Monét X Change never wanted to be a drag queen. She never wanted to be an opera singer either. Now an R&B singing, theatre writing, comedic triple threat, Monét explains on stage with just herself and a mic how she became those exact things. With the ability to make audiences cry as quickly as she makes them laugh, Monét X Change guides her audiences through a poignant, darkly humorous coming-of-age story in her newest one woman show, “Life Be Lifin.’” Directed by BenDeLaCreme 18+ VIP Upgrade packages available at www.obsessedwith.co
Born and bred in New York City, Monét X Change is an entertainment spitfire with an empire that includes television, podcasts, live entertainment, and a wealth of different recorded music from opera to R&B. Discovered for her talents on RuPaul’s DragRace, Monét quickly made history within the franchise by winning Miss Congeniality (season 10) and becoming the first queen of color inducted into the Hall of Fame after winning All-Stars 4 and competing on All-Stars 7.
Monét’s showmanship is a reflection of a tireless work ethic to cultivate her comedic chops and (mostly) pitch-perfect live singing skills. Before her All-Stars win was even announced in 2018 Monét hit the ground running with her podcast Sibling Rivalry, co- hosted by Bob The Drag Queen, a television show (The X Change rate), landing her own cover shoot for New York Magazine, and touring her first one-woman show, “Call Me By Monét”.
Monét unites her impeccable writing skills and performance chops again to deliver her new one-woman show, “Life be Lifin”. This poignant, darkly humorous narrative of her life and coming of age is captivating audiences across the world. Met with rave reviews from the Edinburgh Fringe Festival where it originated, friends and fans can catch the show upcoming on her North American tour.
L'Impératrice’s debut album arrived in 2018 all the pomp and circumstance of a coronation. “Impératrice” is French for “Empress”, and if their moniker is the most difficult thing to grasp for anglophones, then musically there’s nothing that doesn’t translate. The Parisians draw from a range of genres, from 70s space disco to downtempo 90s synth pop, taking in French film composers like François de Roubaix and Michel Legrand along the way. “Albums that sold 500 copies in the 1970s are the records that interest us most,” they say. Matahari is a glittering, cinematic summation of six years hard work that draws on some of the finest found sounds and forgotten sonic fandangos hiding in crates across the land, all given L'Impératrice’s own inimitable 21st century twist.
What began as the project of one disaffected culture journalist is now, some six years later, a six-headed beast. Charles de Boisseguin had carved out a niche for himself as a respected journalist. Bylines all over France’s most respected music weekly Les Inrockuptibles sufficed for a time, and he and some friends started Keith magazine in 2007 in homage to culture’s greatest Keiths, from Richards to Haring. As a critic, Boisseguin had a burning conviction that he could no longer disparage the works of others until he had a go himself. And so one beautiful spring morning in 2012 he made the jump and L'Impératrice was born. The poacher had turned gamekeeper.
Early productions were modest. Boisseguin traded in his poisoned pen for a Moog synthesiser and cut his teeth on GarageBand. This inchoate noise was still some way from becoming the chimerical analog disco monster that has enchanted so many ears in France, but a strong feminine sound began to emerge nonetheless, which eventually beget the name. A self-titled EP arrived on cool Parisian underground dance label Cracki in October of that year, and by then Boisseguin was getting the hang of being a musician. The eponymously-titled track that opens the EP features slick jazzy motifs conflated with some old-skool hip hop flow. It won instant plaudits and set the tone for future successes.
The band grew by stealth, with Hagni Gwon arriving on claviers, David Gaugué on the bass and Tom Daveau on the drums, soon turning a one-man project into a gang. Chanteuse Flore Benguigui’s arrival gave their sophisti-pop sound a tangible femininity that had always been there as an undercurrent. Achille Trocellier on guitars became the final piece of the puzzle. L'Impératrice’s signed to microqlima in 2016. EPs such as Odyssée and Séquences received critical adulation.
Then came a first glimpse of the long-awaited album in 2017 - with ‘Erreur 404’ - a lead single that juxtaposes silky, almost simplistic French synthpop with a barbed lyric (the deliciously impertinent “bon voyage imbécile” line is a highlight). L'Impératrice make writing radio-friendly earworms look easy, and the French have been voting with their feet in a positive way, both on the dancefloor and at gigs. A show at La Cigale, a 2,000 capacity venue with an illustrious history in the 18eme arrondissement of Paris, recently sold out within two weeks.
Matahari is laden with sumptuous grooves and replete with potential singles, subsuming all the elements, from Air to Frank Ocean. The title track mixes analogue space disco with ostentatious, irrepressible funk, a mightily impressive undertaking featuring swooping philly strings and emphatic brass. It’s an ambitious production with a percussive core that was clearly recorded live in the studio, and while there are many layers, it’s pieced together with a deft hand. The track returns as a penultimate instrumental send-off, and ‘Là-Haut’, a weightless and dreamy instrumental to open proceedings, features some inspired peripatetic bass from Gaugué and some diaphanous percussion that melts in the ears.
Elsewhere ‘Paris’ captures the contemporary mise en scène of the bustling la Ville Lumière, with a delectable vocal performance from Benguigui. Her adaptability as a vocalist is demonstrated with a sultry sprechgesang delivery on ‘Balade Fantôme’, a spooky spoken word about being lost in space. ‘Masques’ adopts an almost klezmer-like tristesse, with vertiginous violins and a classy musical chassis. Meanwhile ‘Dreaming of You’ is a steamy, almost claustrophobic collaboration with electropop kindred souls and labelmates Isaac Delusion.
Subtle yet majestic, L'Impératrice have a bright future in the republic, though if the six-headed beast is to become real French musical royalty then they’ll have to watch their têtes. In fairness, Boisseguin hasn’t put a foot wrong since he threw in the day job six years ago. If L'Impératrice’s stealthy rise to pre-eminence has all been part of the plan at home, then you wouldn’t rule out la domination du monde being on the cards in the future.
Night Tapes started out as evening jams between housemates Max Doohan, Sam Richards and
Iiris Vesik in London. Night time London, genre-blending, multi-fidelity recordings and honest
reflection contribute to their atmospheric soundscapes that ultimately make for fresh and
envelope pushing dream pop.
Band has released three EPs: “Dream Forever In Glorious Stereo”, “Download Spirit” and
“Perfect Kindness”. Their first single “Forever” has reached over 8M plays. Their music has
been playlisted by some of the biggest official playlists and played by tastemakers in KCRW and
BBC Music. Last year, they did their first tour in EU/UK and performed in the US biggest
showcase festival SXSW showcase.
2024 is shaping up to be the trio’s biggest year yet, with their Spotify following growing by over 50% to nearly 30k, over two millions streams for late 2023 single ‘drifting’ as well as support from BBC Radio 1, and monthly listeners peaking at over half a million with 1.7m streams. In the 7th of June, their fourth EP “assisted memories” is coming out and in autumn their will be touring in the UK/EU. The band is currently working on their debut album.
In 1971, a young Martha Davis joined The Warfield Foxes, a band from Berkeley California. In 1975 they moved to Los Angeles and changed the band name to The Motels.
The new name was inspired on the way to the band’s first show at Barney’s Beanery. Guitarist Dean Chamberlain noted the motor inns as they drove down Santa Monica Boulevard and suggested “What about The Motels?”
The band broke up then reformed in 1978 with guitarist Jeff Jourard who brought in his brother Marty on keyboards and saxophone. Michael Goodroe on bass and Brian Glascock on drums rounded out the quintet. This lineup played around L.A. for six months before signing with Capitol Records on May 13, 1979—Mother’s Day.
The Motels released five albums on Capitol Records between 1979 and 1985, two of them earning gold record status and generating two Top Ten singles, “Only the Lonely” and “Suddenly Last Summer.” When the band broke up in 1987 Martha released Policy, a solo album that charted in Australia.
After leaving Capitol Davis spent years working in different musical genres with multitudes of players. Recently it became apparent that one particular configuration generated the same feeling as the original band concept.
The new lineup includes guitarist Clint Walsh, drummer Eric Gardner bassist Nic Johns and as of 2011, original member Marty Jourard. Apocalypso, a previously unreleased version of 1982’s All Four One was released in 2011 on Omnivore Records, thirty years to the day after the intended original date.
POSTPONED TO NEW DATE - We apologize that due to a scheduling conflict we must postpone Marc Maron’s performance on October 19th, 2024 at Boulder Theater to January 18th, 2025. All existing tickets will be honored. If you're unable to attend due to the new date, refunds will be available for the next 30 days at point of purchase. Thank you for understanding.
Maron has an incredible reputation in the podcasting world through his landmark podcast “WTF with Marc Maron”. Launched in 2009, this interview-style podcast receives over 100 million listeners every year and has become a phenomenon in the podcasting space, with over 1400 episodes to date. Over the years, Marc has interviewed icons such as US President Barack Obama, Keith Richards, Kate Winslet, and Robin Williams. Earlier this year, Maron’s show became the first one-on-one podcast episode (Episode 67- Robin Williams) inducted into America’s National Recording Registry.
Maron starred in the Netflix series “GLOW" and his scripted series, "MARON", aired for four seasons on IFC. This past year, Maron also starred in the critically acclaimed feature film, TO LESLIE, starring Andrea Riseborough and Allison Janney. Some of Maron’s other acting credits include his roles in JOKER, RESPECT, the 2021 Aretha Franklin which he starred in alongside Jennifer Hudson, SPENSER CONFIDENTIAL, SWORD OF TRUST, STARDUST. He also portrayed “Mr. Snake” in the Dreamworks animated feature, THE BAD GUYS, alongside Sam Rockwell, which premiered at #1 at the box office and “Lex Luthor” in DC LEAGUE OF SUPER-PETS, which released in July 2022, also at #1, alongside Dwayne Johnson, Keanu Reeves, and Kevin Hart.
In 1971, a young Martha Davis joined The Warfield Foxes, a band from Berkeley California. In 1975 they moved to Los Angeles and changed the band name to The Motels.
The new name was inspired on the way to the band’s first show at Barney’s Beanery. Guitarist Dean Chamberlain noted the motor inns as they drove down Santa Monica Boulevard and suggested “What about The Motels?”
