Parquet Courts live up to the hype at Manhattan’s Webster Hall – Entertainment Weekly

By Eric Renner Brown on Dec 12, 2014 at 4:31PM @ericrennerbrown

Ten-dollar beers, rigid set times, and impersonal festival circuits: Modern music sometimes lacks spontaneity. Although Manhattan’s Webster Hall sold beers for eight bucks Thursday night, Parquet Courts—a group that nostalgically sang about “the last classic rock band’s last solid record” earlier this year—made live music thrilling again, rattling off a 24-song set that barely resembled 2014. People even kept their phones in their pockets.

Since rock fans rushed to praise New York’s early-aughts garage explosion—the one championed by Interpol, Yeah Yeah Yeahs, and the Strokes—they’ve thought twice about preemptively labeling artists rock ‘n’ roll saviors. Did you listen to the solo records Karen O or Julian Casablancas put out this year? Those groups weren’t built for longevity.

With Parquet Courts, that rock savior mentality has started to creep back. The band has released two stellar records—2013’s Light Up Gold and this year’s Sunbathing Animal—as well as one under its barely-pseudonym Parkay Quarts, October’s Content Nausea. These 40 songs, clocking in at just under two hours, are a blend of squalling distortion, barreling power-punk, and slow-burning, Southern-fried rockabilly. With the precision of the Strokes and the looseness of the Stones, some have wondered if Parquet Courts are “the last great New York band.”

“Last”? Hopefully not. But at Webster Hall, Parquet Courts certainly lived up to the rest of the hype. Dual frontmen Andrew Savage and Austin Brown, buddies since attending Denton’s University of North Texas, alternated between singing and lead guitar. With poofy hair, and a short-sleeved, button-down shirt tucked into navy slacks, Savage played the nerd. Brown, with his bargain-bin sweater and long, blond hair, was Savage’s cool guy foil.

They have natural chemistry. “Uncast Shadow of a Southern Myth” doesn’t initially require Brown’s slide guitar ornamentation—so he lit a cigarette, popped a bottle of wine, and swigged and smoked until he balanced the still-smoldering butt in his strings to play his part.

Afterward, Brown observed the audience’s reaction: “If a bottle of wine gets about half the applause that a song gets… we could just sit up here and drink bottles of wine all night?”

Perhaps—but that would’ve been a shame. Parquet Courts slipped into a rootsy groove on Content Nausea tracks “Southern Myth” and “Pretty Machines,” bolstered by guest musicians on saxophones and a Hammond organ. They also decimated their signature frenetic cuts. “Ducking & Dodging” masterfully updated the Pixies’ loud-soft dynamic, while the raucous crowd boiled over during main set closer “Sunbathing Animal.”

In the past, the centerpiece of a Parquet Courts set was their best song, “Stoned & Starving,” which they’d morph into a wild guitar assault. They don’t play that track live anymore—it attracted too many “Joe College” types, says Savage—so the night’s crowning moment came mid-set, with two-minute rager “Borrowed Time.” It’s an infectious cut that could fit equally well in a punk club or a car commercial, despite its melancholy core.”It seems these days I’m captive in this borrowed time,” Savage sings, nailing youthful malaise.

Like many great New York bands, Parquet Courts understand the existential troubles associated with young, urban living. Maybe self-awareness explains Savage’s early warning not to “do the Evangelical hand in the air” because it “bummed him out.” But if Parquet Courts keep turning in performances like Thursday’s, he should get used to that type of devotion.

http://music-mix.ew.com/2014/12/12/parquet-courts-live-up-to-the-hype-at-manhattans-webster-hall/

Thurston Moore playing free Pandora show; The Hold Steady add 2nd Brooklyn show, play free Pandora show Friday – BROOKLYN VEGAN

Thurston Moore Band at Saint Vitus in October (more by PSquared)
Thurston

The Thurston Moore Band — aka Thurston, his former Sonic Youth bandmate Steve Shelley on drums, My Bloody Valentine’s Deb Googe on bass, and guitarist James Sedwards — put out their SY-esque The Best Day earlier this year and recently toured it, hitting NYC twice. They have more dates coming up, including a return to NYC on December 11 at the Marlin Room at Webster Hall. That’s a free show presented by Norton Antivirus and Pandora, but you have to RSVP to get in. All Thurston dates are listed below.

