megadeth North American Dystopia tour


Megadeth will be making a stop here in Phoenix, AZ and hitting up Comerica Theatre. This will be the 6th stop on the North American Dystopia tour. For a band that’s been around since the beginning of the 1980’s I can say they still have it and you won’t want to miss these shows..




Feb 20 2016 South Side Ballroom

Dallas, TX

Feb 21 2016 Revention Music Center

Houston, TX

Feb 23 2016 The Fillmore Auditorium

Denver, CO

Feb 24 2016 The Complex

Salt Lake City, UT

Feb 26 2016 The Pearl – Palms Concert Theatre

Las Vegas, NV

Feb 27 2016 Comerica Theatre

Phoenix, AZ

Feb 28 2016 Hollywood Palladium

Los Angeles, CA

Feb 29 2016 The Warfield

San Francisco, CA

Mar 2 2016 The Republik

Honolulu, HI

Mar 3 2016 The Republik

Honolulu, HI

Mar 5 2016 South Okanagan Events Centre

Penticton, BC

Mar 6 2016 Grey Eagle Resort

Calgary, AB

Mar 8 2016 EnCana Events Centre

Dawson Creek, BC

Mar 9 2016 Rexall Place

Edmonton, AB

Mar 10 2016 Mosaic Place

Moose Jaw, SK

Mar 13 2016 Aragon Ballroom

Chicago, IL

Mar 15 2016 The Rapids Theatre

Niagara Falls, NY

Mar 16 2016 Terminal 5

New York, NY

Mar 17 2016 Terminal 5

New York, NY

Mar 19 2016 Sands Bethlehem Event Center

Bethlehem, PA

Mar 20 2016 Electric Factory

Philadelphia, PA

Mar 21 2016 House of Blues Boston

Boston, MA

Mar 23 2016 Cross Insurance Center

Bangor, ME

Mar 24 2016 Centre Videotron

Quebec City, QC

May 26 2016 Badlands Pawn

Sioux Falls, SD

Jun 3 2016 Monza F1 Racetrack

Monza, ITA

Jun 5 2016 FortaRock

Nijmegen, NLD

Jun 7 2016 Atlas Arena

Lodz, POL

Jun 9 2016 Sweden Rock Festival

Solvesborg, BLEKINGE LAN

Jun 11 2016 Donington Park

Castle Donington, UK

Jun 17 2016 Graspop Metal Meeting @ Festivalpark

Dessel, BEL

Jun 24 2016 Copenhell

Copenhagen, DNK



Dave Mustaine
David Ellefson
Kiko Loureiro
Chris Adler


Megadeth is an American heavy metal band from Los Angeles, California, formed in 1983 with its roots in thrash metal, a genre that its founder, singer/songwriter and guitarist Dave Mustaine helped pioneer. The band has since released 14 studio albums.

Mustaine’s musical roots began early on listening to AC/DC and Led Zeppelin, and took form in the New Wave of British Heavy Metal when he co-founded Metallica. Megadeth emerged in 1985 at the forefront of the thrash/speed metal scene with their seminal debut “Killing Is My Business… And Business Is Good”, and continued on a blistering path of albums and tours throughout the decade. The nickname “world’s state-of-the-art speed metal band” and the critic-coined “intellectual thrash metal” were often used to describe Megadeth’s sound, referring to Mustaine’s niche for angry, witty, intelligent lyrics about topics like politics, drugs and war, fused with aggressive, intricate guitar structures and a jazz-influenced rhythm section.

With a string of five consecutive platinum and multi-platinum albums Megadeth became one of the biggest bands of the mid-‘80s and ‘90s, boasting such arena anthems as “Peace Sells… But Who’s Buying” (The opening bassline was used as the theme for MTV News for years afterward), “Holy Wars… The Punishment Due”, “Symphony Of Destruction” and “Sweating Bullets”, along with the top singles in 1997/98 off “Cryptic Writings”, “Trust” (No. 1 radio track), “Almost Honest”, “Use The Man” and “A Secret Place”. In all, the band has scored five Top 10 albums and two Top 5 releases.

The 90’s saw a change in Megadeth’s sound with the polished and commercial multi-platinum release “Countdown To Extinction”, which skyrocketed them into multi-platinum success and MTV stardom. The incorporation of this new sound would be a trademark of every release to come, and would eventually earn them 11 Grammy nominations for Best Metal Performance, 7 platinum certifications, and selling more than 38 million albums worldwide.

After a brief hiatus early in the 2000’s, Mustaine triumphantly returned with a comeback album, a heavy metal festival called Gigantour and a new display of prodigious musicians to back him. The band’s legacy continued with 2009’s critically acclaimed “Endgame”, which debuted at #9 on the Billboard charts and 2010’s multi-platinum “The Big Four: Live From Sofia”, Bulgaria featuring the “Big Four” of 1980’s thrash metal — Metallica, Megadeth, Slayer and Anthrax.

