input: On January 18, 2006, Audio Adrenaline announced that they were retiring from active music ministry and cited Stuart's "ongoing vocal challenges" stemming from vocal cord damage as the primary factor. On July 27, 2006, the band played at the popular Christian music Creation Festival, where they had performed every year since the group formed, for the last time with their original lineup. On August 1, 2006, they released their final compilation album, Adios: The Greatest Hits, a farewell album containing two new tracks as well as a selection of the band's greatest hits to date.  For their final national tour in early 2007, Audio Adrenaline opened for MercyMe on their "Coming Up to Breathe Tour". The band performed their last live concert on April 28, 2007, at the Waikiki Shell in Honolulu, Hawaii. Their final project, which was released on August 28, 2007, is a live CD-DVD combo entitled Live From Hawaii: The Farewell Concert. The album earned two nominations at the 39th GMA Dove Awards, winning Long Form Music Video of the Year. The group's reunion performance was at Easterfest '09 in Queens Park, Toowoomba, Australia.  After the band's retirement, their members dedicated their time to other projects. Mark Stuart and Will McGinniss started a project called Know Hope Collective, which features a changing group of musicians singing worship songs and presenting testimonies. They both have also been working extensively with The Hands and Feet Project in Haiti. Tyler Burkum has been playing for several bands and as a session musician. He also started his own band called The Leagues. Ben Cissell ran a skate club/youth ministry venue called Rocketttown, and then started pursuing film work. Finally, Bob Herdman has been working as a Project Manager for several companies in the Nashville area.

Answer this question "Was the tour a success?"
output: 

input: Webern insisted on lyricism, nuance, rubato, sensitivity, and both emotional and intellectual understanding in performance of music; this is evidenced by anecdotes, correspondence, extant recordings of Schubert's Deutsche Tanze (arr. Webern) and Berg's Violin Concerto under his direction, many such detailed markings in his scores, and finally by his compositional process as both publicly stated and later revealed in the musical and extramusical metaphors and associations everywhere throughout his sketches. As both a composer and conductor he was one of many (e.g., Wilhelm Furtwangler, Dimitri Mitropoulos, Hermann Scherchen) in a contemporaneous tradition of conscientiously and non-literally handling notated musical figures, phrases, and even entire scores so as to maximize expressivity in performance and to cultivate audience engagement and understanding.  This aspect of Webern's work had been typically missed in his immediate post-war reception, however, even as it may radically affect the music's reception. For example, Boulez's "complete" recording of Webern's music yielded more to this aesthetic the second time after largely missing it the first; but Eliahu Inbal's rendition of Webern's symphony with the hr-Sinfonieorchester is still far more within the spirit of the late Romantic performance tradition (which Webern seemingly intended for his music), nearly slowing to half-tempo for the whole of first movement and taking care to delineate and shape each melodic strand and expressive gesture throughout the entirety of the work.  Gunter Wand's 1966 recording of the Cantata No. 1 (1938-40), op. 29, with the Symphonieorchester des Bayerischen Rundfunks et al., may likewise be contrasted with both of Boulez's renditions.

Answer this question "Did others try to imitate Anton?"
output: Eliahu Inbal's rendition of Webern's symphony

input: Work on a fourth studio album began in February 2011, with the band spending the first half of the year writing and demoing over 33 songs. The band again decided to work with Cavallo as a producer, but moved into a new sound and lyrical direction on the album, capturing a more of a message of "empowerment, perseverance, and inspiration", inspired by Smith's then-recent change of getting sober and living a healthier lifestyle, and the new band members contributing to the writing process for the first time on an album. The recording process wrapped up about a year later in February 2012, and the album, Amaryllis, was released the next month, on March 27, 2012, in 30 countries simultaneously, through a joint release between Atlantic and Roadrunner Records in countries Atlantic did not distribute into. Amaryllis debuted at number four on the Billboard 200 charts, selling 106,000 copies in its opening week. While the opening sales doubled the debut of The Sound of Madness, overall sales fell well short, with the album only being certified Gold, indicating a half million copies sold.  Five singles were released from the album: "Bully", "Unity", "Enemies", "I'll Follow You", and "Adrenaline". The band's singles once again fared well, albeit it slightly below The Sound of Madness singles; "Bully" and "Unity" topped the Billboard Mainstream Rock Charts, "Enemies" and "I'll Follow You" peaked at number 2, and "Adrenaline" peaked at number 4. Additionally, only "Bully" managed to have any cross-over success, break into the Billboard Top 100 chart, at number 94. and eventually being certified Gold as well. Shinedown also contributed the non-album song titled "I'm Alive" to the soundtrack of the 2012 film The Avengers.  In November 2012, Smith announced in an NME interview that a follow up Shinedown album had already been recorded. Smith stated "We've actually, we have another record of material. It's actually recorded...It's still very massive, it still has an epic feel to it all, but the tempo is a little slower, and the subject matter is a little different. I would say it's actually a bit darker, a little bit more mischievous." Despite the announcement, the band proceeded to move continue on with the Amaryllis touring cycle, touring through 2013 to complete another two year touring cycle. Shinedown and Three Days Grace embarked on a co-headlined tour beginning in February 2013, and went on another iteration of the yearly "Carnival of Madness" tour with Papa Roach in later 2013.  In April 2013, Smith and Myers recorded ten acoustic cover songs, selected out of a pool of over 4,000 fan requests, selecting a variety of different types of songs, from Metallica's "Nothing Else Matters" to Adele's "Someone Like You". The tracks were released across two separate EPs, Acoustic Sessions on January 28, 2014, and Acoustic Sessions Pt. 2 on March 28, 2014, with performance videos created for every track on the first EP. The band took much of 2014 off, a rarity for the band, which had pretty consistently moved back and forth between recording and touring for each album cycle. The time off was for the band to rest, specifically Smith, who had damaged his vocal chords and contracted oral thrush from the constant years of touring prior.

Answer this question "were the singles hits?"
output:
The band's singles once again fared well, albeit it slightly below The Sound of Madness singles;