Speaking of Pandora shows, the previously discussed Pandora-presented Hold Steady show at Long Island’s Space at Westbury happens this Wednesday (11/19). That’s also free with RSVP.

The Hold Steady have also expanded their New Year’s Eve celebration. The NYE show at MHOW sold out long ago, but they’ve now added a second show happening the night before (12/30) at the same venue. Both are with The So So Glos. Tickets for the 12/30 show go on sale at noon on Friday (11/21) with AmEx and artist presales starting at noon on Wednesday (11/19).

http://www.brooklynvegan.com/archives/2014/11/thurston_moore_32.html

The PC Brigade – THE NEW YORKER

Night Life DECEMBER 15, 2014 ISSUE

Two local bands revive the city’s rock scene.

BY SASHA FRERE-JONES

The New York bands Parquet Courts and PC Worship are friends and occasional collaborators; they’ve recorded and still play live together, which affords them the chance to call their supergroup PCPC. Between them, they ably cherry-pick from thirty years of New York City rock history without sounding like revivalists. Only a grouch would begrudge them their appropriations from bands gone by, because there’s a lot at play in both acts that was not happening in the city circa 1979.

Parquet Courts and PC Worship, at Webster Hall, ably cherry-pick from thirty years of rock history.

PC Worship sides with chaos; Parquet Courts favors clarity. Andrew Savage, the singer in Parquet Courts, is often tied to Television, the elegant abstractionists of the seventies, and Pavement, their nineties counterparts. It is not faint praise to say that his band might well carry on in this tradition. The guitars are clean, the mood is controlled, and the lyrics describe concrete situations with just one or two details twisted. On “Instant Disassembly,” the band lopes and chimes, never interfering with Savage’s plea to someone who’s either leaving or has already left: “Mamacita, I’ve prepared my defense, flawed as ever in the drunkest tense. Kept repeating, kept repeating myself, in my native tongue, the parlance of the problem itself.” The band’s strength is in the writing, which lets each guitar line and lyric make its way to you unimpeded.

Justin Frye and his band PC Worship are fans of murk and thunder, and most of their lyrics get lost in the ecstatic sprawl. There are hints of simple, electric brutality, as in early Swans and Sonic Youth, and forays into acoustic folk that blends violins and horns and tape loops. The joy of PC Worship is in the glee of disorientation and the unexpected eruptions of rude beauty. On Dec. 11, at Webster Hall, the two bands provide a cross-section of the city’s living strata. We have plenty to be proud of. ♦

http://www.newyorker.com/magazine/2014/12/15/pc-brigade?mbid=social_twitter

After Years of Rage and Fury, a Cooler-Headed Sound – NEW YORK TIMES

The Smashing Pumpkins Play at Webster Hall
By JON PARELESDEC. 9, 2014


Billy Corgan of the Smashing Pumpkins, at Webster Hall. Credit Chad Batka for The New York Times

One chorus always gets the Smashing Pumpkins’ fans shouting along, as it did when the band played a sold-out Webster Hall on Monday night. It’s an old one, from the 1995 song “Bullet With Butterfly Wings”: “Despite all my rage, I am still just a rat in a cage.” In the band’s 1990s heyday, that fury was one polarity of songs with magnificent mood swings: from rage to all-encompassing love, from bulldozing guitar riffs to lofty melodies. But the latest incarnation of the band — led by its songwriter, singer and guitarist Billy Corgan — is devoted to something else, something lesser: a dogged perseverance, maintaining the band’s presence with a cooler head.

Through the years, Mr. Corgan has followed his whims with the band, hiring and firing members and announcing a grandiose multi-album project, “Teargarden by Kaleidyscope,” that is still underway. And, for the moment, he has chosen a workmanlike concision. The Smashing Pumpkins were performing to support a newly released album, “Monuments to an Elegy” (Martha’s Music/BMG), a collection of short, blunt, single-minded songs.


From left, Billy Corgan, Brad Wilk and Jeff Schroeder of the Smashing Pumpkins, at Webster Hall. Credit Chad Batka for The New York Times

“I don’t mind the sound alone,” Mr. Corgan sang in “One and All,” going on to insist, “We are so young/ We’re young, we’re young.” In another new song, the marching “Drum + Fife,” he insisted, “You’re gonna listen now to me” and vowed, “I will bang this drum till my dying day.” Another song, “Monuments,” had little more to say over its heaving riff than “I feel all right, I feel all right tonight.”

