Black Veil Brides: BLEEDERS Tour 2024
W/ Dark Divine
About This Event
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PLEASE NOTE - Marathon Music Works is a cashless venue. Only debit or credit cards are accepted at our bars, box office and guest services window. Please plan accordingly.
PLEASE RIDESHARE - Parking is limited around the venue. We strongly recommend using rideshare apps like Uber or Lyft for transportation to and from the venue. There is a designated rideshare pick up / drop off location near the entrance for your convenience.
Need an Access Code? Sign up for our newsletter to get new show announcements, exclusive presale codes, rental discounts and more. Sign up HERE.
*Presale codes are usually sent out on Thursdays at 10am as part of our weekly newsletter.
PLEASE NOTE - Marathon Music Works is a cashless venue. Only debit or credit cards are accepted at our bars, box office and guest services window. Please plan accordingly.
PLEASE RIDESHARE - Parking is limited around the venue. We strongly recommend using rideshare apps like Uber or Lyft for transportation to and from the venue. There is a designated rideshare pick up / drop off location near the entrance for your convenience.
Need an Access Code? Sign up for our newsletter to get new show announcements, exclusive presale codes, rental discounts and more. Sign up HERE.
*Presale codes are usually sent out on Thursdays at 10am as part of our weekly newsletter.
Artist Info
Black Veil Brides
Formed in 2006, Black Veil Brides originally came together in Cincinnati, Ohio.Primarily the brainchild of vocalist Andy Six, the band combines cathartic metalcore/screamo with a dark, gothic image to set it apart from its contemporaries. In their first couple of years together, Black Veil Brides went through a number of lineup changes while they gained attention from labels with two EPs, releasing Sex & Hollywood in 2007 and Never Give In in 2008. The band eventually relocated to Los Angeles, settling on a lineup and beginning work on its full-length debut. Bringing together guitarist Jinxx (formerly of the Dreaming), guitarist Jake Pitts, bassist Ashley Purdy, and drummer Sandra Alvarenga, the band began to refine its image and sound, touring with groups like Eyes Set to Kill and From First to Last. In 2010 they released their debut, We Stitch These Wounds, on Standby Records. Later that year, Alvarenga left the band and was replaced by drummer Christian "CC" Coma, who made his debut with the band on 2011's Set the World on Fire, which was released on Lava Records. For their third release, Black Veil Brides channeled their gothic image to create the conceptual punk rock opera Wretched and Divine: The Story of the Wild Ones, which was released in early 2013. ~ Gregory Heaney
Dark Divine
Hailing from Orlando, FL this Hard Rock act shows us a side of darkness that brings a sentiment of anguish mixed with a sincere notion of understanding. The band’s new single "Paper Crown (feat. Bryan Kuznitz of Fame On Fire,)" premiered on Octane is the newest release of the band's growing discography. “Dancing Dead” and "Drown" are hair-raising tracks, immersing fans in a fear-stricken world. Conceptual ideology aside, the band brings hard hitting instrumentation and a vocal power that stands to cement the act as a fresh mainstay of the hard rock and metal genres for years to come. “The confines of Florida have seen some absolutely epic bands make names for themselves, but it’s time to look to the future. There is a quickly rising band that is making all the right moves in all the right places." Says New Noise about the band. They have recently shared the stage with Famous Last Words, Limbs, Until I Wake and The Word Alive. Fans can catch the band supporting Black Veil Brides & VV this fall. "Dark Divine is new to the scene but garnering a lot of attention quickly and rightfully so. They are hands down one of the best young bands out there, and we are certain the BVB Army and VV fans will love them." Andy Biersack / Black Veil Brides frontman says regarding their upcoming tour. Dark Divine's debut 'Deadly Fun', produced by Zach Jones (Chelsea Grin, We Came As Romans, Fit For A King) out now via Thriller Records.
Ghostkid
GHØSTKID’s music is a headlong dive into darkness and aggression. It aligns on new paradigms: baring its teeth while keeping a sense for catchy melodies.
GHØSTKID is the new namesake of Sebastian “Sushi“ Biesler (formerly Eskimo Callboy) and a conspiracy of friends and likeminded allies who have come to a riot of their own: Steve Joakim (drums) from Sweden as well as Jan Marco Heinz (guitar) Chris Kisseler (guitar) and Stanislaw Czywil (bass).
