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Greg Kihn Band  

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Rick Springfield & Friends Fan Getaway 2020

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ive seen Greg about 10 times since 1970 he never disappoints the combition of these 3 bands is gonna be great.

I’ve seen Rick 15 times and he also never disappoints

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It was awesome. He not only sang songs but also told stories and also sang other artists songs. He played about 90 minutes.the venue was small so we were very close up

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Interview: Greg Kihn Discusses New Music, Book and Tour Plans

If you’ve ever played in a classic-rock cover band, chances are you had a Greg Kihn song somewhere in your set list.

Through the early Eighties, the Greg Kihn Band racked up a series of hit singles, like “The Breakup Song (They Don’t Write ’Em),” “Lucky” and, his highest-charting track, 1983’s “Jeopardy,” all of which were issued on the independent power-pop label Beserkley Records.

Kihn released his last album in 1996, the same year that he launched his literary career with the novel Horror Show and became a radio fixture on KUFX FM in San Jose. After a string of ownership changes, KUFX became a superstation in San Francisco, and Kihn’s morning radio program was heard by millions each week.

But last September, following 17 years with the station, Kihn was dropped from the program, and his contract was allowed to lapse when it came up for renewal soon after.

Since then, the guitarist had a new burst of creative energy. He’s releasing digital remasters of classic albums from his group’s days. He’s also considering a summer tour with the Greg Kihn Band that will include his hits and possibly some new material. Plus, he’ll soon release a new Beatles-related fictional work titled Rubber Soul . Even without a radio show, Kihn has a big year ahead of him, as Guitar World learned in the following interview.

GUITAR WORLD: What led to your breakup with KUFX?

I’ve been doing radio for 17 years, 16 of them as the number-one morning show in San Francisco. The station I worked at was sold [ to Entercom Communications in January 2011 ], and I was probably the highest paid guy there. I was a ratings winner. I guess they looked around for things to cut and I was the one who had a great big bull’s-eye on my back that said “Highly Compensated Employee”! [ laughs ]

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The thing is, radio is now a very corporate thing. It never used to be this bad. There used to be a few mom-and-pop radio stations and a few small radio groups, but now it’s all big corporations who buy the stations and basically do whatever they want. I stayed on for a year and a half [ following the Entercom purchase ], and then they cut me loose. Since I was let go, I’ve really been on a creative burst. I’ve finished a novel and started writing songs again. I’ve also started rehearsing the band, and now we have a few offers for tours this summer.

What’s it like being back in the studio again?

I’d forgotten how much fun the whole process of creating is. Back when the band was in its prime, we would rehearse every day. Being in the studio and coming up with ideas was when it was the most fun. Before you know it, you’re writing songs.

“Jeopardy” was a huge hit for you. What do you remember about that time in your career?

I remember exactly where I was when I found out it was Number One. We were driving in the tour bus, out in the middle of nowhere, and saw a sign for Custer’s Last Stand, so we stopped. I got on the payphone and called the record company to see how the song was doing, and the guy on the other end said, “Son, your record’s just gone to Number One! ” [ laughs ]. The guys and I all high-fived each other and then drove around until we found a bar. We celebrated the rest of the afternoon by drinking a pitcher of margaritas and getting toasted. [ laughs ]

How did that song come about?

One day, Steve Wright [ keyboardist for the Greg Kihn Band ] came over to my house with a Casio [ portable keyboard ] and started playing me that riff, and I swear to God, out of nowhere, as if I was channeling the song, I just started singing, “Our love’s in jeopardy”…the ooh s and everything! I don’t know where it came from. It was completely spontaneous. Steve looked at me and asked, “Hey, did you know I was coming over?” And I said, “No, it just popped out of my head!” We wrote that song in 15 minutes. [ laughs ].

All of the great songs seem to write themselves. If it takes you three weeks to finish a song, you know that song isn’t going anywhere. But if you can write a song that just pops out of you like it writes itself, nine times out of 10 it’s going to be a hit. All of my Top 10 hits, like “Jeopardy,” “Breakup Song” and “Lucky,” all came flying out. I figure that half of the songs the Beatles wrote were like that. They just sat down and stuff would come flying out.

What’s the secret to getting in the zone?

