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Fremont Theater

1035 Monterey Street

San Luis Obispo, CA 93401

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WATSKY will be live in downtown SLO on Thursday, March 21 on the Complaint Tour! Special Guest, Grieves and Beau Young Prince will open the show.

Tickets On-Sale NOW.

Watsky - Meet & Greet Package. Package includes:

  • One general admission ticket

  • VIP early entry into the venue

  • Exclusive meet & greet with Watsky

  • Personal photograph with Watsky

  • Collectible Watsky poster; autographed by Watsky

  • Specially designed Watsky fanny pack

  • Exclusive Watsky button set

  • Official VIP meet & greet laminate

  • Limited availability


Door Time- 8:00 PM

Show Time- 9:00 PM



Boo Boo Records

978 Monterey St • SLO

Mon-Wed 10-8, Thurs-Sat 10-9, Sun 11-6


Watsky has announced the release of his fifth full-length album COMPLAINT, due out on January 11 th, 2019. To celebrate the announcement, Watsky shared the video for “Mean Ass Drunk,”! “Mean Ass Drunk” is the latest new track and joins the previously released “All Like Whatever” and “Welcome to the Family” – all set to appear on the forthcoming COMPLAINT. Pre-orders are set to launch later this week!

Watsky also announced today that he’ll be hitting the road again in 2019 on The COMPLAINT Tour – the first in support of COMPLAINT and his biggest headlining tour to date. Pre-sales begin today with general on-sale this Friday, December 14 th. For full dates, see below and for more information, check out georgewatsky.com/tour/.

COMPLAINT contains all the magic that Watsky fans have come to love – whip-smart lyricism, acrobatic rapping, and a bent for balancing intellect and poignance with whimsy and wit – all while continuing to expand on the sonic sphere he occupies. An incredibly varied set, COMPLAINT follows 2016’s x Infinity which debuted at #4 on the Billboard Rap Albums Chart and gained critical acclaim from NPR, SF Chronicle, Stereogum, Billboard, Alternative Press and more. x Infinity came just months after Watsky’s debut essay collection How To Ruin Everything (Penguin/Random House) hit shelves and became a New York Times Bestseller.

George Watsky began his career as a young poet and musician in San Francisco when he won the Brave New Voices National Poetry Slam in 2006. The win would propel him to amass several other awards as a slam poet. Watsky has appeared on the NAACP Image Awards, The Kennedy Center, The Ellen Degeneres Show, Epic Rap Battles of History, and more. COMPLAINT is due out on January 11, 2019, full tour dates are available now. For the most up to date information, visit www.georgewatsky.com.


When asked if he always knew he'd end up being a rapper, Benjamin Laub -- better known as Grieves -- can only laugh. "Oh no, not really," he says, "I was in bands and stuff, but I grew up listening mainly to Punk stuff. It wasn't until I got a little older that Hip-Hop really started to happen for me." When Grieves first heard artists like Mobb Deep and Wu-Tang Clan, he remembers being drawn to their sound. "Hearing all the samples and stuff from records that I heard my dad play when I was a kid... You start to hear the connections. When I discovered people like Atmosphere, it was like hearing somebody speak their truth in a way that related to me. That's when I first started to think about Hip-Hop as a way to really talk about what was happening in my life. Hard to believe that now, over a decade later, that's actually what I'm still doing."

On Running Wild, Grieves' fifth proper full-length, the Seattle based musician manages to balance the dueling impulses that fuel both his live shows and his previous releases: the need to cut loose and the need to vent. Grieves wants to have a good time while also keeping shit real and honest. While previous efforts like 2011's Together/Apart and 2014's Winter & The Wolves might have leaned heavily in the direction of darkness -- taking on subjects like addiction, heartbreak, and poverty -- the new record introduces some much-needed levity to the proceedings. "I remember a review of one of my records where they were like, 'This guy sounds like he's hella intense and really shitty to hang out with.' I'm like, 'What the fuck?' It's actually the opposite. I wanted this record to reflect that a little more."

Recorded in Stockholm alongside Swedish producer Chords (aka rapper Jens Eric Resch Thomason), the fifteen tracks on Running Wild do exactly what the album title would imply. Tracks like "Gutz" and "No Sleep" are classic Grieves ruminations on anxiety and romantic bust-ups ("I think about you and say f -- - you, then you come over and I f -- - you" he raps on the former), but the record -- which features only a handful of guests, all from Seattle -- stretches out in a number of surprising directions. Tracks like "Faded" and "RX" experiment with fluttering trap beats, while songs like "What it Dew" and album-closer "5,000 Miles" offer the rich guitar tones and humming organs that one might expect on a classic soul record. It's a kind of openness -- both sonically and thematically -- that Laub attributes to how and where the record was made.

"I flew from Seattle to Stockholm on basically zero sleep," he recalls, "Suddenly I'm there, my first day, and I'm immediately stepping into the studio, which felt like walking into a whole other planet. I'm jet lagged. I'm vulnerable. I'm there, but I'm kind of not. And that's where some of the best songs came from. I didn't have the energy to fight myself on anything. Instead of retreating into my own head, I got completely out of it. Songs like "Gutz" are things that I probably never would have done -- or could have done -- on my own. If something felt weird to me, or uncomfortable, Chords would push me further in that direction. I needed that. Any time I was like, "Nope. I don't think I can get away with that" he'd say, "That sounds like a perfect reason to give it a try."