The current Smashing Pumpkins include the guitarist Jeff Schroeder, who joined in 2007, with the sidemen Brad Wilk from Rage Against the Machine on drums, and Mark Stoermer of the Killers on bass. They faithfully executed the Pumpkins sound, new and old, with the surge and contrasts of “Tonight, Tonight,” the measured grunge processional of “Hummer,” and the neo-psychedelic jamming of “Glass and the Ghost Children.”

Throughout the set, Mr. Corgan and Mr. Schroeder took turns at lead guitar: Mr. Schroeder heading into high, darting filigrees; Mr. Corgan more gnarled and penetrating, pushing into feedback, but just as fluent when he wanted to streak ahead.

Once the band got the material from the new album out of the way, in the first half of the set, the concert reveled in the Smashing Pumpkins’ muscle and majesty. The David Bowie song “Fame” was an odd choice for a band now depending on longtime loyalists, but it became a hard-rock stomp that Mr. Corgan emoted through as a crescendo of irritability, working up to a scream.

By the end of the set, the band had even propelled some fans into a mosh pit. The sound is intact, awaiting better songs.

http://www.nytimes.com/2014/12/10/arts/music/the-smashing-pumpkins-play-at-webster-hall.html?smid=tw-share&_r=1

NY indie rockers Dolly Spartans build ‘Blue and Lucky’ following at Webster Hall – EXAMINER.COM

December 2, 2014
11:26 AM MST

New York indie rock band Dolly Spartans is releasing its first CD, Dolly Spartans, in time for the latest installment of Blue and Lucky, its festival of regional underground music bands.

Dolly Spartans
Blue and Lucky

The next Blue and Lucky fest is slated for Friday night at the Marlin Room in Webster Hall—the fourth time it’s been held there since last year. Performing, in addition to Dolly Spartans, are Yabadum, the Kinsey Scale, and Bonnie Situation.

Blue and Lucky was founded by Dolly Spartans frontman/songwriter Micheal Eliran and comprises four or five New York indie-rock, alt-rock, psyche-rock and EDM bands on one floating bill playing to shared fan bases. The young bands came up through the private party, dorm room, industrial loft and brownstone apartment circuits, also hosting their own parties in ragged rehearsal spaces before graduating to above-ground New York venues including Santos Party House, Slake, and Webster Hall, which will increase the frequency of Blue and Lucky shows next year to monthly weekend matinees.

Blue and Lucky also hits the road this spring with festivals taking place at clubs and theaters including Webster Theater in Connecticut, Tipitina’s in New Orleans, 9:30 Club in Washington, D.C., Will Call in Miami and the Viper Room in Los Angeles, and other spots at Ithaca College and the University of Rochester.

Named for Dolly Spartans manager’s dogs Blue and Lucky, the festival has now become a full service record label and division of New York-based management/PR firm Noble Media, focusing on progressive, indie and alternative rock.

With Blue and Lucky, classically trained pianist Eliran, who also plays the other instruments on Dolly Spartans, created a sound and scene reminiscent of that of the Dandy Warhols in Portland, with Dolly Spartans’ name being a nod to the Warhols’. He brought Yabadum, the Bonnie Situation, the Kinsey Scale, Rhino House Band, Suchaporn, Palm Pilot and Plastiq Passion into the Blue and Lucky orbit.

Dolly Spartans, meanwhile, is already picking up steam at over 40 college radio stations, with “Don’t Be Sad,” “Who Are You” and “Something On My Mind” getting play. According to Blue and Lucky, the band’s music is set to be featured next year on three Top 10 TV shows.

http://www.examiner.com/article/ny-indie-rockers-dolly-spartans-build-blue-and-lucky-following-at-webster-hall

The Best Bands to See in NYC This Season are Actually From New York – VILLAGE VOICE

By Jackson Connor Wednesday, Nov 26 2014

On December 21, the Front Bottoms, one of the bands leading the so-called “emo revival,” partner with BrooklynVegan to host the Champagne Jam, a three-floor holiday party at Manhattan’s Webster Hall. The festivities will also feature Brooklyn’s Kevin Devine & the Goddamn Band, the Hold Steady’s Craig Finn, punk band the So So Glos, and more. And on December 30, Chumped, a self-described “bummer punk” band from Brooklyn, cap off 2014 at the Acheron in East Williamsburg.

http://www.villagevoice.com/2014-11-26/music/nyc-2014-holiday-concert-calendar/

Webster Hall’s Song of Freedom: New York Makes Most of Indie Status – BILLBOARD

By Harley Brown | November 21, 2014 10:01 AM EST

The New York venue recently split with regional powerhouse Bowery Presents to take the indie route — and is making the most of going its own way.

