Framing Hanley & Art Of Dying

Amp Entertainment Presents

Framing Hanley & Art Of Dying

Bridge To Grace, Heartist, Blaming Hollywood, Glen Street, Dark Passenger, Bruce Campbell

Fri, June 19, 2015

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

Exhibition Hall

Watertown, NY


This event is all ages

Friday June 19, 2015

Framing Hanley & Art Of Dying
With Bridge To Grace, Heartist, Blaming Hollywood, Glen Street, Dark Passenger, Bruce Campbell, ECHOmagent.

The Exhibition Hall
W.T. Field Dr. Watertown NY 13601

Doors at 5pm. All Ages/21+ To Drink.

Tickets are on sale now on, Big Apple Music on Arsenal St. as well as from the locals on the show.

Framing Hanley
Framing Hanley
By the time the anthemic rock band Framing Hanley entered the studio in 2009 to start working on the follow-up to their 2007 debut The Moment, they were practically a different band than the quintet that emerged from Nashville, Tennessee three long years before. Sure, their music was still infectious, euphoric and at times melancholic, but they bore the marks of finesse and experience that only come from years of touring.

"We toured for 250 days out of 365 days a year," says vocalist Kenneth Nixon. "And we became better musicians and a better band, no doubt about it. We also realized what was the most fun for us was to play live, and what the crowd reacted to the most. So, when the time came to work on a new record, we wanted to have songs that we really loved, and that a live audience could get into."

Being on the road with artists including Saving Abel, Red Jumpsuit Apparatus and The Veer Union also made the other members of Framing Hanley more attuned to each other's style of playing. Even during jam sessions, the musicians didn't have to guess what their band mates were going to do next; they just intuitively knew and fed off of that communal energy to create some of their strongest songs to date.

Framing Hanley's second album A Promise to Burn is full of tight-fisted melodies, soaring guitars, and yearning harmonies that express the joy of artistic expression and the duality of being in a rock band with lines like "My life is a WarZone/ torn between what's right and wrong" ("WarZone"). Unlike The Moment, which was written by a bunch of giddy kids who had never left their home town, A Promise to Burn was culled from years of experience, revealing both the triumphs and tribulations of being in a successful rock band. It's an honest, unflinching record that illustrates how hard it can be to find the silver lining inside the dark clouds and at the same time, how some of the best rewards can come from not giving up on dreams.

"'The Promise' was the first song we wrote with this lineup and the last song on the album is 'The Burn,'" Nixon says, explaining the name of the album. "The title is really about how something so promising, that you look forward to your whole life, can end up burning you in the end. It's not always the way you predict it to be but it can also be everything you want it to be."

A Promise to Burn marks the studio debut of guitarist Ryan Belcher, who, in 2008, replaced ex-guitarist Tim Huskinson, who left the band on good terms to spend more with his family. "Having Ryan in the band definitely took us in a whole different direction creatively," Nixon says. "Ryan and I are more on the same page, and I think as a band we were both a lot more comfortable with the music we were writing together than we were the last time. As a whole, this record is more up-tempo stuff and there're a lot of layers in our band now that we didn't have before."

"The band and I got really close and figured out how we all work as far as writing and we were able to really compliment each other playing because we were all interested in doing the same kinds of stuff," Belcher adds.

Framing Haney started working on A Promise to Burn in 2008 during brief breaks from touring for The Moment. But just when they started gaining momentum with some of the songs, they decided to play a live cover of Lil Wayne's "Lollipop" as a joke for a hometown crowd. The song went over so well, they started covering it at other gigs, and pretty soon they decided to enter the studio and record "Lollipop" for a re-release of The Moment. The song blew up and Framing Hanley returned to the road for nearly 18 months straight.

"It kind of put the new record on hold and put a breath of fresh life into the old record," Nixon says. "The good thing was we got to play two new songs on tour and when we came back to the studio we knew parts that we definitely wanted to change and try different things on those songs."

The band went to Orlando, Florida in the beginning of November 2009 to work with producer and ex-Dark New Day vocalist Brett Hestla. Since they had been on the road for so long, Framing Hanley had only a handful of new songs to work with, so they worked nearly nonstop for a solid month with Hestla and came up with a strong album's worth of material.

"Originally we were worried that we would get down there and bang our heads against the wall in frustration, but that's the opposite of what happened," Belcher says. "The songs just flowed out of us and with the help of Brett, they came together pretty quickly."

In December 2009, Framing Hanley flew to Soundmine Recording Studios in the Pocono Mountains in Pennsylvania to record A Promise to Burn with Hestla and a variety of other producers and engineers. In addition to recording at the facility for hours on end, the band lived there as well, enabling them to fine tune their songs at all hours, day and night.

