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In This Moment
In This Moment with New Years Day, Ded, and Little Miss Nasty
This event is General Admission Standing Room on the Floor and Reserved Seated in the Balcony.
Within a deck of tarot cards, the High Priestess serves as the guardian of the unconscious. In Greek mythology, the old oracles celebrate the Mother Goddess. William Shakespeare posited portentous prescience in the form of MacBeth’s “Three Witches.” On their sixth full-length album Ritual, In This Moment—Maria Brink [vocals, piano], Chris Howorth [lead guitar], Travis Johnson [bass], Randy Weitzel [rhythm guitar], and Kent Diimel [drums]—unearth a furious and focused feminine fire from a cauldron of jagged heavy metal, hypnotic alternative, and smoky voodoo blues.
It’s an evolution. It’s a statement. It’s In This Moment 2017...
“It’s like we’re going into the next realm,” asserts Maria. “I had a conviction of feeling empowered in my life and with myself. I always write from a personal place, and I needed to share that sense of strength. I’ve never been afraid to hold back. Sometimes, I can be very suggestive. However, I wanted to show our fans that this is the most powerful side of myself and it’s without overt sexuality. It’s that deeper serious fire inside of my heart.”
“What Maria is saying comes from deep inside,” Chris affirms. “This time, we had a bunch of ideas started before we hit the studio. There was a really clear direction. It’s different.”
The group spent two years supporting their biggest album yet 2014’s Black Widow. Upon release, it seized their highest position to date on the Billboard Top 200, bowing at #8. Simultaneously, it clinched #3 on the Hard Rock Albums chart and spawned a series of hits such as “Sick Like Me,” “Big Bad Wolf,” and “Sex Metal Barbie”—all cracking 8 million Spotify streams each and topping Rock Radio. Meanwhile, the band’s signature smash “Whore” crossed the 20-million mark.
Furthermore, the title track off In This Moment's 2012 album, Blood, has been certified gold by the RIAA. A remarkable accomplishment, the companion music video for "Blood" has been viewed over 27 million times.
Between headline tours, they incinerated stages everywhere from Rock On The Range to Download Festival. In March 2016, Maria and Chris commenced writing for what would become the new record with longtime collaborator and multiple GRAMMY® Award-nominated producer Kevin Churko [Five Finger Death Punch, Ozzy Osbourne] at his Las Vegas compound.
Following a high-profile summer 2016 tour with Korn and Rob Zombie, the duo began writing. Then, Maria visited Salem, MA for the very first time with all of the women in her family quite appropriately during Halloween.
“We were really tapping the energy there,” she says. “We were honoring each other. I was seeking inspiration and experience to inspire me in this album. I was trying to find a lot of truth in myself. I loved Salem. I was blown away by how visually beautiful it is. The history of the witch burnings is fascinating. It was a special ceremonial journey.”
Galvanized and inspired, Maria and Chris returned to Kevin’s stronghold to complete recording. In an atmosphere of candles, crystals, incense, and a cackling fireplace, they expanded their aural palette once again, welcoming a doom blues bombast into the sonic fold.
“We love Black Widow, but it was very electronic,” Chris explains. “This is a little more organic, emphasizing guitars, bass, drums, and vocals. We slowed down the groove a little bit. I got to
play some slide guitar, and I’ve never done that. There’s a bluesy side, which we’ve also never had.”
“We always want to grow and evolve,” Maria adds. “It was a chance to get a little more serious.”
That progression shines through the first single “Oh Lord.” A minimal drum and handclap echoes as Maria’s wild incantation takes hold. Guitars shiver and shake as the frontwoman delivers an undeniable refrain.
“The meaning of ‘Oh Lord’ is central to the album,” she reveals. “I should be able to have a relationship with what I perceive God to be. For me, it’s this strength and light. When I was younger, I felt guilty for thinking of these things. I’m not supposed to touch an oracle card, a tarot card, or these beautiful things, because they’re ‘bad.’ I had these fears in me for a long time like, ‘Is this wrong?’ I realized I don’t have to be afraid anymore. There’s a lot of learning and an awakening in that one.”
Inverting everyone’s favorite Billy Idol nuptial anthem, “Black Wedding” sees Maria walk down the aisle of musical madness with none other than Judas Priest frontman Rob Halford. Co- written with Stevens, it’s an explosive and enchanting duet.
“I can’t believe that happened,” beams Chris. “Maria hit up Rob and asked if he was interested. He jumped right on it. I can’t believe we got him.”
