Aimee Mann Tickets for Sale

After rising to prominence as the leader of Boston's Til Tuesday and scoring a huge hit with "Voices Carry," Aimee Mann left behind her old band for a solo career that typified the struggles of musicians to survive in an increasingly market-driven industry. Despite the prodigious songcraft evident in WHATEVER and I'M WITH STUPID, Mann found herself in record-deal purgatory throughout much of the '90s. It was not until her breakthrough compositions for the film MAGNOLIA earned her an Academy Award nomination that Ms. Mann had the chance to take a breather and savor her long-awaited, well-deserved success.

Aimee Mann (born September 8, 1960) is an American rock guitarist, bass player, singer, and songwriter. Aimee Mann was born in Richmond, Virginia, and attended the Berklee College of Music in Boston, but dropped out to sing with her first punk rock band, the Young Snakes; the band released the EP Bark Along with the Young Snakes in 1982, and a compilation album was issued in 2004.

In 1983, seeking a return to "sweetness and melody", she co-founded with Berklee classmate and boyfriend Michael Hausman the new wave band 'Til Tuesday, which achieved minor success in 1985 with its first album, Voices Carry. The title song is said to be inspired by Hausman and Mann's breakup; the video became an MTV staple, winning the MTV Video Music Award for Best New Artist, though Mann's signature spiky hair would lead some to dismiss the group. Mann performed with Rush on the song "Time Stand Still" (1987), singing backup vocals and appearing in the music video. With Mann playing an increasingly important role in songwriting, 'Til Tuesday released two more albums, Welcome Home and Everything's Different Now. On the final album and tour, musician Jon Brion joined the band, which broke up in 1990 when Mann left to start her solo career.

Around the time of the first album's release, Mann began a romantic relationship with Jules Shear; they broke up before the final 'Til Tuesday album, which contained the song "J For Jules". Professional relationships from the band would continue: Hausman later became Mann's manager, and Brion produced her first two solo albums.
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Apr 20 Thu 8:00 PM Aimee Mann Lincoln Theatre - DC
Washington, DC
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Apr 21 Fri 8:00 PM Aimee Mann Keswick Theatre
Glenside, PA
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Apr 22 Sat 8:00 PM Aimee Mann Town Hall Theatre - NY
New York, NY
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Apr 23 Sun 8:00 PM Aimee Mann Wilbur Theatre - MA
Boston, MA
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Apr 25 Tue 7:30 PM Aimee Mann Hart Theatre At The Egg
Albany, NY
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Apr 26 Wed 6:00 PM Aimee Mann Danforth Music Hall Theatre
Toronto, ONT
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Apr 28 Fri 8:00 PM Aimee Mann The Ark
Ann Arbor, MI
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Apr 29 Sat 8:00 PM Aimee Mann Park West
Chicago, IL
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Apr 30 Sun 8:00 PM Aimee Mann Pabst Theater
Milwaukee, WI
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May 2 Tue 7:30 PM Aimee Mann Barrymore Theatre - Madison
Madison, WI
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May 3 Wed 7:30 PM Aimee Mann Fitzgerald Theater
Saint Paul, MN
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May 5 Fri 8:00 PM Aimee Mann Boulder Theater
Boulder, CO
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May 6 Sat 9:00 PM Aimee Mann The State Room
Salt Lake City, UT
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May 8 Mon 8:00 PM Aimee Mann The Wilma Theatre - MT
Missoula, MT
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May 9 Tue 8:00 PM Aimee Mann The Neptune Theatre
Seattle, WA
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May 10 Wed 8:00 PM Aimee Mann Revolution Hall - Portland
Portland, OR
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May 12 Fri 9:00 PM Aimee Mann The Fillmore - San Francisco
San Francisco, CA
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May 13 Sat 8:00 PM Aimee Mann Ace Hotel - Los Angeles
Los Angeles, CA
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In 1993 Mann released Whatever, her first solo album. Promotion suffered due to the collapse of her label, Imago. While only a small hit, the album was critically praised, and paved the way for her next release, 1995's I'm With Stupid, through Geffen Records. Again, reviews were positive, but sales were weak.

Mann had met musician Michael Penn in the 1980s and with comparable songwriting styles and record-industry woes to share, they struck up a friendship during the recording of Stupid, which blossomed into romance and their 1997 marriage. Around this time Brion produced her album Bachelor No. 2, but Geffen saw no hit singles in the material and ordered her back to the studio. The album languished while Mann and the label fought.

Meanwhile, iconoclastic film auteur Paul Thomas Anderson, for whom Penn and Brion had composed a soundtrack, became a close friend. Mann gained greater public recognition in 1999 — indeed, more than anything else since "Voices Carry" — when she contributed eight songs to the soundtrack of Anderson's Magnolia, including the Academy Award-nominated song, "Save Me", and two Supertramp covers. Anderson deliberately worked from Mann's lyrics to create the film's characters and situations. Due to this exposure, Mann became sought after to contribute to soundtracks, a success made ironic by the music industry's indifference.

Mann continued her solo career with Lost in Space (2002), a somewhat more somber album in the same vein as Bachelor No. 2. In 2004 her website released the Lost in Space Special Edition, which featured a second disc containing six live recordings, as well two B-sides and two previously unreleased songs. In November of that year Live at St. Ann's Warehouse, a live album and DVD recorded at a series of July 2004 shows in Brooklyn, came out; the two discs were sold packaged together in either a CD jewel case or a DVD case.

Mann described her next album, The Forgotten Arm (2005) as a concept album set in the '70s about two lovers who meet at the Virginia state fair and are now on the run. The Joe Henry-produced album, which was recorded mostly live and has few overdubs, was released May 3, 2005 and reflects Mann's interest in boxing. The album received weaker reviews overall, with critics impressed at the totality but unimpressed with any individual songs.

Mann's independence from the industry led her to more explicit political stances. She joined Artists Against Piracy, a group formed to act against the illegal downloading and file sharing of copyrighted music from the Internet. Mann, Penn and Hausman took their experience with SuperEgo to found the independent music collective United Musicians, which is based on the principle that every artist should be able to retain copyright ownership of the work he or she has created, in contrast to normal music industry contracts.
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