If I knew the answer to that, I’d be a millionaire! [ laughs ] But I think the key as a songwriter is to try and get yourself mentally in that space. You can’t worry about things like needing to have your transmission fixed or that your taxes are overdue. You need to have your mind completely cleared, and then the ideas will come. You also have to just wait and be patient. The harder you try to make it happen, the harder it becomes.

Tell me a little about your upcoming book.

It’s a murder mystery that will probably be coming out in March called Rubber Soul . It’ll be published by Premier Digital Publishing. It’s a historical fiction story about a guy who meets and becomes best friends with the Beatles before they become the Beatles. He sticks with them up until they’re superstars. It culminates with their harrowing 1966 experiences in Manila after they allegedly snub the Marcos regime. [ The Beatles turned down an invitation to a reception at the palace of Ferdinand Marcos, then president of the Philippines. The palace responded by turning mobs of angry Marcos followers against the group and making the Beatles pay a large sum of money before being allowed to leave the country. ]

What are your plans for the rest of this year?

I’ll probably be spending the summer touring and having fun. The last full-fledged tour for me was at least 16 years ago. I was always a weekend warrior, but as far as a real tour is concerned, I haven’t done one for as long as I’ve been on radio. But it’s just like riding a bike, and I’m really looking forward to it.

Greg Kihn’s latest book, Rubber Soul , will be released In March. To keep up to date on Kihn’s show dates and book and album releases, check out his web site and Facebook .

Live photo: BR Cohn

James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, GoJimmyGo.net . His articles and interviews are written on a variety of topics with passion and humor. You can follow him on Twitter @JimEWood.

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James is a guitarist and freelance writer who's interviewed some of the biggest names in music. He is the author of four books and his writing credits include work for Guitar World, AXS and Yahoo! as well as for his hometown newspaper where he writes on a variety of topics with both passion and humor. As a guitarist, he's performed everywhere from local bars and nightclubs to some of the biggest stages in front of thousands of music fans.

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Gregory Stanley Kihn is an American rock musician, radio personality, and novelist.

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Greg Kihn Band

“This record has it all: good songs (mostly written by Kihn) with strong vocals and tight harmonies. If you only know Kihn from the hits, you owe it to yourself to go back and track this record down. If you’re only just discovering him, start here and grow with the band. “

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The Greg Kihn Band is an American band that was started by frontman Greg Kihn and bassist Steve Wright. Their most successful singles include "The Breakup Song (They Don't Write 'Em)" (Billboard Hot 100 #15) and "Jeopardy" (Billboard Hot 100 #2).

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• 2019  ( 11 )
• 2018  ( 22 )
• 2017  ( 17 )
• 2016  ( 8 )
• 2014  ( 3 )
• 2013  ( 3 )
• 2012  ( 2 )
• 2011  ( 1 )
• 2010  ( 2 )
• 2009  ( 3 )
• 2008  ( 1 )
• 2007  ( 5 )
• 2006  ( 2 )
• 2005  ( 4 )
• 2004  ( 4 )
• 2003  ( 3 )
• 2002  ( 3 )
• 2001  ( 5 )
• 2000  ( 6 )
• 1999  ( 6 )
• 1998  ( 10 )
• 1997  ( 3 )
• 1996  ( 4 )
• 1995  ( 12 )
• 1994  ( 14 )
• 1993  ( 20 )
• 1992  ( 32 )
• 1991  ( 44 )
• 1990  ( 47 )
• 1989  ( 34 )
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• 1985  ( 39 )
• 1984  ( 64 )
• 1983  ( 128 )
• 1982  ( 146 )
• 1981  ( 152 )
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• 1978  ( 62 )
• 1977  ( 52 )
• 1976  ( 42 )

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• Best in Show 2019  ( 4 )
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• Greatest Hits Album Tour 1990  ( 10 )
• Greg Kihn Again  ( 54 )
• Kihn of Hearts  ( 49 )
• Kihnsolidation  ( 34 )
• Kihnspiracy  ( 127 )
• Kihntagious  ( 51 )
• Kihntinued  ( 145 )
• Love and Rock and Roll  ( 59 )
• Mutiny  ( 21 )
• Next of Kihn  ( 62 )
• RocKihnRoll  ( 130 )
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• True Kihnfessions  ( 4 )
• UnKihntrollable  ( 30 )
• With the Naked Eye  ( 87 )
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Greg Kihn is the inimitable Beserkley Records recording artist of the 1980's, best known for his chart-topping songs and MTV videos, Jeopardy, and The Breakup Song (They Don't Write 'Em Like That), Number 1 Morning Man on the San Francisco San Jose Rock Leader, KFOX 98.5 and 102.1 FM, and a renowned author of 4 novels and 1 book of short stories. ...   more

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Band & Crew View all

2022/2023 earth tour band.