Megadeth’s 13th studio album, “TH1RT3EN” was released in November, 2011 debuting at #1 on The Billboard Hard Rock Albums chart and #11 on the Billboard 200. The band’s 14th studio album, “Super Collider” was released in June, 2013 debuting at #6 on The Billboard 200, Megadeth’s highest chart debut since 1994’s “Youthanasia”. “Super Collider” was the first release on Mustaine’s new label, Tradecraft, through Universal Music Enterprises.

Megadeth’s 15th studio album, due for release in October, 2015, will be the band’s first with a refreshed new line up featuring Lamb Of God drummer Chris Adler and renowned Brazilian guitarist Kiko Loureiro.




Mike Muir
Dean Pleasants
Eric Moore
Nico Santora
Michael Morgan


Suicidal Tendencies (or simply Suicidal) is an American crossover thrash band founded in 1981 in Los Angeles, California by vocalist Mike Muir, who is the only remaining original member of the band. The band is often credited (along with D.R.I.) as one of “the fathers of crossover thrash”.[5] To date, Suicidal Tendencies have released nine studio albums, one EP, four split albums including the rare Welcome to Venice, six compilation albums (one of which is a “double-EP“, while the other is a re-recording of their debut album), and two long-form videos.


Suicidal Tendencies rose to fame with their 1983 self-titled debut album, which spawned the single “Institutionalized“, and was one of the first hardcore punk videos to receive substantial airplay on MTV. Suicidal Tendencies’ next release was on their own label, Suicidal Records, where they contributed one song, “Look Up…(The Boys Are Back)”, on the 1985 split Welcome to Venice. After releasing their second album Join the Army (1987), Suicidal Tendencies were signed to Epic Records in 1988, and continued their success with their next three albums, How Will I Laugh Tomorrow When I Can’t Even Smile Today (1988), Controlled by Hatred/Feel Like Shit…Déjà Vu (1989) and Lights…Camera…Revolution! (1990); the latter of the two were certified Gold by the RIAA.[6] Their 1992 album The Art of Rebellion was also very successful, and included two of their biggest hits “Nobody Hears” and “I’ll Hate You Better”.


After releasing two more studio albums (Still Cyco After All These Years and Suicidal for Life), the band broke up and severed ties from Sony and Epic in 1995. However, they reunited a year later and have continued to perform and record since then. After over a decade of work and many lineup changes, the band released their eleventh studio album with all-new material, 13, in 2013.[7]



Alexi Laiho
Jaska Raatikainen
Henkka Blacksmith
Janne Wirman


Fully 20 years into the tough, heroic grind that represents the lifeblood of extreme musicians, Finland metal scientists Children of Bodom have certainly won over crowds globally through a crafted alloy that is theirs alone. But the building of their esteemed career has also been aided an abetted by the simple math of all that work, the intense touring, that inevitable return visit to your town that has made the band’s shows engaging, personable and energetic thrash parties indelibly stamped on the circuit boards of headbangers worldwide.

The party continues, with the release of the band’s ninth album, I Worship Chaos, which finds guitar hero for a new generation Alexi Lahio recording for the first time in a four-piece configuration (along with Janne, Jaska and Henkka), given the sudden and recent departure of long-time co-guitarist Roope Latvala from the ranks.

Which has lent the band a forced but fortuitous sense of focus, says Alexi: “It was hard because we’ve never been the kind of a band who changes members every other week. So all of a sudden you are one family member short. I was obviously on double duty, because I had to record all the guitars. But I didn’t even care, man; we just went and got everything done. And I think us parting ways with him has made us strive and pull together as a group, which was a beautiful thing, really. Because it felt like we were teenagers again making our first album. Plus it made the guitars tighter. It’s not like I’m talking shit about Roope or anything, but it’s just a scientific fact that if there’s one guy playing everything, it tends to get tighter. And I’m definitely happy with the result.”

If there’s an increased level of heaviness rippling and rifling through I Worship Chaos, it might be because the album is constructed with guitars that are tuned a half step lower. Hence tracks like blackened thrashers “Horns” and “Suicide Bomber,” as well as the rhythmically sophisticated “My Bodom (I Am the Only One)” reverberate with bottom end from both bass and guitar, even if keyboards and the band’s modern approach to drum mix fight to uphold Children of Bodom’s celebrated sense of cut, clarity and agility.

All told, says Alexi, “The mission will always be to get as heavy as possible, but also try to improve as musicians and as songwriters. Honestly, this is the strongest COB album in a long, long fucking time. We just wanted to change things up a bit. I think the album has a darker vibe than the previous ones, especially Halo of Blood—it is definitely heavier, as well as darker as far as the melodies go. It’s got a lot of sadness and hurt and anger in it. Which sounds like, hey, what else is new? But it really is different (laughs).”

The Skyclad-meets-Dark Tranquillity of “Morrigan,” with its expert synthesis between keyboards and mid-paced riff, with its thump and near swing feel, is sure to stand out as one of the magic stadium rock moments of the entire Children of Bodom catalogue.

