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Friday May 12

Bury Tomorrow – The Seventh Sun Tour

$20 - $25
HI-FI Annex
Indianapolis, IN
May 12
Friday
5:00 PM
Doors Open
All AgesBuy Tickets

More about this event

Learn More About This Show
Add to Calendar 05/12/2023 06:00 PM05/12/2023 10:00 PMBury Tomorrow - The Seventh Sun TourMore Information: https://mokbpresents.com/event/bury-tomorrow-the-seventh-sun-tour/HI-FI Annex
Jump to Venue Details

ARTIST PROFILE | Bury Tomorrow

Metal/Hardcore

It’s never too late to be what you might have been. Sometimes you just need a push to take the plunge. Few people would be greater advocates for this truth than Bury Tomorrow.

Faced 18 months ago, following a period of external and internal strife, with the very real reality that it might be time to pack up their successes and close the book on a storied career of 15 years, with their hands forced and backs to the wall Bury Tomorrow instead picked up fate’s gauntlet and set about writing the chapter they had always imagined.

Today, new album The Seventh Sun stands as testament to the bonds and belief required to shape themselves a new reality, a new sound, and a new future.

“The conversations around our future were very real,” vocalist Dani Winter-Bates offers today. It was never meant to be this way, of course. Belatedly released during the uncertain first wave of the COVID pandemic in June 2020, sixth album Cannibal nonetheless marked a commercial and critical high point for the band, charting in the UK’s Top 10 and at number three in Germany and helping tip the band over the career-to-date 200 million stream landmark. Yet shorn of the ability to properly celebrate its release and accomplishments, let alone stand on stage to perform it, for guitarist Kristan Dawson the songs that comprised Cannibal “never really came to their fullest life”. For perpetual road dogs, now shackled at home Bury Tomorrow for the first time felt the frustrating directionless of limbo that affected so many artists the world over. Perhaps it was no surprise when, soon enough, conversations concluded that the band would be parting with founding guitarist/vocalist Jason Cameron in the summer of 2021.

And so with nowhere to hide from urgent questions about their future – “Do we walk away? Do we start something new? Do we continue on, however that may work?” as Winter-Bates assesses – necessity hit. Turns out that it is not only the mother of invention, but reinvention, too. “I feel like we all knew what Bury Tomorrow was, at least musically, but I also felt we had become quite set in our ways,” picks up Dawson. “We had long had the desire to push the boundaries and not write to what Bury Tomorrow had become. I think in that moment I felt like Bury Tomorrow could actually become what we always hoped the initial blueprint for this band would be. It was never about becoming a different band, but pushing the boundaries of what our band could be.”

“That was very freeing,” adds Winter-Bates. “Because if we were going to continue with Bury Tomorrow, we knew we were doing it by choice, not because of a feeling that we had to. We had to look internally at what Bury Tomorrow was. We knew that if it was to continue, we couldn’t simply replicate what the band had been. We had to reset with a different outlook, and a different sense of being.”

A different line-up, too. In Cameron’s sole place, enter both vocalist/keyboardist Tom Prendergast and guitarist Ed Hartwell: a division of labour that would allow a greater focus not only on maximising individual talents, but collectively expanding them, too. Both Winter-Bates and Dawson can speak no higher of their friends than they do, waxing lyrical not only over their technical prowess and dexterity, but of a fresh perspective, energy and freedom they helped instil in a previously well-oiled but highly structured metalcore songwriting machine.

“It was really just letting ourselves say, ‘What best serves the songs we’re writing?’” Winter-Bates explains of this fundamentally retooled approach as a newly formed six-piece – completed by Bury Tomorrow stalwarts Davyd Winter-Bates (bass) and Adam Jackson (drums). “‘Is it a good song? Or is it a good metalcore song?’ Because actually we want to write great songs. That isn't turning our back on metalcore. But I think if we're only striving to be a really great metalcore band, we are you doing ourself a disservice. We created genres so you can transcend out of those genres.”

