POSTPONED - DATE TBD

Highly Suspect

with Summer Cannibals

Sat, May 16, 2020

State Theatre

Doors: 7:00pm - Show: 8:00pm - all ages

$28 advance
$30 day of show
$85 VIP Experience
$135 Meet & Greet VIP Experience

The State Theatre box office will open 1 hour before doors night of show.

Highly Suspect Meet & Greet VIP Experience - $135 • Meet & Greet with Photo Opportunity • GA Ticket • First Priority Shopping • Early Entry • Commemorative Laminate • Cinch Bag • Bandana Highly Suspect VIP Experience - $85 • GA Ticket • First Priority Shopping • Early Entry • Commemorative Laminate • Bandana • Cinch Bag

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Highly Suspect

Highly Suspect Meet & Greet VIP Experience – $135
• Meet & Greet with Photo Opportunity
• GA Ticket
• First Priority Shopping
• Early Entry
• Commemorative Laminate
• Cinch Bag
• Bandana

Highly Suspect VIP Experience – $85
• GA Ticket
• First Priority Shopping
• Early Entry
• Commemorative Laminate
• Bandana
• Cinch Bag

Festival-storming trio Highly Suspect returned with second album The Boy Who Died Wolf on November 18th, 2016. The moving, jubilant LP from the Brooklyn alt-renegades follows two Top 10 Mainstream Rock hits (“Lydia,” “Bloodfeather”) and two Grammy nominations (Best Rock Song, Best Rock Album) just one year from the release of their 300 Entertainment debut, 2015’s Mister Asylum. For the follow-up, the band — Johnny Stevens (guitar/vocals), and fraternal twin brother rhythm section Rich (bass/vocals) and Ryan Meyer (drums/vocals) — are reappearing stronger, livelier and more mature. The effort earned the boys a third Grammy nominated for “My Name Is Human” (Best Rock Song.)

“The title The Boy Who Died Wolf, it’s like, we were so young and now we’re adults,” says Stevens. “I went through a lot of issues that I had to sort out and sometimes I can’t believe that I’m alive. And now here I am traveling the world with my best friends, making music, and living the exact dream that we had set out to accomplish a long time ago … We’re learning a different lifestyle. And it’s good, it’s positive. But it’s also hard to let go of everything that happened in the past.”

That new lifestyle comes in the wake of success that’s snowballed since 2014, featuring Grammy nods; radio smashes; stops at major festivals (Lollapalooza, Bonnaroo, Reading and Leeds and so on); tours alongside Scott Weiland, Chevelle and Catfish & the Bottlemen to name a few; tours around the world including Australia, New Zealand, Europe and the UK as well as multiple headlining tours in the United States one of which is currently underway. The feeling of celebration infuses The Boy Who Died Wolf, while still heading into haunted regions of Steven’s past, yowling somewhere between the metronomic robot metal of Queens of the Stone Age, the bluesy wallop of Jack White and the feedback-shrieking noise-pop of In Utero-era Nirvana.

To record the LP, the band traveled far from their New York comfort zone to Bogotá, Colombia, recording with Mister Asylum producer Joel Hamilton (The Black Keys and Wu-tang, Tom Waits, Elvis Costello,).

“Normally we would record in New York or L.A., and when we’re in those places we just have too many distractions, too many friends,” says Stevens. “When you’re trying to make art.. pure art, it’s good to be secluded. So we were literally in a fortress, 20-foot walls all around this compound in the middle of Bogota.”

“The energy around you, the culture that you’re taking in, will affect the songs,” he continues. “We were really enjoying ourselves. So I think there’s a little more step to this album. There’s happier tones. There’s some dark stuff too but there are simply more uplifting moments on this album. I think we finally realized we are supposed to be here making music. That people like what we do. We had more trust in ourselves and each other and just let the music come out.

Summer Cannibals

“You know what you did, you know what I saw. Now I take back my doubt so that you’ll crawl.”

Summer Cannibals’ fourth album Can’t Tell Me No, out July 2019 on Tiny Engines, is a defiant release whose very existence is the result of taking back power—after escaping a manipulative personal and creative relationship, guitarist/vocalist and bandleader Jessica Boudreaux chose to scrap an entire record that had been finished for over a year and start from scratch. “We had to sacrifice an album we’d worked hard on so that someone abusive and manipulative couldn’t benefit from it,” says Boudreaux. “It was, in a matter of 24 hours, making the decision to start something new or let them win.”

Creation and determination prevailed; along with Cassi Blum, Devon Shirley, and Ethan Butman, Boudreaux wrote and recorded and mixed many of the new tracks during 14-hour days. She and Blum hunkered down in Boudreaux’s home studio, where they had been already been engineering records for other bands, and finished Can’t Tell Me No as Summer Cannibals’ first entirely self-engineered and produced album.

“Writing this record and making it ourselves was about liberation from the parts of an industry that have protected abusers for way too long, and about saying fuck you to the people who have invalidated my and so many others’ experiences of abuse,” says Boudreaux. “It’s really easy for people to condemn the government and figures we see on the news,” says Boudreaux, “but those same people often fail when it comes to standing up to and calling out the people in their lives who are just as evil.” Songs like “False Anthem” confront this cowardice; “Hate who they are, say you hate what they do,” snarls Boudreaux against an insistent, hard-charging guitar, “but you love all the things that they promise you.”

The Cannibals formed in 2012 and gained a fervent following on the local Portland scene, eventually playing with some their musical heroes including L7, Mudhoney, Stephen Malkmus and the Jicks, and The War on Drugs, and touring with Ted Leo & the Pharmacists and Cursive. They’ve played some major festivals including Sasquatch, Project Pabst and Riot Fest, and made their TV debut in 2016 on Last Call with Carson Daly. Along the way, they released 2013’s No Makeup and 2015’s Show Us Your Mind on their own label, New Moss Records, and 2016’s Full Of It on Kill Rock Stars. Show Us Your Mind appeared on NPR’s Sound Opinions Best of list in 2015, and Pitchfork said that on Full Of It, the Cannibals “expertly balance flame-belching Mad Max riffage with lyrics frankly exploring questions of co-dependence and need.”

Now with Can’t Tell Me No, the Cannibals are as honest and confrontational as they’ve ever been; though ironically, more harmonious as a band. With the inspiration and adrenaline driving the new album’s creation, the current members of Summer Cannibals are working together in a new, reinvigorated way. “This is the first time that we’ve had all four members who are really dedicated and care about their role in the band,” says Boudreaux. “We function as a unit and everything goes so smoothly. I think we all feel very supported.” That support comes through in the confidence on songs like “Like I Used To,” a self-assured anthem to the renewal that comes with independence and leaving violent toxicity behind you.

Because where there is anger there is also hope, and Can’t Tell Me No is, as much as anything, about finding love and acceptance on the other side of pain. “Part of getting over my past has meant looking forward and letting myself know that I’m capable of love in the context of an honest, open and communicative relationship,” says Boudreaux. Songs like “Into Gold” encapsulate this; a warm,Be My Baby manifesto that promises “I’ll be the one to want to break this mold, pull you out of the dark and back into gold.”

And on a larger scale, Can’t Tell Me No stands up not just to a relationship or an industry, but to the people and constructs that have been trying to silence women and hold them down for so long. “It’s about doing the right thing,” says Boudreaux, “even when it’s terrifying.”