Phillip Phillips & Matt Nathanson

BECU ZooTunes presented by Carter Subaru

Sold Out: Phillip Phillips & Matt Nathanson

A Great Big World

Sun, July 17, 2016

Doors: 5:00 pm / Show: 6:00 pm (event ends at 9:20 pm)

$32.50 + ticket fees

This event is all ages

  • Thank you for being an American Express® Card Member! Please choose from the below options to reserve your seat to Phillip Phillips & Matt Nathanson! Tickets available Wednesday, March 30th, 10a.m. – Friday, April 1st, 10a.m.
  • All sales are final. No refunds or exchanges. Cameras, recording devices and outside alcohol are not permitted. Showtime and supporting acts are subject to change.
  • General admission seating is festival-style on the North Meadow. General admission ticket-holders are seated on a first-come, first-serve basis.
  • Rain or shine. Low-back (24") chairs only.


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Phillip Phillips
Phillip Phillips
One of the biggest singles of 2012, the quadruple-platinum "Home" announced Phillip Phillips as a singer/guitarist of both rare authenticity and massive pop appeal. Centering on the American Idol season 11 winner's rich, raspy vocals and masterful guitar skills, "Home" served as the lead single from The World from the Side of the Moon (19 Entertainment/Interscope Records)—a platinum-selling album that shot to #4 on the Billboard Top 200 Album chart upon its November 2012 release. Phillips's widely acclaimed debut also features the platinum single "Gone, Gone, Gone" and the Phillips' penned "Where We Came From," as well as a host of numbers that flaunt the 23-year-old Georgia native's songwriting chops. Phillips spent most of 2013 on the road - with Matchbox 20, his own college headline tour and most recently he brought his rootsy brand of rock-and-roll to arenas around the country as the opening act for singer/songwriter superstar John Mayer's Born and Raised tour.

On The World from the Side of the Moon—a #1 debut on the Billboard Rock Album chart—Phillips channels his soulful spirit into acoustic-driven rock with an earthy yet high-energy sound. Produced by Gregg Wattenberg (Train, O.A.R.) and praised by Rolling Stone as "full of sweeping verses and uplifting power-pop hooks," the album is mainly comprised of tracks written or co-written by Phillips over the past few years. Along with revealing his easy warmth as a songwriter, The World from the Side of the Moon showcases the dynamic guitar work Phillips has cultivated through careful studying of legends like Eric Clapton and Stevie Ray Vaughan.

Raised in Leesburg, Georgia, Phillips took up guitar at 14, thanks largely to his older sister's then-boyfriend (and now husband), Benjamin Neil. Since the two lived in separate towns, Phillips kept on practicing guitar on his own ("mostly by playing along to the karaoke machine") and soon found himself mastering riffs from classic-rock tracks like Deep Purple's "Smoke on the Water" and Ozzy Osbourne's "Crazy Train." Several years later, Phillips formed an acoustic band and added singing to his repertoire. "I used to always keep my singing to myself and never let anyone hear me, but then my sister and brother-in-law caught me one night and told me I had to start singing in the band," he says. "We played at a church that Sunday and the room was packed and I thought I was going to pass out, but I did it."

After graduating high school, Phillips began studying industrial systems technology at Albany Technical College in Georgia and continued playing music. With encouragement from his family and friends, Phillips took a break from working in his family's pawn shop and auditioned for American Idol in summer 2011—and soon found himself tearing through full-throated performances of songs by artists like Creedence Clearwater Revival, Otis Redding, and Wilson Pickett on the Idol stage.

Released the same day that Phillips claimed his American Idol victory, "Home" marked the most successful coronation song of any Idol winner—as well as the highest-ever debut on the Billboard Digital songs chart, with 278,000 downloads sold. On The World from the Side of the Moon, "Home" joins tracks that shift from moody meditations ("Man on the Moon") to hushed ballads ("Tell Me a Story") to dance-worthy rave-ups ("Get Up Get Down") to sing-along-ready anthems ("Can't Go Wrong"). "The album sort of takes you through all these different emotions—there's feel-good songs and love songs but also songs that get a little darker," says Phillips. "The most important thing to me is making music that comes from my heart and really connects with people on a gut level," he adds.

To thank fans for their support Phillips re-released his debut album to include three additional live tracks. Live versions of "Gone, Gone, Gone," "Where We Came From" and "Man on the Moon" were added to the original album and this fan edition of The World From the Side of the Moon was released on November 19, 2013, the one-year anniversary of the album's original release. The three live tracks were also available as a separate set titled Phillip Philips: Live. The new live songs were recorded during stops on John Mayer's Born and Raised tour.