Friday, Nov. 14 was a sort of ­coming- out party for New York’s Webster Hall, which, after 10 years as a Bowery Presents venue, celebrated its independence from the New York-based promoter with sold-out shows in each of its three music rooms. From the tiny basement Studio to the midsize Marlin Room to the 1,500-capacity Grand Ballroom, where headliner Caribou dazzled the crowd, the vibe was most noticeably different.
Bowery Presents previously held an exclusive on the venue’s main room during most nights of the week. On the off nights, Webster Hall’s options were limited: “We were only able to [book] things that weren’t in the Bowery’s wheelhouse,” says venue vice president Heath Miller. But since the deal expired Sept. 1 and the companies amicably parted ways, Miller is free to book music, corporate and other events across the entire building. “Since the transition we’ve been as busy, if not busier, than in previous years with Bowery,” he adds.
Webster Hall joins a new wave of scrappy stand-alone venues, from the Regent Theatre in Los Angeles to Nashville’s Acme Feed & Seed, competing against multibillion-dollar corporate entities. The DIY strategy behind the moves, at its basis, is a matter of simple economics. As Dean Budnick, author of the bookTicket Masters: The Rise of the Concert Industry and How the Public Got Scalped, explains: “We’re in an era when small venues can connect directly with fans via social media and ticketing services are increasingly cost-effective and cooperative.”
But beyond the impact on the nightly settle-up (a recent sellout by electronic artist RL Grime grossed $36,000 for Webster Hall, of which a promoter typically pays out a guarantee plus a high percentage of the door), going indie also allows a venue owner to focus on additional features like food service and lighting. “I can do certain things only an independent can do,” says Peter Shapiro of Brooklyn Bowl, a combination venue, restaurant and bowling alley. “I don’t have to go to anyone for approval, and it gives me a flexibility that leads to a better show.” Case in point, he adds: “You put on a light show even though it doesn’t sell an extra ticket, just for the vibe. With a larger company, they’d be like, ‘Why are you doing a light show? How are we going to market that?’ ” Such touches offer more of a homespun experience for concertgoers, which, he contends, combined with lower ticket prices and early support of acts, help a midsize venue like his compete with the big guns.
As for the downside? Says manager Ryan Chisholm of Nettwerk Entertainment: “Obviously, you lose access to the Bowery mailing list and their stamp of approval. But when Webster Hall is the right room, you need to put your artist in the best position possible.”

http://www.billboard.com/biz/articles/news/6327387/webster-halls-song-of-freedom-new-york-makes-most-of-indie-status

6 Years of Girls & Boys at Webster Hall – An Interview with the People that Make it Happen – DAILY BEAT

Nick AM / Nov. 19

In the fall of 2009 dance music’s renaissance had begun gaining momentum in the US, and slowly began taking over my life. The one party that credits the initiation among me and countless other youths in the tri-state area was Friday nights Girls & Boys party at New York City’s legendary nightclub, Webster Hall. I vividly recall the excitement bubbling in my underage loins upon watching the Girls & Boys promo video in my freshman year dorm room – an advertisement promising the forefront acts in dance music and above all else a wild, unforgettable night.

5 years later the team at Girls & Boys has kept that promise every Friday at Webster Hall. Now, with a revamped look, Webster Hall’s brand new L-Acoustics Kara sound system, and a killer fall line-up, Girls & Boys is poised to reach new heights in it’s 6th year. In honor of their upcoming 5 year anniversary, the teams principle members answered some questions on the history and action behind the scenes of one of dance musics greatest institutions. Read below as Kenny Schachter, the co-president of Webster Hall, Thomas Dunkley of longtime New York promoting team GBH, talent buyer and resident DJ Alex English, and Executive Assistant & Artist Relations Laura Bo Sherman provide a retrospective and hint toward the future of Girls & Boys.

 

dbGirlsandBoys-Logo-Horizontal copy copy

Nick AM: What was the first Girls and Boys party like? Who initially had the idea, how was it arranged, who played, how was the turnout etc?

