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By Alejandro Sanz

Y ahí estaba yo, cantando “Iris” como si hubiese escuchado a los Goo Goo Dolls toda mi vida, pero no. Podría hablaros de mi relación con ellos o del tiempo que hacía fuera de la sala también a modo de introducción, pero creo que no sería más que una forma de decir nada para no entrar directamente a hablar de un concierto.

Sin embargo sí quisiera comentar que desde el momento en el que se anunció su gira, sabía que tenía que estar allí, de una manera u otra. He tenido la suerte de poder ser acreditado y además hacer fotos, pero si no estaría de todas formas. No son tan conocidos después de 30 años por solamente un single, o un puñado de ellos. Habrán tenido respaldo detrás, y oportunidades que otros no, pero está claro que supieran aprovecharlas, y eso para mí se merece un respeto.

Es cierto que como yo quizá no pensó mucha gente, ya que La Riviera se encontraba a algo menos de su capacidad, algo muy poco común. Pero allí nadie estaba (sólo) para hacerse los selfies. Los cientos que estaban agolpados delante de la palmera de la sala cantaban cada una de las canciones dejándose la voz, y os aseguro que desde el foso, la sensación que esto transmitía era apabullante. Y la banda respondió.

En un concierto de estas características se pierde complicidad con el público en beneficio del espectáculo, pero en este caso lo primero no faltó. Las pausas que se tomaron entre canción y canción no solamente fueron para dar las gracias, sino también para interactuar de una manera más personal con todos, más allá de lo que dijera el guión. Es más, John Rzeznik se llevó para su casa una palabra más en español, “coño”.

La sensación general que me dejó este concierto fue la de estar asistiendo a algo grande, algo que los que estuvimos allí comentaremos constantemente. Porque vale, yo no me conocía sus canciones (corrijo, no sabía que eran suyas, porque al final veía que me sabía casi todas) pero la banda me metía dentro. Era imposible no sentir algo con “Sympathy”, al ver como John cogía la armónica en “Broadway” y como estos, muchos más. Aquellos que no fuisteis hablad con los que sí, e intentad no arrepentiros de vuestra decisión, no podréis.

Goo Goo Dolls La Riviera Alejandro Sanz 2018 07 21

And there I was, singing "Iris" as if I had listened to the Goo Goo Dolls all my life, but no. I could tell you about my relationship with them or about the time I was doing outside the room, also as an introduction, but I think it would be just a way of saying nothing so as not to enter directly to talk about a concert.
However, I would like to comment that from the moment your tour was announced, I knew that I had to be there, one way or another. I have been lucky to be able to be accredited and also to take pictures, but I would not be anyway. They are not so well known after 30 years for just one single, or a handful of them. They have had support behind, and opportunities that others have not, but it is clear that they knew how to take advantage of them, and that for me deserves a respect.

It is true that as I did not think many people, since La Riviera was a little less than its capacity, something very uncommon. But there nobody was (only) to make selfies. The hundreds who were crowded in front of the palm tree of the room sang each of the songs leaving the voice, and I assure you that from the pit, the feeling that this conveyed was overwhelming. And the band responded.
In a concert of these characteristics, complicity with the audience is lost for the benefit of the show, but in this case the first thing was not lacking. The pauses that were taken between song and song were not only to give thanks, but also to interact in a more personal way with everyone, beyond what the script said. Moreover, John Rzeznik took home one more word in Spanish, "pussy”.

The general feeling that this concert left me was to be attending something great, something that those of us who were there will constantly comment. Because it's worth it, I did not know his songs (I corrected, I did not know they were his, because in the end I saw that he knew almost all of them) but the band got me inside. It was impossible not to feel something with "Sympathy", seeing how John picked up the harmonica on "Broadway" and like these, many more. Those who did not go talk to those who do, and try not to regret your decision, you can not.

Thanks to @googoodolls:

Over and Over, Sympathy, Come to Me:
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Long Way Down


Clip of Name:

Clip of Iris:

Clip of Iris, and some banter from John:

Clips of Boxes:

Thanks to @igorangelhi:

Thanks to @Sakurimake:

Thanks to @richionline:

Thanks to @danisarkis:

Thanks to @silveraddiction for the setlist:

Clip of Give a Little Bit:

Thanks to mlimones:

Thanks to fcofrc:

Thanks to @sarapaolacci:

Thanks to @peregrinomalant:

Some amazing shots from im.igor.martins:

Thanks to @adolf_ito:

Thanks to @StateOfLoveAnd:

Some really awesome pro shots from Photography by JK:

Share your photos and video by uploading and linking in this thread!