“Who doesn’t love ‘White Wedding?’,” laughs Maria. “We wanted to do a spin-off that’s creative. It’s a question-and-answer between me and another voice. The chorus essentially says this isn’t going to be the opposite of a happy ending! You’re becoming empowered by heartbreak.”
Chris breaks out the slide on the raging “River of Fire,” while “Witching Hour” dances around the flames to a new wave-inspired groove and midnight lore as Maria recants, “This idea of me being burned as a witch in a past life for teaching people to be free.” Elsewhere, “Roots” practically opens up the earth with its sheer seismic force.
“Sometimes, I have to go through pain in order to forgive and let go,” she adds. “I love to thank the hate in people. It’s that sort of energy. I’ll be okay, hold my head strong, push forward, do what I’ve got to do, and prevail.”
Simultaneously, In This Moment breathe a dark new life into the Phil Collins’ classic “In The Air Tonight.”
“We can’t reproduce what he did in a million years,” she says. “It’s one of the best songs ever. We did our own interpretation and made it a little more sinister like our ritual.”
The ritual has begun, and In This Moment ignite a brighter fire than ever before here.
“When fans hear this, I want them to feel the music, whether they take away sadness, anger, or happiness,” concludes Chris. “As a kid, I remember listening to records and putting them on repeat over and over again. I’d love for the world to listen and absorb this as a piece of work.”
Maria leaves off, “I want everybody to be unafraid of who they are and not worry about what the rest of society says. Be strong. Be loud. We love our fans deeply. I hope everybody feels that love and powerful in who they are.”
Official Website
Appropriately enough for a band named New Years Day, their stunning new Unbreakable album signifies a new outlook—as well as a high-water mark for the Cali-bred lineup. Yet it was a rocky road to Unbreakable, as singer Ash Costello explains: “If I had to look at my life like a timeline of colors, when I wrote our last album, Malevolence (2015), it was pitch, charcoal black. But in the last couple years, the band cut off toxic people, built a new business team, and we’re stronger than we’ve ever been. So when we went to make Unbreakable, I wanted the process to be fun, to reflect our renewed vibe and energy,” she says. “We set out to write the poppiest metal album, or the most metal pop album.”
On Unbreakable, that mission is accomplished. It’s a dozen intense, boundary-melding songs that may touch on metal or goth, but are ultimately undeniable modern rock ‘n’ roll tunes, no-holds-barred, done the New Years Day way. The public got its first taste of Unbreakable in November 2018, with the booming, ultra-dynamic “Skeletons.” The song surpassed 1 million worldwide streams, the first proof that Unbreakable was going to be unbeatable. “Shut Up,” with ultra-melodic, breathy vocals and a hardcore message, plus the dark taunt and industrial grind of ‘Come For Me,” with its irresistible chorus, capture a young band in its creative prime, and a singer solidly in charge of her vision.
Costello, raised in Anaheim, grew up worshiping the powerful voice and presence of another local girl: No Doubt’s Gwen Stefani. Like her childhood idol, Costello was singing in bands by high school. But it wasn’t until a few years into NYD’s career that everything gelled. “I feel like New Years Day was really born when our EP Epidemic (2014) came out; it was the first taste of who we really are,” Costello says. “Everything before that feels like a different band, and technically was. Then Malevolence came out, it was sort of our punch in the dick to the music industry, and we did our first headlining tour in 2015.” Malevolence hit #45 on the Billboard 200, thanks to the radio hits "Defame Me" and “Kill Or Be Killed." In 2017, the band headlined the Vans Warped Tour; did a month-long festival run with Halestorm; and appeared on the Punk Goes Pop compilation, covering Kehlani's "Gangsta" from the movie Suicide Squad.
Unbreakable showcases a New Years Day stripped bare—literally. The “boys in the band” left behind their white face makeup, which all admit was somewhat of a “safety blanket.” Likewise, Costello stripped down her songwriting. “I used to think lyrics needed to have metaphorical veils and be super-dense and paint a picture but leave it up to the interpretation.” But for Unbreakable, she says with characteristic forthrightness: “I was, ‘fuck that, I’m literally going to say exactly what I want to say.’ Yeah, there’s some metaphorical stuff, but this is me moving into a more literal direction.”
Songs like “Shut Up” blend a musical vulnerability with tough lyrics, not an easy task. But thanks in part to doing covers—of Kehalni, Pantera and others—New Years Day discovered their own versatility and creativity. “We made those songs work for our band, and that was the first time I realized we could go that direction in our own writing, make the super-melodic and the dirty, ratchety stuff work together. ‘Shut Up’ was written in a day, which just doesn’t happen. I was going through some heavy personal stuff, and I was just, ‘don’t tell me what I want, shut up and give it to me!’”