Thomas Dunkley: The first time Alex and I did anything at Webster Hall was the GBH 10 year anniversary… James Murphy, MSTRKRFT and Grandmaster Flash were all DJing… it was a great party. After that I think we all liked the idea of a weekly… it took some time to get it together though – up until that point we had been limiting that kind of sound to smaller rooms like Hiro Ballroom (a 500 person space), so Webster Hall with the main room cap of 1500 was a big jump…

Kenny Schachter: The first time Webster Hall partnered with GBH for a party was on May 16th of 2008. The bill was MSTRKRFT, James Murphy, Does it Offend You, Yeah?, Grandmaster Flash, and L.A Riots. We charged $10 for tickets. After the most insane party vibe any of us had ever seen, we talked… and thought “well we should do this again”. About a month later, on June 21st, we did another one. This time with Crookers, DJ Funk, Dave 1, Danger, Spitzer, and Midnight Juggernauts. Again, we charged $10 for tickets. Then we thought, “maybe we should do this every week?!” We spent the next few months planning and formatting all 4 floors of Webster Hall and launched Girls & Boy in December of 2008.

Alex English: The very first one at Webster Hall was with Alan Braxe & Lifelike. It was early Dec 2008. During that year the French pretty much owned everything. Everyone was still mad about anything Daft Punk and Justice. Since Alan did the seminal track “Music Sounds Better With You” with Thomas Bangalter from Daft Punk (as Stardust), we thought it as a good way to kick off the party. It was definitely a great night! 

Laura Bo: I was the late-comer and my first Girls & Boys was 4 years ago, Dave 1 of Chromeo and the guy from Vampire Weekend. I fell in love. I needed to be a part of the party… and I was lucky enough to get adopted by the team.

Nick AM: Did you all ever expect the party to grow to become the institution that it is today?

Thomas Dunkley: It was touch and go for the first few months… we had some great parties but it could be financially stressful. One of the reasons that we went into a bigger room though, was that we saw what was happening with electronic music and we realized we were going to need a bigger venue… and after a few months it seemed that the scene caught up with us. I remember telling Kenny back then that I thought we had four years of working together… but it has been a lot longer and we are still trucking.

Alex English: I definitely didn’t expect it to be so big. But our motto has always been “shoot for the stars” when it came to booking. I think it was 2009 we nearly got Chemical Brothers to come DJ.

Kenny Schachter: We hoped it would! Our goal was to always curate the most cutting edge dance music, support the up-and-coming artists, make the fun element our focus, and keep the ticket price consistently low. We thought that if we followed this course, New York would notice. To this day, we always offer an inexpensive way to get into the party because everyone should have the opportunity to experience it!

a

Nick AM: What are the perks of running G&B?

Thomas Dunkley: Working with Webster Hall is great because everything runs like a well oiled machine… which means that I get a chance to hang out and relax at my own parties…. Also, more importantly, it is nice to run a party that your friends actually want to come to.

Alex English: Drink tix every week! lol seriously… getting to meet and perform with some of the biggest names in the electronic music world is a HUGE perk. Also the minor celebrity that it gains you is nice

Kenny Schachter: Seeing the smiling faces of every girl and boy in New York singing along to lyrics. Getting to know the artists and watching their careers take off after they play Webster Hall’s famous stage. Getting to work with all the amazing people we have met at and through the party over the years.

Laura Bo: We have such an amazing team and family. That’s probably my favorite part about the party. Meeting so many amazing and talented people who all have the same goal of doing cool things together.

marina

Nick AM: What was everyone’s most memorable night? Any funny stories?

Alex English: Last year we did the Ed Banger 10 Year Anniversary. Backstage was total madness. I was running around as usual and Pedro (Busy P) stops me for a sec and says “Alex… I want to introduce you to a friend of mine… Guy-Man” (Guy-Manuel de Homem-Christo from Daft Punk)… I was such in a rush to sort out whatever task I was trying to do that I did not realize who Pedro was introducing me to… I ran off after shaking his hand and stopped literally 5 mins later and said to myself, “wait a minute, I just met half of Daft Punk!”

Thomas Dunkley: Alex’s answers for these two questions are great.

Alex English: It’s gotta be the first night Skrillex played at Girls & Boys. Nov 2010. There was so much bass that some of the venues pipes burst near the back bar. Sonny also stage dived into the crowd.

That night was filmed by Jason Ano and actually ended up becoming the “Rock n Roll” video for Skrillex. The bill was Skrillex, Felguk, & Huoratron, Nov 12 2010.

