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Black Veil Brides + Asking Alexandria tickets at Showbox SoDo in Seattle
Feb
24
Sat
Showbox SoDo Seattle, WA - 6:30 PM Ages: All Ages to Enter, 21 & Over to Drink

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Showbox Presents

Showbox SoDo
1700 1st Avenue South
Seattle, WA 98134
(206) 628-3151
Sat, Feb 24, 2018 - 6:30PM
Ages: All Ages to Enter, 21 & Over to Drink
Doors Open: 5:30 PM
Door Price: Starting from: $35.00
Onsale: Fri, Sep 29, 2017 - 10:00AM PST

Every order of online tickets comes with one (1) CD of Black Veil Brides’ January 12th album, 'Vale' or Asking Alexandria’s December 15th album.  You will receive an additional email with instructions on how to redeem your album. US/Canadian...

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Bio: Black Veil Brides

Art relies on a delicate balance between dark and light. In order to reach heaven, you have to go through hell. In order to enjoy bliss, you have to endure devastation. In order to rise, you have to fall. In order to be a leader, you have to be a little wild.


Black Veil Brides confidently take the lead with their third full-length album, Wretched and Divine [LAVA Records/Republic Records]. Boasting a compelling concept, the record sees the Los Angeles quintet—Andy Biersack [Vocals], Ashley Purdy [Bass], Jinxx [Guitar], Jake Pitts [Guitar], and Christian Coma [Drums]—deliver a collection of songs that's as immersive as it is infectious. Hallmarks of their sound like gritty riffs, orchestral flourishes, elegant soloing, and anthemic vocals remain intact. At the same time, everything expands gracefully into the fabric of an intricate post-apocalyptic drama about The Wild Ones penned by Biersack and artistic collaborator Richard Villa III. Ultimately, Wretched and Divine opens the gateway to a new world altogether.


Think you can handle it?


Coming off the road in support of 2011's Set the World on Fire, Black Veil Brides made a collective and conscious decision to break ground when they entered the studio. They couldn't just make "another album"; they needed to make a statement this time around. After a few sessions, they found the perfect man to help them realize this vision in producer John Feldmann [The Used, Neon Trees, Panic! At The Disco].
"I was going through a bit of darkness artistically," admits Biersack. "We couldn't just take a logical step from Set the World on Fire, and I knew that. We had to make a giant leap. I wanted to find a fresh way of expressing what our band was both lyrically and creatively. I met John, and we simply clicked. We brought him on board immediately. He was able to take our ideas and mold them into something really incredible. It was cool to be with him every day in that creative mindset. We've never had a producer there for the entire process. He pushed us to reach the next level."


In between recording, the band hit the road for a string of dates, and Biersack began envisioning a much larger concept story for the album, writing it on buses and planes. As a result, the songs weave together to tell the tale of a dystopian future where a unified church government is devouring society through taking away science and creativity. This despotic regime drugs the youth into becoming drones, but refugees named The Wild Ones—the band's fictional alter ego—inspires the kids to be themselves and revolt.
"In essence, it's the origin story of the band and the BVB Army," he reveals. "At the same time, it's not a musical. You can listen to any track as a standalone Black Veil Brides song. If you choose to go on the ride, there's a story. It's the soundtrack to our lives and lives of The Wild Ones. It's got elements of everything we've done, but it's different. It's high-concept, but it's also personal."


Speaking of personal, the first single "In the End" possesses a twofold meaning for the frontman. Seguing from a chant of children to a staggering riff and dreamy keyboards, the track exudes divine implications as it relays a universal story.


"About a week before 'In the End' was written, my grandfather died," says Biersack. "I was thinking about the funeral. I said the eulogy in front of my entire family. When we got back to my grandfather's house afterwards, I had this intense realization. We may do good or bad, but we only really exist in the minds, eyes, and hearts of the people we affect throughout life. If you affect them positively, your memory lives inside of them, and that's the way you move on. After I finished writing, my mother sent me something my grandfather wrote to my great-grandfather before he passed. Almost line for line, it spoke about not being afraid to die and even used the words 'In the End'. It was heavy. In the story, The Wild Ones are fighting this enemy. Throughout, they realize you can never truly escape fears or defeat darkness. However, if you can die without fear knowing you've done good, you've won."
Other voices populate the world of Wretched and Divine as well. Aiden and William Control singer Will Francis gives the ominous four-part "F.E.A.R. Transmission" narration, tying together the action from the Orwellian villain's point of view. The Used frontman Bert McCracken adds a dark vulnerability to the explosive thrasher "Days Are Numbered".
Fans have definitely felt everything that Black Veil Brides have done up to this point. In 2010, they laid the groundwork for their legion of supporters to be born with We Stitch These Wounds. The album debuted in Top 40 of the Billboard Top 200 and No. 1 on the Independent Chart, leading to their signing with LAVA.


In support of the record, they headlined the coveted Alternative Press Tour and were crowned "Best New Artist" at Revolver's Golden Gods Awards and "Best Newcomers" at the Kerrang! Awards. In addition to appearing on the Vans Warped Tour, they scorched the stage at Download Festival, Bamboozle, and Rock am Ring. Meanwhile a year later, Set the World on Fire debuted at Number 17 on the Billboard Top 200, and the band hit the road with Avenged Sevenfold and Hollywood Undead. Transformers: Dark of the Moon and The Avengers both included the band on their soundtracks, and their pop culture infiltration continued. Along the way, they amassed one of the most rabid fan bases in modern music, affectionately dubbed BVB Army.