If standalone singles Death (Ever Colder) and Life (Paradise Denied), released little over a month apart earlier this year, gave a first glimpse at what lay instore, then The Seventh Sun amounts to the glorious arrival at a destination in this new era. Not Bury Tomorrow’s final destination, either, you must understand – but one that both perfectly encapsulates their revivified present while offering further tantalising hints at an unwritten future.

This is no beast tamed, but rather one with its teeth and claws sharpened, intent on killing with targeted precision rather than with overwhelming bludgeoning. Refocused yet no more restrained, The Seventh Sun’s expanded sonic palette platforms sky-high melodies, layered with textured atmosphere, cloaking an underlying savagery.

Convening once more with producer Dan Weller (a collaboration that bore fruit on both Cannibal and its predecessor, 2018’s Black Flame, and gave, in Winter-Bates’ words, a “consistency and [grounding] in what we are good at and what we can be better at”), at his Middle Farm Studios, the band’s only conscious creative decision leading into The Seventh Sun was, as Winter-Bates nods, “not being limited by formulas.” “Rather than writing to a template, we allowed our writing to take us along to where the song was headed,” he says.

“Metalcore is ingrained into my writing. But I feel that this time, I could be inspired by different things,” Dawson agrees. Names as diverse as Bjork, Sepultura, Korn and Thrice are namechecked in quick succession, as is the ‘90s trance music on which the guitarist grew up. Majesty – a piano-led ballad that sits at the heart of the album – began life as an acoustic sketch by Dawson and Prendergast (and described by Winter-Bates as “so good that I told Tom he couldn’t join the band unless he brought that song with him.) In dissecting The Carcass King, meanwhile, Winter-Bates references Slipknot, 30 Seconds To Mars and even the Waltz. The song also introduces the first female vocals to ever appear on a Bury Tomorrow track, courtesy of Cody Frost.

Winter-Bates points to that song as indicative of the new spirit that surrounded the sessions; one of collaboration and confidence-building support, where no idea or feedback was off-limits and leaps into the unknown – alongside avenues that felt at times almost regressively familiar for the album’s forward-facing vision – were embraced with reassuring unity. “It’s about being proud of the instrument that you control, but equally not having that ego to put a stamp on other people's creative journey,” the frontman posits. “It’s freeing when you don’t say no to an idea based on a preconception of what we should or could be. You write best when it’s cohesive and people feel able to trust each other to really put their best foot forward.”

The results are audible across The Seventh Sun. With Dawson and Hartwell being friends outside of the band, the innate ease with which the former’s leads coalesce with his new sparring partner’s rhythms should perhaps come as no surprise, yet both accentuate and spotlight each other’s abilities. Conversely, Prendergast and Winter-Bates had no such prior relationship on which to build one professionally, yet the dynamism of the newcomer’s abilities brings new range and character to Bury Tomorrow, while further driving some of Winter-Bates’ most ferocious performances ever. Perhaps for the first time, the duelling vocals of Bury Tomorrow sound not in competition with each other, but exist as one unified entity – differing sides of the same coin, contrasting shades of the same one voice.

That interplay, too, allowed Winter-Bates to stretch himself as a songwriter, tap into his passion for the cadence of poetry, and draw from vocal influences ranging from La Dispute’s Jordan Dreyer to Tool’s Maynard James Keenan and The Black Dahlia Murder’s much-missed Trevor Strnad.

With Cannibal’s lyrical content focused solely on an introspective look at the frontman’s journey with his mental health, on The Seventh Sun Winter-Bates took the learnings of such personal songwriting and sought to turn them outwards. “A lot of the themes of the record are actually thinking about the band again; it’s really reflecting on where we are at and our place in society,” he begins. “Every single theme as you go to the album will be about a different concept of operating in chaos, whether that is the destruction and the rebuilding, whether that is resetting the clock, beginning again.

