Evans Blue opens May Day with a powerful performance.

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Staind rocks the Coors Light Private Party to kick off May Day 2006. They'll headline the main stage at 8:50pm.

Deuce talks with Matysn and Parker of Evans Blue in the green room. Evans Blue will open May Day on the main stage!

X103 DJ's hanging out backstage in the green room.
The crew prepares to cause some trouble just before the gates open!

Nothing like being stuck with Stuck in the green room.

• 4:45 PM Evans Blue


• 5:40 PM Flyleaf


• 6:30 PM Hurt


• 7:25 PM 10 Years


• 8:40 PM Three Days Grace

Doors: 2:30pm

Music Starts: 4:00pm

Those of you who have tickets to the private party will have one gate opened at the main gate for you to enter at 2:00pm for the Coors Light Pit Stop Party featuring Alex B spinning and a private intimate set by Staind.

X103's and Coors Light's May Day brought to you by Hardees! It's going to be a great show! May 27 at the Verizon Wireless Music Center. Staind, Three Days Grace, 10 Years, Hurt, Flyleaf and Evans Blue.

Here's the ticket info:
A limited number of Pit tickets available @ $45.00
Lower Pavilion - $35.00
Upper Pavilion - $25.00
Lawn Tickets only $19.00

It has been said that first impressions last a life time. Luckily for Staind, some only last for about 45 minutes. After a volatile disagreement with Limp Bizkit's Fred Durst over some of Staind's early cover art, it seemed their big break had walked out the door. Fortunately by the time Durst had witnessed Staind's intense live show, he was ready to exchange phone numbers.

Staind's story began in the New England area when vocalist Aaron Lewis and guitarist Mike Mushok met at a Christmas party in 1993. Mushok was able to bring drummer Jon Wysocki into the fold, and Lewis' connection with a bass player (now no longer with the band) completed the early lineup.

Establishing themselves took time, and extensive touring of the northeast with other established metal acts helped them sell over 2000 copies of their self released debut in just over a year. They were primed for their big break, and on October 23, 1997, the hard work paid off.

At a show in Hartford, CT, Staind was all set to open for Limp Bizkit when Bizkit singer Fred Durst raised a stink over cover art on Staind's self-released CD. After a heated conversation over whether or not Staind were Satan worshippers, Durst forcefully returned the disc to the band, and walked away. 45 minutes later Durst was back, not to further the argument, but to make sure he kept in contact with Staind. Blown away by their live show, Durst exchanged phone numbers, and Staind were now on their way. All they had to do was wait.

And wait they did. Given Limp Bizkit's busy touring schedule, it was difficult for Mushok to reach Durst. So they went to him directly. Staind drove up to a Bizkit show in Boston, and dropped off a tape of demo material they had been working on. Durst loved it and convinced them to travel to Jacksonville, FL, to work on the new songs.

After reworking the new material and a successful live show, Durst contacted the head of Flip Records, and arranged a meeting for Staind with the label. While in Los Angeles, a three-song sampler was recorded, and by the time February rolled around in 1998, the band had a record deal. After playing the Vans Warped Tour, they began work on their first album, Dysfunction. The album was produced by Terry Date (Deftones, Pantera, Soundgarden), and was released April 13, 1999. A tour with Kid Rock followed that spring and later the band reunited with good friends Limp Bizkit for a summer tour. Their follow-up, Break the Cycle, enjoyed a prolonged visit at the number one spot on U.S. charts in 2001. Smash hits like "It's Been Awhile," "Fade," "For You" and "Epiphany" catapulted the band into the mainstream, leaving their 2002 DVD MTV Unplugged to go gold. Staind returned to form for the release of 14 Shades of Grey in spring 2003. ~ Chris True, All Music Guide

Written by Chris True

"From the first rehearsal, it was a surreal feeling sitting in the room, says Evans Blue guitarist Parker Lauzon. "We wrote three songs within the first hour we met."

When they connected online through a musician's message board, none of the members of Evans Blue imagined that they would be meeting their destiny. Each was a skilled player of his respective instrument, but they were living in three different cities that were miles apart. When they came together as a band, though, the five--also including Kevin Matisyn (vocals), Vlad Tanaskovic (guitar), Darryl Brown (drums), and Joe Pitter (bass)--instantaneously became one. And the story begins.

"Matisyn brought a book of words with him," recalls Lauzon, "and he made the words fit to the music I brought in. It blew me away how effortless it was." The dark musings of the mind of Matisyn were simultaneously lifted off the page and grounded by the pull of the music. As if by a chemical reaction, Evans Blue was created.

Just a few months later, via the same online message board, Matisyn answered an ad for a new Toronto recording facility called The Pocket Studios. When he first visited for a tour, studio co-owner Mari Dew observed, "He said very little, but Matisyn had an unspoken combination of magnetism and intensity about him, something special, yet hard to explain." The band went into the studio with Trevor Kustiak, and the chemistry was immediate. Evans Blue was signed to The Pocket Recordings, with Mari as their manager and Trevor, their producer.