Awesome photo set with thanks to Bruno Ferreira:

Pre concert interview:

Photos from MEO Mares Vivas:

Clip of Here is Gone:

Clip of Iris:

Thanks to @n_m_mars:

Thank you to Rui Pereira for Iris:

Thanks to Ricardo Isaias for Name:


Some nice pro shots from Carlos Santos Silva for Global News Portugal:

Grapes or Wrath, The Wallflowers, Goo Goo Dolls and Train: Roundup Music Festival
By Mike Dunn

CALGARY – The Grapes Of Wrath wore the glass slipper and went on at happy hour. Without Kevin Kane the Hooper brothers led as a trio playing a lot like the Jayhawks, chiming together with two-part brother vocals, although stripped down it was quite punk rock. “Good To See You” from 2014 was a standout with its Tin Pan Alley structure and early Beach Boy harmonies. As a three-piece the veteran Western Canadian band moulded themselves into a different, new feeling.

There’s something about The Wallflowers everyone should know and hear—they’re veteran players who’ve been there, done that, seen it all, and know how write and play songs that breath and feel lived in, like The Band once did and The Wallflowers revealed tonight. An extended intro of “Three Marlenas” got things started easily showing how they can pick up and move beyond the recorded version. With “6th Avenue Heartache” they stuck closer to the original script but still swaying, pushing up organ swells and throwing out great chorus lines. As they volleyed through their numbers, it was like seeing a young E Street Band, and cool to hear Jakob Dylan sing in a relaxed Lou Reed kinda way, plain-spoken with emphasis when needed. “One Headlight” was a huge release for the crowd, the band’s biggest hit dropped right near the end before “The Difference” closed out with its Al Kooper draw and Al Jackson Jr. push. Later that night, Dylan slipped onstage at The Ship & Anchor’s Annual Hank & Patsy show sitting in on a particularly show-stopping set backed by Calgary’s best rockabilly band, Peter & The Wolves.

The Goo Goo Dolls played to a full front row as the crowed streamed in and easily gained their attention with “Dizzy” from 1998’s Dizzying Up The Girl, before launching into the hooky acoustic rock of their huge hit from the same record “Slide”. The band was full of energy with frontman Johnny Rzeznick often slinging his guitar to his side while running across the stage, giving the crowd cues to pump it up and sing along. Bassist Robbie Takac a lit fuse all through the show, racing around and pogoing anywhere there was a square foot or two, his near constant smile a source of fuel for the sunbaked band at sundown. Their driving and catchy delivery had the crowd swaying happily. A focal point of the business model in the ‘90s was to get songs on movie soundtracks, and of all the huge ballads that defined films then, “Iris” was one of the best. It has all the high drama of a great power ballad, and the crowd loved it. My asterisk with The Goo Goo Dolls, though, is that they left “Long Way Down” off their set, the blistering lead cut from A Boy Named Goo.

Breezy summer stuff made up a lot of Train’s set. Leading with an East LA horn section and buoyed by female choir, their hits were interspersed throughout. “Meet Virginia” was preceded by a goddamn knockout of Zeppelin’s Black Dog where guitarist Luis Maldonado played the perfect riff hero foil to vocalist Patrick Monahan with his Michael Jackson high tenor wail. Autographing white hats on stage and chucking ‘em out like a t-shirt cannon might have pushed it a bit, but whatevah. The crowd came to see a big show and they devoured the easy-yet-tightly composed Californian beach rock. Whoa-sing-a-long choruses being the summery thing they are, Train let them flourish doing the classic one-liners extremely well. Starting their encore with “Free Fallin’” was a nice, unexpected turn and messing with Petty’s words just to say “Canada” a real crowd pleaser.

Thanks to AG!


Here is Gone:

Stay With You & Better Days:


Last part of Iris:

Thanks to Annie!

Clips of Slide:

Thanks to @rlagmanpmp:

Thanks to @pingthis:

Thanks to @thequeenofxc1125:

Clip of Iris from @heather_goo:

Thanks to mrtywal:

Thanks to emmoran01:

Thanks to @susanzabo:

Thanks to @delilahmadness for this video of Bringing in the Light!

And Sympathy!

