$28 ADV | $31 DOS
All Ages Admitted // 21 to drink with ID
Tickets on sale to the General Public – (3/17/23)
General Admission Standing – there isn’t a bad spot in the house!
Reserved Balcony seating available for Sherman Theater Members only
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VIP BOX: Sherman Theater Members $475 | Non-Members $555
SKYBOX: Sherman Theater Member $615 | Non-Members $695
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Beauty blooms from discomfort. The second we squirm at the utterance of a lyric or the echo of a guitar chord is the moment we learn about our limits and, perhaps, make a change in our lives. Badflower aren’t afraid of making anybody uncomfortable. The GOLD-certified Los Angeles-bred and Nashville-based quartet—Josh Katz [lead singer, guitarist], Joey Morrow [lead guitar, backing vocals], Alex Espiritu [bass], and Anthony Sonetti [drums]—siphon stress, sleeplessness, sex, sadness, mania, pain, and truth into revelatory alternative anthems. Katz’s quivering confessions seep into climactic distortion and, like any good rush, you need more.
Badflower continue to commit body, blood, mind, and soul to their art. They’ve certainly grinded to get to this point. After forming in Los Angeles during 2014, they dropped two EPs before sending shockwaves throughout rock with their 2019 full-length debut, OK, I’M SICK. LoudWire hailed it among the “50 Best Rock Albums of 2019,” while the singles “The Jester,” “Heroin,” and “Ghost” vaulted to No. 1 at Rock Radio. Not to mention, the latter picked up a GOLD-certification from the RIAA and win as iHeartRadio Music Awards Rock Song of the Year. Thus far, they’ve also gathered over 100 million streams and counting. Meanwhile, one-off singles “30” and “F*ck The World” reached Top 5 and Top 10 at Rock Radio, respectively. Before the Global Pandemic swallowed 2020 whole, Josh and Co. had begun penning ideas for what would eventually become This Is How The World Ends.
The album teeters between searing nostalgic introspection on the acoustic intro “Adolescent Love” and the clarion call of “Machine Gun” where the title resounds, “This is how the world ends.” The ride comes to an end on the sardonically elegiac “My Funeral.” Soft strumming brushes up against visceral admissions such as “Imagine if I took my life, gave up on love, and died tonight?”, coated in a softly blissful delivery. “It’s not as simple as saying, ‘I’m sad and want to die’,” he states. “It doesn’t paint me in the perfect light a lot of artists want to be painted in—or truly beaten down by the world and just trying to be the best version of themselves. I’m admitting I’m not trying to be the best version of myself. I don’t even know what that looks like. I don’t know how to change it. All I know is how to write about it. Now, we have this album.” In the end, Badflower’s honesty burns in the best way. “This band means everything to me,” he leaves off. “I’m so obsessive because the music is going to outlive me. I care a lot about what this band could mean for other people. The legacy is almost more important to me than my happiness or success. I don’t know why. It’s probably something I should analyze on the next record,” he laughs.