The new noise commenced in October 2019 when Sushi picked up a guitar and started writing for GHOSTKID. GHØSTKID wasn’t merely an outlet – it was in his DNA. “I just followed my heart”, he says. At that point Sushi was inspired by a steady diet of Marilyn Manson, Fever 333 and Bring Me the Horizon, all of whom inspired him to meld together sundry sonic shades, touching on pop, metal, industrial and a hint of trap. It was the foundation for the shape of rock to come. No mean feat for the Sushi, who initially started out as a guitarist, but when the original singer of one of his previous bands dropped out during a recording session Sushi simply picked up the mike. “I love both roles”, he says. “Actually, whenever I am playing guitar I miss singing, but I also miss a guitar in my hands when I am just singing.”
Cut to the fall of 2019. It was time to really start from scratch, to tear it up and start over again. Christoph Wieczorek (Annisokay) and co-producer Phil Sunday joined up to start rewiring Sushi’s sonic interface which would begin spitting out GHOSTKID’s anthemic data-flow. Finally, renowned producer Sky van Hoff (Rammstein, Emigrate) came aboard to hammer into shape what would become GHOSTKID’s self-titled Century Media debut.
Sushi delivered on GHOSTKID’s album with a laser-focused vision. And a lot proverbial blood on the tracks. “I am looking back to a very intense time when I learned a lot about myself”, he explains. Joining the aural fracas are Marcus Bischoff of Century Media labelmates Heaven Shall Burn on “SUPERNØVA” and the legendary genre-smasher Mille Petrozza on “CRØWN”. Upcoming are two versions of “THIS IS NØT HØLLYWØØD” – one with Timi Hendrix from Trailerpark and one with Johnny 3 Tears from Hollywood Undead on vocals.
Once you immerse yourself in the layers of noise and ambition, it’s really no surprise that Sushi has successfully morphed into the entity known as GHØSTKID. “It leaves a lot of room for interpretations while you immediately associate certain imagery with it,” he says. Warning: this is music that doesn’t merely haunt your sensibilities. It’s a full-blown aural exorcism and a deafening harmony in your head.
GHØSTKID is the new namesake of Sebastian “Sushi“ Biesler (formerly Eskimo Callboy) and a conspiracy of friends and likeminded allies who have come to a riot of their own: Steve Joakim (drums) from Sweden as well as Jan Marco Heinz (guitar) Chris Kisseler (guitar) and Stanislaw Czywil (bass).
The new noise commenced in October 2019 when Sushi picked up a guitar and started writing for GHOSTKID. GHØSTKID wasn’t merely an outlet – it was in his DNA. “I just followed my heart”, he says. At that point Sushi was inspired by a steady diet of Marilyn Manson, Fever 333 and Bring Me the Horizon, all of whom inspired him to meld together sundry sonic shades, touching on pop, metal, industrial and a hint of trap. It was the foundation for the shape of rock to come. No mean feat for the Sushi, who initially started out as a guitarist, but when the original singer of one of his previous bands dropped out during a recording session Sushi simply picked up the mike. “I love both roles”, he says. “Actually, whenever I am playing guitar I miss singing, but I also miss a guitar in my hands when I am just singing.”
Cut to the fall of 2019. It was time to really start from scratch, to tear it up and start over again. Christoph Wieczorek (Annisokay) and co-producer Phil Sunday joined up to start rewiring Sushi’s sonic interface which would begin spitting out GHOSTKID’s anthemic data-flow. Finally, renowned producer Sky van Hoff (Rammstein, Emigrate) came aboard to hammer into shape what would become GHOSTKID’s self-titled Century Media debut.
Sushi delivered on GHOSTKID’s album with a laser-focused vision. And a lot proverbial blood on the tracks. “I am looking back to a very intense time when I learned a lot about myself”, he explains. Joining the aural fracas are Marcus Bischoff of Century Media labelmates Heaven Shall Burn on “SUPERNØVA” and the legendary genre-smasher Mille Petrozza on “CRØWN”. Upcoming are two versions of “THIS IS NØT HØLLYWØØD” – one with Timi Hendrix from Trailerpark and one with Johnny 3 Tears from Hollywood Undead on vocals.