Joe Satriani - Guitar Bryan Beller - Bass Kenny Aronoff - Drums Rai Thistlethwayte - Keyboards, Guitar, Vocals

Current Live Touring Crew

Alastair Watson - Production/Tour Manager Jarett Kemp - Road Manager/Production Coordinator Michael "Ace" Baker - FOH Engineer Jamie Fadden - Lighting Designer/Tech Edwin Adair - Guitar Tech Jose Baraquio - Drum Tech Ruben Aguirre - Monitor Engineer Michael Arms - Stage Left Guitar & Bass Tech Bryan Southard - Merch

Mick Brigden , Morty Wiggins - Management Wayne Forte (Entourage Talent) - Booking Agency Jon Luini / Chime Interactive - Digital Strategy Melissa Dragich (MAD Ink, PR) - Publicity

Joe Satriani - “Just The Facts”

Joe Satriani is the world’s most commercially successful solo guitar performer, with six gold and platinum discs to his credit (including one more gold award for the debut album by his band Chickenfoot), and sales in excess of 10 million copies. Satriani's 19th studio album, The Elephants of Mars , crackles with an exciting new energy, briskly traveling through stylistic roads that feel freshly updated, viewed through new eyes. Forced time away from the road due to the pandemic, allowed for time to deliver an album length journey that never dulls.

Since September 18, 1970 (the day his idol Jimi Hendrix passed away), Satriani has dedicated himself to the artistry of the instrument. While still a teenager in his hometown of Westbury, New York, he taught guitar to another budding six-string hopeful, Steve Vai. A few years later, Satriani moved to San Francisco and played guitar in a popular new wave band, The Squares, and briefly joined The Greg Kihn Band before the release of "Not Of This Earth".

Satriani’s reputation was already growing in guitar circles – along with Vai, some of his other students were Metallica’s Kirk Hammett and Testament’s Alex Skolnick – but in 1987, he broke through to the masses with his second studio full-length, "Surfing With The Alien", a massive seller (it hit No. 29 on the Billboard 200) that included the radio hits “Satch Boogie” and the title track. The success of that album caught the attention of Mick Jagger, who asked Satriani to be his lead guitarist on his first-ever solo tour, in 1988.

As a live performer, Satriani has toured the world with each new release (his last concert tour for 2013’s "Unstoppable Momentum" saw the guitarist touch down in 32 countries). In 1993, he joined Deep Purple as a temporary replacement for Ritchie Blackmore during a Japanese tour. In 1996, Satriani founded the multi-guitarist traveling experience called G3, which has seen him share stages with Vai, Eric Johnson, Yngwie Malmsteen, Robert Fripp, among others. And starting in 2009, Satriani traversed the globe again as a member of Chickenfoot. The all-star band (which also includes singer Sammy Hagar, former Van Halen bassist Michael Anthony and Red Hot Chili Peppers drummer Chad Smith) has issued two albums, their debut and 2011’s follow-up, "Chickenfoot III".

Satriani’s solo discography includes a host of classics, including 1989’s "Flying In A Blue Dream", "The Extremist" from 1992, "Is There Love In Space?" (2004) and 2010’s "Black Swans And Wormhole Wizards". His 15 Grammy nominations have been for songs such as “Always With Me, Always With You,” “The Crush Of Love,” and “Summer Song,” as well as full albums like "Surfing With The Alien", "The Extremist" and "Super Colossal".

Satriani has appeared in motion pictures such as Christopher Guest’s 2006 release, "For Your Consideration", and the 2011 Brad Pitt starrer, "Moneyball". Through the years, he has designed and endorsed guitars, amplifiers and effects pedals for Ibanez, Marshall and Vox. His JS Series of guitars through Ibanez has been one of the company’s most popular and consistent sellers.