Another cut of Stay with You:

Thanks to @tonyamato01:

Thanks to @laurie.jean.365:

Thanks to @Simplykentuckylife:

Thanks to @lydiasprau for So Alive:

Thanks to @tabeythomas:

The Goo Goo Dolls gave an intimate performance and interview before the show:

A clip of Slide from Dawn Walton:

Iris clip:

Another clip of Iris:

Thanks to @dave_lemon for the clip of Here Is Gone:

Great snippet of John and the crowd during So Alive thanks to Bernice:

Stay with You:

Great shots and clips of Broadway and Come to Me:

Thanks to @googoodollsofficial:

 Thanks to @mattxdaniel for this cool shot:
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Thanks to @photobyego:

Nice pro shots from the Regina Leader-Herald:

Thanks to @hatcher14:

Thanks to the @Yyscene

Some great shots from @jimwellsphoto:

Great shot from the Calgary Sun:

Concert review and pro shots:

Ans B.
Anthony Y.
Ben O.
Elles D.
Franka A.
James K.
Justin P.
Rachel P.
Sabrina A.
Simona B.

Do you have tickets to see Goo Goo Dolls perform at Melkweg Amsterdam, NL this July? Would you like to win a Meet &Greet pass to this show? Don't delay - Enter our lottery now, and good luck!

Reminder: One entry per person per show. Entries close 12 Noon EST 8 July, 2018. Must be 18 to enter. Meet and Greet does NOT include show ticket. Meet and Greet is for ONE person only & ID MUST match winning name.

From Soundtrack YEG:


From @cfewing1

Great shot from sirdanielcooper:

More great shots from tiukellzbellz:

From michael_montgomery_yyc:

From fistyfit:

From intoxicatedart:

A clip of Slide from rock3r_girl:

Iris from Jessica Halabi:

A clip of Name from

Clips from Slide, Here is Gine, Name and Iris from Katelynkristine_:

From raven1414:

From 92.5 Fresh Radio:

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Set list thanks to andreataylorradio:

Pro shots from @lindseycatherinephoto:


Do you have tickets to see Goo Goo Dolls perform in Bristol, Manchester and/or London this July? Would you like to win a Meet &Greet pass to one of these shows? Don't delay - Enter our lottery now, and good luck!

Reminder: One entry per person per show. Entries close 12 Noon EST 1 July, 2018. Must be 18 to enter. Meet and Greet does NOT include show ticket. Meet and Greet is for ONE person only & ID MUST match winning name.

Winners, Bristol:
Amanda C
Baz R
Ben R
Carolyn S
Clare W
Glenn P
Helen B
Leeann R
Daniela S

Winners, Manchester:
Andrew A
Caitland K
Glenn R
Jennifer C
Jon-Paul H
Karen H
Matt B
Peter I
Vanessa W
Zuzana G

Winners, London:
Ali H
Dave G
David B
Gemma J
Kyle N
Lauren M
Oceane R
Paul H-B
Robert M
Tina R


Goo Goo Dolls News & Info / Guerneville 6-9 Photos and Videos!
« on: June 10, 2018, 11:48 AM »

Thanks to christina_a_payton:

Check out this great video of @GGRZE taking care of business while live streaming!  Thanks to little_miss_hoothoot_girl:

Our winners have been selected!  Congratulations to:

Danny E
Gilbert L
Shelley H
Jason M
Jessica P
Mallory T
Meagan W
Reechi T
Sandra B
Taylor S

More info will be emailed soon!

Got tickets to see the Goo Goo Dolls at the show at the Golden Nugget, Lake Charles, LA? 

Enter to win a meet & greet with the band!  One entry per person per show. Entries close 12 Noon EST 6/10. Must be 18 to enter. Meet and Greet does NOT include show ticket. Meet and Greet is for ONE person only & ID MUST match winning name.

The winners for the meet&greets for Edmonton show on 6/23 are:
Sharon A.
Darren A.
Carolyn V.
Jesse F.
Adam B.



'Dizzy Up the Girl' 20 Years Later: The Goo Goo Dolls' Improbable Journey From the 'Cracks of Society' to the 'City of Angels'

This week, Billboard is celebrating the music of 20 years ago with a week of content about the most interesting artists, albums, songs and stories from 1998. Here, Billboard talks to '98 alt-rock mainstays the Goo Goo Dolls about their blockbuster Dizzy Up the Girl album, their memories of their late-developing stardom, and their feelings about revisiting the LP on their upcoming anniversary tour.

