Event Information

Friday, July 10th, 2009 7:00 PM
Pepsi Cola and Rockstar Energy Proudly Present the Stimulate This! Tour
STAIND
SHINEDOWN / CHEVELLE / HALESTORM
www.Staind.com
Every ticketholder will receive a Free Rockstar Energy Drink Variety Pack!

Extra Information

Parking Opens: 3:00 PM
Doors Open: 5:00 PM
ALL AGES
Audio Recording: No
Video Recording: No
Photography*: No
Flash Photography: No
Food & Drink: No
Coolers: No
Umbrellas: Yes
Weapons: No

*Non-Professional photography / no zoom lenses larger than 2 inches.

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	STAIND Aaron Lewis (vocals, guitar) Mike Mushok (guitar) Jon Wysocki (drums, percussion) Johnny April (bass, vocals) Staind’s sixth studio album may be titled The Illusion Of Progress, but there’s no mistaking just how far the band has come since the release of their major label debut less than a decade ago. Look no further than the array of Staind “firsts” that earmark the new release: It’s the first album where guitarist Mike Mushok solos, as well as the first where he wrote and recorded on a standard guitar, rather than his customary baritone. Despite the band’s heralded run of ten Top 10 hits at radio – including four No. 1 singles – it’s the first time that they have recorded a song that they almost feel can be classified as a pop song, and it is also the first time that frontman Aaron Lewis has taken a political stance lyrically. On that same lyrical front, Mushok is proud to point out, with a laugh, that “consciously, I don’t think Aaron says the word ‘pain’ once throughout the record!” Make no mistake, Lewis still feels the torment and anguish that, in many ways (and often unfairly), became Staind’s trademark as they rose to prominence to become one of the biggest rock bands of the new millennium, but The Illusion Of Progress boasts a lyrical maturity and songwriting aptitude matched only by the band’s musical depth and insatiable desire to get better and better with each release. “When you finish a record, you have to feel like it’s the best job you’ve ever done and they are the best songs you’ve ever written – if you don’t feel that way, then you didn’t do your job and your job isn’t done,” says Mushok. “We think this album is a big step for us. Both lyrically and musically, it’s a little bit of a departure.” A departure maybe, but only in the sense that it propels Staind’s evolution to heights they have only hinted at on previous releases. While the humble Lewis readily admits that the lead single, “Believe,” is in line with everything fans have come to expect from Staind over the past decade, even he can’t deny the sense of optimism that shines through the track’s musical familiarity and vulnerability. “It’s definitely there,” he says of the album’s more upbeat lyrical tenor. “It’s a different timeframe in my life, and it is what it is.” Adds Mushok, “Aaron and the band have always taken a rap for being dark and gloomy, and it would be nice to try and get away from that – songs like ‘All I Want’ and ‘Believe’ are ways of doing that, hopefully.”
	SHINEDOWN Welcome then to THE SOUND OF MADNESS, Shinedown's third album -- and the Florida rockers' boldest effort to date. Like its two predecessors, 2003's Platinum LEAVE A WHISPER and 2005's Gold US AND THEM, THE SOUND OF MADNESS offers a brave and unsparing look into the soul and psyche amidst a fierce musical attack that, even in its quieter moments, vibrate with the passion, energy and focus of a band with high-minded ideals and limitless ambitions. Brent Smith and company began the recording process for THE SOUND OF MADNESS with the formidable task of following up two massively successful albums that yielded a staggering seven consecutive Top five rock and alternative radio hits that included "Fly From the Inside," "45," the chart topping "Save Me," and a cover of Lynyrd Skynyrd's "Simple Man," along with a reputation as a hot live band with an insatiable appetite for the road. However, after one listen, it’s clear that the band didn't shrink from the task. Where THE SOUND OF MADNESS differs most is in its growth; it’s the product of a group that has developed an even clearer vision for how it wanted to impact an audience. "Lyrically, these songs are the most blunt that I've ever written," says Smith, who formed Shinedown with drummer Barry Kerch in 2001 in Jacksonville, Fla. "I feel that on this record I wrote what a lot of people want to say, but they just don't know how to say it -- not that I should tell anyone how to live their lives, but I've had these experiences and these thoughts that are in my head. And I can't believe I'm the only one who feels the way I do. So I just tried to express that in the most artistic and the most honest way I possibly could." On THE SOUND OF MADNESS, Smith and Shinedown express those thoughts and ideas in ways they never have before. The group's hard rock muscles flex on songs such as the first single, "Devour," "Cry For Help," "Sin With a Grin" and the title track. But the likes of "The Crow and the Butterfly," "Breaking Inside" and "Second Chance" incorporate more sophisticated, emotional dynamics (enhanced by a 20-piece string section), while Smith counts "If You Only Knew" as his first straight-up love song, a tribute to his girlfriend Ashley and a relationship that led to the birth of their son, Lyric, in late 2007.
	CHEVELLE PETE LOEFFLER - GUITAR, VOCALS DEAN BERNARDINI - BASS SAM LOEFFLER - DRUMS Bands often book studio time in remote, isolated locations where the biggest distraction is the refrigerator, and the best way to kill the boredom is to get to work on the task at hand. Multi-platinum Epic recording artists Chevelle took the opposite approach, recording their new album VENA SERA at the Palms Studio in the heart of Las Vegas. There they were flooded with temptation-from the bustling poker tables and ringing slot machines to the flashy Lamborghini lent to them by casino owner Gavin Maloof. "It was a totally different vibe," says Chevelle guitarist, singer and songwriter Pete Loeffler. "It was chaotic and crazy. We'd get up and go work for a while. Then at nine or ten at night, we'd hit a different club or go to a different venue." "We decided to make the experience like a vacation," adds band drummer and Pete's brother Sam Loeffler. "And we were disciplined enough to separate the work we needed to do from the fun we wanted to have." To some extent, VENA SERA reflects the environment of its birth. The music is still bruising and propelled by angry, stomping grooves, but unlike much of the band's back catalog, many of the songs are uptempo and suffused with strong vocal melodies and vibrant harmonies. "I wanted to sing more and get into those upper registers of my voice," says Pete. "I've done a lot of screaming in the past and this time I wanted to get away from that." "We spent six to twelve hours a day-for four months straight-working on the melodies," adds Sam. "We really put in the time that we needed to make these songs what they are." It shows. VENA SERA is Chevelle's catchiest, heaviest, most dynamic and most expressive album to date. Filled with an array of sonic styles and tempos, colored by personal, passionate lyrics, the songs are both a declaration of contempt for the mainstream and a celebration of a counterculture driven by crashing beats and blasting power chords. The first single "Well Enough Alone" starts with chugging guitars and a prolonged howl, and segues into a bipolar blend of angst and euphoria. "I Get It" features jangly guitars and a pulsing dance beat that contrasts with bracing guitars and haunting vocals. Then there are the stormers: "Antisaint" features an abrasive riff and swerves jaggedly between foggy-headed confusion and blunt condemnation. And "Wandered" rides a surging wave from mid-paced ambivalence to pulse-racing conviction.