Fox Theater

LIVE 105 presents LIVE 105 presents Brandon Flowers Saturday, September 05, 2026 Doors: 7:00 pm | Show: 8:00 pm Buy Tickets This event is all ages. For an additional fee, you can opt in to upgrade your experience to include access to the exclusive Telegraph Room before, during and after the show! Please note all Telegraph Room upgrades are subject to availability. Join us at The Den one hour before doors for food & drinks! All doors & show times subject to change. Add this event to your calendar: Brandon Flowers “ I’ve been keeping the secret of my upbringing ,” Brandon Flowers laughs. We all know the story, fittingly mythological: a Mormon raised in the seedy glimmer of casinos, destined for rock ‘n’ roll stardom. But before that, Flowers was a teenager in small-town Utah, taken with the new wave and post-punk and Britpop his brother had shown him, yet spending just as much time driving the countryside with his dad and hearing Johnny Cash and Waylon Jennings songs reflect his surroundings back at him. Those seemingly disparate influences have converged in Flowers’ music for twenty years, but he only rarely wrote about that chapter of his life. As he entered his forties, he began reflecting not only on the whirlwind of his adulthood as a rockstar, but also on his formative years in Utah. Ideas swirled, then arrived in the form of the music that first taught him about storytelling. They culminated in Flowers’ third solo album Thrasher , the most personal collection of songs he’s ever written. After moving back to Utah, Flowers began to pull the curtain back on The Killers’ most recent album, 2021’s Pressure Machine . Though most often associated with Las Vegas, most of Flowers’ youth actually occurred in Nephi, the small Utah town some two hours south of Salt Lake City. Now back home again, he showed his own children the scenes that made him who he was as a young man. Much of the music Flowers has worked on in the ensuing five years began as a direct continuation, forging deeper into foundational sounds and foundational memories. He began to recognize the “big and shiny fantasy” of Las Vegas that so often courses through The Killers’ music wasn’t the right home for this writing, and he embarked on his first solo endeavor in over a decade. Though Americana and Western stylings have often mingled with the alternative traditions in The Killers’ DNA as far back as their 2006 sophomore outing Sam’s Town all the way on to Pressure Machine , Flowers found that he’d tapped a new, rich vein of his songwriting: “ As I’ve gotten older, I’ve found my way back to my father’s music — ‘Country-Western’ — and discovered that the stories I carry really feel most at home in the skin of this beautiful American tradition .” It was only an idiosyncratically and eternally American form that allowed Flowers to find the grain and gravity he needed. He wrote honky-tonk ragers, highway rambles, and winsome ballads, all lived-in and organic. Much of Thrasher features songs written in persona thinly veiling stories about Flowers’ friends and family from his teenage years until now, from Vegas to Nephi and back again, all rendered with the balance of sadness and humor inherent to country music. “ I used to think my experiences weren’t interesting enough ,” he says. “ It took a lot of living for me to recognize that my story was never just my own. Other people have felt these things. Turning them into songs just helps me make sense of it .” Eventually, Flowers decamped to Nashville to work with producers Shawn Everett and Jonathan Rado , picking up a collaboration begun with 2020’s Imploding The Mirage and Pressure Machine . Flowers rolled into town confident of the potency in these new songs, but nevertheless found himself awed by the musicians gathered for the sessions. The band were all Nashville pros, ranging in age from their thirties to eighties, having played on everything from Elvis records to ‘70s outlaw country albums to ‘90s country crossover hits. “ Every day we’d start late because people would sit and tell stories ,” he recalls. The band featured local legends like longtime Gillian Welch collaborator David Rawlings on guitar, the prolific and influential pedal steel player Bruce Bouton , and 85-year-old Charlie McCoy , a journeyman harmonica player who appeared on all four of Bob Dylan’s iconic Nashville records. The group played through each track three or four times live in the room. One of them ended up being the take. That was it. Flowers hadn’t recorded that way since Hot Fuss and Sam’s Town , and soon found himself swept up by the energy. “ It was one of the highlights of my recording career. There was so much experience and competence