In 1986, the Goo Goo Dolls formed in Buffalo, NY, and Jim Kelly became the Buffalo Bills' starting quarterback. By the start of 1998 -- nine months before the September release of sixth album Dizzy Up the Girl -- Kelly was already retired, Hall of Fame résumé intact, having guided Buffalo to four consecutive Super Bowls; the Goo Goo Dolls were on the heels of their very first crossover hit, in a pop-rock era littered with one-hit wonders. Much younger one-hit wonders.

Long before breaking through with "Name," the Goos began with a self-titled debut album in 1987, one which bears no practical similarity to the platinum-certified band the public would come to know. It's a crude, gnarly punk record that features bassist Robby Takac snarling out lead vocals on every song, including a two-minute cover of "(Don't Fear) The Reaper," just because. Two subsequent LPs -- 1989's Jed and 1990's Hold Me Up -- dropped on Metal Blade Records (alongside releases from Anvil and Lizzy Borden) and refined the Goo Goo formula, with guitarist John Rzeznik assuming the majority of lead vocals and Warner Bros. Records eventually taking notice of their spit-shined, workmanlike choruses. But by their early 30s, Rzeznik and Takac (as well as now ex-drummer Mike Malinin) were tired of living in a Buffalo attic.

“Warner put us on what I call rock and roll welfare,” Rzeznik, now 52, reflects to Billboard on a recent phone call. “They would send us a check for a couple hundred bucks each month, so we could pay our rent and dedicate ourselves to music full time. Lenny Waronker, who was running Warner, came to a gig in Los Angeles after we made [1993 Warner debut] Superstar Car Wash: ‘Just keep going and we're going to break you -- it's just a matter of time.’ Those words will never be uttered by a record executive in 2018.”

But if the band had a song like "Name," they'd at least have their ear. The aching acoustic ballad off 1995's A Boy Named Goo, their second album for Warner, was a radio mainstay, topping Billboard's Alternative Songs and Mainstream Rock charts, and breaking the Hot 100's top five. While the Goos plotted their next move, the producers behind the blockbuster City of Angels soundtrack came calling, looking for Mega Ballad Number Two. With the immortal "Iris," the Goo Doo Dolls and their reluctant heartthrob frontman could nix the car washes and focus on the superstardom.

The trip there was paved with dive bars and Our Band Could Be Your Life; their path since, adult contemporary airplay and all the "mom rock" sneers that come with it. Dizzy Up the Girl is the sweet spot in between. The Rob Cavallo-produced album sold over 4.2 million copies (according to Nielsen Music) and produced five singles, of which there are two legitimate contenders for the song: "Iris," the orchestral magnum opus, and "Slide," the luminous jangle-rocker with Benmont Tench from Tom Petty and the motherfuckin'  Heartbreakers guiding its bridge home with a sublime keyboard masterstroke.

Dizzy Up the Girl's 11 other tracks generally follow one of these two models, with four offerings from Takac -- the decidedly less-dreamboaty songwriter -- keeping the Pleased to Meet Me embers burning, if only faintly. Lyrically, the songs are achingly earnest, painting love in melodramatic, direct strokes and reflecting their down-on-its-luck hometown after the factory jobs fled. (Tellingly, when the British film The Full Monty was Americanized for Broadway around the same time, the unemployed Sheffield steelworkers-turned-chippendales were made to be from Buffalo.)

But as their careers soared, the Goo Goo Dolls had to come to terms with some realities. Critically respected for the Replacements-inspired rock of their earlier years, they now had to grapple with petulant "SELLOUT!" accusations and negative album reviews. Pitchfork once nailed Dizzy Up The Girl with a scathing (since scrubbed from the site) 3.2 review in which he's lambasted as John "Bon Jovi" Rzeznik.

Living on a prayer or living in Buffalo, it's hard to imagine Rzeznik (currently a Jersey resident) taking that as an insult. The Goos got their fill of punk's romanticized grit and reinvented themselves through one of the longest of long games the music biz has seen. The payoff was Dizzy Up the Girl -- a critically underrated, commercially properly-rated, box office smash of a career milestone.

Just last year, the Bills made the playoffs for the first time since the Dizzy Up the Girl tour wrapped. Everything's made to be broken.

See our conversation below.

You’d toughed it out for so long before “Name” became a hit. For the follow-up album, was there a sense of urgency?