The band broke up then reformed in 1978 with guitarist Jeff Jourard who brought in his brother Marty on keyboards and saxophone. Michael Goodroe on bass and Brian Glascock on drums rounded out the quintet. This lineup played around L.A. for six months before signing with Capitol Records on May 13, 1979—Mother’s Day.
The Motels released five albums on Capitol Records between 1979 and 1985, two of them earning gold record status and generating two Top Ten singles, “Only the Lonely” and “Suddenly Last Summer.” When the band broke up in 1987 Martha released Policy, a solo album that charted in Australia.
After leaving Capitol Davis spent years working in different musical genres with multitudes of players. Recently it became apparent that one particular configuration generated the same feeling as the original band concept.
The new lineup includes guitarist Clint Walsh, drummer Eric Gardner bassist Nic Johns and as of 2011, original member Marty Jourard. Apocalypso, a previously unreleased version of 1982’s All Four One was released in 2011 on Omnivore Records, thirty years to the day after the intended original date.
Arsenio Hall became a household name with the success of his Emmy Award-winning late-night talk show “The Arsenio Hall Show”. The versatile actor, comedian and producer first became involved in the arts at “The Cleveland Playhouse” and continued to hone his craft through his Kent State University years.
In 1979, Hall moved from Ohio to Chicago, Illinois where he tried his hand at stand-up comedy and was discovered by Jazz singer Nancy Wilson. In the following few years Arsenio toured, opening for twenty major headliners including Patti LaBelle, Aretha Franklin, Tina Turner and Stevie Wonder. Hall attempted to diversify his career by making numerous appearances on television shows such as “Solid Gold” and “The Tonight Show Starring Johnny Carson” and doing his first film cameo in “Amazon Women on the Moon,”. In 1987, Hall was asked to replace Joan Rivers on the Fox Network series “The Late Show.” On the strength of his work as interim host, he was signed to a film and television deal with Paramount Pictures, which subsequently led to the opportunity to co-write and co-star in the hit comedy “Coming to America.”
On January 3, 1989, “The Arsenio Hall Show” made its debut. Virtually overnight, Arsenio changed the face of late-night television by captivating young viewers across the country. During his successful five-year run as Executive Producer, Arsenio provided a forum for cutting edge comedy, politics and the television debut of pop superstars.
Arsenio was featured as the comical “Carl Cristall” in Exodus Films’ animated feature “Igor,” and was featured in the HBO Sports Documentary “Magic & Bird: A Courtship of Rivals." In 2013, Hall returned to late-night television as executive producer and host of the CBS Television Distribution/Tribune Broadcasting nationally syndicated "The Arsenio Hall Show," which aired on stations around the country during the 2013 - 2014 season. He also appeared in a cameo role in Adam Sandler’s ‘90s set Netflix comedy film “Sandy Wexler.” In 2017, Arsenio was featured Monday mornings as co-host of the popular nationally syndicated radio program “The Tom Joyner Morning Show” and also appeared on the ABC comedy "The Mayor." He recently enjoyed a triumphant return to his first love of stand-up comedy performing at venues across the country and released his current Netflix stand-up special “Smart & Classy” which can be streamed in various countries across the world.
Most recently, Arsenio brought back his talk show for a 4-night run during the Netflix is a Joke festival in Los Angeles. He can be seen reprising his role as Semmi and other surprise characters in Amazon Prime’s Coming 2 America now streaming.
Föreställningen är på engelska
Dina biljetter kommer att levereras senast den 1 december.
Tänk på att dina digitala biljetter levereras till Stockholm Lives app. Du behöver ladda ner appen för att hämta och hantera dina helt digitala biljetter för en smidig och säker inscanning vid entrén.
Ingen åldersgräns men föreställningen rekommenderas inte för barn under 5 år.
Max 10 biljetter per person
För frågor om appen eller evenemanget - gå till stockholmlive.com
Detaljerad evenemangsinformation och hålltider publiceras på respektive evenemangssida på www.stockholmlive.com några dagar innan evenemanget. Samtidigt mailas ett välkomstbrev med information ut till besökare som vid biljettköp angett sin mailadress.
LES MISÉRABLES THE ARENA SPECTACULAR kommer till 3Arena (Tele2 Arena) mellan 23-26 januari 2025!
Alla fem föreställningarna flyttar från Avicii Arena till 3Arena (Tele2 Arena) för att möta det stora publikintresset.
Peter Jöback imponerade under våren 2024 som Jean Valjean på The Sondheim Theatre i London. Mellan den 23-26 januari 2025 tar sig Jöback an den svenska publiken med fem föreställningar där han leder en ensemble och orkester på över 65 personer! I rollen som Javert ser vi West End-stjärnan Bradley Jaden och Tommy Körberg tar sig an rollen som ”Bishop of Digne” . Föreställningarna är en del av en omfattande världsturné och det kommer att bli totalt 15 exklusiva shower i Sverige under 2025. Observera att föreställningarna är på engelska.
Victor Hugos klassiska berättelse är en gripande historia om krossade drömmar och olycklig kärlek, passion, offer och förlösning – ett tidlöst vittnesmål om den mänskliga andens överlevnad. Med storslagna och ikoniska sånger, såsom "I Dreamed a Dream", "On My Own", "Bring Him Home", och "One Day More", framträder denna episka och inspirerande historia som en av världens mest älskade musikaler.
Boublil och Schönbergs LES MISÉRABLES är den längst spelade musikalen i världen och har framförts i 53 länder och 439 städer världen över. Världsturnén börjar när musikalen går in i sitt 40:e år i Londons West End.
LES MISÉRABLES THE ARENA MUSICAL SPECTACULAR kommer att utvidgas från den enormt framgångsrika Les Misérables The Staged Concert, som spelade över 200 rekordstora föreställningar på West End. Musikalen kommer att ha en extraordinär ny design speciellt skapad för arenor och den spektakulära produktionen kommer att ha en brittisk ensemble med över 110 skådespelare, musiker och personal.
Föreställningarna arrangeras av Live Nation.
Dina biljetter kommer att levereras senast den 1 december.
Tänk på att dina digitala biljetter levereras till Stockholm Lives app. Du behöver ladda ner appen för att hämta och hantera dina helt digitala biljetter för en smidig och säker inscanning vid entrén
Ingen åldersgräns men föreställningen rekommenderas inte för barn under 5 år.
Max 10 biljetter per person
För frågor om appen eller evenemanget - gå till stockholmlive.com
Detaljerad evenemangsinformation och hålltider publiceras på respektive evenemangssida på www.stockholmlive.com några dagar innan evenemanget. Samtidigt mailas ett välkomstbrev med information ut till besökare som vid biljettköp angett sin mailadress.
LES MISÉRABLES THE ARENA SPECTACULAR kommer till 3Arena (Tele2 Arena) mellan 23-26 januari 2025!
Alla fem föreställningarna flyttar från Avicii Arena till 3Arena (Tele2 Arena) för att möta det stora publikintresset.
Peter Jöback imponerade under våren 2024 som Jean Valjean på The Sondheim Theatre i London. Mellan den 23-26 januari 2025 tar sig Jöback an den svenska publiken med fem föreställningar där han leder en ensemble och orkester på över 65 personer! I rollen som Javert ser vi West End-stjärnan Bradley Jaden och Tommy Körberg tar sig an rollen som ”Bishop of Digne” . Föreställningarna är en del av en omfattande världsturné och det kommer att bli totalt 15 exklusiva shower i Sverige under 2025. Observera att föreställningarna är på engelska.
Victor Hugos klassiska berättelse är en gripande historia om krossade drömmar och olycklig kärlek, passion, offer och förlösning – ett tidlöst vittnesmål om den mänskliga andens överlevnad. Med storslagna och ikoniska sånger, såsom "I Dreamed a Dream", "On My Own", "Bring Him Home", och "One Day More", framträder denna episka och inspirerande historia som en av världens mest älskade musikaler.
Boublil och Schönbergs LES MISÉRABLES är den längst spelade musikalen i världen och har framförts i 53 länder och 439 städer världen över. Världsturnén börjar när musikalen går in i sitt 40:e år i Londons West End.
LES MISÉRABLES THE ARENA MUSICAL SPECTACULAR kommer att utvidgas från den enormt framgångsrika Les Misérables The Staged Concert, som spelade över 200 rekordstora föreställningar på West End. Musikalen kommer att ha en extraordinär ny design speciellt skapad för arenor och den spektakulära produktionen kommer att ha en brittisk ensemble med över 110 skådespelare, musiker och personal.
Föreställningarna arrangeras av Live Nation.
Christmas schedule available from Wednesday 19 September 2018
SHOW TIMES
Mondays: 19:30
Tuesdays: 19:30
Wednesdays: 14.30, 19:30
Thursdays: 19:30
Fridays: 19:30
Saturdays: 14:30, 19:30
No shows on Sundays
The Book of Mormon tells us the story of young Mormons Kevin Price and Arnold Cunningham, who are coming of age and are sent to Uganda for their two-year mission. This is not a musical for the faint hearted – full of expletives, vulgar humour and highly offensive satire, it is nevertheless very cunning and at times even a touch principled.
Dina biljetter kommer att levereras senast den 1 december.
Tänk på att dina digitala biljetter levereras till Stockholm Lives app. Du behöver ladda ner appen för att hämta och hantera dina helt digitala biljetter för en smidig och säker inscanning vid entrén.
Ingen åldersgräns men föreställningen rekommenderas inte för barn under 5 år.
Max 10 biljetter per person
För frågor om appen eller evenemanget - gå till stockholmlive.com
Detaljerad evenemangsinformation och hålltider publiceras på respektive evenemangssida på www.stockholmlive.com några dagar innan evenemanget. Samtidigt mailas ett välkomstbrev med information ut till besökare som vid biljettköp angett sin mailadress.
LES MISÉRABLES THE ARENA SPECTACULAR kommer till 3Arena (Tele2 Arena) mellan 23-26 januari 2025!
Alla fem föreställningarna flyttar från Avicii Arena till 3Arena (Tele2 Arena) för att möta det stora publikintresset.
Peter Jöback imponerade under våren 2024 som Jean Valjean på The Sondheim Theatre i London. Mellan den 23-26 januari 2025 tar sig Jöback an den svenska publiken med fem föreställningar där han leder en ensemble och orkester på över 65 personer! I rollen som Javert ser vi West End-stjärnan Bradley Jaden och Tommy Körberg tar sig an rollen som ”Bishop of Digne” . Föreställningarna är en del av en omfattande världsturné och det kommer att bli totalt 15 exklusiva shower i Sverige under 2025. Observera att föreställningarna är på engelska.