If “Shut Up” was nearly instantaneous, “Come For Me” took a year to write. It’s truly a fight song-- “If you have a problem with me, I’ll put you on the guest list, come for me; we’ll fight it out,” offers up Costello. But? “It also sounds dirty,” she laughs. “I’m just trying to write songs that strippers can strip to: a good beat and some sexy-ass lyrics!”
The dichotomy between Costello’s two sides—embodied in her red and black hair, and even her tattoos (one side inked, the other not) has coalesced in the songs on Unbreakable. But the painful part of the creative journey to Unbreakable began long before “Skeletons” was written. Before writing “Skeletons” in 2018, NYD did an album’s worth of songs…. then threw them out. Literally.
“It wasn’t someone who else told us they didn’t like our record. It was US, the band, saying ‘THIS IS NOT IT,’” Costello recalls. New Years Day weren’t feeling that elusive “it” midway through the process. Yet Costello “was trying to be hopeful and stick it out.” The turning point came in 2017 when NYD listened to their effort from start to finish with their old business team, and it didn’t feel good or right. So, in a moment of bravery— “a very scary moment,” NYD canned the record and their business affiliations. “I trust the universe,” says Costello. “And it took us where we needed to go. That door was meant to close that day. That group of songs are gone. But Unbreakable came out of it, and also our new label and management. “It was about taking control of our art. We did, and everything good followed.”
A couple of those good things were writers/producers Mitch Marlow (All That Remains, In This Moment) and Scott Stevens (Halestorm, Shinedown). Each were writing with Costello, but she brought the pair, who had never met, together. “Both became producers and ended up splitting the album, which is unheard of. But they were super passionate about me as an artist and the band, the record, and what we have built,” Costello says. “They fit like puzzle pieces. Marlow brings the blood and guts, Stevens the melodies. “You put the two guys together, and I’m the person who embodies both sides, musically. I’m a little horror, a little blood and guts, and a little ‘I love Mickey Mouse’ happy. It’s a little ugly, it’s a little pretty. Now the music is finally reflecting that. “
The risk New Years Day’s took has earned them copious rewards, and those “pitch, charcoal” days—which were equally daunting times for guitarist Nikki Misery and bassist Frankie Sil—are in the rear view. There were times when Costello felt she might not survive—”and it shows in Malevolence. But the past couple years, the communication among the band is incredible. We’ve got this shit. We’re tight. We’ve lifted ourselves out of the dirt.”
The reignited band unity and honesty boosted the creation of Unbreakable, resulting in an album that tough critic Misery calls “groundbreaking.” There were the times when Costello would “call Nikki or Frankie, looking for a pep talk. I don’t ever want to be stagnant; I wanted to push myself vocally, in my writing, better melodies, everything. So I put the pressure on myself.”
Misery, in keeping with his rebellious punky energy, is a “tough love kind of person.” But he had his singer’s back. “He can pick me up. There aren’t a lot of people I’ll listen to in this world; I’ve learned so much on my own, school of hard knocks, but Nikki can tell me the truth and I’ll listen,” says Costello.
Ditto Frankie, who describes two his band mates as “best friends. It’s a Mick Jagger/Keith Richards sort of relationship; they have this insane chemistry.” With lead guitarist Austin Ingerman bringing his multi-faceted musicality to NYD (he cites everyone from Randy Rhoads to Slash to Stevie Ray Vaughan as influences) the members of New Years Day finally feel “Unbreakable.” Bascially, title track says it all: “I stepped on broken glass / Walking through the past / Feeling every cut that crippled me / Been through it all before / Won’t go back anymore / I’ve gone too far … You can’t shatter me now / I’m Unbreakable.”
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If you're not pissed off, then you're not paying attention. Ded thrives on the aggressive spirit that is authentic to the heavy music genre. "There is an honesty and attitude about heavy music that I don't feel as often anymore" says lead singer Joe Cotela – "and we want to bring that back". Ded is loud and aggressive - but it serves as a positive outlet: the band produces an unapologetic sound that draws from the art of fantasy and expressive screams. Their debut album "Mis-An-thrope" has made an impact across the Rock world.