John Rzeznik: There was definitely a sense of urgency about it; of course you don't want to go back to bartending. But everything moved so quickly. There were a couple of years between those albums. We did a lot of touring and the writing just started to flow. That was one of the peaks of my writing. But there was no pressure from the label, nothing like, "Oh you gotta write another hit.” But I wanted to.

Robby Takac: For Dizzy Up the Girl, John and I spent some time in Buffalo, then came out to L.A. to record, and to live. I don’t know if we were nervous; I was just kind of amazed it was actually happening.

Rzeznik: Our manager [Pat Magnarella] was very much a taskmaster: "Keep your head down. Keep working. Keep writing. Just keep going. Forget about all the bullshit." But we only forgot about half of the bullshit. We got to have some fun.... It’s funny because Warner Bros., at the time, they didn't even want to work "Iris."

Takac: It came out on Reprise, actually, at first.

Rzeznik: Yeah, the song was released on the City of Angels soundtrack -- which came out on Reprise -- and that's how the song became a hit. I didn't think it was ever going to be a hit because we were on the album with U2, Peter Gabriel, Alanis Morissette -- the big ones. It’s crazy.

Take me through the writing process of "Iris."

Rzeznik: I was definitely trying to match the storyline of City of Angels: “If I were this guy, what would I say to this girl?" Then I thought to myself, "What an incredible thing. This guy is willing to give up his own mortality just to feel something." It's a really beautiful allegory about the uncertainty of being human, but all the excitement that goes along with it.

Takac: The movie actually declined the version of the song that we turned in -- the version that is on the soundtrack and on the album. But the version they used in the movie was just an acoustic version.

Rzeznik: That moment when that song was given to me was a gift. Times like that just fall out of the sky. We were really uncertain. All the critics loved us until we wrote "Name." We had a pretty loyal fan base of like 400 people in every city in America. Then we finally got a hit and instead of rooting for us, they were like, "Fuck you, man, you guys suck now. You sold out."

Are there any reviews you remember that just really turned you off?

Rzeznik: Anthony DeCurtis wrote one that was particularly nasty. But whatever, it doesn't matter.

Was it a review of Dizzy Up the Girl?

Rzeznik: I don't remember what it was about, but I remember feeling like, "Wow. That was a little personal” [Laughs].

Robby [pointed out], "Look, if nobody knows who you are, the only people that write about you are people that like you." But then when the boss comes in and says "Hey you gotta review this record,” then you start getting some negativity thrown at you. Sometimes it hurts, but you learn to develop a thick skin.

Editor's note: Rzeznik is likely referring to this Rolling Stone review of 2002's Gutterflower.

​“Name” and “Iris” were ballads that really didn’t sound like most of what the band had done before. Do you think they reshaped what came after?

Rzeznik: I was just growing and developing as a writer. I didn't want to write punk rock songs anymore. I felt like, "Well I played that out; It was fun.”  Why do I have to be a 50-year old punk rock guy? I think that's kind of silly.

Robby, your Dizzy songs like "January Friend" and "Full Forever" are a bit more punk-ish than what's on the rest of the album. Did you feel like you were keeping some of the spirit of the earlier years alive?

Takac: I don't know if I was necessarily keeping it alive. I think people progress at different paces, different things influence them. I think I was a little slower to leave that vibe behind.

The Replacements were such an influence on the earlier albums; when you started to leave the punk world behind, who were the artists you looked up to?

Rzeznik: We had started looking backwards. A band that nobody ever mentions as far are as our influences go was Hüsker Dü. If you listen back to our early records, they're more akin to Hüsker Dü: the tempo of the songs and the really sordid guitars. I thought Bob Mould was really brilliant -- lyrically and his guitar playing.  And I love all those early Soul Asylum records. Minneapolis was my Seattle.

But everybody for 20 years just called it up, "Oh you guys love The Replacements." I was into a million bands, you know? All I know is [Paul] Westerberg wasn't the first guy that wrote a lot of those songs. We all borrow.

What are some other misconceptions people have of where the Goo Goo Dolls came from?

Rzeznik: We shoved it down everyone's throats that we were from Buffalo. We were living in an industrial ghost town at the time and for some reason, we were incredibly proud of that. We found a building that was condemned and set up our rehearsal room in it. You get this sense of, “You better play the fuck out of that guitar because that's about the only way you're getting out of here." And that's what we did.

In “Broadway,” the “young man sitting in the old man’s bar”-- that has a lot to do with the people of Buffalo, right?