Victor Hugos klassiska berättelse är en gripande historia om krossade drömmar och olycklig kärlek, passion, offer och förlösning – ett tidlöst vittnesmål om den mänskliga andens överlevnad. Med storslagna och ikoniska sånger, såsom "I Dreamed a Dream", "On My Own", "Bring Him Home", och "One Day More", framträder denna episka och inspirerande historia som en av världens mest älskade musikaler.
Boublil och Schönbergs LES MISÉRABLES är den längst spelade musikalen i världen och har framförts i 53 länder och 439 städer världen över. Världsturnén börjar när musikalen går in i sitt 40:e år i Londons West End.
LES MISÉRABLES THE ARENA MUSICAL SPECTACULAR kommer att utvidgas från den enormt framgångsrika Les Misérables The Staged Concert, som spelade över 200 rekordstora föreställningar på West End. Musikalen kommer att ha en extraordinär ny design speciellt skapad för arenor och den spektakulära produktionen kommer att ha en brittisk ensemble med över 110 skådespelare, musiker och personal.
Föreställningarna arrangeras av Live Nation.
Dina biljetter kommer att levereras senast den 1 december.
Tänk på att dina digitala biljetter levereras till Stockholm Lives app. Du behöver ladda ner appen för att hämta och hantera dina helt digitala biljetter för en smidig och säker inscanning vid entrén.
Ingen åldersgräns men föreställningen rekommenderas inte för barn under 5 år.
Max 10 biljetter per person
För frågor om appen eller evenemanget - gå till stockholmlive.com
Detaljerad evenemangsinformation och hålltider publiceras på respektive evenemangssida på www.stockholmlive.com några dagar innan evenemanget. Samtidigt mailas ett välkomstbrev med information ut till besökare som vid biljettköp angett sin mailadress.
LES MISÉRABLES THE ARENA SPECTACULAR kommer till 3Arena (Tele2 Arena) mellan 23-26 januari 2025!
Alla fem föreställningarna flyttar från Avicii Arena till 3Arena (Tele2 Arena) för att möta det stora publikintresset.
Peter Jöback imponerade under våren 2024 som Jean Valjean på The Sondheim Theatre i London. Mellan den 23-26 januari 2025 tar sig Jöback an den svenska publiken med fem föreställningar där han leder en ensemble och orkester på över 65 personer! I rollen som Javert ser vi West End-stjärnan Bradley Jaden och Tommy Körberg tar sig an rollen som ”Bishop of Digne” . Föreställningarna är en del av en omfattande världsturné och det kommer att bli totalt 15 exklusiva shower i Sverige under 2025. Observera att föreställningarna är på engelska.
Victor Hugos klassiska berättelse är en gripande historia om krossade drömmar och olycklig kärlek, passion, offer och förlösning – ett tidlöst vittnesmål om den mänskliga andens överlevnad. Med storslagna och ikoniska sånger, såsom "I Dreamed a Dream", "On My Own", "Bring Him Home", och "One Day More", framträder denna episka och inspirerande historia som en av världens mest älskade musikaler.
Boublil och Schönbergs LES MISÉRABLES är den längst spelade musikalen i världen och har framförts i 53 länder och 439 städer världen över. Världsturnén börjar när musikalen går in i sitt 40:e år i Londons West End.
LES MISÉRABLES THE ARENA MUSICAL SPECTACULAR kommer att utvidgas från den enormt framgångsrika Les Misérables The Staged Concert, som spelade över 200 rekordstora föreställningar på West End. Musikalen kommer att ha en extraordinär ny design speciellt skapad för arenor och den spektakulära produktionen kommer att ha en brittisk ensemble med över 110 skådespelare, musiker och personal.
Föreställningarna arrangeras av Live Nation.
Age Restriction: Strictly 15+. If purchasing a ticket and hotel package, all children aged 15 – 17 inclusive must be accompanied by an adult aged 18 or over for the purpose of this package
For The O2's full terms and conditions relating to Ticket sales and admission, please click HEREFor this show, you’ll need to display your ticket on your phone via The O2 or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
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Peter Kay is one of Britain's best-loved comedians. His 2010 tour still officially ranks with the Guinness Book of World Records as the biggest selling comedy tour of all time.
In 1991 a group of 4 young street hardened boys by the name of B.O.N.E. Enterpri$e used their musical talents to obtain one way bus tickets to make their way out from the rough city of Cleveland, Ohio. They headed out to Los Angeles and were determined to perform for the top record labels at the time. They constantly called in to prove themselves. Their efforts paid off when they rapped over the phone to legendary N.W.A. member, Eazy E, who owned Ruthless Records. They displayed their melodic rapid fire lyrics with group harmony. Eazy E who was having a show in their hometown sent the group back on the bus to sign contracts under a new name, Bone Thugs -n- Harmony. While the group name changed the boys kept their aliases Krayzie Bone, Layzie Bone, Bizzy Bone, and Wish Bone
Eazy put them on a fast track to display their talents to the world. In 1994 the boys cranked out their debut EP "Creepin On Ah Come Up" with hit singles "Thuggish Ruggish Bone" and "Foe Tha Luv of $" which featured their mentor, Eazy E and Layzie's brother Flesh-n-Bone. The group's style brought a breath of fresh air to hip hop at the time that the album went double platinum in a few months. It didn't take long for them to release their second album E.1999 Eternal which told more stories of their lives in Cleveland. Shortly before the release of the album, Eazy E passed away.
Without their mentor around to see their careers through to the highest points that he could have propelled them to, the boys took it upon themselves to put a new spin on their song Crossroads and add a tribute to Eazy E. What came out was their greatest single "Tha Crossroads" which has sold millions around the globe and even won them a Grammy. Since then the group released a few more albums under Ruthless Records; double album Art of War in 1997, BTNHResurrection in 2000, Thug World Order in 2002, and Thug Stories in 2006. In 2007, they signed with lnterscope Records and worked with Swiss Beats to create Strength & Loyalty. In 2010 with much fan input through ''Think Tanks" the group released Uni5: The World's Enemy, which featured a recently released from prison, Flesh-n-Bone.
Throughout the years and also between albums they have released multiple solo projects. They have also released albums under Mo Thugs which featured artists from their city. These days the Bone Boys can still be seen and heard on various social media platforms, engaging with fans by continuing to tell stories with their fast melodic rap style and straight discussions. Eazy E passing away did not stop the group from still selling millions around the world but little did they know that they would be fast tracked to legendary status and affecting the whole music industry into following their style.
Föreställningen är på engelska
Dina biljetter kommer att levereras senast den 1 december.
Dina biljetter skickas ut senast två veckor innan evenemanget.
Tänk på att dina digitala biljetter levereras till Stockholm Lives app. Du behöver ladda ner appen för att hämta och hantera dina helt digitala biljetter för en smidig och säker inscanning vid entrén.
Ingen åldersgräns men föreställningen rekommenderas inte för barn under 5 år.
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LES MISÉRABLES THE ARENA SPECTACULAR kommer till 3Arena (Tele2 Arena) mellan 23-26 januari 2025!
Alla fem föreställningarna flyttar från Avicii Arena till 3Arena (Tele2 Arena) för att möta det stora publikintresset.
Peter Jöback imponerade under våren 2024 som Jean Valjean på The Sondheim Theatre i London. Mellan den 23-26 januari 2025 tar sig Jöback an den svenska publiken med fem föreställningar där han leder en ensemble och orkester på över 65 personer! I rollen som Javert ser vi West End-stjärnan Bradley Jaden och Tommy Körberg tar sig an rollen som ”Bishop of Digne” . Föreställningarna är en del av en omfattande världsturné och det kommer att bli totalt 15 exklusiva shower i Sverige under 2025. Observera att föreställningarna är på engelska.
Victor Hugos klassiska berättelse är en gripande historia om krossade drömmar och olycklig kärlek, passion, offer och förlösning – ett tidlöst vittnesmål om den mänskliga andens överlevnad. Med storslagna och ikoniska sånger, såsom "I Dreamed a Dream", "On My Own", "Bring Him Home", och "One Day More", framträder denna episka och inspirerande historia som en av världens mest älskade musikaler.
Boublil och Schönbergs LES MISÉRABLES är den längst spelade musikalen i världen och har framförts i 53 länder och 439 städer världen över. Världsturnén börjar när musikalen går in i sitt 40:e år i Londons West End.
LES MISÉRABLES THE ARENA MUSICAL SPECTACULAR kommer att utvidgas från den enormt framgångsrika Les Misérables The Staged Concert, som spelade över 200 rekordstora föreställningar på West End. Musikalen kommer att ha en extraordinär ny design speciellt skapad för arenor och den spektakulära produktionen kommer att ha en brittisk ensemble med över 110 skådespelare, musiker och personal.
Föreställningarna arrangeras av Live Nation.
L'Impératrice’s debut album arrived in 2018 all the pomp and circumstance of a coronation. “Impératrice” is French for “Empress”, and if their moniker is the most difficult thing to grasp for anglophones, then musically there’s nothing that doesn’t translate. The Parisians draw from a range of genres, from 70s space disco to downtempo 90s synth pop, taking in French film composers like François de Roubaix and Michel Legrand along the way. “Albums that sold 500 copies in the 1970s are the records that interest us most,” they say. Matahari is a glittering, cinematic summation of six years hard work that draws on some of the finest found sounds and forgotten sonic fandangos hiding in crates across the land, all given L'Impératrice’s own inimitable 21st century twist.
What began as the project of one disaffected culture journalist is now, some six years later, a six-headed beast. Charles de Boisseguin had carved out a niche for himself as a respected journalist. Bylines all over France’s most respected music weekly Les Inrockuptibles sufficed for a time, and he and some friends started Keith magazine in 2007 in homage to culture’s greatest Keiths, from Richards to Haring. As a critic, Boisseguin had a burning conviction that he could no longer disparage the works of others until he had a go himself. And so one beautiful spring morning in 2012 he made the jump and L'Impératrice was born. The poacher had turned gamekeeper.