Once you immerse yourself in the layers of noise and ambition, it’s really no surprise that Sushi has successfully morphed into the entity known as GHØSTKID. “It leaves a lot of room for interpretations while you immediately associate certain imagery with it,” he says. Warning: this is music that doesn’t merely haunt your sensibilities. It’s a full-blown aural exorcism and a deafening harmony in your head.
Creeper
At the end of CREEPER’s sold-out headline show at the Roundhouse, vocalist William Von Ghould stepped out to thank the audience when a mysterious figure leapt from the shadows and decapitated him in front of 3300 people. The lights went down and the big screen cut to a haunted house, where the band’s reluctant social media host, the vampire familiar Darcia, deadpanned, “It’s time for a new era… and I couldn’t be more excited.”
Every era in CREEPER’s strange tale closes in similarly flamboyant fashion: see also their apparent Bowie-style on-stage break-up at the end of the campaign for their debut album ‘Eternity, In Your Arms’, which left some fans in floods of tears. But in CREEPER’s ever eerie world, death is just a stepping stone towards a joyous rebirth. And now one of the most unlikely success stories in British music rises from the ashes once more with their new album ‘SANGUIVORE’.
Taking a darker turn from their Top 5 record ‘Sex, Death & The Infinite Void’, ‘SANGUIVORE’ is a thrillingly theatrical new story that the band’s ever-growing army of devotees will devour themselves within. Riffing upon fearsome throwback vampire flicks such ‘Near Dark’, ‘The Lost Boys’ and ‘Interview With The Vampire’, its narrative focuses upon Mercy, a deceptively innocent yet savagely violent vampire, 19-years-old in conventional terms yet with a soul dating back some thousand years, and her relationship with Spook, an older man who falls under her control but doesn’t quite lose sight of their previous humanity.
Somehow the music is wilder than the narrative. Opening with the sprawling Jim Steinman goth-opera epic ‘Further Than Forever’, CREEPER power through the swaggering, darkwave sleaze of ‘Cry To Heaven’, the supercharged horror-punk of ‘Sacred Blasphemy’ and ‘The Ballad of Spooky & Mercy’, which could easily be snuck into the tracklist of Nick Cave’s ‘Murder Ballads’ without anyone batting an eyelid. And that’s just within the album’s first half. By the time it closes with the evil croon of ‘More Than Death’, you’ll have heard elements of pagan-folk, late ‘70s punk and the kind of gloomy synth textures you might expect from prime Gary Numan. It’s all larger-than-life, darker-than-death, and the best album CREEPER have ever recorded.
Every era in CREEPER’s strange tale closes in similarly flamboyant fashion: see also their apparent Bowie-style on-stage break-up at the end of the campaign for their debut album ‘Eternity, In Your Arms’, which left some fans in floods of tears. But in CREEPER’s ever eerie world, death is just a stepping stone towards a joyous rebirth. And now one of the most unlikely success stories in British music rises from the ashes once more with their new album ‘SANGUIVORE’.
Taking a darker turn from their Top 5 record ‘Sex, Death & The Infinite Void’, ‘SANGUIVORE’ is a thrillingly theatrical new story that the band’s ever-growing army of devotees will devour themselves within. Riffing upon fearsome throwback vampire flicks such ‘Near Dark’, ‘The Lost Boys’ and ‘Interview With The Vampire’, its narrative focuses upon Mercy, a deceptively innocent yet savagely violent vampire, 19-years-old in conventional terms yet with a soul dating back some thousand years, and her relationship with Spook, an older man who falls under her control but doesn’t quite lose sight of their previous humanity.
Somehow the music is wilder than the narrative. Opening with the sprawling Jim Steinman goth-opera epic ‘Further Than Forever’, CREEPER power through the swaggering, darkwave sleaze of ‘Cry To Heaven’, the supercharged horror-punk of ‘Sacred Blasphemy’ and ‘The Ballad of Spooky & Mercy’, which could easily be snuck into the tracklist of Nick Cave’s ‘Murder Ballads’ without anyone batting an eyelid. And that’s just within the album’s first half. By the time it closes with the evil croon of ‘More Than Death’, you’ll have heard elements of pagan-folk, late ‘70s punk and the kind of gloomy synth textures you might expect from prime Gary Numan. It’s all larger-than-life, darker-than-death, and the best album CREEPER have ever recorded.