Everything has simply led up to Wretched and Divine though. "This is the album we always wanted to make," concludes Biersack. "I hope our fans can be inspired to create and make their own art from hearing this. I want this to give them freedom."
Spoken like a true Wild One.

Bio: Asking Alexandria

Danny Worsnop – Vocals

Ben Bruce – Lead Guitar

Cameron Liddell – Rhythm Guitar

Sam Bettley – Bass

James Cassells – Drums

 

Rock is dead? That’s fake news. Asking Alexandria is all the evidence we need.

 

ASKING ALEXANDRIA, alive with vibrant potency and empowering authenticity, stand in joyous defiance of the tired cynicism that would declare the death of rock.

 

Asking Alexandria have earned a place among the most streamed, downloaded, watched, and altogether listened to bands in a generation, combining the innovation of modern active rock with the traditional attitude of the culture’s trailblazers.

 

No matter what the pundits proclaim, clearly the real fans are onto something else. The social media accounts representing Danny Worsnop (vocals), Ben Bruce (guitar), Cameron Liddell (guitar), Sam Bettley (bass), James Cassells (drums), and the band overall constitute a combined follower count well over 10 million strong. 

 

They’ve shared the stage with Guns N’ Roses, Green Day, Alice In Chains, and Avenged Sevenfold; toured in support of Slipknot, Korn and Bullet For My Valentine; co-headlined with Black Veil Brides; joined Warped Tour and Rockstar Mayhem; played every major rock festival in the world; and headlined sold out theater tours.

 

Asking Anthems “The Final Episode” and “Not the American Average” were both certified gold by the RIAA for single sales in excess of 500,000 each. The music videos for those two singles alone amassed over 100 million views on YouTube. “The Death of Me,” “Moving On,” and “A Prophecy” together account for over 100 million more. The videos from The Black were viewed 70 million times. 

 

The amount of ink spilled in cover stories splashed across Kerrang!, Metal Hammer, Rock Sound, Alternative Press, Revolver; the massive plays on satellite and an increasing number of terrestrial radio stations; the number of Tumblr blogs, Reddit threads, and Snapchat stories revolving around the band’s antics; all of it tells a story about passion, dedication, and what’s possible when destiny beats back death.

 

Made with producer Matt Good, Asking Alexandria’s self-titled fifth album is an unbridled celebration of acceptance, of the strength of diversity and the freedom of “leaning into the crazy” (as Worsnop puts it), instead of struggling for conformity.

 

“I’ve been away a little while,” Worsnop sings in “Alone in a Room,” with the kind of urgency, reflection, self-confession, and authenticity the band’s fans have come to rely upon. Tracks like “Hopelessly Hopeful” and “Rise Up” follow suit, traveling through powerful extremes of big verses and bigger choruses, with confident force.

 

The hard rock, heavy metal, post-grunge, punk angst, and stadium worthy grandeur that has become Asking Alexandria’s signature sound remained in full effect on The Black, which featured a replacement vocalist yet maintained a connection to diverse rock audiences weaned on everything from Slipknot and Avenged Sevenfold to Van Halen and Guns N’ Roses, while giving Asking Alexandria another Top 10 US debut.

 

The five albums in the Asking Alexandria catalog are chapters in an ever-evolving tale of devastation, renewal, and survival. Scrappy upstarts surviving on Ramen noodles and booze in an RV parked outside a Walmart made the modern metalcore classic Stand Up and Scream (2009), surpassed in bravado and ambition by the melodic and chaotic fury of Reckless & Relentless (2011) and the career-redefining From Death to Destiny (2013), which shot to #1 on the Rock and Metal charts in the U.K. and cracked the Top 5 of the Billboard 200 in the United States upon its release.

 

The band’s fifth and most incendiary album marks the full-length return of the underground’s own Mick n’ Keith, Axl n’ Slash, Roth n’ Hagar; the long-awaited recorded reunion of this generation’s own toxic twins, Worsnop and Bruce. They’ve been mates since their teens. Every bit of history, swagger, and tumult is brilliantly mined to full throttle extent on the band’s most ambitious album yet. The record boils with the unique combustible chemistry all five of them share. By the same turn, it is tangibly shot through with newfound freedom, camaraderie, and revelry.

 

Asking Alexandria comes full circle with a new lease on life that’s respectful of their past while charging forward into the future, reverent of the prominence the band maintains in each of their lives while allowing breathing room for its members.

 

The endurance of the greatest British band to call the United States home is testament to the strength of timeless perseverance and stamina. These five young men are proud torchbearers, leading a worldwide audience whose devotion demonstrates a simple truth revered by generations of fans: nevermind the bollocks.

 

“Into the Fire” offers a beautifully combative, contradictory, and unrelentingly powerful message to the true believers who have stood by this band through thick and thin. “I wouldn’t take back a moment / Not one miserable moment / I’ll give it all ‘till there’s nothing left,” Worsnop sings. It’s most assuredly a genuine promise.

 

 

 

 

 

 

 

 

 

 

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