Early productions were modest. Boisseguin traded in his poisoned pen for a Moog synthesiser and cut his teeth on GarageBand. This inchoate noise was still some way from becoming the chimerical analog disco monster that has enchanted so many ears in France, but a strong feminine sound began to emerge nonetheless, which eventually beget the name. A self-titled EP arrived on cool Parisian underground dance label Cracki in October of that year, and by then Boisseguin was getting the hang of being a musician. The eponymously-titled track that opens the EP features slick jazzy motifs conflated with some old-skool hip hop flow. It won instant plaudits and set the tone for future successes.
The band grew by stealth, with Hagni Gwon arriving on claviers, David Gaugué on the bass and Tom Daveau on the drums, soon turning a one-man project into a gang. Chanteuse Flore Benguigui’s arrival gave their sophisti-pop sound a tangible femininity that had always been there as an undercurrent. Achille Trocellier on guitars became the final piece of the puzzle. L'Impératrice’s signed to microqlima in 2016. EPs such as Odyssée and Séquences received critical adulation.
Then came a first glimpse of the long-awaited album in 2017 - with ‘Erreur 404’ - a lead single that juxtaposes silky, almost simplistic French synthpop with a barbed lyric (the deliciously impertinent “bon voyage imbécile” line is a highlight). L'Impératrice make writing radio-friendly earworms look easy, and the French have been voting with their feet in a positive way, both on the dancefloor and at gigs. A show at La Cigale, a 2,000 capacity venue with an illustrious history in the 18eme arrondissement of Paris, recently sold out within two weeks.
Matahari is laden with sumptuous grooves and replete with potential singles, subsuming all the elements, from Air to Frank Ocean. The title track mixes analogue space disco with ostentatious, irrepressible funk, a mightily impressive undertaking featuring swooping philly strings and emphatic brass. It’s an ambitious production with a percussive core that was clearly recorded live in the studio, and while there are many layers, it’s pieced together with a deft hand. The track returns as a penultimate instrumental send-off, and ‘Là-Haut’, a weightless and dreamy instrumental to open proceedings, features some inspired peripatetic bass from Gaugué and some diaphanous percussion that melts in the ears.
Elsewhere ‘Paris’ captures the contemporary mise en scène of the bustling la Ville Lumière, with a delectable vocal performance from Benguigui. Her adaptability as a vocalist is demonstrated with a sultry sprechgesang delivery on ‘Balade Fantôme’, a spooky spoken word about being lost in space. ‘Masques’ adopts an almost klezmer-like tristesse, with vertiginous violins and a classy musical chassis. Meanwhile ‘Dreaming of You’ is a steamy, almost claustrophobic collaboration with electropop kindred souls and labelmates Isaac Delusion.
Subtle yet majestic, L'Impératrice have a bright future in the republic, though if the six-headed beast is to become real French musical royalty then they’ll have to watch their têtes. In fairness, Boisseguin hasn’t put a foot wrong since he threw in the day job six years ago. If L'Impératrice’s stealthy rise to pre-eminence has all been part of the plan at home, then you wouldn’t rule out la domination du monde being on the cards in the future.
Sum 41 never fit in. They didn’t give a shit or try to either. Instead, they came out of the gate swinging with a signature style punctuated by pop punk singalongs and hard-hitting heavy metal proficiency. As a result, they’ve cast an unmatched shadow over popular culture, tracing back to their turn-of-the-century domination of TRL up to a rapturous set at the inaugural When We Were Young Festival. Within the span of a year, Iggy Pop tapped them for a collaboration, and they paid a fiery tribute to Metallica for MTV Icon. Their music has surged through major franchises, ranging from Spider-Man to American Pie and Bring It On. They ignited a triptych of classic albums—the platinum-certified All Killer No Filler [2001], gold-certified Does This Look Infected? [2002], and gold-certified Chuck [2004]—and persisted in their second decade with just as much piss and vinegar on the likes of 13 Voices [2016] and Order In Decline [2019]. Slant hailed the latter as “a hell of fun ride,” while GQ applauded how “the band made it all the way back.” After selling 15 million albums worldwide, garnering two Juno Awards, a Kerrang! Award, and a handful of Alternative Press Music Awards, receiving a GRAMMY® nomination, and packing venues everywhere, they’re going out with a bang—and on their own terms.
Disregarding the rules, ignoring expectations, and following their instincts once again, the band—Deryck Whibley [vocals, guitar], Dave Baksh [guitar], Jason McCaslin [bass], Tom Thacker [guitar], and Frank Zummo [drums]—deliver a fittingly fiery final statement in the form of the double-LP, Heaven :x: Hell [Rise Records]. Heaven is 10 tracks of snarling high energy pop punk, while Hell consists of ten heavy metal anthems spiked with fret-burning solos, thrashing riffs, and fist-pumping hooks.
It’s big, it’s ballsy, and it’s their boldest and best body of work to date.
For The O2's full terms and conditions relating to Ticket sales and admission, please click HERE
For this show, you’ll need to display your ticket on your phone via The O2 or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
AXS Official Resale is the only legitimate place to re-sell your tickets if you have purchased tickets through AXS.com. Tickets sold on unauthorised platforms will not be valid.
In the southern parts of Sweden, between the two major revered metal cities, Gothenburg and Stockholm lie the small town of Eksjö, just about 60 kilometers from Jönköping. From Eksjö, best known for its old wooden architecture dating back to the 1400th century comes the four-piece metal band we know today, Orbit Culture. Orbit Culture was founded in 2013 by member Niklas Karlsson and ex-member Maximilian Zinsmeister. Both singer and guitarist Niklas and lead guitarist Maximilian did participate in different music constellations back and forth across the county. At the age of 17, Niklas and Maximilian met each other through mutual friends in Eksjö, and through the same love of heavy riffing and writing songs; Niklas and Maximilian decided to start a small jam group.
Niklas and Maximilian hired a small rehearsal space in an old power plant station. The intention and passion of writing and recording music were there from the beginning, but exploiting the rehearsal room as a drinking place was a bit more important to the young men during the inception of the band. It wasn’t until early 2013 when Niklas and Maximilian started to really get into the recording techniques due to the boys getting their hands on the Line 6 POD UX1.
Niklas quickly started to write songs for their debut EP, ‘Orbit Culture’ along with Maximilian getting his friend, drummer, and ex-bandmate on board from Maximilian’s precious metal project, Abstract Noise to take on the drum parts. Fellow friend and bassist Christoffer Olsson joined the trio and ‘Orbit Culture’ was born. The band spent most of the summer of 2013 indoors to record, mix and produce the first set of songs by Orbit Culture that later would be known as ‘Odyssey’.
The EP ‘Orbit Culture’ was self-released by the band first in August 2013 followed by a remaster and a new title with the same set of songs including the instrumental versions in December that same year. Orbit Culture and their debut EP ‘Odyssey’ gained local interest and the band played their first set of shows in their hometown promoting the new EP.
The rather small but nonetheless satisfying attention both locally and internationally took the guys by surprise and Niklas quickly started to write on their debut full-length album during the winter. Niklas and the band finished the album in the spring of 2014 and quickly sent off the files for mixing and mastering to fellow friend Klas Blomgren.
Orbit Culture’s debut full-length album ‘In Medias Res’ was self-released in July 2014 and shortly after, the band pushed on and recorded their first music video for the track ‘Obscurity’ and played a handful of shows locally to promote the new album. The band and the new album gained more and more fans internationally and the hunt for something more mature sounding began.
In 2015, lead guitarist Maximilian decided to leave the band to pursue other interests followed by bassist Christoffer leaving the band to go to university leaving Niklas and Markus the only members left in the band. Though two members and close friends had left the band, Niklas was determined to write and finish the record during the year.
Their second full-length album ‘Rasen’ was self-released in the spring of 2016 and the duo of what was left of Orbit Culture was given a lot of attention online due to their single ‘Sun Of All’. Quickly after the release, Niklas and Markus started to search for a new lead guitarist and bassist. A couple of months later, it was announced that Richard Hansson (Bash Brothers, Straight A’s) had taken over the lead guitar parts in Orbit Culture. After joining the band, Richard called his old friend Fredrik Lennartsson (People In Distress) from another small town nearby Eksjö called Vetlanda and asked if he was interested in joining the band. Fredrik Lennartsson packed his stuff and became a member of Orbit Culture that same day.
During the late summer of 2016, the band decided to record a music video for their top single ‘Sun Of All’ which they released shortly after. The band gained a lot of attention online and more show opportunities started to rake in. However, no labels were interested as of yet, but the band pushed on and Niklas started to write on their next EP which is known today as ‘Redfog’.
Niklas started to analyze his previous work immensely and tried to figure out what mistakes he could avoid and what writing approach he would take with this new set of songs. Heavy drums and big guitars with catchy choruses were the goal. Niklas wrote and recorded for the most part of 2017 alongside playing their well-earned set at the 2017’s Gefle Metal Festival. In late 2017, the band decided to record three different music videos for three of the five songs on the new EP.
In March 2018, The band released their first single from the EP ‘Redfog’ called ‘Saw’ with a music video. The song became an instant success in the metal underground scene raking in over 1,600,000 streams on Spotify, and YouTube combined over the course of two years. The second song in line for release was the more mellow and melancholy song ‘See Through Me’ and the band’s take on anxiety in the lyrics became more prominent. The title track ‘Redfog’ hit the cyber world on the 23rd of March and the song finally put the band on the map all over the world. As the year went on, more and more people started to get into Metallica/Gojira/Behemoth-influenced Orbit Culture.
The band started to get recognized by major labels in the metal music industry. Orbit Culture finally settled their first record deal with Seek & Strike Records in late 2018 sharing a roster with bands like Upon A Burning Body, Kill The Kong, Reckoning Hour, and more.
In early 2019, the band landed their first booking agency, Avocado Booking set the band on their first-ever tour supporting Rivers Of Nihil alongside Black Crown Initiate and MOL for the fall of 2019.
During the spring and summer, Niklas started to write and record their third full-length album with the first single ‘Nensha’ being released through Seek & Strike Records on the 20th of September on the same day as the band played their first-ever show outside Sweden at Cassiopeia, Berlin on the Rivers Of Nihil Tour.
The band finished the tour and returned home to finalize the new album ‘Nija’. Orbit Culture released another single from the album called ‘Rebirth’, continuing the story and concept of ‘Nensha’. The band released their highly praised track ‘The Shadowing’ in late March capping off the trilogy.