Current Album: The Elephants of Mars

View the The Elephants of Mars Discography Page »

Joe Satriani’s version of carpe diem seems to be continuously in play, a mantra ready to shift into position no matter what the exact circumstances might be.

The Elephants of Mars , the virtuoso guitarist’s 19th studio album and his first for earMUSIC, sprang to life as an unexpected worldwide pandemic enveloped the globe. Like so many others, the San Francisco musician had a busy year planned.

Shapeshifting , his then-current album, was set for release in April of 2020. The usual Satriani cycle of album, tour, album, tour, meant that he was gearing up to circle the planet in support of the highly anticipated record. Instead, he had a new date added to the tour schedule. Home.

Initially, he had the idea that they would wait it out in regards to the pandemic, staying occupied by recording “two loose albums” as they lay in wait for the day that they could get back to the road and promote Shapeshifting . One would be an instrumental and one would be structured around vocal material.

Both would showcase and introduce his new band so that when they did finally get to tour, fans would be aware, “This is what they can do.” He planned to just give the new music away at no cost. As the pandemic period lengthened, he realized that it made more sense to change focus and work on making the next proper instrumental album instead.

From the outset, Satriani set goals for himself. “I've done a lot of records that have swung back and forth stylistically,” he admits. The guitarist had an aim to create a “new standard” when it came to crafting an instrumental guitar record. There are a lot of different ways to do that, he allows, mentioning jazz, fusion and rock records, in addition to “the current crop of young, brilliant players,” who are playing “all kinds of stuff.” Recognizing all of this, he notes, “I am a product of my generation, and I am the end result of all these influences.”

He strove to openly challenge himself to move away from what he describes as “the classic rock” tone of the past few albums he’s put out, replacing that with “a new platform of his own design. “Okay, I know what everybody else is doing. But I want to be in this new area,” he explains. “I do want to show people that the instrumental guitar album can contain far more complexity of creative elements than I think people are using right now.”

The band for The Elephants of Mars marries players from Satriani’s universe both past and present. Legendary drummer Kenny Aronoff (John Fogerty, Smashing Pumpkins) is back for his second consecutive tour of duty with the guitarist following his initial debut on Shapeshifting. Bassist Bryan Beller slips inside the liner notes for the first time since 2015’s Shockwave Supernova .

Longtime associate Eric Caudieux has been in the Satch orbit since 1998’s Crystal Planet and also produced the album, collaborating on the mixes with Greg Koller (Bruce Springsteen, Beyonce). Rai Thistlethwayte is the newest addition, beaming in from overseas where he was splitting his time between Australia and Tasmania.

While he has worked separately in the past with band members, Satriani often favored the approach of getting everyone in a room and following the spirit of the collaborations that developed. They would take a decidedly different path with The Elephants of Mars . The lockdown dictated an intriguing new direction that was joined by similarly exciting results.

Album opener “Sahara” immediately demonstrates that Satriani and his band are pushing deep into previously uncharted territory, quickly building out a cinematic soundscape that both musically and rhythmically feels as if one is surrounded by desert-like desolation.

Originally envisioned as a vocal piece, “Sahara Love Is the Answer,” it was Caudieux who urged Satriani to consider taking a second look at the track, to convert it into an instrumental. The guitarist decided to humor his collaborator and take a shot at it. He found it to be a “bonus” that he had a full set of lyrics, a helpful compass as to what the song was supposed to be about.

Sending musical ideas back and forth with Caudieux, what emerged was a song which has become one of their favorites of the album sessions and one that took pole position at the head of the record.

“It was all about a person who was completely lost, feeling totally isolated. He's walking the streets of an area like Gotham, in New York City. And there's nobody around,” Satriani says, spooling out the initial storyline. “It's almost like a desert, except it's a decaying urban landscape. And then he meets this spirit, and then it gets crazy. We were able to keep some of the melodies that were part of the vocal melodies and it just turned into something that wound up being one of our favorite songs, and we wound up putting it first on the album because we related to it so much.”

Satriani’s ongoing work on musical cues related to his Crystal Planet comic book series gave birth to the title track of The Elephants of Mars. He recalls that his original demo version had a Nine Inch Nails-like beat built around synthesizers and a guitar section he had cut years ago. He was intrigued by one piece which had a sound that to his ears, “sounded like electronic elephants with the air coming through the trunks and everything.”