“It’d be really easy to dwell in the darkness and sit there and be like, ‘The world is fucked, everything is destroyed.’ But what do we do? We somehow have to operate in that chaos.

“Recovery is an interesting song to me, because it is the most similar to Cannibal: an introspective look of my own mental health once again. But it asks the question of how I can live in such chaos – what is recovery, then, if I'm going to live with this forever? The Carcass King is another: this is life, this is where we are, we have to operate like this we have to move forward like this. It’s a demi theme almost, a thematic feel that you’ll be able to sense through the record. You’ll have moments of like, ‘Yeah, we’ve got this’; you'll have other moments where things seem overwhelmingly hard. And then you’ll have other moments, like Forced Divide, which is pure anger. The Seventh Sun [the title track] is savage, but you know what, sometimes life is savage.”

Elsewhere, Care – the arena-ready album-closer described by Dawson as “showing us what we needed to do to make Bury Tomorrow musically different” – finds Winter-Bates “[looking] back at when we have reached out for help and support and been slapped to the ground; it calls out the behaviours of others”. Begin Again ruminates on how “we have the control and ability to reset time, to turn around a path we are on – you are in control of your own destiny”, and Wrath “is about dealing with loss. It’s understanding that whilst death hurts, we live on in memories and the actions of those we’ve influenced.”

The thematic threads weaved through The Seventh Sun are met in kind by a throughline that musically stitches together each of its 12 tracks – an idea that Dawson has sought to execute for years. “Every single song sets up the next part of the record,” he reveals. “I wanted it to feel like a one long body of work.” In doing so, the album takes on its own kind its own sonic story-telling. “I feel like I was musically at where Dan was at lyrically,” Dawson suggests.

All of this combines, as Winter-Bates asserts, to exhibit “the best version of Bury Tomorrow people will have heard.” Positivity, and possibility, now seems boundless, where not so long ago doubts persisted. “That is as much to do with Tom and Ed joining the band as it is about the rest of us,” Dawson notes. “I think we'd convinced ourselves at times that we weren't friends, when actually, we’re family. You can’t have this sort of life experience and not be and not be as emotionally connected to each other as we are.”

The guitarist points to the album’s numerical title. “You know, there is something in the number seven that is very representative of change. There’s a renewal aspect to it – seven days in a week, seven hells, and so forth. And on our seventh album, that’s the case for us, too. I hope fans hear how much we appreciate the opportunity we have to make music for them. It’s an opportunity for us to showcase our love for, put our stamp on, and represent UK metal. What a privilege that is for us, and we’re ready to prove that we’re doing everything for those right reasons.”

READ MORE >>READ LESS >>
CONNECT:

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About HI-FI Annex | Indianapolis, IN

HI-FI Annex is an open-air ALL AGES venue located in the back parking lot of The Murphy Arts Center. The main entrance to the venue is located on St. Patrick Street across from the church.  All shows end by 10:00 pm.

Box Office: 317-986-7101
Main: 317-986-7101

Getting Around the Venue

1065 St. Patrick St,
Indianapolis, IN 46203
Hours: Mon. thru Fri. 10 a.m. to 6 p.m.
Doors: 1 hour before doors

Frequently Asked Questions About HI-FI Annex | Indianapolis, IN

What are the age restrictions at this venue?

HI-FI Annex shows are always all ages, with a handful of exceptions when a 21+ restriction is in place. Bring the whole family!

Check the individual show listings at hifiindy.com to view if there are age restrictions for your show.

HI-FI Annex requires a valid ID for admission. For guests who will be consuming alcoholic beverages, a valid state or government issues ID is required. Eveyone will be carded during check-in. Expired and temporary ID’s are not accepted.

Can I upgrade my to VIP seating?

HI-FI Annex seating consists of picnic tables that seat up to six. This seating area is nestled in front of our Main Bar, with easy access for guests – perfect for grabbing a bucket of beer and sharing with the table! Seating is $100, flat, in addition to your general admission ticket(s). These tables are sold on a first come, first served basis.