At a time when the notion of the "album" is often summarily ditched in favor records that are little more than a collection of previously released singles, Running Wild is very much an album, and intentionally so. "I really wanted this to be a real record," says Laub, "I wanted it to work front to back."

"I've been touring for over ten years at this point," he says. "People have seen my show. They get it. They get who I am as a person and they get who I am as an artist. They get both sides of the spectrum. They get the serious and they get the light heartedness. Until now I haven't been comfortable with releasing a record that divulges that, that gives what you're getting at the live experience and what you have come to expect from the records, all in one. The whole idea is to just give people a more authentic experience of me. I'm not just the brooding emotional fuckup from that old record review, the one with no sense of humor who doesn't sound fun to hang out with. This record is for all the fans who've come out to the shows, for everyone that I've worked with. For so many years I felt like, in order to have a career, I could only show this one little part of me. I don't want to do that anymore."

Beau Young Prince

In 2016, Beau Young Prince leveled up with his intoxicating cut “Half & Half Tea” off his critically acclaimed project Until Then. The single alone grabbed over a million streams, as the project was produced my longtime friend and NYC producer Yalamusiq and showed the world just how much indescribable potential Beau Young Prince truly had.

For years, the Washington, D.C. native has put on for his city, reaching local legend status in an impressively short amount of time. Now, as the newest Def Jam signee delivers his long awaited follow-up EP and newest single “Kill Moe,” BYP is ready to show the world why D.C. will be the next cross-cultural hub for hip-hop.

Growing up in D.C., BYP describes his pedigree as a “Southside kid with a North Side education.” Bred in the Southeast leg of the city, Beau had a zip code in the more urbanized section of D.C., though attended one of the highest ranked private schools in the Northern part of the city. “I was given a really unique experience,” he speaks of that duality. “I have the ability to combine both worlds where most people can’t.”

Raised on a healthy diet including Marvin, Gaye, Chuck Brown, Curtis Mayfield, A Tribe Called Quest, Andre3000, Lenny Kravitz, and Bad Brains, BYP credits his mom for his musical palate. “She played so many different sounds for me as a kid,” he recalls. “Everyone from Average White Band to Elton John; that’s why the sounds that I make are so diverse.” He later became enmeshed in D.C.’s legendary Go-Go scene, ingesting sounds from Rare Essence, Trouble Funk, and Backyard Band.

In school, Beau played the upright bass—first Classical, and then Jazz. This proved to be an asset later on in his recording process. “Classical music in a sense helped me arrange the music that I make now because Classical is based on arrangements of sounds’ presentation, but Jazz is the interpretation of music,” he explains. “So I combine a methodology of both. That’s why I’m creating a sound that’s a bit forward thinking and newer for now, because I’m taking the principles of both and applying them to hip-hop to expand the genre. I don’t want to reinvent the wheel, but take the wheel further than when I found it.”

Beau found himself as a teen hitting the local circuit via talent shows, open mics, and rap battles. At the behest of classmates, he even burned some CD’s and sold them locally, making a few thousand dollars in the process. “That was my first test run, like, ‘Oh? I can sell CD’s hand to hand and make money?” he says with a laugh, though he truly cut his teeth with live performances. A graduate of Guilford College in Greensboro, NC, BYP kept the music going, hitting the Soundcloud wave early on.

His first big gig was a sold out show opening for Wale in Charleston, SC and the buzz didn’t stop there. In 2017 he connected with French producer YMNO for the Young Futura project, expanding upon the dimensions of his sound, along with collaborations including Troy Boi, Hounded, Jailo, and Aruam. The release of his Sunset Blvd EP further sealed the deal that BYP was destined for greatness. His constant content proved to be fortuitous, as it caught the ears of a Def Jam A&R who flew to D.C. on BYP’s birthday to watch him at work.

“He saw me write on the spot and record,” says Beau. “We caught a real vibe.” The result was a record deal and Beau Young Prince’s new single “Kill Moe,” an infectious cut that reflects D.C. just as much as its maker. “Kill and Moe are two of our main phrases in D.C.,” he expresses of the song’s meaning. “In D.C., ‘kill’ could be good or bad. And you don’t really know who ‘Moe’ is; you just grow up kind of saying that. It goes back to my parents’ generation of DC vernacular. It’s my representation of what we do in D.C., but told through a phrase.”

“Kill Moe” will be the first single off his upcoming project, which he hopes will not only prove how he carries D.C. on his back, but showcase the many layers to his work. He describes it as “an explorative EP that rides like an album,” as cuts like “Mismatch” bring the falsetto balladeer in him and “Price” displays his modern R&B twang. There’s even a new D.C. anthem that unifies hip-hop and Go-Go in a way that’s never been done before. “This is me stepping into the hip-hop lunchroom asking where do I sit or should I make my own table?” he says. “And I’m making my own table.”With “Kill Moe” and his upcoming EP, Beau Young Prince is delivering a new aesthetic and a new sound for D.C., coming from a “groovy happy guy” with the aim for longevity. “My goal is to be a different image of what the city has to offer,” he says. “I want to put out music to reflect a generation from a voice that people rarely get to hear.”

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Fremont Theater

1035 Monterey Street

San Luis Obispo, CA 93401

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