Pulling in that same guitar part as inspiration, originally recorded on an iPhone, Satriani recorded a fresh take of the guitar line and began to manipulate other parts of the song. “I wrote a section where I could just do a totally open guitar solo and I came up with the idea of using the symmetrical scale,” he recalls. “Just because I thought it was so much fun and it's so weird, it would fit the meaning of the song.”

Constructing a middle section and end solo, now it was time to set the elephants free. “The idea was now we really have to turn up those elephants because it really sets up the song,” Satriani begins. “But how do we get that weird synthesizer patch to match Kenny and Bryan and Joe just going crazy? Finally, Rai comes in and he does a Deep Purple, Jon Lord organ kind of thing throughout the whole song.”

It was a big vision to pull together and in the end, Satriani says, “We were literally working on sections and crossing our fingers that it was going to work.” Happily, they were able to reach the perfect storm. “‘The Elephants of Mars’ sounds in the beginning finally made sense,” he concludes. “It took a lot of experience and technical work to get all those sound and sonic elements together to work with the rock band and make it sound like you're on Mars and the elephants are charging and they're gigantic.”

Aronoff and Caudieux were both in the Los Angeles area and were able to work together directly with the producer recording Aronoff’s parts at the drummer’s own Uncommon Studios. With each isolated in separate areas of the studio, Caudieux coaxed out an exciting variety of performances from the drum legend. “I got some of the craziest things from those sessions,” Satriani reflects. The marimba parts on “Night Scene” were a first for both the guitarist and the drummer.

The musical pattern had begun as a guitar part. It was Caudieux who heard how much it sounded like a marimba and wondered if they could get Aronoff to play it on an actual marimba instead. “Kenny was like, 'I am doing this because I studied this instrument since I was in college and I've never been able to get on an album doing it,” Satriani recalls with a chuckle. “So, we just thought, ‘Well, that's the best reason ever, let's just do it.'”

Similarly, the creative gates were wide open for all of the musicians to take liberties on the songs for The Elephants of Mars and share a side of themselves they hadn’t previously been able to. “The songs are so out there, they're such an odd collection of stuff, from, you know, "Faceless" to "Pumpin'," he explains. “They're so different that everyone was able to take the song as a separate entity and say, 'I always wanted to do this in a song, I hope the album receives it.' Eric and I were really keen on making sure that everybody felt that -- that each song was an opportunity for them to apply themselves to the song as a singular entity.”

Working as a rhythm section for the first time, Beller and Aronoff would easily find their collective mojo. The bassist had seen the drummer play with Satriani on the Experience Hendrix tour and even though the skinsman is “one of the most recorded drummers ever,” as the guitarist terms it, the pair would still have plenty to explore together. “Kenny is so deep, he's always laying a new thing on people,” Joe says. “You give him the opportunity and he says, ‘Here's a new version of Kenny.’”

Highlighting the fusion vibe of “Pumpin’” and the similarly jazzy feel of “Night Scene,” Satriani calls Beller’s bass playing “unbelievable,” noting how the songs rise to the next level, thanks to the pairing of the bassist and Aronoff. The demo for “Night Scene” was an automated thing,” he shares. “I said to them, ‘Look, I don't know if this is humanly possible to play those parts like that, so you change them if you need to change them.' But wow, I mean, they made them sound so much better and even more menacing, and fat and groovy and everything. There's nothing like fingers on strings, you know?”

While the pandemic found the musicians relying on numerous methods of communication since they weren’t in the same room -- including text messages back and forth with idea fragments, occasionally, it was the things that weren’t said which delivered surprising results.

Thistlethwayte was traveling when he received the initial tracks for “Sailing the Seas of Ganymede” to add his keyboard part. “In that particular song, Rai decided to do a solo in the wrong spot. But it was like once we heard it, everybody was just like, so blown away,” Satriani says with an incredulous tone. “We said, 'No, Rai owns that spot. We're not even gonna say that's the wrong spot.' Like you got it.”

