The Bowery Presents
Daughtry & 3 Doors Down with special guest Halestorm

Daughtry & 3 Doors Down with special guest Halestorm

Bad Seed Rising

Tue, July 16, 2013

Doors: 5:30 pm / Show: 7:00 pm

CMAC (Canandaigua, NY)

Canandaigua, NY

$55, $39.50, $29.50, $20 advance lawn / $25 day of show lawn

This event is all ages

Daughtry
Daughtry
After playing to millions around the world, it's no surprise that Daughtry's new album picks up where the quintuple-platinum, Grammy-nominated debut leaves off. The twists and turns of the band's journey lie at the heart of LEAVE THIS TOWN (19 Recordings/RCA). Burnished by countless miles on the road, the melodies shine like headlights in the night and are played with a restless energy that draws on all the challenges of life's experiences, exploring the different paths we take in our search for common understanding.

"A lot of the lyrics are about how leaps of faith can set us free or tie us down, and realizing that we often find heartache when we run from something and redemption when we run toward something," singer Chris Daughtry says.

The title comes from a line in "September," a song Chris wrote with guitarist Josh Steely. Loaded with evocative phrases, the bittersweet ballad draws on Chris' experiences growing up with his brother in a tiny North Carolina town. "Every time I hear that song it takes me back to my summers in Lasker," he says. "I loved growing up there, but I knew I'd have leave to make something of my life."

LEAVE THIS TOWN is the first album to feature Chris with bandmates Joey Barnes (drums/piano), Josh Paul (bass), and guitarists Josh Steely and Brian Craddock. Together, they deliver a dozen inspired performances held together by anthemic hooks, impassioned vocals, and lyrics laced with a wisdom found through searching horizons and rearviews. A work of remarkable creativity and range, the album smoothly shifts gears from powerful arena-rock ("No Surprise," "Ghost of Me"), to hushed ballads ("September"), and emotional mid-tempo rockers ("Life After You," "Learn My Lesson"). The album also includes the country-influenced "Tennessee Line," a track Chris wrote with Craddock that features vocal harmonies by country-music superstar Vince Gill.

That mix of sounds is reflective of the different personalities who joined Daughtry in 2006, shortly after the singer recorded his debut. It was instant chemistry, Chris says of his bandmates. "From the very first show, it felt like I'd known these guys all my life."

Early on, the band focused on establishing its own identity by taking creative license with the original arrangements from the debut and recasting them in their own image. "To bond as a band, we really needed to own those songs, which meant letting our personalities come through," Barnes says. "To Chris' credit, he gave us the freedom to be ourselves, which is what brought us to together as a band."

When the marathon tour ended in 2008, Daughtry had graduated from playing clubs to opening arenas and had charted three #1 singles, while the album became the biggest-selling rock release two years in a row and the fastest-selling rock debut in Soundscan history. Eager to keep the album's runaway success in perspective, and determined to surpass its high-water mark, Chris buried himself in work, spending months collaborating with rock's savviest songsmiths.

Chris re-teams with two songwriting partners from his debut on LEAVE THIS TOWN, penning "Learn My Lesson" with Mitch Allan of SR-71, and "Ghost of Me" with Hinder producer Brian Howes. Returning producer Howard Benson (All-American Rejects, My Chemical Romance) says the key to Chris' success as songwriter is his ability to remain grounded. "Not only is he in touch with who he is and where he comes from, but he also has the courage to write about it, which is all you can ask of any artist. He's a humble, hard-working guy who just happens to be in a successful band."

LEAVE THIS TOWN also includes stellar contributions from Nickelback's Chad Kroeger. Chris met Chad a few years ago. The two became fast friends and even toured together. Excited to collaborate, Chris traveled to Chad's Vancouver studio where they wrote "Life After You" and "No Surprise," the first single from LEAVE THIS TOWN. "Chad has amazing instincts as a songwriter," Chris says. "I liked bouncing ideas back and forth with him because he was quick to pick up on where I wanted to go, but he was also able to inspire me to try different directions."

During the session, Chris says a random musical aside led to a surprising collaboration. "I was singing a line and ended with a little R&B twist. Chad looked at me funny and I said, 'I guess it's just the Richard Marx in me coming out.'" Longtime friends, Chad called Richard, who joined the session the following day. "I was in shock," Chris recalls. "I'm such a huge fan. I even sang his song 'Now and Forever' for my wife when we were dating."