Kenny: Skrillex’s Webster Hall debut. I will never forget it (but Alex already talked about this).
The first time we had Baauer and Just Blaze play the party was the week The Harlem Shake went viral. There were 200 people on stage going nuts. We may have lost power to the booth a few times that night.
We once booked Black Devil Disco Club. He sat on a stool for his entire DJ set, faded out the music entirely between each song, and applauded. It was odd, but hey, the music was awesome.

Laura Bo: Dada Life was a good one, we dropped banana inflatables from the ceiling. My other favorite night was probably Datsik & Tittsworth. There are stories from that night that have always stirred up a good laugh.

carnage

Nick AM: What is the future of G&B?

Thomas Dunkley: We’ll keep on keeping on exposing new music to the city… it is kind of what we are good at. We’ve never been tied down to one genre, so we have a lot more freedom than most other clubs when it comes to what we book, and we’ll continue to try to use that power wisely.

Alex English: We want to keep pushing musical boundaries. Hopefully Girls & Boys will come to more cities. We had one in Clifton Park NY recently at Upstate Concert Hall with Kill the Noise, Two Fresh & Botnek. We shall see!

Kenny: We will stick to the foundation of what makes Girls & Boys and Webster Hall so special. We will always re-invest into the party. We will evolve musically. Hopefully we will pop up in other cities to say hello. Maybe even make an appearance at a festival.

Laura Bo: The future holds so many surprises and adventures. Like Alex said, I hope we bring it to more cities. I just want people to love it as much as I do.

Check out upcoming gigs at Girls & Boys on their website or below, and follow them on twitter to stay up to date.

- LOUDPVCK + Jai Wolf + SevnthWonder

- Keys N Krates + Exmag + Christian Rich

- Rusko + Gent & Jawns

- Kill Paris + Manic Focus + Branx

- Goldroom + Pomo

- Cazzette + Guests

http://daily-beat.com/webster-hall-girls-boys-party-interview/#sthash.dfZE0mkW.dpuf

AC/DC’s BRIAN JOHNSON, ANGUS YOUNG Surprise Fans At ‘Rock Or Bust’ Listening Event In NYC: Video, Photos – blabbermouth.net


November 19, 2014

The world-premiere listening event for AC/DC‘s new album, “Rock Or Bust”, was held last night (Tuesday, November 18) from 7 to 9 p.m. EST at Webster Hall in New York City.

Diehard AC/DC fans converged on Webster Hall to get an exclusive preview of the band’s new CD. Celebrities, tastemakers and fans were treated to special cocktails, rare prizes and commemorative merchandise while rocking out to the group’s new album two weeks before its release.

Making a surprise appearance at the event were AC/DC singer Brian Johnson and guitarist Angus Young, along with “Rock Or Bust” producer Brendan O’Brien. Young, who was wearing a pair of washed out blue jeans and a black sweater, told the crowd from the stage: “We all hope you will enjoy what we have done with ‘Rock Or Bust’. Everyone who is into AC/DC and is a fan, you are the guys that make it, so we keep going for you.”

Check out a video report from Artisan News in the YouTube clip below. Also available are photos from GettyImages.com.

AC/DC last week unveiled the full music video for “Play Ball”, the first single from “Rock Or Bust”. The clip marks the first official time that guitarist Stevie Young has appeared in a video with the group, and is also notable for the absence of drummer Phil Rudd, who is replaced in the clip by Bob Richards.

Founding guitarist Malcolm Young stepped down from the group earlier this year after it was revealed he was suffering from dementia. Stevie, the nephew of Malcolm and guitarist Angus Young, played on “Rock Or Bust” and will be in the touring lineup.

Rudd has been under fire since last week when it was initially reported that he was arrested in an alleged murder-for-hire plot. Those charges were eventually dropped, but he’s still facing charges of “threatening to kill” as well as possession of meth and marijuana. He could end up sentenced to seven years in jail.

AC/DC has already stated that the drummer’s troubles will not affect next year’s world tour or the December 2 release of “Rock Or Bust”.

Full article and videos here: http://www.blabbermouth.net/news/acdcs-brian-johnson-angus-young-surprise-fans-at-rock-or-bust-listening-event-in-nyc-video-photos/#H1yjhTMKWjmze5kA.99

WEBSTER HALL NEWS

WEBSTERHALL.COM

News, Press and Upcoming Events from New York Citys Premiere Nightclub