"It was cool because it was the first time we've been in a studio where we didn't have to worry about waking up at 10 a.m. to drive an hour and a half to record," Nixon says. "There were live-in quarters that were really comfortable, so we just stayed there and worked whenever we felt like it. One day everyone slept in and [guitarist] Brandon [Wooten] and I woke up and started jamming on an idea he had on acoustic. Brett was there to oversee it and I started jamming on the Wurlitzer, and we created the rhythm structure of a song. We thought "this could turn into something cool." And then everyone woke up, and that day, we recorded the entire song, which became 'Photographs and Gasoline,' which is probably my favorite song on the entire record."

From the plaintive piano and heartfelt vocals which open "Weight of the World" to the electronic beats and winsome melodies of "A Fool With Dreams" to the layered serpentine guitars and propulsive rhythms and undeniable refrain of "Wake Up," A Promise to Burn expands Framing Hanley's sonic boundaries while remaining true to the catchy, immediate song-craft that endeared them to mainstream rock audiences on The Moment.

"I think there's definitely a bit of a departure from our first record, but you can hear the transition from the old Framing Hanley to the new Framing Hanley throughout these songs," Nixon says. "Everything that we did happened naturally on its own and led to the creation of this record. We didn't go into it thinking we had something to prove to anyone, we just wanted to do something we were very, very happy about."
Art of Dying
Art of Dying
There is an old saying which claims that great art is 90% perspiration and 10% inspiration. The truth though is that exceptional creativity is nurtured by a complexly brewed combination of unswerving dedication and God-given talent. It's a fact no better illustrated than by the history of Vancouver's hard-rockers ART OF DYING and their talismanic frontman Jonny Hetherington. From hours busking on the corners of frozen streets, to catching the ear of members of DISTURBED, to gatecrashing some of North America's biggest venues, to writing and recording records of truly epic proportions, the trajectory of the quartet's career has astonished both fans and industry insiders alike.

"In my early days as a musician I just wanted to play and hone my chops," explains Hetherington, "and playing on the street seemed like the best way to do that. It teaches you a lot about songwriting and about yourself, because you're having to learn and make mistakes in front of people. I'll never forget the folks who came and took notice of what I was doing back then, lots of them are ART OF DYING fans now and I think that's testament to what we've been able to create as a band."

And what ART OF DYING has been able to create is muscular, vivacious hard-rock bursting with lung-shattering choruses and a sincerity that is impossible to fake. Equally at home with a lead-fingered riff or a deft slow-burner, there is an ease of breadth in AOD's repertoire that would send most of their peers salad-green with envy.

Gradually, Hetherington's ambitions grew beyond his local sidewalk and he began to seek out like-minded collaborators that he could expand his already impressive template with. Drummer Jeff Brown was swiftly recruited and he and Hetherington set about formulating the powerful nucleus of what ART OF DYING would soon become. It was recordings of those initial sessions that would eventually find their way into the hands on DISTURBED's Dan Donegan - a guitarist with both a fine personal pedigree and a keen ear for new talent.

"I was blown away when I first heard their demo," enthuses Donegan. "I lived with it for quite a while and I was so impressed with the quality of the songwriting that I had a feeling there was
something special going on. Me and David [Draiman, Disturbed vocalist] had been looking for someone to sign to our imprint for a while, but I wanted to make sure the guys could do it live - it's hard to find a band that are the complete package these days. So, we invited them out on a DISTURBED tour of America, we really threw them in the deep end!"

Plucked from relative obscurity, the band introduced guitarist Tavis Stanley and bassist Cale Gontier to their ranks on the eve of the run with DISTURBED - the quartet playing onstage together for the very first time during the soundcheck of the opening show of the tour. But suddenly, everything clicked. "The moment I knew that we had it right was when our voiced started harmonizing," says Hetherington, of the band's now-trademark three-way vocals. "It felt like the band I had always been looking for and that tour went brilliantly for us - it was the catalyst for us to rise to another level."

Now, with a critically-acclaimed and widely-played major label debut under their belts, ART OF DYING are returning with new long-player RISE UP, their most imperious effort to date and, by the band's own admission the truest representation of their sound they've ever distilled.

"We pushed ourselves incredibly hard with this record," explains Tavis. "We went to the studio with our producer David Bendeth (Bring Me The Horizon, Breaking Benjamin, Of Mice & Men) thinking we had the album pretty much done, but he challenged us far beyond where we thought our limits were."