The two quickly hit it off, writing "On the Inside" (bonus track), which is a hard-rocking song Marx started on the flight to Vancouver. The song's chorus – "You can move to another town/Hide where you're sure you won't be found/But you'll still be the same on the inside" – dovetails with the album's concept of finding yourself. The lyrics work on two levels, Chris says. "The obvious interpretation is that you can never outrun your problems. But you could also see this song as a message of unconditional love to someone who's trying to change."

The search for better days continues with "Long Way" (bonus track), a song Chris wrote with Jason Wade of Lifehouse. In it, the road becomes a metaphor for an inward journey that leads to self-awareness. "When I wrote the line, 'There's no direction where I stand/Just dead end signs and wasted land,' I was thinking about how sometimes you have to truly get lost before you can really find yourself.

With all these songs about how where we've been determines where we're going, it's fitting that LEAVE THIS TOWN captures the band at a crossroads. "Not to take anything away from the debut, but this record really feels like my first," Chris says. "It's the sound of a new beginning."
3 Doors Down Acoustic
3 Doors Down Acoustic
Since forming in 1995, Mississippi rock quintet 3 Doors Down has sold more than 16 million albums worldwide, garnered three Grammy nominations, two American Music Awards, and five BMI Pop Awards for songwriting, including BMI’s coveted "Songwriter of the Year" award. The band’s debut album, 2000’s The Better Life, which is now certified six times platinum, featured the smash hit “Kryptonite.” Their sophomore album, 2002’s Away from the Sun, saw similar success with its radio mainstays “When I’m Gone” and “Here Without You.” Their subsequent efforts 2005’s platinum certified Seventeen Days and 2008’s 3 Doors Down debuted at #1 on the Billboard Hot 200 Chart. In 2012, 3 Doors Down released The Greatest Hits, a collection of nine #1 hits and three new songs, returning to the Top 5 at radio with "One Light." The band continues to perform for crowds around the globe with 3 Doors Down / Songs From The Basement.
Halestorm
Halestorm
After scoring two top 10 singles (“I Get Off” and “It’s Not You”) from their self-titled debut and touring steadily for two years with acts as diverse as Shinedown, Stone Sour, Disturbed, Megadeth, Papa Roach, Godsmack and countless others, Pennsylvania quartet Halestorm are back with their second full-length, The Strange Case of…. Musically diverse and emotionally revealing, the album resonates with a newfound poignancy that takes Halestorm to a new level of creative achievement.


“I was extremely proud of Halestorm when we released it, and I still love it, but I think I was using mostly one musical technique throughout,” explains frontwoman Lzzy Hale. “We were on ‘ten,’ and we blew through the songs in a safe way – or as safe as something that goes, ‘I get off on you getting off on me’ can be. This new record demonstrates more depth and heart. It’s a lot more expressive and really lets down the barriers.”


Halestorm started writing for the new record while they were on the road in 2010. Then when the band finished the Uproar Tour in May 2011, they entered the studio with producer Howard Benson (3 Doors Down, Seether, Three Days Grace) and tracked one of the heaviest songs of their career, “Love Bites (So Do I).”


“At that time, I decided, ‘I’m going to scream my head off and make really gritty songs,’” Hale says. “When we finished ‘Love Bites,’ the engineer at Howard’s studio, Bay Seven, said, ‘I’m pretty sure that’s the fastest song we’ve ever done here.’”


Excited by the escalated tempos and raw energy, Hale returned to writing mode and bashed out more anthemic rockers filled with uncompromising rhythms, soaring vocals and searing leads. Then one night at 4 a.m., after enduring a personal setback, she wrote a bare, vulnerable sounding song and recorded it on her cell phone. Flooded by emotion and maybe a glass of wine too many, she immediately emailed the unpolished song to Benson and the band’s A&R man.


“The next morning I regretted having sent it because I didn’t hear back from them,” she says. “And then a day later they got back to me and went, ‘Oh, my God, we didn’t know you had this in you. Please write more songs like that.’”


Encouraged by the support and inspired by the urge to purge, Hale wrote more intimate numbers, including the sensitive piano ballad “Break In,” the sparse and melancholy “In Your Room” and the mid-paced ode “Beautiful With You.” She and her band mates also crafted heavier numbers, including "I Miss The Misery," with its start-stop chorus rhythm and confrontational lyrics and “Rock Show,” which blazes with euphoric vocals and motivational riffs. That was when Halestorm realized the new collection of songs was somewhat schizophrenic. At first Hale was unsettled by the polarization, then she penned the song “Mz. Hyde” specifically about the two disparate sides of her personality and the album immediately swam into focus.


