We are giving away a pair of tickets to Skillet Unleashed Tour 2017 @ Crystal Ballroom on March 5. To win, comment on this post why you’d like to attend. Winner will be drawn and emailed Friday, March 3.
From our sponsors:
Skillet – Unleashed Tour 2017
Devour The Day
March 5, 2017
6:30 p.m. doors, 7:30 p.m. show | $30 ADV, $35 Doors | All Ages
More info: crystalballroompdx.com
1332 W Burnside St, Portland, OR 97205
Skillet recently made headlines when their last album, Awake, became one of just three rock albums to be certified platinum in 2012, forming an improbable triumvirate with the Black Keys’ El Camino and Mumford and Sons’ Babel. The news that Skillet had sold more than a million albums in the U.S. came as a shock to all but the band’s wildly diverse horde of rans, male an female, young and old – known as Panheads – whose still-swelling ranks now officially number in the seven-digit range. This remarkable achievement was announced just as Skillet was putting the finishing touches on their eagerly waited follow-up album, Rise (Atlantic/Word).
Unwilling to stand pat or rest on their laurels, the band – lead vocalist/bassist John Cooper, guitarist/keyboardist Korey Cooper (John’s wife), drummer/duet partner Jen Ledger and lead guitarist Seth Morrison, making his first appearance on record with Skillet – continue to explore new terrain on Rise, expertly produced by Howard Benson, who previously helmed the mega-successful Awake. Eager for new challenges, Cooper threw himself into collaborative songwriting to a far greater degree than ever before, co-writing the uplifting title song and the lacerating first single “Sick of it” with Scott Stevens, founder/leader of the L.A.-based Exies, while teaming with Nashville songsmiths Tom Douglas and Zac Maloy on the timely and anthemic “American Noise,” which Cooper considers to be the strongest song Skillet has yet recorded. On “American Noise” and the joyous “Good to Be Alive,” the band explores new stylistic territory, bringing an element of heartland rock into their aggressive theatrical approach. The band expanded their musical palette, integrating natural, acoustic instruments link accordion, mandolin, dulcimer, harp, tympani and bells to their trademark slashing electric guitars, strings, churning synths and pummeling drums.
It isn’t just the songs themselves that make Rise so gripping, it’s also the song sequences – like the radical contrast between the almost unbearable tension of “Sick of It” suddenly giving way to the ecstatic release of “Good to Be Alive,” or the way the closing three-song progression of “My Religion,” “Hard to Find” and “What I Believe” builds to a thrilling musical, thematic and emotional crescendo. Clearly, these songs and the album as a whole are embedded with an impassioned overarching message. This message courses with a tidal pull through Skillet’s entire body of work, but on Rise, it’s artfully woven into a gripping coming-of-age narrative. This sprawling work stand as the band’s first concept album – though is wasn’t premeditated.