“He did that a couple of times, and I'm not sure if he did it because we didn't tell him where the right spot was, or because he just thought 'I think this is better,' but we never argued with whatever he did,” Satriani continues. “I mean his solos are really, really remarkable. I mean, just crazy good. They really raised the game on the album when it came to those bursts of crazy expression.”

The futuristic tone of “Through a Mother’s Day Darkly” is another moment that takes up partial residence in the worlds of Crystal Planet . Satriani had written an initial sketch on Mother’s Day, pulling out a seven string guitar that hadn’t seen the light of day from its case in a number of years. He liked the “dirty, punky seven string guitar performance,” but wasn’t sure where to go from there.

Again, it would be Caudieux who heard something in the idea that the guitarist sent around. “Let me play with it,” he told Satriani. He posed the idea of adding orchestral elements, but it would be a struggle that played out over a period of months figuring out how to keep the “raw one pass guitar performance” that they both saw as a key part of the song.

The dramatic voiceover Satriani’s Crystal Planet partner Ned Evett contributed to bring the song home adds an unexpected sci-fi twist to The Elephants of Mars . “Through a Mother’s Day Darkly” takes listeners on a gripping journey that fits surprisingly well in the album sequence.

Ultimately, The Elephants of Mars stands as one of the most intriguing and interesting albums of Satriani’s career. With each new recording adventure that he embarks on, there’s always a carefully considered grouping of players, song ideas that have been vigorously vetted and studio environments and producers to be selected. In the end this time, Satriani and his bandmates would take the roads less traveled.

“One of the strange effects of the pandemic and recording an album remotely at home, and being away from everybody, was that we all had time,” Satriani says, reflecting on the many experiences he had previously, especially in the early days of his career, working against the clock. “We pretty much just kept working on the album without any hiccups.”

The results were “fortuitous by default,” he realizes now. “Normally we would have spent two months all huddled together in a room screaming at each other getting a record done. Instead, it was done through video conferencing and over the phone and text messages. You know, play faster, play slower, less notes, more notes. How about this idea?”

“The music just got so much better. I think especially with Eric. I granted him this sort of license to take something that I'd given him and turn it upside down,” Satriani continues. “That's something that he wouldn't be able to do if we were in a studio filled with a band with the time clock ticking away. It would have been 'Oh, well, you know, in another life we could have done this.' Instead, we did all those things. We did the craziest ideas. And we entertained every notion we had about turning something backwards, upside down, seeing what could happen.”

Now, it’s the listener that gets to take the wheel for the next leg of the trip, an epic 67 minute trek. “How do I want my closest fan to feel when they hear this music,” Satriani asks, midway through the conversation. He laughs as he delivers the next thought. “That's what you're trying to communicate and everything else is out of your control anyway. You can’t decide what people are going to like or not like, so you just follow your heart.”

Closure In Moscow Announce ‘The Impeccable Beast’ Single And Tour 2012

By Mike Solo

Melbourne’s (and perhaps Australia’s) finest progressive rock/pop/punk group, Closure in Moscow , will be touring Australia in support of their latest single, The Impeccable Beast throughout March.

The band have quietly been touring Australia solidly over the past six months, supporting Dead Letter Circus , Gyroscope and My Chemical Romance , as well as adding their own club shows.

This is the most extensive headline tour from the band since 2010 and features a number of excellent supports including alt rockers Strangers , The Dead Love and exciting prog rock group A Lonely Crowd at selected dates.

The Impeccable Beast is now up online as a free download from http://www.musicglue.com/closureinmoscow

Whilst it’s not their best work, it still hints that the band won’t be abandoning their much-admired technicality anytime soon. Stay tuned for the album proper to drop sometime in late 2012.

Whilst the band will be playing some new material at these shows (and showcasing their new rhythm section), expect a fair chunk of the set to be drawn from 2009’s excellent First Temple .

