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Roadrunner

Description

Modern, 3,500-capacity live music venue with lounge areas and a balcony, plus a bar.

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Events

June 2025
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06/06/2025, 08:00 PM EDT
Jack's Mannequin

Led by veteran indie-pop singer-songwriter-pianist Andrew McMahon, Jack’s Mannequin launched in 2005 as McMahon’s more personal solo project following the success of his pop-punk band Something Corporate in the early 2000s. Jack’s Mannequin – McMahon (vocals, piano), Bobby “Raw” Anderson (guitar), Jay McMillan (drums) and Mikey Wagner (bass, keys) – debuted with their Gold-certified album, Everything In Transit, which includes the Gold-certified single “Dark Blue.” The alternative pop rock group released a total of three acclaimed studio albums, with both their sophomore LP The Glass Passenger (2008) and third and final album People and Things (2011) entering the Top 10 on the Billboard 200 chart. During its tenure, Jack’s Mannequin also performed multiple times on Jimmy Kimmel Live!, received major media support, and were featured in the hit TV series One Tree Hill. Throughout the recording and release of Everything In Transit, McMahon was diagnosed with Acute Lymphocytic Leukemia (ALL) at the age of 22. After making a full recovery following a stem cell transplant from his sister, Andrew founded the Dear Jack Foundation in 2006, a nonprofit which provides impactful programming that directly benefits adolescents and young adults diagnosed with cancer in order to improve quality of life and create positive health outcomes from treatment to survivorship for patients and their families. Though Jack’s Mannequin officially went on hiatus in 2012, leading to McMahon launching his current moniker Andrew McMahon in the Wilderness in 2014, the highly adored SoCal band has reunited on a handful of special occasions over the years. As they prepare to celebrate their 20th anniversary, Jack’s Mannequin is back and returning to the road throughout 2025 for a headlining tour and festival appearances.

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06/14/2025, 08:30 PM EDT
PRIDE: Slayyyter, Detox, Isabella Lovestory, Empress Of (DJ Set), Star Amerasu & more

Hollywood has told countless stories, but it's never told a story quite like this. It opens back in Missouri where a college dropout obsessed with nineties and 00’s pop divided her time between sweeping hair off the floor of a local salon and crafting music in a closet at her mom’s house (where she lived). Buoyed by social media savvy, a clever sense of humor, and fire hooks, Slayyytermade her way to Los Angeles. In a short spell, our mild-mannered Midwest-born pixie managed to transform into an erotic electronic pop femme fatale. Now, it sounds like she’s stalking the Hollywood Hills with a combination of razor-sharp songcraft, inventive production, lusty underground je ne sais quoi, and cheeky lyrics, all while dripping in eighties-inspired afterparty-ready fashion wild enough to make Sharon Stone blush.  In 2019, Slayyyter strutted to the forefront of popular culture without apology. Powered up by “Daddy AF'' and “Mine,” her self-titled debut mixtape, Slayyyter, generated over 100 million streams and counting. Prior to most recently supporting Tove Lo on her Dirt Femme tour, she sold out her very first headline tour and maintained her momentum with the critically acclaimed full-length debut, Troubled Paradise. Beyond widespread praise from Billboard, Bustle, MTV, NME, PAPER Mag, UPROXX, and more, Pitchfork noted, “Her star quality has supernova potential,” and Rolling Stone  raved, “The internet is a pop star’s game, and Slayyyter is winning.” Now, Slayyyter’s ready for her closeup on her second full-length offering, STARFUCKER [The FADER Label].

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06/27/2025, 08:00 PM EDT
FKA twigs