What items are permitted or prohibited at this venue?

PERMITTED ITEMS:

Lawn chairs (select shows only) – Check show listing for updates
Small Purse / Fanny Pack – subject to security inspection
To-go food from local restaurants
(1) factory sealed bottle of water
A warm heart & smiles

NON-PERMITTED ITEMS

No outside beverages
No weapons of any kind
No drugs or illegal substances
No coolers
No glass
No smoking or vaping in venue, designated smoking area outside venue
No backpacks
No pets
No bad attitudes

Can I bring a bag into the show?

Yes! You are allowed to bring a small purse or fanny pack, but it may be subject to security inspection.

What’s the parking situation like?

There is free street parking all around the building and on the side streets. The day of the week and the popularity of the show will impact how easy it will be to park. If you are biking in, HI-FI Annex offers bike parking in front of the building which sits directly on the Indianapolis Cultural Trail.

What is the camera/photo policy for this venue?

The photo policy for each night is posted at the band’s discretion. This policy can change on a nightly basis. As a general rule HI-FI Annex does not allow any professional photography unless pre-approved by the band. For approved photographers, Photos permitted for the first three songs only. No flash. Media and professional photographers can contact marketing@hifiindy.com to submit a request for photo credentials.

Is there food and drink at this venue?

Yes, HI-FI Annex has a bar and snack station.

View seating maps for this venue

The majority of HI-FI Annex shows are general admission, standing-room-only. There is a limited amount of seating upgrades available on the VIP deck. Contact the box office to secure a seating upgrade for your show at boxoffice@hifiindy.com. Shows that are reserved or partially reserved seating configurations will have information or purchase options directly on the event listing.

Can I leave and re-enter the venue?

No. Re-entry is not permitted at this venue with the exception of the external smoking area.

Do you offer ADA, handicap or special needs options?

There are 2 handicapped parking spots in the lot located across Prospect St. closest to El Arado Mexican Grill. The box office handles any special needs or ADA seating requests at boxoffice@hifiindy.com.

Where is the box office located?

The box office is located at the front entrance off of St. Patrick St.

I lost something at the show. Who do I contact?

To inquire about lost items including credit cards, clothing, phones, wallets, etc, contact boxoffice@hifiindy.com. Found items are available for pickup in our office (Suite 2) Monday-Friday 10:00 a.m. to 6:00 p.m.

What is your refund policy?

If a show is postponed, ticket holders will be notified of the change via email, and no other action is needed if you would like to keep your tickets. HI-FI Annex will work to find a new date for the show and provide updates as they become available. If you are unable to attend the rescheduled date, refunds will be offered at point of purchase for 30 days following the rescheduled date. If you paid with cash at the box office for your tickets, you will need to contact boxoffice@hifiindy.com for further instructions to process your refund.

Tickets purchased online will be automatically refunded in the event of a cancelled show. Please allow 3-5 business days for the refund to post to your bank. No action is required and you should only need to contact the box office if you 1.) paid cash at our box office, 2.) have received a new/different card than the one you originally purchased with, or 3.) if you do not see the refund in your account after 5 business days.

Beware of counterfeit tickets. How do I tell if my ticket is valid?

All buyers should be aware when purchasing tickets through non-authorized sites and ticket resellers. There have been multiple instances of fans being taken advantage of on Craig’s List, Facebook, StubHub, and other online sites. HI-FI Annex is only required to honor valid tickets. Tickets for HI-FI Annex are only available on See Tickets. In the event a show sells out, you can join the waitlist via the official See Tickets link, which will notify you if any tickets become available. When in doubt, you can always reach out to our box office at boxoffice@hifiindy.com.

Can I purchase tickets in person without fees?

Yes. HI-FI Annex box office is located at the main entrance off of St. Patrick St. The box office is open 1 hour prior to the published door time. Additionally, the new and primary box office is located two doors down from HI-FI Annex in Suite 2. This box office is open Monday through Friday 10am – 6pm for fee-free ticket purchases. HI-FI Annex accepts cash as well as all major credit cards for ticket purchases.

