FOR IMMEDIATE RELEASE                                                         February 22, 2011 CONTACT:    Director of Marketing

THE BLACK KEYSWITH SPECIAL GUESTS

CAGE THE ELEPHANT

TUESDAY, JULY 12TH, 2011JOHN LABATT CENTRE – LONDON

Doors: 7:00PM Show: 8:00PM

TICKETS ON SALE FRIDAY, FEBRUARY 25 TH @ NOON

Tickets available at the John Labatt Centre Box Office, Masonville Place Ticket Outlet, Fanshawe College BizBooth, the Bookstore at Western, and Books Plus

Charge by phone at (866) 455-2849

Order online at www.johnlabattcentre.com

Tickets (incl. HST) $31.25 & 46.75(Plus Service charges)

**GA FLOOR / RESERVED STANDS**

Fresh from picking up three Grammy Awards, including Best Alternative Music Album (Brothers), Best Rock Performance but a Duo or Group (“Tighten Up”) and Best Recording Package (Brothers), appearances on Conan and the Tonight Show with Jay Leno, The Black Keys are unstoppable. After recently announcing an appearance at Bonnaroo 2011, the duo announces their upcoming tour with dates across Canada.

In the August heat of 2009, The Black Keys left a Brooklyn studio—where they’d been working with an all-star posse of MCs—for 10 days in creative isolation at the historic Muscle Shoals studio in Alabama. Their geographical trek mirrored a musical journey, from contemporary hip-

hop jams to the hallowed ground of classic R&B, that has resulted in the most cohesive album—and the deepest, steamiest grooves—of the duo’s eight-year career.

Brothers is, in many ways, the culmination of a tumultuous period for Auerbach and Carney as they juggled personal challenges with creative opportunities. For the first time in a career of non-stop touring and recording, Auerbach and Carney embarked on projects of their own, on top of their dates for The Black Keys. Auerbach made his solo debut, Keep It Hid, and hit the road with a full band; Carney picked up the bass for his own combo, Drummer, comprising five notable Ohioan drummers, only one of whom actually sits behind the kit on their disc, Feel Good Together.

As Carney recalls, “We were going to Brooklyn every other weekend for a couple of months. We finished Blakroc two or three days before we started our record. Blakroc was kind of a warm up for Brothers. In the process of making the Blakroc record we got more and more accustomed to the approach of making music with more bass lines and keyboard riffs than guitar riffs. There is less guitar on this record than any of our other records. I think we were just trying to focus on the grooves rather than what we had expected from ourselves previously.”

Auerbach concurs: “We were basically listening to soul music and hip hop for the week we were down there. That definitely had a lot to do with the way we went about crafting the songs.”

Brothers is more stripped down than Attack & Release, the 2008 album they cut mostly in a vintage studio outside Cleveland with producer Danger Mouse and several guest players. Danger Mouse returned to produce “Tighten Up,” but there are no additional musicians, save for Atlanta-based R&B belter Nicole Wray, a former Missy Elliot protégé who contributes backing vocals to “Everlasting Light,” “Next Girl,” and “Howlin’ For You.” Yet the sound of Brothers feels like another huge step forward. The Black Keys rely on less yet ingeniously achieve more.

Grammy –Award–winning engineer-auteur Tchad Blake mixed the album and totally got the concept. Auerbach describes him as “a genius with audio, a complete wizard, because we recorded these songs in a really minimal way. There are no more than 11 or 12 tracks on one song. All the drums are on one or two tracks, which is sort of unheard of in the modern-day recording world. Tchad does a lot of mixing where I’m sure he gets, you know, 40 or 50 tracks on one song. So he was really excited about our record, he would call us up and just tell us how much fun it is to mix this stuff because it was so raw.” For Carney, as he told Rolling Stone, bringing in Blake at the end underscored the attitude and the aim of Brothers: “He approaches mixing in the same way we approach making music. Respecting the past while being in the present.”

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