$49.50 – General Admission
*plus applicable service fees
Tickets are also available with a $5.00 service charge fee at the following location:
Fox Theater Box Office – 1807 Telegraph Ave, Oakland CA
located on the 19th Street side of the theater
HOURS: Open during shows & Fridays, noon – 7:00pm
Tickets are also available service charge free at the following location:
Zellerbach Hall – 101 Zellerbach Hall #4800, Berkeley, CA
located on the UC Berkeley campus
HOURS: Tuesday – Friday, noon – 5:30pm & Saturday – Sunday, 1pm – 5pm
All doors & show times subject to change.
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The fourth album from Young the Giant, Mirror Master is a layered meditation on identity in modern life, an emotionally charged look at the dangers of illusion and possibilities of freedom. “Within one single day, we’re all so many different people,” says Gadhia, lead vocalist for the L.A.-based band. “Especially with the use of social media, we’re not just living in the now—we’re living on several different timelines simultaneously. At a time when everyone wants to put each other in a box—culturally, socially, musically—we wanted to show that there are a multitude of reflections inside everything. We don’t have to be a certain thing; we can contradict ourselves and show all these different sides of who we are.”
Mirror Master arrives as a continuation of Young the Giant’s Home of the Strange, a 2016 album that found the band members shedding light on their shared experience as immigrants or first-generation Americans. But in a departure from the externally focused Home of the Strange— an album written entirely before Donald Trump emerged as a presidential candidate—Mirror Master shifts perspective and joins in the post-election reckoning faced by so many Americans. With the influx of social media use and public attention to cultural issues in the country, people have been forced to see how their actions, both good and bad, are reflected. “This record takes a lot of the concepts we explored on the last album but plunges them inward,” notes Gadhia. “It’s about being okay with yourself, especially in light of what’s happened in the world in the last two years, and realizing that there’s something beyond that duality of right and left, black and white. The space in-between is infinite.”
In bringing Mirror Master to life, Young the Giant applied that sense of openness and imagination to every aspect of the creative process. Working with producers like John Hill (Santigold, Florence + the Machine), Alex Salibian (who worked on HomeoftheS trange),andTVontheRadio’sDaveSitek,thebandpurposely upended songwriting formula and took an intuitive approach to constructing each track, always emphasizing substance over style. “With production you can dress up a song however you want, so we made a point of not using that as a crutch,” says Gadhia. “Instead of thinking about the tonality so much, we just focused on what we wanted to say within the song.”
Having made a splash with the soulful R&B-revival sound of their debut album, 2010’s Pickin’ Up The Pieces (released on Dangerbird Records), the band offered up a New Wave-influenced dance-pop sound with its Elektra Records debut, 2013’s Heatseekers No. 1 More Than Just A Dream, which featured the gold-certified and #1 Alternative Radio singles “The Walker” and “Out of My League.” The album’s success sent Fitz and the Tantrums on a two-year touring odyssey, which enabled the Los Angeles-based sextet — known for its explosive, no-holds barred live shows — to cement themselves as one of the country’s hottest live acts.
Your first single – the only song you’ve ever released – goes to No. 1 and explodes into an international smash; what do you do next? Well for one thing, you release more songs, but for Alice Merton, the breakout success of “No Roots” ignited a madcap run of transcontinental gigs, interviews, and television performances; all the while, she was writing and recording songs towards her debut album whenever she got a sliver of free time. Alas, the payoff is finally here: the debut album MINT is due January 18th via Paper Plane Records International. For Alice Merton, the whirlwind story is in the songs.
“Some talk about growing up and moving around a lot,” the English-german artist observes, “But a lot of others discuss the struggles we’ve had with starting a label, the feeling of trying to prove yourself to everyone.” After studying at University of Popular Music and Music Business, Alice Merton founded Paper Plane Records Int. with her manager Paul Grauwinkel, while crafting songs alongside co-writer and producer Nicolas Rebscher. Label reps scoffed at “No Roots” – It’s a minute too long! Take the guitars out! – but by the time it topped Billboard’s Alternative Songs chart in the U.S., hit the Top Ten in further 9 countries, streamed more the 300 million times and sold over a million units which ultimately helped her go platinum in seven countries, naysayers turned to supporters.
Regardless, she’s safe from that one-hit distinction and with extensive touring and one of 2019’s standout debuts on the way, Alice Merton’s metamorphosis from Hype Machine and Shazam sensation to bona fide stardom is starting to… take root. “It feels really relieving,” she affirms. “I’m very excited we can finally put these songs out and even start working on the next chapter.”
In addition to 7 Platinum Awards for her debut single in Germany, France, Italy, Poland, Switzerland, Austria and Turkey, Alice Merton has also won the Echo Award, EBBA Award and two awards for pop culture.