In between March and April, like many other bands, the band was forced to cancel all of their upcoming shows of 2020 due to the pandemic of COVID-19. The new album ‘Nija’, originally planned for a May release, got postponed to August 7th, 2020. With the free time given during the pandemic, the band started to work on a new music video and single to accompany the release of the album, which later came to be known as the heavy-hitting track ‘Open Eye’.
During the summer, the band prepared for their much-anticipated release of 'Nija'. The album Nija was finally released on August 7th, 2020, and it was embraced with critical acclaim from both reviewers and fans across the globe. The album launched the band from the underground metal scene into the top ranks, and with that, countless festival and tour offers started to rake in.
With the pandemic still at large around this time, the band was forced to cancel more shows. However, the band felt to utilize the free time given to its fullest extent, so the band quickly headed back to the studio to record a new EP.
The EP became known as 'Shaman' and was released in September 2021. The band wanted to stray away from the more mechanical sound of their previous album, 'Nija,' and focus more on writing songs that would fit the live aspect better once the pandemic calmed down, but the band and the rest of the world would have to wait a bit longer.
Roll forward the tape to June 2022, when the band entered the Silja Stage at Sweden Rock Festival 2022; the band did not know what to expect or who would show up. To the band's surprise, the fields in front of the stage were completely packed with fans, so it began.
Having played at Sweden Rock Festival, Download Festival, Bloodstock, and countless other major festivals around Europe, the band ended their summer opening for In Flames at their exclusive show 'Dalhalla Brinner' in Rättvik, Dalhalla. This was a significant starting point for touring, as In Flames invited the band to open up for In Flames on their US and European tours later the same year.
Just before the tour started in September of 2022, the band released their latest single, 'Vultures Of North', from their upcoming new album.
With two hugely successful tours opening up for In Flames in both the US and Europe, the band is now preparing for their new album release, 'Descent'.
The company’s foremost innovation is that dance should be about removing boundaries, not reinforcing them. Whether it be the limiting traditions of a single style, period, venue, or culture, Complexions transcends them all, creating an open, continually evolving form of dance that reflects the movement of our world—and all its constituent cultures—as an interrelated whole.
Together, Rhoden and Richardson have created in Complexions an institution that embodies its historical moment, a sanctuary where those passionate about dance can celebrate its past while simultaneously building its future. In the 27 years since its inception, the company has born witness to a world that is becoming more fluid, more changeable, and more culturally interconnected than ever before—in other words, a world that is becoming more and more like Complexions itself.
Due to unforeseen circumstances, the Michael Bolton show on March 30, 2024 has been rescheduled to February 7, 2025. All tickets purchased will be honored for the new date. Refunds will be available at the point of purchase.
For guests who would like to receive a refund for tickets purchased from AXS online or via phone, please sign into your account at https://www.axs.com/?signin. The refund deadline is February 24, 2024 at 10:00am CST.
If you made a list of performers who have sold more than 53 million records, won multiple Grammy trophies for Best Male Vocalist and countless other honors, earned a star on Hollywood's Walk of Fame and sold out arenas worldwide, Michael Bolton would be on that list. But if you tallied all the artists who've sung with Luciano Pavarotti and Ray Charles, written songs with Bob Dylan, penned hits for Barbra Streisand and KISS, played guitar with B.B. King and been sampled on a track by hip-hop superstar Kanye West (featuring megastar Jay-Z), Michael Bolton would be the only name on that list.And he doesn't take such dream collaborations for granted. "Working with people who've inspired me so profoundly, like Ray and Luciano, it's like an out-of-body experience," the singer marvels. "These are some of the greatest moments of my life."When you've experienced such peaks, what do you do next? "For years I've kept a list of dream projects," Boltonshares. "At the top of that list was an album of songs made famous by Frank Sinatra."
Now, with Bolton Swings Sinatra (PASSION MUSIC CO./Concord Music Group), the singer can check off another item on his list. The collection finds him taking on classics like "New York, New York," "Night and Day," "My Funny Valentine," "Fly Me to the Moon," "Girl From Ipanema" and "That's Life," and bringing in special guest Nicolette Sheridan for a duet on "The Second Time Around." Supervising the arrangements and orchestrations down to the last note, he's created an affectionate, dynamic tribute to some of the greatest recordings of the 20th century. "In spite of everything we've read about Frank's life, it's his music that endures "his stamp, his voice, his delivery," the singer reflects. "That's what puts him everywhere we travel." Fired up by a spectacular big band of what he calls "A-plus musicians," including 17 horns and 35 string players, and working with top-flight arrangers and audio technicians in the legendary Capitol studios where the Chairman of the Board and countless other icons have put down tracks, he went to work on a batch of songs he'd loved since childhood. The result will be a revelation even for longtime fans "passionate, playful, boisterous, intimate and everything in between, it's a dazzling pairing of a singer and material.He was strongly aided in this endeavor by co-producer Alex Christensen (Paul Anka) and engineer-mixer Al Schmitt (Sinatra, Barbra Streisand, Henry Mancini, Steely Dan). "They're brilliant," Bolton asserts of these aural architects. "They helped make everyone feel happy "the players loved the creative environment. Al's like the doctor who's delivered 200 of the most famous babies in the world," he adds, referring to Schmitt's extraordinary track record in the studio, which has earned him 15 Grammys.
L'Impératrice’s debut album arrived in 2018 all the pomp and circumstance of a coronation. “Impératrice” is French for “Empress”, and if their moniker is the most difficult thing to grasp for anglophones, then musically there’s nothing that doesn’t translate. The Parisians draw from a range of genres, from 70s space disco to downtempo 90s synth pop, taking in French film composers like François de Roubaix and Michel Legrand along the way. “Albums that sold 500 copies in the 1970s are the records that interest us most,” they say. Matahari is a glittering, cinematic summation of six years hard work that draws on some of the finest found sounds and forgotten sonic fandangos hiding in crates across the land, all given L'Impératrice’s own inimitable 21st century twist.
What began as the project of one disaffected culture journalist is now, some six years later, a six-headed beast. Charles de Boisseguin had carved out a niche for himself as a respected journalist. Bylines all over France’s most respected music weekly Les Inrockuptibles sufficed for a time, and he and some friends started Keith magazine in 2007 in homage to culture’s greatest Keiths, from Richards to Haring. As a critic, Boisseguin had a burning conviction that he could no longer disparage the works of others until he had a go himself. And so one beautiful spring morning in 2012 he made the jump and L'Impératrice was born. The poacher had turned gamekeeper.
Early productions were modest. Boisseguin traded in his poisoned pen for a Moog synthesiser and cut his teeth on GarageBand. This inchoate noise was still some way from becoming the chimerical analog disco monster that has enchanted so many ears in France, but a strong feminine sound began to emerge nonetheless, which eventually beget the name. A self-titled EP arrived on cool Parisian underground dance label Cracki in October of that year, and by then Boisseguin was getting the hang of being a musician. The eponymously-titled track that opens the EP features slick jazzy motifs conflated with some old-skool hip hop flow. It won instant plaudits and set the tone for future successes.
The band grew by stealth, with Hagni Gwon arriving on claviers, David Gaugué on the bass and Tom Daveau on the drums, soon turning a one-man project into a gang. Chanteuse Flore Benguigui’s arrival gave their sophisti-pop sound a tangible femininity that had always been there as an undercurrent. Achille Trocellier on guitars became the final piece of the puzzle. L'Impératrice’s signed to microqlima in 2016. EPs such as Odyssée and Séquences received critical adulation.
Then came a first glimpse of the long-awaited album in 2017 - with ‘Erreur 404’ - a lead single that juxtaposes silky, almost simplistic French synthpop with a barbed lyric (the deliciously impertinent “bon voyage imbécile” line is a highlight). L'Impératrice make writing radio-friendly earworms look easy, and the French have been voting with their feet in a positive way, both on the dancefloor and at gigs. A show at La Cigale, a 2,000 capacity venue with an illustrious history in the 18eme arrondissement of Paris, recently sold out within two weeks.
Matahari is laden with sumptuous grooves and replete with potential singles, subsuming all the elements, from Air to Frank Ocean. The title track mixes analogue space disco with ostentatious, irrepressible funk, a mightily impressive undertaking featuring swooping philly strings and emphatic brass. It’s an ambitious production with a percussive core that was clearly recorded live in the studio, and while there are many layers, it’s pieced together with a deft hand. The track returns as a penultimate instrumental send-off, and ‘Là-Haut’, a weightless and dreamy instrumental to open proceedings, features some inspired peripatetic bass from Gaugué and some diaphanous percussion that melts in the ears.
Elsewhere ‘Paris’ captures the contemporary mise en scène of the bustling la Ville Lumière, with a delectable vocal performance from Benguigui. Her adaptability as a vocalist is demonstrated with a sultry sprechgesang delivery on ‘Balade Fantôme’, a spooky spoken word about being lost in space. ‘Masques’ adopts an almost klezmer-like tristesse, with vertiginous violins and a classy musical chassis. Meanwhile ‘Dreaming of You’ is a steamy, almost claustrophobic collaboration with electropop kindred souls and labelmates Isaac Delusion.
Subtle yet majestic, L'Impératrice have a bright future in the republic, though if the six-headed beast is to become real French musical royalty then they’ll have to watch their têtes. In fairness, Boisseguin hasn’t put a foot wrong since he threw in the day job six years ago. If L'Impératrice’s stealthy rise to pre-eminence has all been part of the plan at home, then you wouldn’t rule out la domination du monde being on the cards in the future.
For this show, you’ll need to display your ticket on your phone via the OVO Arena Wembley or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
If you have bought tickets for this show, then AXS Official Resale is the only legitimate place to re-sell your tickets. Please note: If you purchase resale tickets for this show through any website other than the venue website or axs.com, your tickets may not be valid and access to the venue could be refused.
