WATERPARKS: THE ENTERTAINMENT TOUR

MassConcerts Presents

WATERPARKS: THE ENTERTAINMENT TOUR

I Dont Know How But They Found Me, Nick Gray, Super Whatevr, De'Wayne Jackson

Sun, November 11, 2018

Doors: 6:00 pm / Show: 6:30 pm

The Webster

$18.00 - $20.00

This event is all ages

Waterparks
Waterparks
As they wrote and recorded their second full-length album Entertainment [Equal Vision
Records] out January 26, 2018, a wise prophet’s words stuck with Waterparks…
“Tina-motherfucking-Fey once said, “Everything that’s good comes from honesty’,” repeats lead
singer and guitarist Awsten Knight. “When you’re being that open, others connect. We’re not
vague and subtle in our songs. I want everything to feel colorful and real. This band embodies
that idea.”
Since their emergence in 2015, the Houston trio—Awsten, Otto Wood [drums], and Geoff
Wigington [guitar, backing vocals]—have kept it real and catapulted to international renown as
a result of a signature style that seamlessly slips-n-slides between rock, pop, and alternative.
Their full-length debut, Double Dare, earned a rare 4.5-out-of-5 star rating from Alternative
Press and spawned the hit “Stupid For You,” which generated over 4.6 million Spotify streams
and counting.
On the road, they tore up venues everywhere alongside All Time Low, Good Charlotte, Sleeping
With Sirens, State Champs and more in addition to selling out their first UK jaunt and 14-out-of23
dates on a US co-headliner. Among various accolades, Awsten graced the cover of
Alternative Press for the Warped Tour issue, and the entire band covered Rock Sound.
Not only did they play the Alternative Press Music Awards, but they took home the award for
“Breakthrough Artist” and garnered “Best International Newcomer” from Rock Sound. In the
middle of this whirlwind, they hunkered down and created Entertainment. For the first time,
they switched up the writing process and traded H-Town for Los Angeles.
Awsten holed up in a North Hollywood Airbnb, but he wasn’t alone…
“The place was totally fucking haunted,” he recalls. “There would be random door closings. One
night, I literally heard a couple of female voices whispering in my ear, ‘It’s okay. Come with us.’
It felt super demonic. Then, it was all quiet when I got up. I was like, ‘Fuck this.’ I stole some
Holy Water and sage from a catholic church, but I said a prayer and apologized since I needed
it. It was definitely a different creative process.”
Having exorcised the living quarters, the bandmates hit MDDN Studios with producers Benji
Madden [Good Charlotte, 5 Seconds of Summer] and Courtney Ballard [5 Seconds of Summer,
All Time Low] behind the board, reuniting the Double Dare team.
“It was nice to get out of that haunted ass Airbnb,” laughs Awsten. “It worked so well the first
time with Benji and Courtney, so it made sense to do it again. It’s such an easy process with
them. They trust our songwriting.”
The boys introduce Entertainment with the upbeat, up-tempo, and undeniable anthem
“Blonde.” Palm-muted guitar kicks off the verse before building into a stadium-size refrain, “I
think the blondes are done with fun. At least it’s all about you.”
“It’s the closest thing to Double Dare,” he explains. “I wanted to come out with a fucking
smasher that’s fast. It captures all of the elements fans liked from Double Dare and puts them
into one song. As far as the lyrics go, they discuss the stresses and pressures I’ve felt from
touring. I try to disregard them as much as I can as they wear on you. This is the first release
where anybody is paying attention and watching. I quit looking at comments online, because I
don’t want to see good or bad mentions. That many opinions one way or the other never
helps.”
Elsewhere, “Not Warriors” builds from eighties-style synth swells into a hypnotic and hardhitting
refrain. “Again, it was written around a time of heavy touring,” he goes on. “My
girlfriend is an actress, so she’s often gone as well. It’s about having a small amount of time
together and wanting more. It’s bittersweet. I get to do what I want, but I miss her.”
“Crybaby” embraces more sampling and programming, illuminating the group’s growth.
Meanwhile, “TANTRUM” (purposefully in all caps “because it’s loud”) stands out as a full-on
rocker that “borders on hardcore.” At the same time, there’s the ebullient “Lucky People,”
which Awsten calls “The most Michael Bublé, Jazon Mraz-ass song ever! If I was a ukulele guy,
that would’ve been a ukulele song…”
They’re not ukulele guys though. They’re just Waterparks, and that’s more than enough at the
end of the day.
“I want fans to hear Entertainment and know we’re just being real,” he leaves off. “We don’t
want to be pigeonholed. We can make rock, we can make heavier music, and we can sound
pop. It’s who we are. Ultimately, it all comes down to the hooks and songs. These are the
biggest and best we can write. I know every band says that, but fuck it. I’m being honest.”
I Dont Know How But They Found Me
I Dont Know How But They Found Me
It wasn’t meant to be back then. But it’s all happening again… for the first time.

