$40.50 – General Admission Floor
$40.50 – Reserved Balcony
*plus applicable service fees
Tickets are also available service charge free at The Fox Theater’s Box Office (located on the 19th street side of the theater) on show dates and on Fridays from noon – 7:00pm.
For an additional $50.00, you can opt in to upgrade your experience to include VIP access to the exclusive Telegraph Room before, during and after the show!
Join us at The Den one hour before doors for Happy Hour!
Flogging Molly
Flogging Molly is comprised of Dave King (lead vocals, acoustic guitar, bodhran), Bridget Regan (violin, tin whistle, vocals), Dennis Casey (guitar, vocals), Matt Hensley (accordion, concertina, vocals), Nathen Maxwell (bass guitar, vocals), Spencer Swain (mandolin, banjo, guitar, vocals), and Mike Alonso (drums, percussion). Starting out as the house band for Molly Malone’s in Los Angeles and building a loyal following through endless touring, Flogging Molly has become a staple in the punk scene over the past 20 years, kicking off with its raucous debut showcase, Swagger, and continuing through it’s five additional studio albums. With numerous late-night television appearances under their belt, its sell-out Salty Dog Cruise through the Caribbean, and yearly St. Patrick’s Day Festival in Los Angeles, the band is currently working on the Rise Records follow-up to its latest LP, Life Is Good. Recently, the band reissued Swagger with exclusive tracks, an Irish traditional set, a 60-minute video feature, and exclusive merch in a collectable box set.
The White Buffalo
“I’ve always taken great pleasure in being difficult to categorize,” says the White Buffalo’s big-voiced frontman, Jake Smith. Since releasing his first album in 2002, Smith has explored the grey area between genres, carving out a sound rooted in dark folk, countrified soul, cinematic storytelling and roadhouse-worthy rock. He keeps things unclassifiable on the White Buffalo’s sixth album, Darkest Darks, Lightest Lights, the most hard-hitting, electrified album of his career.
Although recorded in Smith’s hometown of Los Angeles, where he grew up listening to the country twang of George Jones and the pissed-off punk of Bad Religion, Darkest Darks, Lightest Lights looks to the passion and punch of White Buffalo’s live shows for inspiration. Smith has been a road warrior for more than a decade, doubling as his own tour manager along the way. Gig after gig, he’s built a cult following without a major label’s support, boosting his band’s international visibility with more than a dozen TV-worthy songs — including the Emmy-nominated “Come Join the Murder” — that were featured on shows like Sons of Anarchy and Californication.
“I’m kind of an island,” he says proudly. “We tour on our own and have built our own fanbase, so the idea with this album was to capture that live feel — the passion that we produce in a stage setting — in a studio performance.”
Island or not, Darkest Darks, Lightest Lights finds Smith reaching far beyond his own experience for a string of detailed, character-driven songs. Many of these tunes explore the gloomy, dangerous corners of America, spinning stories of sinners, crooks, bad decisions and broken hearts. On “Border Town/Bury Me in Baja,” a drug dealer awaits his death at the hands of the Mexican mafia. “Avalon,” a desperate, driving anthem worthy of Bruce Springsteen, finds its protagonist “wishing he could flip a switch [and] turn his life around.” “Nightstalker Blues” — an amped-up blast of harmonica-filled, guitar-fueled roots rock — revolves around the story of serial killer Richard Ramirez, whose murder spree haunted southern California during the mid-Eighties.
As the album’s own title promises, though, this is a record about balance. A record about life’s ups and downs. “I wanted to hit all the emotional spots,” explains Smith, whose voice — a booming, rumbling baritone, with a slight quaver that can sound ominous one minute and warmhearted the next — takes a tender turn during love songs like “Observatory” and “If I Lost My Eyes.”
Together, Darkest Darks, Lightest Lights offers up the White Buffalo’s strongest material to date, doubling down on Smith’s strengths while pushing his sound into new territory. Stripped-down folk. Electrified swamp-soul. Heartland rock. Bluesy boogie-woogie. It’s all here, tied together by the super-sized vocals and articulate songwriting of a bandleader whose work is sometimes moody, sometimes menacing, but always melodic.
“My hope is that this album will touch people,” he says. “Make people feel. The good, the bad, and the ugly. The darkest darks, and the lightest lights.”