Do you have free WI-FI?

Yes. HI-FI Annex offers free WI-FI during all shows. Simply select the HI-FI Free WI-FI network and you are all set.

All Ages
May 12

Bury Tomorrow – The Seventh Sun Tour

HI-FI Annex
$20 - $25
Presented By: Upland Brewing Co., MOKB Presents
Doors: 5:00 PM
Start Time: 6:00 pm

Learn More About This Show
Add to Calendar 05/12/2023 06:00 PM05/12/2023 10:00 PMBury Tomorrow - The Seventh Sun TourMore Information: https://mokbpresents.com/event/bury-tomorrow-the-seventh-sun-tour/HI-FI Annex

Buy Tickets

ARTIST PROFILE | Bury Tomorrow

Metal/Hardcore

It’s never too late to be what you might have been. Sometimes you just need a push to take the plunge. Few people would be greater advocates for this truth than Bury Tomorrow.

Faced 18 months ago, following a period of external and internal strife, with the very real reality that it might be time to pack up their successes and close the book on a storied career of 15 years, with their hands forced and backs to the wall Bury Tomorrow instead picked up fate’s gauntlet and set about writing the chapter they had always imagined.

Today, new album The Seventh Sun stands as testament to the bonds and belief required to shape themselves a new reality, a new sound, and a new future.

“The conversations around our future were very real,” vocalist Dani Winter-Bates offers today. It was never meant to be this way, of course. Belatedly released during the uncertain first wave of the COVID pandemic in June 2020, sixth album Cannibal nonetheless marked a commercial and critical high point for the band, charting in the UK’s Top 10 and at number three in Germany and helping tip the band over the career-to-date 200 million stream landmark. Yet shorn of the ability to properly celebrate its release and accomplishments, let alone stand on stage to perform it, for guitarist Kristan Dawson the songs that comprised Cannibal “never really came to their fullest life”. For perpetual road dogs, now shackled at home Bury Tomorrow for the first time felt the frustrating directionless of limbo that affected so many artists the world over. Perhaps it was no surprise when, soon enough, conversations concluded that the band would be parting with founding guitarist/vocalist Jason Cameron in the summer of 2021.

And so with nowhere to hide from urgent questions about their future – “Do we walk away? Do we start something new? Do we continue on, however that may work?” as Winter-Bates assesses – necessity hit. Turns out that it is not only the mother of invention, but reinvention, too. “I feel like we all knew what Bury Tomorrow was, at least musically, but I also felt we had become quite set in our ways,” picks up Dawson. “We had long had the desire to push the boundaries and not write to what Bury Tomorrow had become. I think in that moment I felt like Bury Tomorrow could actually become what we always hoped the initial blueprint for this band would be. It was never about becoming a different band, but pushing the boundaries of what our band could be.”

“That was very freeing,” adds Winter-Bates. “Because if we were going to continue with Bury Tomorrow, we knew we were doing it by choice, not because of a feeling that we had to. We had to look internally at what Bury Tomorrow was. We knew that if it was to continue, we couldn’t simply replicate what the band had been. We had to reset with a different outlook, and a different sense of being.”

A different line-up, too. In Cameron’s sole place, enter both vocalist/keyboardist Tom Prendergast and guitarist Ed Hartwell: a division of labour that would allow a greater focus not only on maximising individual talents, but collectively expanding them, too. Both Winter-Bates and Dawson can speak no higher of their friends than they do, waxing lyrical not only over their technical prowess and dexterity, but of a fresh perspective, energy and freedom they helped instil in a previously well-oiled but highly structured metalcore songwriting machine.

