A Day to Remember played their first headlining tour dates in September, 2009, joining up with Parkway Drive again on The Pulling Your Pud Tour. A Day to Remember's latest album is What Separates Me From You, released in 2010, which has brought the band even more mainstream success.

After extensively touring in promotion of the album, A Day to Remember performed even more tour dates in 2011 for their What Separates Me From You Tour. A Day to Remember also has a number of concert dates planned for South America starting June 7 and ending on June 12, right before they head back stateside. A Day to Remember will canvass the US with concert dates yet again before ending their 2011 tour dates. With so many chances to catch A Day to Remember with other great metal acts, fans should check Eventful's schedule to see when the band is coming to their area.

UNDEROATH: With eight years having passed since we last heard new music from Underøath, that near decade-length absence weighed heavily upon music lovers’ hearts. When you consider all of the bands that formed using their idiosyncratic power and texture as blueprints (and then hearing those pretenders fail anyway), you can clearly see the hole Underøath left behind. Whatever real-life worries, psychic baggage or other concerns plagued Spencer Chamberlain, Aaron Gillespie, Tim McTague, Chris Dudley, Grant Brandell and James Smith at the time of their 2013 farewell tour, Underøath’s collective consciousness has been fortified by a renewed commitment to their art. And more importantly, themselves.

“We had been doing this for 13 or so years,” says Chamberlain, the band’s dynamic frontman, about the respite that got them to where they are now. “We were just done by that point. We never knew how long it was going to last. How many hardcore bands last? It’s not like we hated each other, the music or the industry. We blinked, and a decade went by of never being home. But we needed that break, otherwise now wouldn’t have been possible.”

“We got about two weeks into the Rebirth tour,” remembers drummer/vocalist Gillespie, “and thought, ‘Waaaaait a second. This is too important. It’s too important to our fans and it’s too important to us and the feelings we have playing together are too important to ignore.’ And then we slowly asked the question: What’s next? Then we did Rebirth all over the world. Then we toured with Bring Me The Horizon. Then we did festivals. All along, there was this nagging thought: Are we going to make a record? It was a weird question to impose upon ourselves.”

Never was an imposition more on point: On their Fearless Records debut Erase Me, Underøath have added another crucial chapter to their formidable legacy. When the band went in the studio in the summer of 2017 to record their sixth album with producer Matt Squire (Panic! At The Disco, 3OH!3), they knew exactly what they wanted to do as well as what they needed to do. Having already established themselves both as melodic songwriters (2004’s RIAA-Certified Gold record They’re Only Chasing Safety) and as ambitious power merchants (2006’s stentorian, gold-selling Define The Great Line and its majestic follow-up, 2008’s Lost In The Sound Of Separation), the evolution detailed on Erase Me finds them using the sonic dialects they’ve crafted to reveal where they are now.

Assisted by Squire’s sonic psychology and enhanced with a wildly vivid mix from Ken Andrews (co-founder of acclaimed LA outfit Failure), Erase Me never equates getting older with being complacent. Right out of the gate, “It Has To Start Somewhere” burns like a rail dragster achieving top speed before hurling itself straight into the sun. “Wake Me” is almost pop that overshadows whatever manufactured nine-person co-writing session is currently being marketed on streaming-service playlists. “Rapture” feels like prog rock that traverses generations near and far, while Dudley’s electronics drive “No Frame” into universes unknown. Even the first single, “On My Teeth,” seemingly sends a warning to listeners to protect their necks. Underøath may have tempered the punishing riffage of their previous releases, but they doubled-down on the urgency, via every scream out of Chamberlain’s face, guitarist McTague’s sense of the appropriate and Gillespie’s frenetic thrashing of his kit. When considering the pretenders that came to fill the void during their absence, Erase Me inarguably proves that Underøath’s only true competition is themselves.

“The only rule we had on this record was to reject the phrase we said about our previous records,” says Chamberlain. “’That’s not Underoath enough.’ We left that shit in St. Petersburg when we played that last farewell show. To say something’s ‘not Underoath enough’ robs us of growing. We didn’t say we were going to make an artsy record, a melodic record or a record our fans will like. We made a record that stokes us out that we love. And in my whole life, I’ve never said that on any record I’ve ever been on. That’s us growing up and progressing—not just as musicians but as human beings.””

Clearly, Erase Me is the apex where melodic heft, indefatigable power, spatial resonance and arcane electronic textures converge to reveal a band that’s positively fearless. But like Chamberlain says, Underøath’s creative and personal growth manifests itself in more ways than the stuff coming out of the speakers. For the singer, it meant him coming to terms with his struggles with chemical dependency and his quest to rise above it. In addition, the band who once openly--and without apology--professed their faith-based worldview onstage nightly, have since moved beyond the realm of seemingly impenetrable polemics. At various junctures, Erase Me illustrates those moments of sanctuary, anxiety, betrayal and conflict that inevitably arise when humanity grapples with belief systems. Underøath are not being provocative to create shock value, faux-hipster smugness or revisionist history toward their accomplishments. This is where their reality has taken them: That such a narrative exists in the first place is a true manifestation of their personal growth.

With all the accolades, the history, the fandom, as well as the hardships and growing pains in their psychic rearview mirror, Underøath are just as committed to their legacy as much as their friendships. Erase Me is a bold step for a band who want to preserve their integrity in a world where cashing in is a false equivalence for actively delivering mediocre art. When asked if he feels his band still has something to prove this far in, Gillespie is lucid.

“We’ve had success and we’ve come through a lot of waters,” he offers plaintively. “There’s been 11,000 things we’ve been through. So, you would think, almost rhetorically, ‘What do you need now?’ All of us are finally in that place in our lives where the only thing we care about is inclusion for everybody—for the world. For me, exclusion is the scariest thing in the world. And I think as Underøath are coming back now with a new record—which none of us thought was possible—we want people to know that this is your music and you can feel however the fuck you want about it. I just want to prove that we are doing everything in the most honest way we ever have. This is the healthiest we’ve ever been as a group of people, as musicians, and in our worldview.”

Don’t kid yourself: Even with a comeback title seemingly marinating in self-fulfilling prophecy, nobody in their right mind would dare delete Underøath’s measurable contribution to the advancement of post-hardcore and heavy rock. The only thing you need to erase is your patience with their pretenders. Accept no substitutes and your culture won’t feel destitute. It’s great to have Underøath back—especially on their terms.

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