Rzeznik: That’s where I grew up, on the east side of Buffalo. The main artery was Broadway and it was dying as soon as all the factories closed. The demographics were changing and that whole part of town -- the people I grew up with, the generation before me, there were some really great people but there were also some unbelievably ignorant... It was a blue collar, immigrant community so everybody's fighting for a scrap of bread. That was my take on what I saw growing up: very Catholic, very blue collar, lots of poverty, lots of drugs and alcoholism, lots of domestic violence. It was built into the fabric of what that community was all about.

The other big hits on the album, "Slide" and "Black Balloon," also deal with really heavy subject matter.

Rzeznik: I was thinking a lot about the neighborhood I grew up in. "Slide" is about a teenage boy and girl. They're trying to figure out if they're going to keep the baby or if she's going to get an abortion or if they're just going to run away. They’re dealing with these heavy life choices at a very early age. Everybody grew up way too fast.

All of a sudden, I bet you guys had a lot more money than you'd ever seen before.

Rzeznik: I didn't have a checkbook or a credit card until I was 30 years old. I didn't have any money. Robby and I literally lived within the cracks of society. I was a hot dog vendor and a bartender. We lived in an attic in Buffalo and paid our rent in cash. I rode a bike to work.... Then we went out to Los Angeles.

Once Dizzy Up the Girl settled in and you had one, two, three hit singles, how did your lives change the most?

Rzeznik: Well, people were showing up at our shows [Laughs]. Robby and I looked at each other and said, "We better play as many shows as possible because you don't know how long this is going to last."

What changed most about our lives? Honestly, I'm not trying to be a bummer, but at the end of the Dizzy Up the Girl tour, I called a real estate agent and asked if he could find me a house that had a bomb shelter. I wanted to have an underground bomb shelter to write songs in because I just felt so overexposed.

At that point in my life, I circled my close friends around me and started doing a lot of drinking and writing… I felt like, my god, I've been doing this for so long, and now we have this success, and people treat you differently. And you're not a different person; you're the same person.

The one thing that kind of freaked me out after Dizzy Up the Girl was I didn't get any better looking, but for some reason, the girls that wanted to talk to me got better looking [Laughs]. That comes with a little bit of success. I think women are like, "Oh he's a rock star." But I pretty much shunned all that stuff, except for when I was dating the actress. That just got too weird because I wanted our private life to be private, you know? That didn't work.

Which actress was that?

Rzeznik: She was a soap opera actress, a very nice person but I didn't want to be a "celebrity.” She wanted those things and I just wasn't equipped for it. Like, I got to go to the opening of every envelope in Los Angeles? It's like "Forget it, I'm staying home."

Editor's note: Rzeznik is likely referring to actress and musician Adrienne Frantz.

John, you came out and performed with the EDM group Cash Cash at Coachella this year. What was that like?

Rzeznik: What a freaky scene. It was just interesting to me. It was so much fun playing with them, but I was like, "Wow, things have changed." When we were their age, it was all mosh pits and people stage-diving. Now it's all very much like a massive light show and 30,000 people jumping up and down in time.

What did you think of the Coachella crowd?

Rzeznik: I felt like a dirty old man [Laughs]. But I got to say this: We were in this tent and there were about 20,000 people in it. I came out there and we sang "Slide" and that place went nuts. The only thing I could think of was, "Yeah, those kids grew up listening to their parents' record." Robby said that they were strapped in the car seats and couldn't get away from their parents playing Dizzy Up the Girl.

What’s some newer stuff you two are listening to right now?

Rzeznik: Atlas Genius, Arctic Monkeys, I love the Arctic Monkeys. The Bird and the Bee, Fitz and the Tantrums, Flaming Lips. I love Grace VanderWaal’s voice. And I love that Harry Styles record. The new James Bay record is really good. And Polyphonic Spree, oh my god man. I like listening to them because it makes me feel like I'm on drugs without actually having to take any, you know?

Takac: A band called Superorganism. Cornelius has a new album out called Mellow Waves, which is pretty cool. Kero Kero Bonito, they're pretty cool: two guys and a girl singer who sings half in Japanese.

Later this year, you’re touring behind Dizzy Up the Girl, playing it in its entirety. What’s it like dusting the whole thing off?

Rzeznik: This tour is really something for more hardcore fans. We’re digging back to Superstar Car Wash and there's got to be a song off Hold Me Up we can do. Gutterflower too, there's some cool songs on that record.