It began in the days of excess, when video killed the radio star, and a new cultural frontier beckoned. A time punctuated by the whirring of videotapes capturing endless hours of Night Flight and Top of the Pops; of mixtapes passed back and forth between sweethearts, lovingly collected and assembled by passionate pop diehards. The world wasn’t ready for iDKHOW back then. They’d better get ready right now.

Part archeological excavation and part forward-thinking vision, I DONT KNOW HOW BUT THEY FOUND ME is as Day-Glo nostalgic and optimistically futurist as Back to the Future, the cinematic classic in which their band name was born. Doc Brown utters the famous line just before telling Marty McFly to “run for it.” And just as Marty traveled 30 years into the past and righted the wrongs of the present, so have Dallon Weekes and Ryan Seaman, resurrecting the songs and innovative spirit of iDKHOW for a new generation starved for creative risk taking and unbound joy.

iDKHOW’s music is from a time when fashions were loud, melodies were infectious and iconoclastic pop trailblazers broke through commercially without compromising artistically; those who didn’t succeed despite creative courage but because of it. iDKHOW channels the legendary spirits of sixties garage, seventies glam, eighties new wave, and the early days of Britpop, merging the greatest strengths of bygone eras into a transcendent sound of the future. Imagine a nightclub powered by T. Rex, Bowie, Oingo Boingo, and Tears For Fears, distilled into pop rock anthems that are as instantly memorable as they are timeless.

This isn’t ironic hipster satire; the iDKHOW movement is one of earnest reverence for an era that has much to offer the present day, through the lens of a postmodern possibility. The thrill of new discovery is central to the iDKHOW manifesto. “There are so many brilliant artists that I’ve been exposed to because of the Internet,” says Weekes, brimming with enthusiasm. “Acts like Death, The Nerves, or Sparks.”

The frontman has plenty of experience with the potential for a great song to move crowds, propel late night drives, soundtrack makeups and breakups, and to top the Billboard charts. As bassist/backing vocalist for Panic! At The Disco from 2009 to 2017, Weekes co-wrote massive hits “This is Gospel” and “Girls/Girls/Boys,” and is credited on nearly all of the songs that comprise Too Weird to Live, Too Rare to Die!.

When Weekes discovered these “lost” recordings, this forgotten band, he knew Ryan Seaman was the perfect drummer to help him reignite the iDKHOW aesthetic.

The resurrection of iDKHOW’s forgotten music arose organically, through word of mouth, social media, and increasingly larger pop-up shows along the West Coast. A band once so elusive that, whenever asked about playing shows in secret, would deny the band even existed at all. Soon, the iDKHOW revolution was undeniable, as evidenced by the over 10 million YouTube views and six million streams they amassed of self-released songs like, “Choke,” “Modern Day Cain,” and “Nobody Likes the Opening Band.” Now partnered with tastemaker label Fearless Records, IDKHOW continues to mount an assault on the vacuous nature of fake relationships and the dirty underbelly of Hollywood glitz.

Once confined to forgotten cable access TV, iDKHOW “returns” with a grand debut, in opposition to the traditional “rules” of pop and the music business. It’s art for its own sake. It’s left of center, challenging, bigger than middle-of-the-road party jams. iDKHOW is fun and exciting, smart and engaging, and always wholly authentic.

“The hard working people at IDKHOW are pleased to align with Fearless Records to unearth and uncover the rare and forgotten recordings of I DONT KNOW HOW BUT THEY FOUND ME,” Weekes explained. “We are all rediscovering this long-forgotten music together and giving IDKHOW a second chance. For the first time.”
De'Wayne Jackson
Venue Information:
The Webster
31 Webster St.
Hartford, CT, 06114
http://www.webstertheater.com/