The next six months together yielded Evans Blue's debut album, The Melody And The Energetic Nature Of Volume, a collection of 10 original songs interwoven with an intoxicating interpretation of fellow Canadian Sarah McLachlan's "Possession." The "Melody" tells a twisted tale of love, passion, betrayal, denial, loss, hatred and pain, ultimately ending on a note of hope. Matisyn's compelling lyrics lead the listener on a journey, resonating with anyone who has experienced these universal emotions. The band provides the "Volume"--the driving sound that guides the listener through the ups and the downs.

The "Energy" comes directly from the fans. Their numbers are expanding like an infection, as the music spreads virally through the radio waves, the Internet and in live performance.

With its massive hooks and dark vocals and lyrics, Evans Blue's first single, "Cold (But I'm Still Here)," secured regular airplay. This in turn captured the attention of Hollywood Records, and Evans Blue has since signed an international record deal with the label. While grateful, Lauzon was not at all surprised. "We've had faith in this band since the beginning," he says. "We know that this band has 'Destiny' written all over it."
Written by Record Label

The members of Three Days Grace began bashing punk chords when they were in their teens, carving a derivative yet energetic sound that fueled their live performances. Three Days Grace was formed in Norwood, Ontario, Canada, in 1997 by Adam Gontier (vocals, guitar), Brad Walst (bass), and Neil Sanderson (drums). The group was originally called Groundswell, a five-piece that lasted from 1992 until transforming to a trio five years later. Gontier and Walst were raised in Norwood, and many of their songs were inspired by living in a place with a population of around 1,500. The bandmembers were still in high school when they had their first gig, and they performed anywhere that would accept them -- including opening for a movie.

Three Days Grace eventually relocated to Toronto and were introduced to producer Gavin Brown by their old manager. The band gave Brown a private set, and he selected what he felt were the most promising tracks. The group then produced a demo for EMI Music Publishing Canada. With Brown at the helm, Three Days Grace recorded "(I Hate) Everything About You." The tune got them a publishing deal with EMI, and they soon were signed to Jive after being courted by the company's president. Brown and Three Days Grace were sent to a studio in Boston, MA, to start the group's debut album. The band completed its self-titled full-length in Woodstock, NY, at an isolated location free from big-city distractions. Heavily influenced by Kyuss and Sunny Day Real Estate, the dark, angst-ridden tales of small-town love and hate on Three Days Grace brought the group a Next Big Thing tag. Three Days Grace was released on July 22, 2003, by which time "(I Hate) Everything About You" was already hit on alternative radio stations in Canada. ~ Michael Sutton, All Music Guide

Written by Michael Sutton

Based in Knoxville, Tennessee, 10 Years is an alternative hard rock band with an incomparable sound that is destined to create an island of its own. Formed three years ago, 10 Years created a strong underground following with their independent release Killing All That Holds You. In 2005, 10 Years signed with Republic/Universal Records, entered the studio with producer Josh Abraham (Staind, Velvet Revolver) and recorded their debut album The Autumn Effect.

The Autumn Effect has arrived just in time to counteract the cynicism and to take rock music to its next logical destination. "Humanity is slowly shutting down," says the band's frontman Jesse Hasek, who points to the current rock scene as a prime example of this lack of community. "Music is supposed to be about intensity and feeling, but there's no thinking behind the music that's out there today. We want people to think, to feel emotions again. We're always plugged in, or connected to something, part of the machine, but the more we plug in, the less human we become."

10 Years has evolved from a wake of high school metal bands, to the more melodic, heavy fusion of The Autumn Effect. "Less is more," the band says of their sound, and nowhere is that more apparent than the summer radio hit, "Wasteland." The title track swirls as an intrepid soundscape with an influx of modern aggression, from a whisper to a scream that could fill a stadium, from strum to angst and back again. Sledgehammer riffs propel the cosmic "Empires," while the sun-drenched "Prey" builds into a heavy metal gape, the perfect combination of breezy pacing and humid undertones. Melody marches through "Waking Up" and "The Recipe" is an exhilarating blitz of frenetic energy, while "Half-Life" kicks the ears in, each track exhibiting a new, distant depth of 10 Years' that seamlessly stretch them, morphing into a progressive realm far beyond the scope of modern flash-in-the-pan comparisons.

The Autumn Effect resonates as much lyrically as it does musically. "Prey," for instance, was inspired by the band's move to Los Angeles to record their debut album, and Hasek's observation that people in L.A. drive cars worth more than some of the houses in their Tennessee hometown. "Empires" is about this generation of people who are addicted to material possessions and rely upon these possessions to satisfy all the needs of life. "The Recipe" is about how casual consumption of lust with random strangers devalues and destroys the ability to love. "We are living in an individualistic ego driven society that celebrates fame, lacks ambiguity that is incapable of deep sustained attention with no discontinuity between life and art. "Seasons To Cycles" is about people who build walls to separate themselves from others. In building walls we lose contact with people and we don't realize these same walls confine the growth of relationships. Whether we're talking about love, substance abuse, temptation, or whatever, all the songs are about life, and the emotions that we all go through," says Hasek. "Life is an organic process of growth and decay, and it is unavoidable in nature."

In 2004 and 2005, 10 Years has opened for the likes of Velvet Revolver and Static X, more than holding their own, while making new fans all along the way. 10 Years offer more than just music and words they deliver a mission statement: just call The Autumn Effect the soundtrack to our new and improved lives, a signpost to a future where we're more than just cogs in the machine, but vibrant beings that can touch the God within.
Written by Record Label