Despite his near-constant touring since the release of The World from the Side of the Moon Phillips has managed to keep prolific in his songwriting. "I'm always writing, even if it's just coming up with little ditties or jotting down lyrics or working on guitar parts," he says. And in breathing his songs to life, Phillips often mines inspiration from both his classic-rock roots and singer/songwriters with a penchant for earnest, impassioned folk-rock. "I grew up on musicians and bands from the '60s and '70s, stuff like Jimi Hendrix and Led Zeppelin," he says. "Then as I got older I found Damien Rice and Dave Matthews and John Butler, which is what really set it off for me in terms of finding my voice as a musician."

For Phillips, the past year's jam-packed touring schedule has granted him the long-craved opportunity to play his own songs for live audiences night after night. "At first it was terrifying to share all my songs, but now we're at the point where the crowd's singing along—even to the ones that aren't the singles—which is amazing to see," he says. Above all, performing live offers a sense of freedom that Phillips finds essential to making music. "We just go out there and jam out and try to make it different and exciting, instead of playing the songs exactly how they sound on the album," he says. "It's all about real musicians playing real music that we're passionate about and just having a good time, and hopefully we're giving the crowd a good time too."
Matt Nathanson
Matt Nathanson
With his latest album, Matt Nathanson isn’t just saying Show Me Your Fangs -- he wants to show you his fangs too. The acclaimed singer-songwriter’s most darkly honest work yet, Show Me Your Fangs finds Nathanson digging deeper than ever before and sharing a powerful and modern-sounding set of new songs that are easily his sharpest and most biting to date. "My last album was called Last of the Great Pretenders, says Nathanson, "and it was my way of announcing that I was done holding back in my songs. I didn’t want to shade out any parts of myself anymore just because they might be seen as ugly or something people wouldn’t want to hear about. These days, as a writer, I’m really only interested in truth.”

On Show Me Your Fangs, the truth isn’t always pretty, but the album’s unflinching honesty and sonic freshness make it a welcome reintroduction to an artist dedicated to pursuing his own truth wherever it leads him. Indeed, one of the central songs on Show Me Your Fangs is entitled “Bill Murray”: a salute to the actor who Nathanson says represents “telling the truth and pulling no punches. He’s my North Star. If I am going to follow any path, I choose that one.” Yet Show Me Your Fangs is a dark ride with the emotional range to also include some of Nathanson’s most engaging and uplifting songs ever, such as the beautifully shimmering and soulful single “Gold In The Summertime” and the massively romantic and anthemic “Giants.”

Musically too, Show Me Your Fangs feels like a step forward from some of Nathanson’s previous triumphs, such as 2007’s Some Mad Hope which featured Nathanson’s double platinum-selling smash “Come On Get Higher” and 2011’s Modern Love. As Nathanson says, “this is the first album I’ve ever made where I was writing almost exclusively to track. When White Ladder by David Gray came out, it felt so revolutionary. I’ve always loved the sound of singer-songwriters using acoustic instruments against cut-up beats and samples. When those elements go together well, it can make a record feel like it was beamed in from mars. Then, more recently, Ed Sheeran took that approach to a new level, and, in a way, re-inspired me. I wanted to make an album where the drums and bass could hit hard and groove, but the intimacy of the song was kept front and center.”

“Of all my albums, this one didn’t really have an over-arching concept until the end,” Nathanson explains. “Once I had the album title, and that amazing photo/painting by Angela Deane for the cover, everything really started to gel and fall into place. The songs on this record don’t pull any punches, they just kinda go for the throat and that feels like the only way forward to me. Making music that strips away the hiding places and tries to be as honest as it can be.”



i am not really a sports person, but i live in san francisco and it’s impossible to not get swept up in the fervor this city has for our baseball team the giants; that feeling of community and the underdog team. i saw the line ‘we are giants’ on an ad
on the back of a city bus during the world series, and i wrote the rest of the song around the idea of people taking on the world together. outcasts who find each other and refuse to allow themselves to be held down. it’s that kind of ‘born to run’
/ ‘heroes’ idea: as long as we have each other, we can do anything.


adrenaline is just a real carnal song. that track feels so cinematic and los angeles to me. hypnotic. i wanted to try to capture how sexy los angeles can be. when you’re there, it’s like you’re on a honeymoon from your real life. driving the freeways at midnight with the windows down and the lights of the city spread out in front of you.

gold in the summertime:

this song started with a track and groove that just KILLED me. it feels so gloriously 70s. i remember walking around brooklyn on one of those spring days where it’s cold, but the sun is blazing, listening to that bassline and those horns on repeat and i totally felt like i should be strutting. it just has that sly stone feel. it’s rare for me to have a song that’s this light. this positive, without a little negative catch. i see it as a breath on the album. a moment of joy, early on, right before everything takes a left turn into heavy themes and darkness.

bill murray:

bill murray is the patron saint of this album. he’s its north star. if there’s anybody to model your life after, man, it’s that guy. he seems to only take on things he passionately believes in and he doesn’t suffer fools. it’s rare to find someone in entertainment, let alone the world, who seems to genuinely be led by their heart and their gut. i would take counsel from that guy ANY time. so I wrote about the two of us traveling the world. learning from each other. it’s the centerpiece of the record and, i think, the best song i’ve ever written.