"In fact, a lot of the lyrical content on this album is about the idea of overcoming adversity," continues Hetherington. "About taking yourself beyond where you thought you could go... about proving the naysayers wrong. Take the opening track "Best Won't Do" for example, it's basically a conversation between me and the son-of-a-bitch who's telling me I can't do what I set my mind to!"

Indeed, if RISE UP is about one thing above all else it is a study on the power of the human will and the uplifting capacity of one's own self belief. This is rip-snorting rock 'n' roll that will smash your self-doubt into a million pieces. It's a record for the believers, for the die hards. "Rise Up"'s swaggering riffs and audacious groove belie a potent message of underdog spirit which permeates every bit of it's three and half minutes. Boasting a huge chorus, it's a feel-good anthem apt to galvanise any audience, anywhere in the world. An exercise in fist-pumping adrenaline, "Tear Down The Wall" showcases Hetherington's exemplary vocal range in all its impeccable glory. From understated slowburn to full throttle power, Hetherington effortlessly guides the listener through a modern rock cut that kicks like a mule while wearing its heart firmly on its sleeve.

"The most important thing for me is connecting with people," finishes Hetherington. "I want people to leave our shows or finish listening to our album feeling something, and hopefully feeling inspired. Really, that's the most powerful, potent thing about music in my experience - and this album is my statement saying 'I'm not going to go quietly, and nor should you'!"

Going quietly they most certainly are not: ART OF DYING has only just begun.
Bridge To Grace
Bridge To Grace
A fixture on the rock music scene, Bridge To Grace has been impressing audiences with their energetic live show performance and songwriting skills since early 2012. In January, they released their second single "Bitch" to radio and have begun touring in preparation for the Spring 2015 launch of their first full length eponymous album BRIDGE TO GRACE.

Loaded with powerful songs that range from hard-hitting rockers to emotionally driven ballads, David Garcia (vocals), Alex Cabrera (guitar, vocals, piano), Christian Lowenstein (bass) and Justin Little (drum, vocals) have a musical chemistry like no other. Their unique and compelling sounds leave fans wanting more and their motto of "write a song a day" shows just how determined and dedicated they are to 'making it.' Not to mention Cabrera and Lowenstein are a mere nineteen years old.

Hailing from Atlanta, Georgia, Bridge To Grace was formed by Cabrera in 2010 when he recruited Lowenstein, whom he met while attending Atlanta's Music Matters. Two years later, Little joined and finally Garcia, thanks to producer Rick Beato's suggestion that vocal tracks of Garcia be sent to Cabrera. After one listen, Cabrera knew he was the voice for Bridge To Grace and the band was born!

In late 2013, Bridge To Grace released their first EP "Staring in the Dark," produced by Beato (Shinedown, Need to Breathe) for indie label Long Run Records. Their first single "The Fold" was released to radio in January 2014 and landed in the Top 50 on the active rock charts. That same year, the guys completed their first nationwide tour sharing the stage with bands such as Theory of a Deadman, Pop Evil, Fuel, Puddle of Mudd, Smile Empty Soul, Tantric, and Drowning Pool. Additionally, Bridge To Grace has performed at The Taste of Madison, Dirt Fest, The Dane County Fair and Texas Showdown in addition to doing several radio and television appearances to promote their music and tour.

The eponymous album BRIDGE TO GRACE will be released in Spring 2015 and available on iTunes, Amazon, and
Behind everything Heartist do lies one simple goal: to bring real, honest emotion back into heavy music. "We started this band because we looked around and everything seemed stagnant, everyone just seemed to be doing the same thing, and I haven't heard a song on the radio that's really touched my soul in what seems like forever," states vocalist Bryce Beckley. "We want people to hear us and go wow, holy shit, that's what's been missing." Writing songs that are equal parts anthemic grandeur, brawny metalcore-infused heaviness, and chorus-driven radio rock nirvana, the quintet wear their influences on their collective sleeve while being far more than the sum of their parts. "Though we're very inspired by metal we always wanted to be a hard rock band, but at the same time more than that, to be a fresh take on that genre," says guitarist Tim Koch. "We infuse our music with heaviness and melody but also melancholy. We come out swinging with big riffs and a wall of guitars over driving rhythms, and we also bring in elements of movies scores and other flavors that just make everything bigger, deeper, and more atmospheric. We're doing something new, and we hope that excites people as much as it does us."

