$46.00 – General Admission Floor
$46.00 – Reserved Balcony
*plus applicable service fees
The War On Drugs have partnered with PLUS1 so that $1 from every ticket sold will go to The Bail Project, a national revolving bail fund designed to turn the tide on mass incarceration by paying bail for tens of thousands of low-income Americans.
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 access to the exclusive Telegraph Room before, during and after the show!
Join us at The Den one hour before doors for food & drinks!
All doors & show times subject to change.
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Philadelphia’s The War on Drugs reside at the blurred edges of American music: overexposing studio limitations, piling tape upon tape to maximum density, and then — with each song — they pull off the scaffolding to reveal what sticks, keeping only what’s absolutely necessary and dig into what sounds like the best kind of fucked up. As on their 2008 debut, Wagonwheel Blues, central member Adam Granduciel takes small moments occurring over multiple tapes and multiple song versions, and puts every last drop of trust in his own keen instinct of momentum.
That’s not to overshadow the sharp, personal songwriting at play here. There are certainly cues taken from our very best American bards (Dylan, Petty, Springsteen). Yet, The War on Drugs are wise enough to also implode those cues or send themselves into outer space when the moment calls for it. The driving organ riff that pushes “Baby Missiles,” from the band’s 2010 epic EP Future Weather, may well be inspired by a fever dream of Springsteen rather than any particular song in his catalogue. And the endless layers of guitar melody and atmospherics of “Comin’ Through,” also from Future Weather, rather than add weight to the vessel, only work to fill its sails with warmer and warmer winds.