Dean Lewis has over 6.1+ billion streams of his music with 3.3M+ albums and Eps sold worldwide. He was welcomed into the Spotify Billions club for his song ‘Be Alright’ and has over 1M YouTube followers and 1.1M Tik Tok followers. His most recent single ‘Falling Up’ is ARIA GOLD accredited in Australia with 57M+ Global Streams. 2019 saw Lewis as an Apple Up Next artist while his tours in the US and Australia were sold out, and he performed shows and festivals in the UK and Europe. He performed over 200 shows that year. In Australia Lewis performed on the mainstage at Splendour in the Grass and performed at the AFL
Grand Final. Be Alright has over 3 billion streams and spent 5 weeks at 1 on the ARIA SINGLES chart. It has been certified 11x platinum in Australia, triple platinum in the U.S.A, platinum in the UK and platinum+ in 22 other countries.
Featuring BRIAN MCFADDEN and KEITH DUFFY
This specially adapted theatre production will include many of their greatest hits, the catalogue includes a record breaking 18 Number 1 singles and 9 number 1 albums, and combined record sales of over 60 Million Units.
Expect to hear, ‘World Of Our Own’, ‘Mandy’, ‘Queen of My Heart’, ‘Picture Of You’, ‘Words’, ‘No Matter What’, ‘Uptown Girl’, ‘Flying Without Wings’, ‘You Raise Me Up’, ‘Going Gets Tough’, ‘Swear It Again’, ‘Father and Son’, ‘Love Me For A Reason’, ‘My Love’ and many, many more
BRIAN MCFADDEN featured on all WESTLIFE’S number 1 Singles and Albums and has since had a Solo Number 1 Album.
KEITH DUFFY is currently touring with BOYZONE on their Final ever Sell out Arena tour.
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Chris Difford is a Grammy nominated and double Ivor Novello Award winning lyricist who has brought us characters and sketches from everyday life, and has successfully turned the mundane into the beautiful, the urbane into the exquisite, for over 40 years.
With his collaborator since 1973, Squeeze co-founder Glenn Tilbrook, Chris has written some of the most enduring and best-loved songs of our time such as 'Up The Junction', 'Cool For Cats', 'Labelled With Love', ‘Tempted’ and many others. Squeeze returned with ‘Cradle To The Grave in 2015 followed by 'The Knowledge' in October 2017. The band continue to tour extensively into 2018/2019.
In his autobiography ‘Some Fantastic Place: My Life In and Out of Squeeze’, released August 2017 and nominated for Penderyn Music Book Prize 2018, Chris Difford charts his life from his early days as a dreaming boy in south London with a talent for poetry to forming one of Britain's greatest bands and beyond.Chris’ solo tour to accompany the book included a sold out week at Edinburgh Fringe 2018.
Chris hosts songwriting retreats and has done so for over 25 years, some in Prisons, some in Rehabs, but mostly in Somerset with the Buddy Holly Foundation. He is one of the country’s most respected songwriters and has co-written with a host of musicians and performers that reads like a veritablewho’s who of the industry.
Age restriction
This production is recommended for ages 6+.Out-of-work actor Daniel will do anything for his kids. After losing custody in a messy divorce, he creates the alter ego of Scottish nanny Euphegenia Doubtfire in a desperate attempt to stay in their lives. As his new character takes on a life of its own, Mrs. Doubtfire teaches Daniel more than he bargained for about how to be a father.
Mrs. Doubtfire has been created by a transatlantic team of award-winning artists, with a book by Karey Kirkpatrick and John O’Farrell, original music and lyrics by Wayne and Karey Kirkpatrick (the Tony Award-nominated team behind Something Rotten!, along with O’Farrell), direction by 4-time Tony winner Jerry Zaks (Hello, Dolly!), scenic design by David Korins (Hamilton), choreography by Lorin Latarro (Waitress), and music supervision by Ethan Popp (Tina: The Tina Turner Musical).
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Age Restriction: Strictly 15+. If purchasing a ticket and hotel package, all children aged 15 – 17 inclusive must be accompanied by an adult aged 18 or over for the purpose of this package
For The O2's full terms and conditions relating to Ticket sales and admission, please click HEREFor this show, you’ll need to display your ticket on your phone via The O2 or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
If you have bought tickets for this show, then AXS Official Resale is the only legitimate place to re-sell your tickets. Please note: If you purchase resale tickets for this show through any website other than the venue website or axs.com, your tickets may not be valid and access to the venue could be refused.
Peter Kay is one of Britain's best-loved comedians. His 2010 tour still officially ranks with the Guinness Book of World Records as the biggest selling comedy tour of all time.
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Paddy McGuinness is a much-loved presence on British TV, from his legendary acting roles in Phoenix Nights, Max and Paddy and The Keith and Paddy Picture Show to presenting primetime TV shows such as Take Me Out and BBC's Top Gear, as well as having sold out hundreds of venues across the country on his stand-up tours. In 2021 Paddy released his acclaimed autobiography My Lifey. Now Paddy is raring to get back to where he belongs – on stage, making people laugh, with his hotly anticipated show.
Paddy said: “It’s been eight years since my last tour and there’s lots of things to laugh about! I’m looking forward to getting back in front of a live audience, along with running the gauntlet of cancel culture, clickbait and fake news!"
The company’s US tour in Fall 2018 was a coast-to-coast success. The eight-week tour packed houses across the country and received an enthusiastic response from audience members new and old. Performances and educational activities drew strong support from Mexican-American communities in particular.
Founded in 1952 by dancer and choreographer Amalia Hernández, Ballet Folklórico brings together the music, dance and costume of Mexican folklore from pre-Colombian civilizations through the modern era. With its permanent home at the Palacio de Bellas Artes, one of Mexico City’s most historic venues, the company has developed choreography for 40 ballets, composed of 60 folk dancers and musicians who have performed extensively across Mexico and abroad.
Child policy
Children under the age of 5 will not be admitted. All children must have their own ticket and those 16 and under must be accompanied by an adult.
Running time
2hr 20min (inc. interval)
Performance dates
6 July 2021 - 29 May 2022
Content
Recommended for ages 7 and above.
The scene is set when a group of people gathered in a country house cut off by the snow discover, to their horror, that there is a murderer in their midst. Who can it be? One by one the suspicious characters reveal their sordid pasts until at the last, nerve-shredding moment the identity and the motive are finally revealed.
In her own inimitable style, Dame Agatha Christie has created an atmosphere of shuddering suspense and a brilliantly intricate plot where murder lurks around every corner.
The company’s US tour in Fall 2018 was a coast-to-coast success. The eight-week tour packed houses across the country and received an enthusiastic response from audience members new and old. Performances and educational activities drew strong support from Mexican-American communities in particular.
Founded in 1952 by dancer and choreographer Amalia Hernández, Ballet Folklórico brings together the music, dance and costume of Mexican folklore from pre-Colombian civilizations through the modern era. With its permanent home at the Palacio de Bellas Artes, one of Mexico City’s most historic venues, the company has developed choreography for 40 ballets, composed of 60 folk dancers and musicians who have performed extensively across Mexico and abroad.
U14s Must Be Accompanied By An Adult.
This show is suitable for customers aged 12+.
VIP Tickets:
Seat within the first few rows
Meet and Greet with Jason
Photo Opportunity
Signed piece of merch
Jason Donovan’s Doin' Fine 25 tour, is a spectacular celebration of his remarkable career in music, theatre, film and TV. This exciting tour will take fans on a journey through 35 years of hits on stage and screen via Jason’s energetic and unique live performance style.
Jason Donovan, has delighted audiences worldwide with his versatility as an actor, singer and all round entertainer. He has amassed a rich catalogue of hits, and Doin' Fine 25 is set to be a sensational culmination of his outstanding achievements to date. Doin' Fine 25 Tour is a long awaited follow up to Doin’ Fine 90, which fans still talk about to this day! This show promises to be a musical feast of a night of unforgettable tunes, featuring a dynamic selection of Jason's most beloved songs from stage shows such as ‘Joseph’, ‘Priscilla’, ‘Rocky Horror’ and ‘Grease’ to nods to his TV work like Neighbours and Strictly and of course his biggest pop hits like ‘Especially For You’, “Too Many Broken Hearts’ ‘Any Dream Will Do’ and ‘Sealed with a Kiss’.
Jason said: "I am so excited about this tour. My performing career has been an incredible ride, and I can't wait to celebrate it by performing the songs that have been such an important part of my life. It's going to be a fantastic show, and I look forward to sharing all those special moments with my fans."
Scott Mescudi, better known by his stage name Kid Cudi, is an American actor, Grammy Award winning musician and multi-platinum recording artist from Cleveland, Ohio. Cudi first debuted on the music scene in 2008, quickly catching the attention of Kanye West and rising to the top of the Billboard charts. His first studio album Man on the Moon: The End of Day received widespread industry praise and set the stage for his subsequent successful endeavors. Over the course of his musical career, Cudi has made exceptional contributions to the music industry and many prominent artists claim his discography as a significant source of stylistic inspiration. As of 2022, Cudi has released ten studio albums and has sold over 22 million records. His most recent album, Entergalactic, released in September 2022 in tandem with the companion NETFLIX animated project.
In 2010, Cudi ventured into acting and starred in the critically acclaimed HBO comedy series How to Make it in America. From there, he went on to star in Josh Mond’s James White, Need for Speed (DreamWorks), Entourage (Warner Bros.) and Reed Morano’s Meadowland. He has appeared in HBO’s award-winning series Westworld, was recently seen in HBO limited series We Are Who We Are created by Luca Guadagnino, the indie film Dreamland starring opposite Gary Oldman and in a supporting role in Bill & Ted Face the Music (MGM).
On the feature side, Cudi was most recently seen as one of the leads of A24’s X, written and directed by Ti West and produced by Sam Levinson. In 2021, he appeared in Adam McKay’s Don’t Look Up alongside Leonardo DiCaprio and Jennifer Lawrence. He will next be seen in Disney+’s Crater, produced by 21 Laps and is currently developing the Netflix film Teddy which he will produce with Jeymes Samuel and Jay-Z. The film will make his directorial debut and he will star in it as well.
Cudi’s Amazon documentary, A Man Named Scott, recently premiered to great reviews and highlights how he became one of the most influential musicians over the last 15 years shining a light on his influence on hip-hop and culture.
In 2020, Cudi founded the production and music management company, MAD SOLAR, backed by Bron Studios, which provides corporate back office and production support, including financing, marketing, and sales.
