$29.50 – General Admission Floor
$29.50 – Reserved Balcony
*plus applicable service fees
For an additional $50.00, you can opt in to upgrade your experience to include access to the exclusive Telegraph Room before, during and after the show! Please note all Telegraph Room upgrades are subject to availability.
Join us at The Den one hour before doors for food & drinks!
All doors & show times subject to change.
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When facing the daily maelstrom of concerns, complaints, and calamities in the news, in conversation, and in social media posts, a smile signals real rebellion. Eschewing self-centered woe and melancholy-for-the-sake-of-melancholy, happiness becomes the brashest, boldest, and ballsiest move—and the sought-after answer. Recognizing this truth, two-time GRAMMY®Award-nominated singer, multi-instrumentalist, songwriter, and producer K.Flay sticks to a powerful, passionate, and positive mission statement on her third full-length album, SOLUTIONS[Night Street/Interscope Records].
Catalyzed by a three-year whirlwind of world touring and prolific output, she translates the simple pleasures into ten genre-blurring bangers…
“When I got home from tour, I was in a dark place,” she admits. “Eventually, I made a decision to focus on the things that actually make me happy: walking around my neighborhood, drawing in notebooks with markers, talking to my mom on the phone. I thought, ‘What did I do as a kid to be happy?’As a child, you don’t have access to alcohol, drugs, sex, caffeine. I looked back, when I had fun just by making music. I remembered the first time I wrote a song, burned a CD, and played it in my car. It’s the closest thing I’ve ever had to a religious experience. I reconnected with that spirit and stopped taking shit so seriously.”
She certainly earned the right to do so…
As the culmination of a diligent decade-long grind marked by a series of independent EPs and shows, the songstress carved up her own lane in the mainstream with major label debut Every Where Is Some Where. It garnered two nods at the 2018 GRAMMY®Awards in the categories of “Best Engineered Album, Non-Classical” and “Best Rock Song” for “Blood in the Cut.” The latter generated 30 million-plus Spotify streams as “High Enough” surpassed the 20-million mark and “Giver” clocked 12 million and counting. In addition to praise from Billboard, Nylon, The Fader, and more, she landed syncs and soundtrack placements for TombRaider, xXx: Return of Xander Cage, NBA 2K, Fifa, This is the End, and more. Not to mention, everyone from legendary Rage Against the Machine and Audioslave guitarist Tom Morello and Linkin Park co-frontman Mike Shinoda to FIDLAR sought her out for collaborations. She also canvased the globe supporting Imagine Dragons.
In the end, K.Flay makes happiness cool again…
“When you listen to this, I hope you walk away feeling like it’s okay to temper a little positivity in your life,” she leaves off. “There’s so much out there we can’t control. As I mature, I’ve been able to realize that. Do what makes you happy. Right now, music makes me really happy.”
The first Houses release in five years, Drugstore Heaven, marks a major artistic shift for L.A.-based songwriter/producer Dexter Tortoriello. Abandoning the heady concepts of his previous records for some of his tightest songwriting yet, Tortoriello is embracing the most fascinating character in his musical universe: himself.
Drugstore Heaven delivers a dynamically textured sound partly shaped by Tortoriello’s exploration of rave and drum-and-bass artists from the late ’90s. “At the time all that stuff was coming out, electronic music was just being discovered, so there was this really pioneering sense of what was possible,” he says. The lead single “Fast Talk,” featuring backing vocals of longtime Houses member Megan Messina, unfolds in hazy rhythms formed from chopped-up breakbeats and live percussion from timpani, glockenspiel, and a couple bottles of antidepressant medication. “That song is meant to be a memorial for a group of friends I had back in my late teens,” explains Tortoriello, adding, “Thematically it’s almost like a ballet where you keep driving around the same blocks, and people start disappearing from the car because they’re going to jail or dying.”
On Drugstore Heaven, embracing the personal also has its joyful side. The EP’s punchiest moment, “Left Alone,” emerges as bright and bouncy anthem celebrating the bliss of solitude, while closer “Pink Honey” is a lavishly romantic number built on ethereal vocals, delicate guitar tones, and luminous synth. “I was trying to turn that one into a sweeping love song, like something out of Casablanca,” says Tortoriello.
For Tortoriello, the deepest achievement of Drugstore Heaven lies in building a body of work that feels entirely true to the world in his head. “In the past I’ve felt self-conscious about the person I put forth in my music, but these songs feel very reflective of who I really am,” he says. Being this open still feels new to him, but for the listener, it’s a rewarding glimpse into the mind of a vital and forward-thinking artist.