Artist Presale: Wednesday, February 14 at 10am local
- PW: CHROMENIGHTS (not case sensitive)
Spotify Presale: Wednesday, February 14 at 11am local
- PW: 2024CHROMENIGHTS (not case sensitive)
Venue/Promoter Presale: Wednesday, February 14 at 12pm local
**All Presales end on Wednesday, February 14 at 10pm local**
General Onsale: Thursday, February 15 at 10am local
Calling all adults: Chromeo is back, and have they got a record for you. It’s brazenly titled Adult
Contemporary, and it’s set to redefine the term. There’s a complacency and a softness to “adult
contemporary” as we know it, in a pleated khakis and cable-knit sweater kind of way. In the hands of
Dave 1 and P-Thugg however, the phrase takes on a whole new meaning. Let’s parse it word by word.
“Adult” is a loaded thing to call someone in this day and age, since adults have basically wrecked our
planet. But for Chromeo, to be an adult doesn’t mean being a cog in the square world’s machinery.
Rather, it signifies evolution, sophistication, and nuance. Aging like wine or cheese, not like fruit or milk.
While we do so, how much of our groove do we actually choose to hold on to? Chromeo says: “all of it.”
As you already know (unless you’ve been living in a vibes vacuum since the early 2000s), Chromeo is the
paramount funk band of our time. Friends since childhood, Dave and Pee have built an empire of soigné,
danceable, and intelligent music over the course of two decades. Few duos can claim this kind of psychic
togetherness and evergreen staying power. Really, who else? One must venture into the stratosphere to
find precedents. And now that Dave’s double-breasted suits are popping and Pee’s turtlenecks are in
effect mode, it’s safe to say that we can rely on Chromeo to stick around for years to come.
Wait, do you want to hear something really adult? Try this on for size: the anguish of late-stage capitalist
monogamy is very much a thing. Here, we come to the essence of Adult Contemporary, the most lyrically
cohesive Chromeo opus to date: it’s a 14-track meditation on mature relationships. This is perhaps best
conveyed in the song “BTS,” which sounds like a classic Chromeo funk jam but, as is often the case with
these guys, hides a deeper message. An ode to just going to sleep (“rest can be Better Than Sex”), it’s
about that moment in an affair of the heart when you can just say, “Baby, this week was a doozy and I
really just need to crash.” How real is that? Or there’s a song like “Personal Effects,” in which Dave
reminisces over a partner after seeing her phone charger left at his house. Modern romance, indeed.
Throughout the album, songs function like short stories, each a variation on what it’s like to be in love in
2024 – from joyful commitment to crippling codependency, from the platonic to the profane. It’s no
picnic…yet lo and behold, it can also be hilarious, and Dave and Pee tackle it all in their signature
straight-faced style. Lest we forget the core Chromeo value: there is no such thing as irony.
Onto that other word. “Contemporary.” An interesting choice for a band who has always been equally
of-the-moment and openly indebted to its ancestors. But in an era when everything is available all the
time, seamlessly melding together the new and the old might just be the most contemporary act an
artist can commit. Chromeo offers us a singularity of funk, with music more elegant and considered than
ever before. Take for instance the lush horn arrangements on “Words With You” and “Lost And Found” or
the banging electro-synths in “(I Don’t Need A) New Girl.” This is Chromeo in full two-man studio muso
mode, danceable and delicate, simultaneously wielding deft live instrumentation and a relentless
four-on-the-floor kick drum that scans the entire record. For the first time in a while, it really is a tandem
affair. The previous albums were very much about collaborating. Getting other people involved and going
big. Adult Contemporary is more ambitious specifically because it revolves solely around two besties at
the top of their game, doing absolutely everything on their own. Hence a deeply intimate feel, with Dave
and Pee accomplishing two things at once: getting back to basics in terms of method while also
expanding the songwriting and atmosphere. The Chromeo blueprint of maximum funk earnestness sits
front and center.
So with that in mind, we invite you to join not only our contemporary times but also the ranks of the
grown. Contrary to our infantilizing culture – which would prefer you stunted –, adulthood is a blast. And
with a soundtrack such as Adult Contemporary, it’s a place of pleasure, discernment, groove, and
comradeship. Come now, dip your toe into the infinity pool of maturity. You’ll find yourself, before too
long, happy to evolve funkily alongside Chromeo
THE MIDNIGHT BIO:
Some songs have the strength to turn every human into a hero, with lyrics so bright-
eyed and melodies so universal they lift a crowd of sweaty clubbers into a stadium’s
worth of energy.
These are songs about togetherness and trials won by love, and these are the kind of
songs The Midnight delivers on its fourth studio album Heroes; the final chapter in a trilogy
of human life that started with 2018’s Kids and culminates in an international tour that
sees the duo transformed into an electrifying five-piece band.
From its synth-heavy beginnings to arena rock chords and infectious pop hooks, The
Midnight’s musical journey is one fueled by insatiable curiosity. The duo lives at the
intersection of varying paths, driven by the frictional spark that fires when Southern-born
singer-songwriter Tyler Lyle melts his all-American dreamer tales with Danish-bred
drummer and producer Tim McEwan’s cinematic soundscapes.
Together, they form something deeper than just house, vibier than pop, and altogether
more exciting than the sum of its parts.
“Tim comes from a different culture, different taste, different sort of musical firmament,”
Lyle says, “and what we have in common is that we like good songs.”