To supplement his artistic projects and fuel his longtime interest in fashion, Cudi has notably partnered with Giuseppe Zanotti, Bape and Coach on multiple campaigns and innovative collaborations. He recently launched his debut collection from his clothing line Members of the Rage (MOTR) at Paris Fashion Week in January 2023. Additionally, Cudi’s work as a mental health advocate has cemented his deeply rooted impact on pop culture.
Cudi is currently bi-coastal and resides in both Los Angeles and New York.
For The O2's full terms and conditions relating to Ticket sales and admission, please click HERE
For this show, you’ll need to display your ticket on your phone via The O2 or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
If you have bought tickets for this show, then AXS Official Resale is the only legitimate place to re-sell your tickets. Please note: If you purchase resale tickets for this show through any website other than the venue website or axs.com, your tickets may not be valid and access to the venue could be refused.
Paddy McGuinness is a much-loved presence on British TV, from his legendary acting roles in Phoenix Nights, Max and Paddy and The Keith and Paddy Picture Show to presenting primetime TV shows such as Take Me Out and BBC's Top Gear, as well as having sold out hundreds of venues across the country on his stand-up tours. In 2021 Paddy releases his acclaimed autobiography My Lifey. Now Paddy is raring to get back to where he belongs – on stage, making people laugh, with his hotly anticipated show.
Paddy said: “It’s been eight years since my last tour and there’s lots of things to laugh about! I’m looking forward to getting back in front of a live audience, along with running the gauntlet of cancel culture, click bait and fake news!
Age Restriction: Strictly 15+. If purchasing a ticket and hotel package, all children aged 15 – 17 inclusive must be accompanied by an adult aged 18 or over for the purpose of this package
For The O2's full terms and conditions relating to Ticket sales and admission, please click HEREFor this show, you’ll need to display your ticket on your phone via The O2 or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
If you have bought tickets for this show, then AXS Official Resale is the only legitimate place to re-sell your tickets. Please note: If you purchase resale tickets for this show through any website other than the venue website or axs.com, your tickets may not be valid and access to the venue could be refused.
Tickets go on general sale at 10am on Sunday 11 December via AXS.com.
Peter’s 2010 tour still officially ranks with the Guinness Book of World Records as the biggest selling comedy tour of all time.
"There are hints that his eyes are set firmly on arenas that are as big as his mouth of his” – Metro
'Relentlessly smiley, perpetually grinning Londoner whose unshowy, unpretentious but thoroughly funny shtick has every chance of winning him a big audience…’ – Guardian
"Lights up the stage with his magnetic personality (not to mention the dazzle from his teeth)" - Mail on Sunday
The tour will again feature an exciting new cast to be announced over the coming months.
One of the most trailblazing arena tours of all time, Jeff Wayne’s Musical Version of The War of The Worlds (TWOTW) returns with a musical spectacular like none other, with the production remaining a favourite to millions around the world, exciting audiences of all ages.
In 2006, TWOTW was already considered a cutting-edge production with six trucks filled to the brim. By 2025, marking 19 years of live touring, the production will be up to 12 trucks, with a host of new ingredients and special effects to challenge and excite the senses.
Further details to be announced over the coming months.
For The O2's full terms and conditions relating to Ticket sales and admission, please click HERE
For this show, you’ll need to display your ticket on your phone via The O2 or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
If you have bought tickets for this show, then AXS Official Resale is the only legitimate place to re-sell your tickets. Please note: If you purchase resale tickets for this show through any website other than the venue website or axs.com, your tickets may not be valid and access to the venue could be refused.
Resale T&C’s:
- This event is for fans only and these special conditions are in place to ensure that tickets are purchased for personal use only and are not resold for profit and/or through unauthorised resale sites.
- A strict limit of 8 tickets per person (and per household) per event applies. Any tickets purchased over this limit may be cancelled and invalidated.
- Tickets must not be purchased with the intention of reselling them for commercial purposes and/or profit.
- Only genuine mobile tickets will be accepted for entry (we’ll give you full instructions on how to access your mobile tickets after you book). If you purchased more than one ticket and ticket transfer is unavailable, your guests must be with you at time of entry. Print outs and/or screenshots of mobile tickets will not be accepted for entry.
- If you can no longer use your tickets and are not eligible for an exchange or refund, you may resell them through [insert name of primary agent official resale platform, e.g. the Ticketmaster Fan to Fan Exchange].
- You may not resell or offer to resell tickets for this event through any unauthorised resale site such as Viagogo or Stubhub, or for commercial purposes and/or profit. For a list of authorised resale sites please visit the Event page on www.livenation.co.uk
- Any tickets purchased, resold or offered for resale in breach of these special conditions may be cancelled and invalidated.
- In the event of any inconsistency between these special conditions and any other applicable terms and conditions, these special conditions will apply.
Doors: matinees 14:00, evenings 19:00. Timings can vary, please check booking confirmation for exact details.
Start times: matinees 14:30, evenings 19:30. Timings can vary, please check booking confirmation for exact details.
Far beneath the majesty and splendour of the Paris Opera House, hides the Phantom in a shadowy existence. Shamed by his physical appearance and feared by all, the love he holds for his beautiful protégée Christine Daaé is so strong that even her heart cannot resist.
As the sun rises and the city reawakens, watch in awe as giraffes strut, gazelles leap and birds swoop bringing the Serengeti, and the story of Simba, to life all around you…
Ingenious puppetry, stunning effects and the enchanting music by Elton John, Tim Rice and Lebo M will transport you to the heart of the African Pridelands.
For The O2's full terms and conditions relating to Ticket sales and admission, please click HERE
For this show, you’ll need to display your ticket on your phone via The O2 or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
If you have bought tickets for this show, then AXS Official Resale is the only legitimate place to re-sell your tickets. Please note: If you purchase resale tickets for this show through any website other than the venue website or axs.com, your tickets may not be valid and access to the venue could be refused.
Resale T&C’s:
- This event is for fans only and these special conditions are in place to ensure that tickets are purchased for personal use only and are not resold for profit and/or through unauthorised resale sites.
- A strict limit of 8 tickets per person (and per household) per event applies. Any tickets purchased over this limit may be cancelled and invalidated.
- Tickets must not be purchased with the intention of reselling them for commercial purposes and/or profit.
- Only genuine mobile tickets will be accepted for entry (we’ll give you full instructions on how to access your mobile tickets after you book). If you purchased more than one ticket and ticket transfer is unavailable, your guests must be with you at time of entry. Print outs and/or screenshots of mobile tickets will not be accepted for entry.
- If you can no longer use your tickets and are not eligible for an exchange or refund, you may resell them through [insert name of primary agent official resale platform, e.g. the Ticketmaster Fan to Fan Exchange].
- You may not resell or offer to resell tickets for this event through any unauthorised resale site such as Viagogo or Stubhub, or for commercial purposes and/or profit. For a list of authorised resale sites please visit the Event page on www.livenation.co.uk
- Any tickets purchased, resold or offered for resale in breach of these special conditions may be cancelled and invalidated.
- In the event of any inconsistency between these special conditions and any other applicable terms and conditions, these special conditions will apply.
For The O2's full terms and conditions relating to Ticket sales and admission, please click HERE
For this show, you’ll need to display your ticket on your phone via The O2 or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
If you have bought tickets for this show, then AXS Official Resale is the only legitimate place to re-sell your tickets. Please note: If you purchase resale tickets for this show through any website other than the venue website or axs.com, your tickets may not be valid and access to the venue could be refused.
Resale T&C’s:
- This event is for fans only and these special conditions are in place to ensure that tickets are purchased for personal use only and are not resold for profit and/or through unauthorised resale sites.
- A strict limit of 8 tickets per person (and per household) per event applies. Any tickets purchased over this limit may be cancelled and invalidated.
- Tickets must not be purchased with the intention of reselling them for commercial purposes and/or profit.
- Only genuine mobile tickets will be accepted for entry (we’ll give you full instructions on how to access your mobile tickets after you book). If you purchased more than one ticket and ticket transfer is unavailable, your guests must be with you at time of entry. Print outs and/or screenshots of mobile tickets will not be accepted for entry.
- If you can no longer use your tickets and are not eligible for an exchange or refund, you may resell them through [insert name of primary agent official resale platform, e.g. the Ticketmaster Fan to Fan Exchange].
- You may not resell or offer to resell tickets for this event through any unauthorised resale site such as Viagogo or Stubhub, or for commercial purposes and/or profit. For a list of authorised resale sites please visit the Event page on www.livenation.co.uk
- Any tickets purchased, resold or offered for resale in breach of these special conditions may be cancelled and invalidated.
- In the event of any inconsistency between these special conditions and any other applicable terms and conditions, these special conditions will apply.
Age Restriction: Strictly 15+. If purchasing a ticket and hotel package, all children aged 15 – 17 inclusive must be accompanied by an adult aged 18 or over for the purpose of this package
For The O2's full terms and conditions relating to Ticket sales and admission, please click HEREFor this show, you’ll need to display your ticket on your phone via The O2 or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
If you have bought tickets for this show, then AXS Official Resale is the only legitimate place to re-sell your tickets. Please note: If you purchase resale tickets for this show through any website other than the venue website or axs.com, your tickets may not be valid and access to the venue could be refused.
Peter Kay is one of Britain's best-loved comedians. His 2010 tour still officially ranks with the Guinness Book of World Records as the biggest selling comedy tour of all time.
For The O2's full terms and conditions relating to Ticket sales and admission, please click HERE
For this show, you’ll need to display your ticket on your phone via The O2 or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
If you have bought tickets for this show, then AXS Official Resale is the only legitimate place to re-sell your tickets. Please note: If you purchase resale tickets for this show through any website other than the venue website or axs.com, your tickets may not be valid and access to the venue could be refused.
Resale T&C’s:
- This event is for fans only and these special conditions are in place to ensure that tickets are purchased for personal use only and are not resold for profit and/or through unauthorised resale sites.
- A strict limit of 8 tickets per person (and per household) per event applies. Any tickets purchased over this limit may be cancelled and invalidated.
- Tickets must not be purchased with the intention of reselling them for commercial purposes and/or profit.
- Only genuine mobile tickets will be accepted for entry (we’ll give you full instructions on how to access your mobile tickets after you book). If you purchased more than one ticket and ticket transfer is unavailable, your guests must be with you at time of entry. Print outs and/or screenshots of mobile tickets will not be accepted for entry.