Takac: There’s one song [from Dizzy] we've never played, one that we played just a little bit back in the day. And a couple of John’s we probably haven't played in 15 years.

Rzeznik: That's going to be interesting, but we'll work it out. People who were really into that record will get to hear it live from start to finish, the way they listened to it on their CD player.

Takac: That was one of the last true eras of album rock.



Buffalo, NY’s The Tins weave immediately arresting harmonic anthems through a sonic fabric laced with threads of 1960’s psychedelic pop, static-washed experimental indie-folk, and new-wave art rock. Together, keyboard player and vocalist Mike Santillo, drummer and vocalist Dave Muntner, and guitarist and vocalist Adam Stanley, create their own power pop universe where every note sounds Beatlesque.

The trio have come far since their early days in an underground practice space at New York State’s Binghamton University. The Tins first single, “The Green Room,” became a staple of the Spotify Hipster International Playlist, and received Spotify staff picks #2 song of the year.  Life’s A Gas, their debut full length, was written by the band with Modest Mouse producer Joe Blaney. Since then they’ve gone on to work with producer Ted Young (Kurt Vile, The Gaslight Anthem) and have garnered millions of plays across all streaming music services.
Their new eponymous LP (out 6/1/18)  was produced by Robby Takac of the Goo Goo Dolls, mixed by Ted Young, and features art by legendary Rolling Stone cover artist Philip Burke. “Robby asked us to play a fundraiser at an Italian restaurant in Buffalo” explains Muntner. “So here we are, The Tins, munching on pasta and cannoli, and Robby walks up and says he likes our sound and wants to produce a song. It was only supposed to be one song. Everyone enjoyed working together so much, and just felt inspired… to create an entire album… so we did it.”

Written initially by the individual members in their respective, sundry garden patches, the songs of The Tins blossomed into their full glory when the band came together to jam in their weird, and possibly haunted practice/living space in the small loft above Mike Santillo Senior’s trucking company. The bulk of the record was tracked at GCR Audio in Buffalo NY, apart from a cover of Bruce Springsteen’s “State Trooper”, which was recorded at Santillo Jr’s new Mammoth Recording Studio. The record incorporates a myriad of found sounds, from that of a man playing a high-pitched flute, known as Khlui outside of Chiang Mai, Thailand to a group of children singing outside of the giant Catedral del Cuzco at Plaza de Armas in Cuzco, Peru. Additionally, Takac jumps on for a cameo appearance on the Shamisen, a Japanese string instrument whose body can be played like a drum.

The Tins hold their lyrical narratives close to the vest, but broadly the record grapples with the struggle to free oneself from discontent. “It’s about feeling stuck, the need for freedom and escape,” says Stanley. “‘Jigsaw Queen’ and ‘Minute Of Your Time’ both allude to that in the lyrics, and it’s why we felt “State Trooper” was a good fit. We didn’t write it, but, thematically, it sort of reflects the darker side of the same things we were talking about.” It’s certain that the best way to tease out the filaments of meaning is to ingest the record as a cohesive sonic experience; The Tins is meant to be listened to from end to end in one sitting. “A bit of ambiguity allows people to come to their own conclusions” says Stanley. “
I’m sure folks will find some common ground with us somewhere in the record. Mainly, I just want to make people dance. What good is this if you can’t groove to it, you know?”

Glide is thrilled to premiere The Tins new album in its entirety (below) – a collection of eight (no filler) songs that each capture the band’s dynamic songwriting chops and an undeniable ear for melody. With shades of punk anguish and hit me with your first shot song impressions, The Tins, like their band name keep their element simple, genuine and rocking.

Goo Goo Dolls News & Info / NEW LIVE ALBUM: available 7/21
« on: May 24, 2018, 09:15 AM »
We’re excited to announce our new live album, The Audience Is This Way. It includes 10 tracks recorded live during our recent tours. The album will be available on July 21 and will only be physically available as an exclusive limited edition black vinyl at indie-retail stores nationally as part of Record Store Day Crawl. There are only 3,000 copies made of this pressing.
The album will be available for digital download and streaming on August 24.
The Audience is This Way Tracklisting
Side One:
1.   Long Way Down
2.   Slide
3.   Home
4.   The Pin
5.   January Friend
Side Two:
1.   Big Machine
2.   So Alive
3.   Better Days
4.   Iris
5.   Broadway

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