“When they heard that, the guys went, ‘Oh my God, you are Mz. Hyde!’” Hale says. “So suddenly this predicament with having this record that had a split personality was about having a split personality. Sometimes I need a shoulder to cry on, sometimes I need to wear a pair of jeans instead of fishnets. But I also like being powerful and being a leader and yelling, ‘Hello, Cleveland.’”


Halestorm recorded The Strange Case of… in three sessions with Benson. By the time they entered the studio for the last time, they had written 56 songs, which they narrowed down to the 17 they tracked. The first single “Love Bites (So Do I)” is a storming rocker that illustrates Hale’s individuality, sense of humor, and willingness to represent young women in today’s fast-paced society.


“I was talking to this little girl over Twitter who was going through her first breakup, and she was asking me for advice,” recalls Hale, who regularly interacts with her fans online. “She typed ‘Love Bites,’ and I replied, ‘Well, so do you, darling. You can still bite back.’ It was meant to be an empowering song for people when love goes down the tubes, and I think it’s a very realistic way of looking at relationships. Nobody talks about all the crap you have to do to keep something alive or just deal with your boyfriend or girlfriend. They always talk about falling in love or having your heart broken. So this is a way of saying, yes, everything can end, but it’s rejuvenating to stand up and go, ‘This sucks right now, but it’s not going to take me down with it.’”


Other tracks, such as “You Call Me a Bitch Like it’s a Bad Thing” and “Freak Like Me” turn epithets into proud slogans, while “Daughters of Darkness” is an admission that women, like men, have their dark side. “Even with the sweetest woman in the world, you click a switch somewhere, and she’s a little bit crazy or she has her secrets,” Hale says. “And a lot of times you see these girls let all that stuff out at our concerts, which is really gratifying.”


One of the most meaningful songs on The Strange Case Of… to Halestorm is “Here's To Us,” a declarative mission statement which starts with a delicate arpeggio and builds to a rousing pop/rock refrain. As much as it represents the band, “Here’s to Us” was actually an afterthought. “It came together after we already thought the album was complete,” Hale says. “It's our ‘bottom of the ninth, bases are loaded… home run!’ The song is about celebrating the ups and downs of your journey as you go along because even the bad times can be reasons to crack open the champagne.”


One reason Halestorm has developed the ability to sound completely self-assured and cohesive whether they’re tearing down the rafters or gently massaging a bruised psyche is because they’ve had plenty of time to hone their craft and celebrate their exceptional chemistry. Hale and her brother and drummer Arejay started the group more than a decade ago when she was 13 and he was just 10. From the very beginning they were in it to win it even though they paid their dues along the way. Back in the day, the members lost a talent show to a tap-dancing cowgirl, played Friendly’s for free ice cream, piled the stage with homemade explosives that sometimes went off right in front of their faces, and even played at a funeral.


Halestorm’s determination paid off. Before long, they were playing local bars even though they were underage. They secured guitarist Joe Hottinger in 2003 and bassist Josh Smith in 2004, and in 2005, Halestorm signed a deal with Atlantic Records and released the live EP One and Done, which included an early version of fan favorite “It’s Not You.” The band continued to write, tour and record and in 2009 released their self-titled full-length album. Inspired by Halestorm’s exuberance and spirit, the band’s loyal legions rapidly grew. They became favorites at rock radio, highlights of music festivals and friends of the multitudes of groups they opened for or headlined with. Halestorm went on to sell more than 300,000 copies.


Backing their monster riffs and euphoric choruses with pure rock and roll attitude, Halestorm followed up their eponymous release with the covers EP ReAniMate. In addition to including aggressive fist-pounders by Skid Row, Guns N’ Roses and Temple of the Dog, Halestorm demonstrated their sonic scope with versions of tracks by The Beatles and Lady Gaga. The boundary-stretching was just a prelude to the muscle and sensitivity of The Strange Case Of…


“We’ve taken everything we can do and stretched it in both directions,” Hale says. “This record goes from one song that’s just vocal and piano and the lowest and softest I’ve ever sung all the way up to the highest notes and craziest screaming I’ve ever done.”


As musically advanced as The Strange Case Of… is compared to Halestorm’s debut, the band still has plenty of growth left in them and continue to write songs at an alarming rate. “I create all the time,” Hale says. “And the four of us are working together more now, so we’re really gelling better than ever. We’re really excited with how far we’ve gotten with this album, and we can’t wait to see where we can go in the future. It feels like there are no rules or boundaries, and that’s the ultimate freedom.”
Venue Information:
CMAC (Canandaigua, NY)
3355 Marvin Sands Drive
Canandaigua, NY, 14424
http://www.cmacevents.com/