in the room. I didn’t want it to end. We cut 23 songs in three weeks ,” he says. Half of those songs were destined for Thrasher , and half for a still-mysterious sister album that emerged from the same fruitful burst of writing but covered different thematic territory. It all kicks off with “ Does It Ever Cross Your Mind .” Buoyed by a loping rhythm and pedal steel, Flowers sings of the happenstance beauty in how the cosmos places us next to the people with whom we spend the rest of our lives. Though each song emerges from love in some form, many catalogue darker events: “ One Of Us ” picks up the swing of “ Does It Ever Cross Your Mind ” but acts as tribute to a brother-in-law who suddenly passed several years ago, while “ Miss America ” slows it down to travel from ‘80s shopping mall pageants to fraught early childhood memories. There are classic American parables, of lofty dreams that didn’t quite take in the intimate cinema of the dusty orchestration in “ Plans .” Simultaneously poignant and tongue-in-cheek, “ Paradise ” pulls from Flowers’ extended family working and aging in the casino ecosystem of Vegas. Mariachi horns and sunburnt guitar evocatively conjure the “ Red Ground ” namechecked in its title, while “ Tiger’s Blood ” returns to the Nephi glimpsed on Pressure Machine with a seamless blend of Thrasher ’s rough-hewn aesthetic and Flowers’ customary arena-rock scope. In its final moments, Thrasher throws it all together in the phantasmagoric “ An American Dream ”: Flowers remembers his mom while watching his dad near the end of his life, passes billboards talking about eternity, meets Elvis in a Tesla, and asks him if it was all worth it. Though psychedelic in nature, the song is littered with references to Flowers’ life, a grand finale to an album of aged family photographs and snapshots from across the decades. In the end, Thrasher i s a heartfelt and adventurous document of all the people Flowers has known and loved and feared, but also a portrait of a man making peace with himself and the places, sights, and sounds that made him. “ I don’t know when is the appropriate time to figure out who you are, but it’s starting to come together for me now ,” Flowers concludes. “I ’m always lurking somewhere in the shadows of the stories I tell. But on Thrasher I’m in the kitchen, I’m on the phone, and I’m waking the neighbors. ” Upcoming Events Brandon Flowers Sat Sep 05 Slayyyter Wed Sep 09 Michael Blaustein: The Taste Me Tour: The Final Leg Fri Sep 11

K&D Kicks 30 Anniversary Tour An Evening With K&D Kicks 30 Anniversary Tour An Evening With Kruder & Dorfmeister Friday, September 25, 2026 Doors: 7:00 pm | Show: 8:00 pm Buy Tickets This event is all ages. For an additional fee, you can opt in to upgrade your experience to include access to the exclusive Telegraph Room before, during and after the show! Please note all Telegraph Room upgrades are subject to availability. Join us at The Den one hour before doors for food & drinks! All doors & show times subject to change. Add this event to your calendar: Kruder & Dorfmeister Kruder & Dorfmeister’s story is not just a story of refusal and renunciation. As the two started making music together in the early 1990s, there was hardly anything that the two didn’t do “wrong”, and therefore, exactly right. At the time, Vienna was a metropolis of the aspiring techno movement and was active, during the initial heyday of the revolutionary style. But the two gentlemen, K&D, rather followed the tradition of the continental cosmic “dancefloor” of the 1980s, which searched for a universal language of dance music, influenced by hip hop, rare groove, dub, new wave and last but not least, of music that stood out between all those categories. As the first post-acid jazz productions of labels like Ninja Tune or Mo Wax heralded a new era, Kruder & Dorfmeister were already a step ahead of those protagonists. The sound of K&D’s groundbreaking debut “G-Stoned”, already apparently influenced by the elegiac arrangements of productions from the 1960s and 1970s of Afro-jazz and Pink Floyd, made many top producers begin scratching the backs of their heads, asking themselves who could have generated such an organically-flowing, complex yet subtle sound with only two Akai samplers, a Roland Space Delay and a dusty mixer. Offers came pouring in like heavy rainfall in a mid summers day, but the two stubborn gentlemen didn’t play along: after the success of their “DJ-Kicks” and “Sessions” CDs, which sold millions worldwide, they turned down most of them. K&D always enjoyed not following advice and abandoned all of the enticing major offers, all of the promises of full-speed marketing machinery. Instead, they provided