“It was really just letting ourselves say, ‘What best serves the songs we’re writing?’” Winter-Bates explains of this fundamentally retooled approach as a newly formed six-piece – completed by Bury Tomorrow stalwarts Davyd Winter-Bates (bass) and Adam Jackson (drums). “‘Is it a good song? Or is it a good metalcore song?’ Because actually we want to write great songs. That isn't turning our back on metalcore. But I think if we're only striving to be a really great metalcore band, we are you doing ourself a disservice. We created genres so you can transcend out of those genres.”

If standalone singles Death (Ever Colder) and Life (Paradise Denied), released little over a month apart earlier this year, gave a first glimpse at what lay instore, then The Seventh Sun amounts to the glorious arrival at a destination in this new era. Not Bury Tomorrow’s final destination, either, you must understand – but one that both perfectly encapsulates their revivified present while offering further tantalising hints at an unwritten future.

This is no beast tamed, but rather one with its teeth and claws sharpened, intent on killing with targeted precision rather than with overwhelming bludgeoning. Refocused yet no more restrained, The Seventh Sun’s expanded sonic palette platforms sky-high melodies, layered with textured atmosphere, cloaking an underlying savagery.

Convening once more with producer Dan Weller (a collaboration that bore fruit on both Cannibal and its predecessor, 2018’s Black Flame, and gave, in Winter-Bates’ words, a “consistency and [grounding] in what we are good at and what we can be better at”), at his Middle Farm Studios, the band’s only conscious creative decision leading into The Seventh Sun was, as Winter-Bates nods, “not being limited by formulas.” “Rather than writing to a template, we allowed our writing to take us along to where the song was headed,” he says.

“Metalcore is ingrained into my writing. But I feel that this time, I could be inspired by different things,” Dawson agrees. Names as diverse as Bjork, Sepultura, Korn and Thrice are namechecked in quick succession, as is the ‘90s trance music on which the guitarist grew up. Majesty – a piano-led ballad that sits at the heart of the album – began life as an acoustic sketch by Dawson and Prendergast (and described by Winter-Bates as “so good that I told Tom he couldn’t join the band unless he brought that song with him.) In dissecting The Carcass King, meanwhile, Winter-Bates references Slipknot, 30 Seconds To Mars and even the Waltz. The song also introduces the first female vocals to ever appear on a Bury Tomorrow track, courtesy of Cody Frost.

Winter-Bates points to that song as indicative of the new spirit that surrounded the sessions; one of collaboration and confidence-building support, where no idea or feedback was off-limits and leaps into the unknown – alongside avenues that felt at times almost regressively familiar for the album’s forward-facing vision – were embraced with reassuring unity. “It’s about being proud of the instrument that you control, but equally not having that ego to put a stamp on other people's creative journey,” the frontman posits. “It’s freeing when you don’t say no to an idea based on a preconception of what we should or could be. You write best when it’s cohesive and people feel able to trust each other to really put their best foot forward.”

The results are audible across The Seventh Sun. With Dawson and Hartwell being friends outside of the band, the innate ease with which the former’s leads coalesce with his new sparring partner’s rhythms should perhaps come as no surprise, yet both accentuate and spotlight each other’s abilities. Conversely, Prendergast and Winter-Bates had no such prior relationship on which to build one professionally, yet the dynamism of the newcomer’s abilities brings new range and character to Bury Tomorrow, while further driving some of Winter-Bates’ most ferocious performances ever. Perhaps for the first time, the duelling vocals of Bury Tomorrow sound not in competition with each other, but exist as one unified entity – differing sides of the same coin, contrasting shades of the same one voice.

That interplay, too, allowed Winter-Bates to stretch himself as a songwriter, tap into his passion for the cadence of poetry, and draw from vocal influences ranging from La Dispute’s Jordan Dreyer to Tool’s Maynard James Keenan and The Black Dahlia Murder’s much-missed Trevor Strnad.