“That one stood out from the line-up from the get-go,” explains Alexi. “It’s like everybody—the band, the record company and the management—were like, that’s gotta be the single. And even all my friends I ran it past said, dude, that’s so fucking catchy, you gotta make a single out of that. Lyrically, Morrigan is one of the goddesses of the underworld, and it’s sang basically from a mortal man’s point of view, where he expresses obsessive love and lust for her. That idea inspired me to write that song, but it’s not necessarily about a certain goddess. It could be anybody, and so it’s a song that is probably very easy for people to relate to.”

Even more elegantly shocking is “All for Nothing,” on which Alexei opens with a frightening whisper-type vocal over a track that is often Maiden-esque and textural, the bonus being a searing guitar solo which demonstrates why Laiho has quietly become—weirdly and specifically—an elder statesman of razor-wired guitar to a very young next generation of Bodomites. Says Alexi, “All For Nothing” is very different from anything that we have done before—you would not know that that’s Children of Bodom. That vocal was a challenge to record, but that’s how it should be. You shouldn’t be too comfortable with what you do; you’ve got to try new things.”

But there’s signature white-knuckle Bodom all over the record as well, songs that slam but then are sweetened by synth legend Janne Warman’s array of slicing keyboard sounds. “Sure, well, the opening track called ‘I Hurt’ is fast and intense,” describes Laiho, “with a lot of things going now. At first you’re thinking it’s basically pure chaos, but then there’s a chorus that is just so catchy on every level, that I think it’s the best opening track we’ve had in a long time. It’s one of those that doesn’t fly by you—that chorus will stick with you for sure. The title track, ‘I Worship Chaos’ is another fast one but it’s very simple—you know, main riff, verse/chorus, that sort of thing—but it’s got lyrics that are quite autobiographical and true, basically around the idea that I’m not good with quiet, I’m not good with dead silence—that stresses the shit out of me. I need a lot of noise and chaos around me constantly, on every level, to function. I’m pretty proud of those lyrics and I poured a lot of effort into them.”

Underscoring the sense of contrast to the record—in fact, its perfectly sequenced ebb and flow—is “Hold Your Tongue,” which Alexi describes as “a straight up rock ‘n’ roll song, which lyrically is me basically being pissed at people who complain too much when they don’t have anything to complain about.”

Add those examples up, and one can divine the componentry of the Children of Bodom sound, which Alexi articulates as such: “Well, obviously the guitars with those keyboards is a different dimension from almost all the extreme bands, when you think about it. The keyboard thing is obvious, I would say. But really, the guitars… it’s extreme metal—basically death and black metal and thrash—but there are also sleazy little ‘80s riffs in there. And same thing with the keyboards, really; we do a lot of stuff with keyboards that could be in a friggin’ disco song. But we have a way of making it sound dark and heavy as well. We grew up listening to everything, and even though we were death metal kids and black metal kids when we were teenagers, there was still the whole ‘80s thing with W.A.S.P. and everything. That’s always stuck with me and so I automatically kind of incorporated that into our whole death metal sound.”

And is there something intrinsically Finnish about Children of Bodom?

“Personally I don’t think there’s a Finnish sound,” reflects Laiho. “People talk about the old school black metal thing from Norway or the Gothenburg sound, which both exist on some level, but in Finland there are so many different bands that sound nothing like each other. If anything, I think the Finnish thing in Children of Bodom would be an attitude, where it’s perhaps angry and blunt, but with a dose of dark humor.”

The band’s sense of not taking themselves too seriously might be divined from their choice of covers to be used for I Worship Chaos bonus material. Sure the band celebrate their heritage (and the music the guys loved as teenagers) through Amorphis track “Black Winter Day.” But then there’s an exploration of Alexi’s love for deep tracks punk through a cover of The Plasmatics’ “Mistress of Taboo” as well as a metal send-up of Kenny Loggins’ soundtrack classic, “Danger Zone.”

“Well, Plasmatics was just fun,” laughs Alexi. “I’d been listening to Plasmatics a lot, for some reason, just before we started recording. I can’t recall any bands like us that have covered Plasmatics, so I thought that would be cool. I have always been a huge W.A.S.P. fan—the first two W.A.S.P. records, I fucking love them. And to me, The Plasmatics sound like W.A.S.P. before W.A.S.P., you know? I’m sure that Blackie Lawless was listening to a lot of Wendy O. Williams and Plasmatics back in the day. As for Kenny Loggins, well, we just love to do goofy silly covers, so that was just one of those things. Everyone loves Top Gun, right? So there you go. I’m not even sure it turned out that well, but you’ll get a laugh out of it, and that’s all that matters (laughs).”



David Sanchez
Pete Webber
Reece Scruggs
Nick Schendzielos


Havok is an American thrash metal band from Denver, Colorado. Formed in 2004, their members currently consist of David Sanchez (Vocals/guitars), Nick Schendzielos (Bass), Pete Webber (Drums), and Reece Scruggs (Lead guitar). Since signing with England’s Candlelight Records, Havok have released three studio albums: 2009’s Burn, 2011’s critically acclaimed Time Is Up, and 2013’s Unnatural Selection.[2] The band is currently working on a new album, which is due for release in early 2016.



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