Formed in 2011, the members of Heartist - rounded out by guitarist Robby Devito, bassist Evan Ranallo and drummer Matt Marquez - walked away from college educations and secure employment to focus one hundred percent on music. They subsequently spent many months honing their sound, determined to create something that stood out on its own merits, and in no rush to leap back into the scene that failed to excite them. At the same time, they displayed a certain savvy in creating an online buzz that intrigued and lured potential fans without even playing a single show, a tactic that paid off - and then some. "We made teaser videos and got everyone talking about us before anyone had really heard us, and by the time we played our first show we not only had a following but also labels and booking agents keen to see what we had going on," says Beckley. "We also got lucky, because our A & R at Roadrunner books bands at our hometown venue, which we didn't realize, we just asked him to put us on! We really lucked out - we played that one show and got signed." In 2012 the band dropped their Nothing You Didn't Deserve EP, subsequently touring with the likes of Architects UK and Enter Shikari, plus a European run supporting label mates Killswitch Engage. Unsurprisingly, their energetic and engaging live show caught the attention of new fans everywhere they went, and they took a lot away from these experiences. "We learned a lot from touring with Killswitch, who have long been a big influence on me," says Koch. "They take their songwriting and playing their songs totally seriously, but they have fun up there, and that's really what we try to do. We play every song from our hearts, and we want everyone who comes to our shows to leave a with a smile on their face, because we certainly do."

While Nothing You Didn't Deserve was a solid release in its own right, it only hinted at what the band were capable of, and with debut full-length Feeding Fiction they lay it all on the line. With every song boasting a towering chorus that practically demands to be unleashed in arenas and stadiums, it is rich with hooks and chunky riffs, and Beckley's honest lyrics and soaring vocals easily situate him alongside those who inspired him. "We had been working on this record since before we even released the EP. We have put years of our lives into these songs, wanting them to be the absolute best they could be, and when we went into the studio we had twenty-six songs we all loved," says Beckley. Enlisting producer David Bendeth (Of Mice & Men, Breaking Benjamin) the first task he imposed upon them was whittling this twenty-six down to the eleven that would make the record, something that was considerably stressful for the members. "The first day we listened through all of the songs, and he made us pick which ones we wanted. It was literally like he gave us a gun and said pick which of your children are dying tonight! It was totally the right thing though, because while we still looked at them as individual tracks it resulted in the best album, and he clearly knew exactly what he doing from the start." Having achieved this, Bendeth pushed the band hard to ensure that their performances were the best they had ever given. "It was almost as if we had to relearn our craft. Our drummer had to relearn how to play drums, the same for our bass player, and he pushed me and pushed me to give everything I could on every vocal take. Really, he fixed all of our tiny flaws, turning us into the band we should be."

Great performances would be nothing without great songs, and as a lyricist Beckley stepped up his game dramatically. Pouring his heart into everything he wrote, the most important thing to him remains making a genuine connection with listeners. "I draw a lot from my own experiences but also from looking around me and seeing what's happening. I really try to tell a story, and with every line in every song we hope that some kid somewhere in the world will connect with it, and it will really hit home hard with them, that it will make a difference for them." Covering a variety of subjects, "Pressure Point" captures the vocalist's thoughts on the nature of the music industry and the greed stemming from those looking to profit from the hard work of others, while "Manipulate" is born of pure anger, as he vents his feelings on a manipulative ex. Lead single,

"Skeletons" shines as a gripping anthem, however it is closer "Demons" that packs the most profound emotional punch. Written from the perspective of someone who has committed suicide the singer really takes you into this character's mind. "The song is based upon the regret he feels over making the choice to kill himself, and how he had so many people who were there trying to help him and he never let them in. He wishes things could have been different, and that he had let the people save him when he had the chance, but now it's too late. That's a powerful idea for me, and I hope that maybe some kid going through a rough time hears that and understands what I'm saying, and doesn't make that same choice."

Armed with this album, the band are hitting the road hard, playing the songs they love in front of as many people as possible. Having achieved so much in so little time it's hard to imagine that they're not about to set the world on fire. "I think you have to dream big and set goals for yourselves or you're never going to reach them, and from day one we've been making it happen, so we don't see any reason to stop aiming higher," says Koch. "We're keeping our heads down, always pushing, but remaining very humble at the same time. Our goals are very high, but we're working very, very hard to get there."
Blaming Hollywood
Blaming Hollywood
We are Blaming Hollywood. And YOU should too!
Glen Street
Glen Street
Glen Street is a 5 Piece Hard/Alternative Rock band that is based in Whitesboro and New Hartford, New York. Visit for more info!
Dark Passenger
Dark Passenger
I'll be the one you hate... Dark Passenger.

Phil- Vox
Brandon - Guitar
Dan - Guitar
Clickety Smitts - Bass
Kenny - Drums
Bruce Campbell
Bruce Campbell
Bruce Campbell started in March of 2010 in the Glory Hole...
Venue Information:
Exhibition Hall
615 W.T. Field Dr.
Watertown, NY, 13601