With Cannibal’s lyrical content focused solely on an introspective look at the frontman’s journey with his mental health, on The Seventh Sun Winter-Bates took the learnings of such personal songwriting and sought to turn them outwards. “A lot of the themes of the record are actually thinking about the band again; it’s really reflecting on where we are at and our place in society,” he begins. “Every single theme as you go to the album will be about a different concept of operating in chaos, whether that is the destruction and the rebuilding, whether that is resetting the clock, beginning again.

“It’d be really easy to dwell in the darkness and sit there and be like, ‘The world is fucked, everything is destroyed.’ But what do we do? We somehow have to operate in that chaos.

“Recovery is an interesting song to me, because it is the most similar to Cannibal: an introspective look of my own mental health once again. But it asks the question of how I can live in such chaos – what is recovery, then, if I'm going to live with this forever? The Carcass King is another: this is life, this is where we are, we have to operate like this we have to move forward like this. It’s a demi theme almost, a thematic feel that you’ll be able to sense through the record. You’ll have moments of like, ‘Yeah, we’ve got this’; you'll have other moments where things seem overwhelmingly hard. And then you’ll have other moments, like Forced Divide, which is pure anger. The Seventh Sun [the title track] is savage, but you know what, sometimes life is savage.”

Elsewhere, Care – the arena-ready album-closer described by Dawson as “showing us what we needed to do to make Bury Tomorrow musically different” – finds Winter-Bates “[looking] back at when we have reached out for help and support and been slapped to the ground; it calls out the behaviours of others”. Begin Again ruminates on how “we have the control and ability to reset time, to turn around a path we are on – you are in control of your own destiny”, and Wrath “is about dealing with loss. It’s understanding that whilst death hurts, we live on in memories and the actions of those we’ve influenced.”

The thematic threads weaved through The Seventh Sun are met in kind by a throughline that musically stitches together each of its 12 tracks – an idea that Dawson has sought to execute for years. “Every single song sets up the next part of the record,” he reveals. “I wanted it to feel like a one long body of work.” In doing so, the album takes on its own kind its own sonic story-telling. “I feel like I was musically at where Dan was at lyrically,” Dawson suggests.

All of this combines, as Winter-Bates asserts, to exhibit “the best version of Bury Tomorrow people will have heard.” Positivity, and possibility, now seems boundless, where not so long ago doubts persisted. “That is as much to do with Tom and Ed joining the band as it is about the rest of us,” Dawson notes. “I think we'd convinced ourselves at times that we weren't friends, when actually, we’re family. You can’t have this sort of life experience and not be and not be as emotionally connected to each other as we are.”

The guitarist points to the album’s numerical title. “You know, there is something in the number seven that is very representative of change. There’s a renewal aspect to it – seven days in a week, seven hells, and so forth. And on our seventh album, that’s the case for us, too. I hope fans hear how much we appreciate the opportunity we have to make music for them. It’s an opportunity for us to showcase our love for, put our stamp on, and represent UK metal. What a privilege that is for us, and we’re ready to prove that we’re doing everything for those right reasons.”

READ MORE >>READ LESS >>
CONNECT:

About the Venue

HI-FI Annex is an open-air ALL AGES venue located in the back parking lot of The Murphy Arts Center. The main entrance to the venue is located on St. Patrick Street across from the church.  All shows end by 10:00 pm.
Amenities: Live Music, Outdoors, All Ages (Children 5 & under free w/ adult), Premium Sound, Limited Picnic Table Seating, Full Bar, Snack Bar, Street-Level Box Office

Upgrades: A limited amount of VIP seating upgrades are available for select shows.  Contact the box office to purchase or check availability: boxoffice@hifiindy.com.

Ticket Support: Box Office opens 1 hour before published door time. For ticket related questions please email boxoffice@hifiindy.com.

Parking: Street Parking, Bike Parking
Refund Policy: All tickets are non-transferable and non-refundable unless the show is canceled.  Shows affected by Covid-19 pandemic will be handled on a case-by-case basis. Contact the box office with any questions: boxoffice@hifiindy.com.
1065 St. Patrick St Indianapolis, IN 46203

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