Ded was born in the music scene of Phoenix, Arizona and has been together for almost 3 years. Band members Joe Cotela (Vocals), David Ludlow (Guitar), Kyle Koelsch (Bass), and Matt Reinhard (Drums) developed a friendship and ultimately a musical partnership that mixes horror and dark imagery to develop a familiar, yet unique sound that sets them apart from other bands. Cotela says “With our music - we want to make the listener feel like how you feel after you’ve watched a really good horror movie – on edge, jittery... And very much alive”. They incorporate these volatile elements into their lyrics – with the hopes that it will breathe new life into the hard-core genre. Imagine an inspired take on outward thinking that transcends screaming, and low tuned riffs. Their sound is meant to “be in your face and tell it like it is”, while paying homage to Korn and Pantera, who served as early inspirations. Ded are also influenced by more recent bands like Slipknot and Bring Me The Horizon. This is modern hard rock & alternative metal that goes beyond anger - including themes like existentialism and ego in everyday life. The lyrics are timely and resonate with an audience navigating the chaotic world we live in.
The band’s work ethic, drive, and dedication led them to record an EP that quickly made the rounds of the music industry, and started a buzz that opened doors. Using that as a springboard, the band hit the road and toured with Beartooth, Asking Alexandria, Atreyu, Every Time I Die, Upon a Burning Body, The Acacia Strain, John 5, Powerman 5000, and Insane Clown Posse among others.
Their touring helped grow awareness in the business and brought them to the attention of producer John Feldmann (Disturbed, Blink-182, Beartooth). Their collaboration with Feldmann culminated in the band signing with Jordan Schur @ Suretone Records – who discovered and grew the careers of platinum rock acts Staind and Limp Bizkit, among others. Suretone released their first song and video for “FMFY” in December 2016.
2017 was very busy year for Ded - they played all Major Rock U.S. festivals, played more than 150 live shows and toured 25 + dates with KORN and Stone Sour. Both of their 1st two singles "Anti-Everything" and "Remember The Enemy" reached the Top 20 on the Active Rock Radio charts. "Anti-Everything" was #8 on SiriusXM Octane's Top 10 for 2017 and they named the band "Artist Discovery of the Year". They won the Kilpop/Rock Radio Award for Metal Debut of the Year". "Anti-Everything" & "Remember The Enemy" were featured on high profile curated Hard Rock & Metal playlists at all major streaming services including Spotify, Apple Music, Pandora, Amazon Music, Youtube, and Google Play Music. The video for "Anti-Everything" has more than 1.4 million views on Youtube.
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The most buzzed about rock and roll burlesque group in the United States, LITTLE MISS NASTY brings the edgiest and sexiest goddesses to stages all across the country. These badass babes have been very busy touring North America as headliners as well as playing support act to bands the likes of In This Moment, Motionless In White, Lords Of Acid, Starset and New Years Day among others. Along with performing continuously sold out shows at ongoing residencies in several west coast cities, LITTLE MISS NASTY also has a wildly popular Las Vegas show with performances happening weekly in SIn City.
LITTLE MISS NASTY is a fully choreographed production full of unexpected surprises. These empowered women are redefining what it means to be a modern, sexy and badass woman of today. Each member of LITTLE MISS NASTY is a true rock star on stage. The show is set to an unbeatable music backdrop that includes songs, remixes and mash ups from Led Zeppelin, Marilyn Manson, Korn, Iggy Pop, Nine Inch Nails, Pantera, Rob Zombie, Bikini Kill, Rage Against The Machine and many other cutting edge classics.
A little bit Rock & Roll, a little bit Burlesque, a lot of high-energy dance and over the top performance art. LITTLE MISS NASTY completely takes over any room, any stage and gives you that feeling that you are at the biggest concert of your life. Nothing is predictable. Nothing is ordinary. LITTLE MISS NASTY'S mission is to empower, break down boundaries, push the limits and most importantly to entertain and leave audiences with a night to remember. Rock & Roll isn't necessarily a musical genre, it's and attitude to LITTLE MISS NASTY. Because of that the group is able to easily mesh well with all different types of music artists and help to create very successful tour packages. LITTLE MISS NASTY has performed over 500 shows to over a half a million people. LITTLE MISS NASTY has successfully created a brand new lane for live touring entertainment.
LITTLE MISS NASTY has amassed celebrity fans as its toured and performed across the U.S. including Lady Gaga, Josh Brolin, Adam DeVine, Tinashe, Drew Carey, Matt Skiba (blink-182), Jenna Dewan and Sasha Grey, amongst many others.
LITTLE MISS NASTY is without a doubt the hottest, most modern, sexy, female empowerment brand out there.
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