Lyle got his start in the folk song traditions of the American south. Raised by a music
minister and mobile home salesman, he cut his teeth as an entertainer leading the choir
in a small town Methodist church. Dreaming big, he moved to Paris after high school and
studied philosophy. When he returned to follow his musical passions in Atlanta, he found
his folk sound gaining attention with major labels who sought him to write for stars in LA.
That’s how he first met McEwan, who was raised not in the bright lights of Hollywood but
in Denmark. His own father is a drummer, both parents are actors and entertainers, and
they supported McEwan’s musical passions, as did his country. A state-funded program
helped the budding producer hone his skills. After graduating, he moved to London and
had a hit on pirate radio, but it was years later in Copenhagen that he’d find success with
the publishing team that brought him to the U.S.
Lyle and McEwan connected from the moment they first met in a Los Angeles studio.
What was meant to be a session for others turned into pure creative spontaneity. The
new friends stumbled onto a sound all their own, penning “We Move Forward” in a few
hours time. The song became a favorite on The Midnight’s debut EP Days of Thunder,
released in 2014.
Within that single’s euphoric rhythms and bittersweet synth lead are the seeds of The
Midnight’s signature style. It’s powerful and hopeful, matched with Lyle’s romantic and
philosophical observations of everyday feeling, a theme that continues on the intimate
sonic portraits that Heroes paints.
A dramatic, nostalgic streak runs throughout their catalog, from the retro-futurism of debut
LP Endless Summer through to the introspective musings of 2018’s Kids. That sound got
bigger and brighter as The Midnight dug into even deeper emotional depths on 2020’s
Monsters, finding more confidence in their songwriting. The pair was even tapped to score
for a major motion picture, and although the project did not come to fruition, it further
proves the band’s decidedly theatrical energy.
Through the years, the band’s sound and presentation continues to evolve, as influenced
by the live performance and connection with the audience as by the internal need to grow.
“As a creative process, it’s always a ‘what feels new and fresh to me?’” McEwan says.
“That’s the challenge, right? Or at least for me, how my process is. It has to feel fresh yet
familiar for it to feel exciting to feel creatively fulfilling.”
McEwan’s sonic tinkering is further pushed by Lyle’s lyrical explorations of self and
situation. Faced with the birth of his first child, Lyle became fascinated with the
development of ego and psyche, setting forth on the ambitious aim of a conceptual three-
part album epic.
“I got into depth psychology and this idea of etiology, the way a human forms,” Lyle says.
“The world doesn’t get better but we do. We grow into ourselves. We grow into our voice
… For me, Kids is self-knowledge, Monsters is self love, and then Heroes is empathy.”
Written during the isolation of COVID quarantine, Heroes faces the feeling of being alone
by inviting the whole world to dance under one roof. It’s an album that celebrates the
connected nature of man, the way we overcome loss by coming together under one sky
and howling at the moon; drinking, hugging, laughing and singing songs at the top of our
Slivers of Springsteen, pieces of The Police, the audacity of AC/DC and the hair-raising
attitude of arena rock are all mixed all up in sexy-but-sensitive sing-alongs custom built
to be belted by a room full of music lovers.
“Big songs and intimate ballads,” McEwan says. “[We tried] striking that medium and
hitting those ends of the spectrum; small stories combined with big perspective.”
Launched by the propulsive jolt of guitar-laden lead single “Change Your Heart or Die,”
The Midnight’s next era is its biggest and boldest yet. Follow-up single “Heartbeat” builds
a wall of sound with Van Halen-inspired synth leads, echoing drums, layered vocal chants
and an explosive chorus. Title track “Heroes” is a sultry strut of a song, deep and moody
with an uplifting chorus that sees Lyle sing about the strange modern America.
The album’s massive highs are matched with moving ballads, little vignettes of private
lives like the story of a woman who works at a diner on “A Place of Her Own,” or the small
town romantics set to a half-time beat on “Heart Worth Breaking.” Spanning 13 tracks,
Heroes is a striking patchwork of portraits—and it will all come together when it comes
After nearly a decade of work, the duo will hit new heights on stage, growing from 500-
capacity clubs in 2019 to selling out London’s 5,000-person Brixton Academy and similar
venues in 2022. To fill all that space, The Midnight expands its lineup with three live
musicians; Lelia Broussard on bass, Royce Whittaker on guitar, and Justin Klunk on
saxophone and synth.
The trio have storied histories of their own. Before joining The Midnight, Klunk has
performed on stage with Saint Motel and Ariana Grande. Broussard and Whittaker work
together as synth-pop band Jupiter Winter. The duo first worked with The Midnight on
“Monsters,” then joined the band on stage in 2019 and 2021 respectively.
Independently, their resumes are impressive. Broussard wrote and performed a song for
the 2021 blockbuster Cruella and has been featured in adverts for Nike, Google, Pepsi,
Samsung and more. You may have even seen her perform on The Tonight Show with
Jimmy Fallon and The Voice. Whittaker has served as musical director for rap star Megan
Thee Stallion and Canadian singer Lights. Both he and Broussard co-wrote and
performed a number of tracks off Heroes.
The band’s vivid sound is well-suited to full rock instrumentation, and the five-piece is
more than ready to unleash the exalted tracks of the new album for crowds of fans around
the world, performing them with all the participatory spirit for which they were written—
because in the end, the real Heroes are and always have been you