In the MAGDALENE show, FKA twigs suspends the ordinary world; she has no need for it. Instead, she seduces us into a new one that’s enriched and enchanted and completely her own. Echoes of the past meet the future, emotion is power, desire is a force. MAGDALENE weaves a tapestry of sound, performance, costume, pole dancing, Wushu, set design and lighting. Inspired by the revolutionary 19th century concept of ‘Gesamtkunstwerk,’ or ‘total work of art,’ it is a complete experience. FKA twigs summons all that she has - technical mastery, creative brilliance and physical endurance - to transport her audience into a new artistic realm. FKA twigs launched her MAGDALENE world tour with two sold-out nights each at LA’s Palace Theatre and NYC’s Park Avenue Armory, continuing on to play headlining shows in Berlin, London, and Sydney, and performing at Primavera Sound, We Love Green Festival, and Afropunk. With these groundbreaking performances, FKA twigs solidified herself as one of the most creative and experimental artists, performers, and directors of her generation, with Billboard raving, “the show was complete with gravity-defying pole dancing, swords, intricate costumes and oozing theatricality,” and Rolling Stone observing, “it’s difficult for a larger-than-life performer to make themselves appear like an apparition – especially one whose lyrics are so corporeal – but in that moment twigs looked wholly otherworldly.” Throughout these shows, FKA twigs played never-before-heard music from her highly-anticipated forthcoming second album, and Consequence of Sound exclaimed, “FKA twigs is back and it’s beautiful.” FKA twigs offered the first taste of her new album with the hauntingly beautiful “Cellophane.” The track was met with widespread critical acclaim, with The New York Times highlighting it on The Playlist, and outlets from NPR, Time, and Billboard, to GQ, Esquire, and Complex featuring it as one of 2019’s best new songs. NPR declared, “FKA twigs didn't just launch a sound, but a way of moving through it,” and Stereogum pronounced, “its starkness is a grand gesture all its own.” The single’s music video, starring FKA twigs in an intricate pole routine she trained for months for, is a striking visual contrast to the vulnerability of the song’s lyrics. PAPER proclaims the video a “gorgeous piece of cinema, as well as physical poetry,” and Vulture asserts, “with ‘Cellophane,’ FKA twigs treads into more dangerous territory: performing as an unvarnished human.”

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06/28/2025, 08:00 PM EDT
Godspeed You! Black Emperor

GODSPEED YOU! BLACK EMPEROR Godspeed You! Black Emperor released a string of albums from 1997-2002 widely recognized as redefining what protest music can be, where longform instrumental chamber rock compositions of immense feeling and power serve as soundtracks to late capitalist alienation and resistance. The band’s first four releases—especially F#A#∞ (1997) and Lift Your Skinny Fists Like Antennas To Heaven (2000)—are variously regarded as classics of the era and genre. Godspeed's legendary live performances, featuring multiple 16mm projectors beaming a collage of overlapping analog film loops and reels—along with the distinctive iconography, imagery and tactility of the band's album artwork and physical LP packages— further defines the sui generis aesthetic substance, ethos and mythos of this group. GY!BE has issued two official band photos in its 25-year existence (the second, below, a 2010 recreation of the first from 1997) and has done a half-dozen collectively-answered written interviews over that same span. The band has never had a website or social media accounts. It has never made a video. Few rock bands in our 21st century have been as steadfast in trying to let the work speak for itself and maintaining simple rules about minimising participation in cultures of personality, exposure, access, commodification or co-optation. Following a seven-year hiatus that began in 2003, Godspeed returned to the stage in December 2010 (curating the UK festival All Tomorrow’s Parties) and the band’s post-reunion period has now lasted over a decade, marked by hundreds of sold-out live shows and three additional albums, all of which have been met with high acclaim. G_d’s Pee AT STATE’S END! – the band’s fourth post-reunion album (and eighth overall) – is out 02 April 2021. “What's political music? All music is political, right? You either make music that pleases the king and his court, or you make music for the serfs outside the walls. It's what music (and culture) is for, right? To distract or confront, or both at the same time? A thing a lot of people got wrong about us – when we did it the first time, a whole lot of what we were about was joy. We tried to make heavy music, joyously. Times were heavy but the party line was everything was OK. There were a lot of bands that reacted to that by making moaning ‘heavy’ music that rang false. We hated that music, we hated that privileging of individual angst, we wanted to make music like Ornette's Friends and Neighbours, a joyous, difficult noise that acknowledged the current predicament but dismissed it at the same time. A music about all of us together or not at all. We hated that we got characterised as a bummer thing. But we knew that was other people's baggage. For us every tune started with the blues but pointed to heaven near the end, because how could you find heaven without acknowledging the current blues, right?” The Guardian, October 2012 ARTIST PAGE @ CONSTELLATION RECORDS / HI-RES PIC

Contacts

89 Guest St, Boston, MA 02135, USA