NS2 & CMH present:
Daughtry - Cage to Rattle Tour
Tue · November 13, 2018
Doors: 7:00 pm / Show: 8:00 pmCharleston Music Hall
$59.50 Tier 3 | $79.50 Tier 2 | $99.50 Tier 1
Dinner & Show option available for an additional $32
Call for reservations after purchasing Dinner & Show option
Dinner at Vincent Chicco's - (843) 203-3002
Dinner at Virginia's on King - (843) 735-5800
Tickets can also be purchased at Music Hall Box Office:
37 John Street (843) 853-2252 | Monday - Thursday (12 pm - 6 pm) Friday (10 am - 6 pm)
Ticketfly Hotline: (877) 987-6487 | Everyday (10 am - 9 pm)https://www.charlestonmusichall.com/event/1736177/
As the frontman for the band bearing his name, Daughtry has become one of the most visible and consistent rock & roll torchbearers of the 21st Century. Since rising to prominence on the fifth season of American Idol, he has released four albums, all of which reached the Billboard Top Ten and have combined sales over 8 million copies in the U.S.
Daughtry’s self-titled debut was the best-selling album of 2007, which contained four Top Twenty hit singles including the Grammy-nominated smash “It’s Not Over.” Leave This Town also reached Number One in 2009, while 2011’s Break the Spell was certified gold. His group’s most recent record, 2013’s Baptized, featured the platinum-selling “Waiting for Superman,” which the singer points to as a turning point in his songwriting.
“It was a nice hybrid of where we had been and where we’re going, and it opened my eyes a bit,” says Daughtry. “Everything was so serious and doom and gloom, and ‘You broke my heart,’ but we never saw ourselves as those people outside the music—onstage we were always joking around. That helped me wrap my head around the fact that we can be light-hearted and still be us. And that really changed the way I approach the songs in general.”
Daughtry and his band have been performing together for over a decade. “Like anything with a ten year relationship, you know more about each other than you do most of your family,” says Chris Daughtry. “It’s a love-hate thing—you get sick of being around them, but after two weeks at home you’re ready to get back out on the road and do it again. The fan base really keeps us alive. That’s the key ingredient to keeping a band together—that’s the gasoline, and without it you can’t run.”
One thing that has kept the fire burning for Daughtry has been the need to constantly challenge himself creatively. He has collaborated with artists from Timbaland to Vince Gill to Carlos Santana and took on the role of Judas Iscariot in the 2016 live television performance of The Passion, and even fulfilled a lifelong dream by drawing the cover of a Batman comic which was rated one of the top 25 covers of the year by BatmanNews.com.
This kind of ambition has also extended to the work of Daughtry the band. “We always try to push ourselves outside of the familiar parameters,” says the singer. “If it’s anything like we’ve done before, then it’s not good enough for the record.
“If you look at the groups doing it for twenty-plus years,” he continues, “they were always changing their style, testing the water, going off the rails from what people expected—Zeppelin, Elton, Prince, they never did the same record twice. So there’s always that effort to push yourself as an artist, but I never want to abandon that sense of melody and sense of something that people can grab onto, whether it conjures up memories or helps them through a tough time. That’s what I love about music, when it makes me feel something.”
As the band continues work on its fifth album (which Daughtry describes in its early stages as having a “bluesy, almost rootsy undertone to it”), they look to contemporaries like Maroon 5 and Train as examples of acts able to maintain their relevance while rock & roll faces an uphill struggle in the mass media. “Those guys are inspirational, showing that you can come back and have a strong presence, even if what you’re known for doing is having a hard time,” he says.
Ten years after launching with a massive splash, Chris Daughtry claims that he and the band have grown the most on stage, and that it’s altered his whole sense of his work. “When we first came out, I’d only known what I’d seen,” he says. “I didn’t know how to be vulnerable, with no pretense. Now it’s walk onstage and, especially in our acoustic shows, just be flat-out honest and open. It’s really helped me realize that’s actually what fans want—they want 100 percent honesty and feeling like they got to know you better.”
As Brown tells it, he and his bandmates were more than happy to embrace the narrative as they were swept along through green rooms, VIP tents, label offices, television studios and the world’s largest festivals. But in the end, major-label life wasn’t the right fit for a band that had ap-proached songwriting, recording and live performance in their own way from day one.
“As much fun as it all was most of the time, we wanted to be more than a trend,”says Brown.
“We’re in this to connect with other humans.
”For Brown and his bandmates, it had always been about connection. The son of a Pentecostal preacher, Brown snuck in rock riffs and built up swagger between Sunday services, well aware of the faith tradition he shared with greats like Johnny Cash, Elvis and Jerry Lee Lewis. In fact, he named the band after this grandmother Mona, a nod to heritage and a bygone era.
“I came from a background of seeing music matter to people,”he says. “I learned early that where people came together for music, there was power.
”Mona got a taste of that power when their self-titled debut was nominated for the BBC Sound of 2011 award and won MTV’s Brand New for 2011. They found themselves playing Later With Jools Holland, Conan and Leno, as well as being named to NME’s Best New Bands. Supporting gigs for Noel Gallagher, Kings Of Leon and other large acts followed, as did appearances at some of the world’s biggest festivals, including Glastonbury, Reading/Leeds, Coachella, Lolla-palooza, Splendour in the Grass and more.
They built on that momentum with a second album, "Torches & Pitchforks", which showcased the band’s seemingly endless reserve of creative energy, and brought focus to their signature sound. The sophomore effort again earned praise from fans and critics worldwide.
Today, on the eve of their third album, the Nashville rockers find themselves brimming with en-ergy and confidence. They’re also now a five-piece, with Zach Lindsay on bass, his brother Alex on guitar, Jordan Young on guitar, and Justin Wilson on drums. They’ve seen a lot in just a few years and have emerged with a renewed sense of purpose and a fresh and vibrant set of newly penned songs that may well be the best of their career. Brown and his bandmates joke about creating a new genre: romantic ambient grunge alt.
With a new label, a new team and an extraordinary new batch of songs, Brown says he’s more proud than ever of the band and the work they are doing. "We have always been a tight knit group, but the vibe is the best’s it’s been and we are looking forward to bringing these songs to the public. Very few things matter in this world, and we think music is one of them.
Charleston Music Hall
37 John Street
Charleston, South Carolina, 29403