Listen to one of their best tracks, Vanguard

Closure in Moscow – the Impeccable Beast Tour

Thursday, March 08, 2012 Karova Lounge, Ballarat, VIC W/ Strangers and A Lonely Crowd Tickets: http://closureinmoscow.oztix.com.au (password: beast) Oztix Phonecharge: 1300 762 545

Friday, March 09, 2012 The Evelyn, Melbourne, VIC W/ Strangers and A Lonely Crowd Tickets: http://closureinmoscow.oztix.com.au (password: beast) Oztix Phonecharge: 1300 762 545 http://www.moshtix.com.au Moshtix Phonecharge – 1300 GET TIX (438 849)

Saturday, March 10, 2012 The Bended Elbow, Geelong, VIC W/ Strangers, A Lonely Crowd & Cast Iron Pinata Tickets: http://closureinmoscow.oztix.com.au (password: beast) Oztix Phonecharge: 1300 762 545

Thursday, March 15, 2012 Green Room, Canberra, ACT W/ Strangers and Escape Syndrome. Tickets: http://closureinmoscow.oztix.com.au (password: beast) Oztix Phonecharge: 1300 762 545 http://www.moshtix.com.au Moshtix Phonecharge – 1300 GET TIX (438 849)

Friday, March 16, 2012 Spectrum, Sydney, NSW W/ Strangers and The Dead Love Tickets: http://closureinmoscow.oztix.com.au (password: beast) Oztix Phonecharge: 1300 762 545 http://www.moshtix.com.au Moshtix Phonecharge – 1300 GET TIX (438 849)

Saturday, March 17, 2012 The Cambridge Hotel, Newcastle, NSW W/ Strangers and The Dead Love Tickets: http://closureinmoscow.oztix.com.au (password: beast) Oztix Phonecharge: 1300 762 545 http://www.moshtix.com.au Moshtix Phonecharge – 1300 GET TIX (438 849)

Thursday, March 22, 2012 Prince Of Wales, Bunbury, WA W/ We Are The Emergency. Free Entry.

Friday, March 23, 2012 Amplifier, Perth, WA W/ We Are The Emergency and Further Earth. Tickets: http://closureinmoscow.oztix.com.au (password: beast) Oztix Phonecharge: 1300 762 545 http://www.moshtix.com.au Moshtix Phonecharge – 1300 GET TIX (438 849)

Saturday, March 24, 2012 Jive Bar, Adelaide, SA W/ Strangers and Raider Tickets: http://closureinmoscow.oztix.com.au (password: beast) Oztix Phonecharge: 1300 762 545 http://www.moshtix.com.au Moshtix Phonecharge – 1300 GET TIX (438 849)

Thursday, March 29, 2012 Hotel Great Northern, Byron Bay, W/ Strangers and Epidemic Over Free Entry.

Friday, March 30, 2012 X & Y Bar, Brisbane, QLD LD W/ Strangers and Epidemic Over Tickets: http://closureinmoscow.oztix.com.au (password: beast) Oztix Phonecharge: 1300 762 545

Saturday, March 31, 2012 Kings Beach Tavern, Caloundra, QLD W/ Strangers, Epidemic Over and Take Us to Vegas. Tickets: http://closureinmoscow.oztix.com.au (password: beast) Oztix Phonecharge: 1300 762 545

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Megadeth announces North America tour, closing out with a Nashville stop

Megadeth has announced a 2024 fall  "Destroy All Enemies Tour" that will take them all across North America. On Sept. 28, the thrash metal band will end their tour in Nashville at the Municipal Auditorium.

The 33-show tour, produced by Live Nation, will feature support from Mudvayne and All That Remains.

The two-month tour will kick off on Aug. 2 in Rogers, AR before hitting cities in Texas, California, Nevada, Florida, North Carolina and more.

The band, comprised of vocalist and guitarist Dave Mustaine, bassist James LoMenzo, guitarist Teemu Mäntysaari and drummer Dirk Verbeuren, is known for songs "Holy Wars... The Punishment Due" and "Symphony of Destruction."

They most recently released their 2022 album "The Sick, The Dying...And The Dead!"

“Our ‘Crush The World’ tour has been a tremendous experience for the four of us,” said singer/guitarist Dave Mustaine in a statement.

“We are all playing tight, and that has made it possible for me to really focus on solos and singing, we are playing more songs than ever before, and we are closer to each other, onstage AND off. I’m excited to see Mudvayne, and All That Remains. Join us as we DESTROY ALL ENEMIES.”

How do I get tickets for the Megadeth 2024 tour?

Tickets for all the dates will go on sale to the public at 10 a.m. local time on Friday, April 26.

Fans can access a presale for the Cyber Army and Megadeth Digital members at megadeth.com .