musician friends with distribution on their G-Stone label, hung out in the studio and put together follow-up projects, like Dorfmeister & Huber’s Tosca or Kruder’s Peace Orchestra. Whoever heard the two DJing at the time, noticed that the cliché of smokey time-loop jazz had long been left behind and gave way to their own spirit of research. Besides excursions to drum & bass and subgenres, such as broken beat, straight 4/4 rhythms crept into their sets and roughened up the eternal Balearic sunset. To this day the two still maintain an open concept, influenced by a wide-ranging taste in music and their ability to hear music, to feel and to be able to realize their musical conceptions. Kruder & Dorfmeister’s career can, therefore, be more closely compared to that of major role model, Brian Eno, whose work, from Roxy Music or “My Life in the Bush of Ghosts”, to his productions with David Bowie and his “Music for Airports”, was similarly influenced by an all-embodying, perpetually visionary and never shortsighted understanding of music. Since the beginning, the goal was to produce a very personalized sound, in which satisfying guidelines of genre was secondary. Peter Kruder ultimately proved that with his productions of DJ Hell’s celebrated “Teufelswerk” and “Zukunftsmusik” albums or Marsmobil’s chart topping “Fairytales Of The Supersurvivor” or the wonderful releases under his own name for Compost, Macro and Gigolo Records. Even Dorfmeister’s Tosca ceaselessly minimalist, almost dadaist tonal studies clearly point in that direction as his collaborations on the acclaimed “The Exchange” album. So the two are happiest when people take their music and their DJ sets for what they are: odes to hearing, feeling, sensing music and tonal language, which does not function like the many spoken languages of the world, but rather as body language: universal, global, unifying. In 2017 K&D received the golden Medal of Honour for Services to the State of Vienna. From 2017 to 2024 K&D performed more than 250 sold out audio visual shows all over the world. Upcoming Events Brandon Flowers Sat Sep 05 Slayyyter Wed Sep 09 Michael Blaustein: The Taste Me Tour: The Final Leg Fri Sep 11

Show Cancelled Lexa Gates Show Cancelled Ravyn Lenae Lexa Gates Wednesday, September 16, 2026 Doors: 7:00 pm | Show: 8:00 pm SHOW CANCELLED Due to unforeseen circumstances our show with Rayvn Lenae at the Fox Theater – Oakland on September 16, 2026 has been cancelled. If you purchased tickets directly from Ticketmaster, you will be automatically refunded. Otherwise, refunds are available at point of purchase. Thank you for understanding and we apologize for the inconvenience. This event is all ages. For an additional fee, you can opt in to upgrade your experience to include access to the exclusive Telegraph Room before, during and after the show! Please note all Telegraph Room upgrades are subject to availability. Join us at The Den one hour before doors for food & drinks! All doors & show times subject to change. Add this event to your calendar: Ravyn Lenae Chicago-born and raised singer-songwriter Ravyn Lenae first started releasing music in the latter half of the 2010s with a trio of EPs, making the biggest splash with 2018’s Crush EP and its lead single “Sticky.” In 2022, Ravyn released HYPNOS , her critically acclaimed debut via Atlantic Records, with Steve Lacy, Monte Booker, and KAYTRANADA among its producers. Her sophomore album, Bird’s Eye, was released in 2024 and garnered praise from numerous publications. Executive produced by Grammy Award-winning producer Dahi (Kendrick Lamar, SZA), Bird’s Eye is nestled within Ravyn’s memories of home, intertwining her vocals with pop, indie, reggae, jazz, and rock. She later made her late-night TV debut on The Tonight Show starring Jimmy Fallon and joined KAYTRANADA and Channel Tres on The Late Show with Stephen Colbert . Bird’s Eye notably features “Love Me Not,” which has garnered over a billion global streams and landed Ravyn her first top 5 appearance on the Billboard Hot 100. 2025 saw Ravyn’s debut performances at Coachella, her hometown’s heralded Lollapalooza festival, Today Show , Jimmy Kimmel Live!, and a sold-out four-show residency at the Blue Note Jazz Club. She then launched her sold-out headline North American and UK/EU tours, while also joining Reneé Rapp and Sabrina Carpenter on select dates of their respective arena tours. While 2025 remains a breakthrough year, Ravyn intends for an even bigger 2026 with the release of her third studio album, Blue Island, coming August 7, 2026. Lexa Gates Upcoming Events Brandon Flowers Sat Sep 05 Slayyyter Wed Sep 09 Michael Blaustein: The Taste Me Tour: The Final Leg Fri Sep 11