shouting was the first song i wrote for the record. it feels like a poem to me. a weird little song with a TON of words. i loved all the words. i'm real proud of the lyrics on this one. a lot of the themes for the other songs on the album sprung out of this song. it’s like the well that all the other songs drank from.

show me your fangs:

when i love a band, sometimes i'll make up titles of songs i wish they would write or albums i wish they had. SHOW ME YOUR FANGS was my imaginary album title for sleater-kinney, who got back together last year. i love the idea of it… ’show me your
ugliest parts, your meanest parts.. i am not afraid. i’m not going anywhere.” when i first heard this track, i loved the groove. it feels super achtung baby-era U2 to me. also, it’s rewarding (and rare) when i feel like i’ve lyrically hit the nail on the head in terms of describing someone exactly the way i see them. this song totally does that for me.


this song is DARK stuff. it’s about coming to terms with the fact that the only thing you might actually be good at is leaving. it’s about illusion. about being someone who is incredible to people that don't matter and brutal to those who do. i don’t drink, so when i say ‘maybe i’ll be drunk enough to call you’, it’s not about booze. you can get drunk on the idea of a person. or nostalgia. or sadness. for me, the strings really make this song. alfred hitchcock city!

washington state fight song:

i’ve been carrying this title around since college (it was inspired by a mission of burma song), and i’ve had the first two lines of the song in my notebook for years. i wrote this one in nashville. i was aiming for the truth and hopelessness of a raymond carver story. the person singing has the self-awareness to know exactly where they are, but none of the motivation or desire to change. a lot of people are turned off by the straight forward-ness of the lyrics. but i really felt like i couldn’t pull my punches on a song like this. it wouldn’t have worked.

playlists & apologies:

i used to think my life was divided into different chapters. as i get older, i realize that
it’s actually made up of a bunch of completely different books. this song is about losing someone. they aren’t there to check in with, to get reassurance from. or even to yell at you. they’re gone. and the only thing left of them are the songs you listened
to during the arc of the relationship. and regret.


ever since i was a kid, music has saved my life. if it wasn’t for music, i can honestly say i wouldn’t be here. this song is about that. about how incredible it feels to have the right song or the right album to soundtrack to your life. i joke that i like music more than i like people, but for most of my life, it was true. i wore my headphones for almost my entire childhood. music was always there for me when people weren’t. we shot the video for this song in peru, where i went with a group from a hearing aid company called starkey. we spent two days fitting people with hearing aids that the company donated. they do trips like this all year round, all across the world, and i was fortunate enough to be included. it’s impossible to put into words how incredible it was being next to a person when they hear for the first time (or when they regain hearing after years of deafness). that video is an amazing document of that experience.
A Great Big World
The magical journey of A Great Big World – Ian Axel and Chad King – began in the music practice rooms of NYU (New York University) where the two were attending college. In 2012, after a few twists and turns of fate, the friends formed A Great Big World and released a six-song EP funded by Kickstarter. It spawned the viral sensation "Everyone Is Gay" and "This Is the New Year," which was performed by the cast on Fox's Glee.

Soon after, Black Magnetic/Epic Records offered the duo a deal, and issued "Say Something" as their first official single in 2013. Its terse, tearful piano and Axel's heavenly hypnotic vocals tugged on heartstrings, and struck a chord. After hearing it during a pivotal segment of Fox's So You Think You Can Dance, Christina Aguilera fell in love with the song. She collaborated with AGBW on a new recording of the track that they subsequently performed together on NBC's The Voice, which launched it to #1 on iTunes. More tv performances followed (The American Music Awards, The Victoria's Secret Fashion Show), culminating with the song's release on AGBW's debut album, Is There Anybody Out There? (January 2014).

"Say Something" ultimately occupied the #1 spot on iTunes, Billboard's Digital Songs, Digital Tracks, Adult Top 40, and Hot Dance Club Songs charts, as well as Spotify and Shazam, in addition to going Top 10 on sales charts in 19 countries. After turning in a riveting performance at Clive Davis' prestigious annual pre-Grammy® party in January 2014, A Great Big World toured from May through August across the U.S. and Canada, the UK, Europe, Australia, New Zealand, and Asia.

For the remainder of 2014, into 2015, A Great Big World was hard at work on new music that they were eager to present to their legions of fans across the globe. The release of "Hold Each Other" in July 2015 introduced the arrival of their second album When the Morning Comes last November. The band's newest single "Oasis" harkens back to the honest, sentimental songwriting found in "Say Something," and sets the stage for a new year full of touring.
Venue Information:
Woodland Park Zoo
5500 Phinney Ave N
Seattle, WA, 98103