- If you can no longer use your tickets and are not eligible for an exchange or refund, you may resell them through [insert name of primary agent official resale platform, e.g. the Ticketmaster Fan to Fan Exchange].
- You may not resell or offer to resell tickets for this event through any unauthorised resale site such as Viagogo or Stubhub, or for commercial purposes and/or profit. For a list of authorised resale sites please visit the Event page on www.livenation.co.uk
- Any tickets purchased, resold or offered for resale in breach of these special conditions may be cancelled and invalidated.
- In the event of any inconsistency between these special conditions and any other applicable terms and conditions, these special conditions will apply.
For The O2's full terms and conditions relating to Ticket sales and admission, please click HERE
For this show, you’ll need to display your ticket on your phone via The O2 or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
If you have bought tickets for this show, then AXS Official Resale is the only legitimate place to re-sell your tickets. Please note: If you purchase resale tickets for this show through any website other than the venue website or axs.com, your tickets may not be valid and access to the venue could be refused.
Resale T&C’s:
- This event is for fans only and these special conditions are in place to ensure that tickets are purchased for personal use only and are not resold for profit and/or through unauthorised resale sites.
- A strict limit of 8 tickets per person (and per household) per event applies. Any tickets purchased over this limit may be cancelled and invalidated.
- Tickets must not be purchased with the intention of reselling them for commercial purposes and/or profit.
- Only genuine mobile tickets will be accepted for entry (we’ll give you full instructions on how to access your mobile tickets after you book). If you purchased more than one ticket and ticket transfer is unavailable, your guests must be with you at time of entry. Print outs and/or screenshots of mobile tickets will not be accepted for entry.
- If you can no longer use your tickets and are not eligible for an exchange or refund, you may resell them through [insert name of primary agent official resale platform, e.g. the Ticketmaster Fan to Fan Exchange].
- You may not resell or offer to resell tickets for this event through any unauthorised resale site such as Viagogo or Stubhub, or for commercial purposes and/or profit. For a list of authorised resale sites please visit the Event page on www.livenation.co.uk
- Any tickets purchased, resold or offered for resale in breach of these special conditions may be cancelled and invalidated.
- In the event of any inconsistency between these special conditions and any other applicable terms and conditions, these special conditions will apply.
Age restriction
Suitable for general audience aged 12+Age restriction
This production is recommended for ages 12+BY KATE TREFRY ORIGINAL STORY BY THE DUFFER BROTHERS, JACK THORNE & KATE TREFRY. Based on the Netflix Series, 'Stranger Things', created by the Duffer Brothers. DIRECTED BY STEPHEN DALDRY. BEFORE THE WORLD TURNED UPSIDE DOWN…
Hawkins, 1959: a regular town with regular worries. Young Jim Hopper’s car won’t start, Bob Newby’s sister won’t take his radio show seriously and Joyce Maldonado just wants to graduate and get the hell out of town. When new student Henry Creel arrives, his family finds that a fresh start isn’t so easy… and the shadows of the past have a very long reach.
Brought to life by a multi-award-winning creative team, who take theatrical storytelling and stagecraft to a whole new dimension, this gripping new adventure will take you right back to the beginning of the Stranger Things story – and may hold the key to the end.
For The O2's full terms and conditions relating to Ticket sales and admission, please click HERE
For this show, you’ll need to display your ticket on your phone via The O2 or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
If you have bought tickets for this show, then AXS Official Resale is the only legitimate place to re-sell your tickets. Please note: If you purchase resale tickets for this show through any website other than the venue website or axs.com, your tickets may not be valid and access to the venue could be refused.
Resale T&C’s:
- This event is for fans only and these special conditions are in place to ensure that tickets are purchased for personal use only and are not resold for profit and/or through unauthorised resale sites.
- A strict limit of 8 tickets per person (and per household) per event applies. Any tickets purchased over this limit may be cancelled and invalidated.
- Tickets must not be purchased with the intention of reselling them for commercial purposes and/or profit.
- Only genuine mobile tickets will be accepted for entry (we’ll give you full instructions on how to access your mobile tickets after you book). If you purchased more than one ticket and ticket transfer is unavailable, your guests must be with you at time of entry. Print outs and/or screenshots of mobile tickets will not be accepted for entry.
- If you can no longer use your tickets and are not eligible for an exchange or refund, you may resell them through [insert name of primary agent official resale platform, e.g. the Ticketmaster Fan to Fan Exchange].
- You may not resell or offer to resell tickets for this event through any unauthorised resale site such as Viagogo or Stubhub, or for commercial purposes and/or profit. For a list of authorised resale sites please visit the Event page on www.livenation.co.uk
- Any tickets purchased, resold or offered for resale in breach of these special conditions may be cancelled and invalidated.
- In the event of any inconsistency between these special conditions and any other applicable terms and conditions, these special conditions will apply.
After selling-out all 32 nights during last year’s ‘30 Years of Dreaming’ tour, Gabrielle now announces an even bigger run of shows for 2025. Her biggest ever UK tour will come to a selection of the nation’s biggest arenas including The O2 in London. Gabrielle will also be joined by very special guest Tunde of Lighthouse Family on all dates.
Gabrielle says, "I had such a great time on the '30 Years of Dreaming' tour that I can't wait to do it all again on some even bigger stages including The O2. With some new songs mixed with the old favourites, I’m also very excited to have Tunde of Lighthouse Family joining me on the road. It’s going to be amazing, hope to see you there!"
For The O2's full terms and conditions relating to Ticket sales and admission, please click HERE
For this show, you’ll need to display your ticket on your phone via The O2 or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
If you have bought tickets for this show, then AXS Official Resale is the only legitimate place to re-sell your tickets. Please note: If you purchase resale tickets for this show through any website other than the venue website or axs.com, your tickets may not be valid and access to the venue could be refused.
Resale T&C’s:
- This event is for fans only and these special conditions are in place to ensure that tickets are purchased for personal use only and are not resold for profit and/or through unauthorised resale sites.
- A strict limit of 8 tickets per person (and per household) per event applies. Any tickets purchased over this limit may be cancelled and invalidated.
- Tickets must not be purchased with the intention of reselling them for commercial purposes and/or profit.
- Only genuine mobile tickets will be accepted for entry (we’ll give you full instructions on how to access your mobile tickets after you book). If you purchased more than one ticket and ticket transfer is unavailable, your guests must be with you at time of entry. Print outs and/or screenshots of mobile tickets will not be accepted for entry.
- If you can no longer use your tickets and are not eligible for an exchange or refund, you may resell them through [insert name of primary agent official resale platform, e.g. the Ticketmaster Fan to Fan Exchange].
- You may not resell or offer to resell tickets for this event through any unauthorised resale site such as Viagogo or Stubhub, or for commercial purposes and/or profit. For a list of authorised resale sites please visit the Event page on www.livenation.co.uk
- Any tickets purchased, resold or offered for resale in breach of these special conditions may be cancelled and invalidated.
- In the event of any inconsistency between these special conditions and any other applicable terms and conditions, these special conditions will apply.
For The O2's full terms and conditions relating to Ticket sales and admission, please click HERE
For this show, you’ll need to display your ticket on your phone via The O2 or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
If you have bought tickets for this show, then AXS Official Resale is the only legitimate place to re-sell your tickets. Please note: If you purchase resale tickets for this show through any website other than the venue website or axs.com, your tickets may not be valid and access to the venue could be refused.
Resale T&C’s:
- This event is for fans only and these special conditions are in place to ensure that tickets are purchased for personal use only and are not resold for profit and/or through unauthorised resale sites.
- A strict limit of 8 tickets per person (and per household) per event applies. Any tickets purchased over this limit may be cancelled and invalidated.
- Tickets must not be purchased with the intention of reselling them for commercial purposes and/or profit.
- Only genuine mobile tickets will be accepted for entry (we’ll give you full instructions on how to access your mobile tickets after you book). If you purchased more than one ticket and ticket transfer is unavailable, your guests must be with you at time of entry. Print outs and/or screenshots of mobile tickets will not be accepted for entry.
- If you can no longer use your tickets and are not eligible for an exchange or refund, you may resell them through [insert name of primary agent official resale platform, e.g. the Ticketmaster Fan to Fan Exchange].
- You may not resell or offer to resell tickets for this event through any unauthorised resale site such as Viagogo or Stubhub, or for commercial purposes and/or profit. For a list of authorised resale sites please visit the Event page on www.livenation.co.uk
- Any tickets purchased, resold or offered for resale in breach of these special conditions may be cancelled and invalidated.
- In the event of any inconsistency between these special conditions and any other applicable terms and conditions, these special conditions will apply.
Previously, Rhod was dealing with some pretty pungent life citrus, and an idiot called John. Little did he know that things were about to turn even more sour .... But Rhod's not bitter; he's bouncing back and feeling remarkably zesty.
Hilariously dark, passionate and way too personal, this is classic Gilbert, squeezing every last drop out of life's latest curveballs ... with a little help from an old adversary.
This new live show sees Rhod back on stage doing what he does best. Candid, hilarious and uplifting; it's a show about navigating the dark bits and turning life's giant grapefruits into something approaching lemonade.
RHOD GILBERT ON HIS NEW TOUR: "After the year I've had it's wonderful to be alive and going back on the road. I can't wait to get back on stage and I'm ready to get way too personal about life's recent ups and downs. When life gives you lemons, you have to squeeze them 'ti/ the comedy juice flows, so prepare for some dark but funny s* **".
For this show, you’ll need to display your ticket on your phone via the OVO Arena Wembley or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
AXS Official Resale is the only legitimate place to re-sell your tickets if you have purchased tickets through AXS.com. Tickets sold on unauthorised platforms will not be valid.
Join British ice skating legends Jayne Torvill and Christopher Dean as they embark on their last ever UK tour together, Torvill & Dean: Our Last Dance. A tribute to their half-century legacy, this brand new show will give audiences a unique opportunity to experience and celebrate their iconic partnership for one last time in an arena spectacular.
See them in action as they reflect on their illustrious career, writing the final chapter in what has been a truly remarkable story in British sport.
For this show, you’ll need to display your ticket on your phone via the OVO Arena Wembley or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
AXS Official Resale is the only legitimate place to re-sell your tickets if you have purchased tickets through AXS.com. Tickets sold on unauthorised platforms will not be valid.
Join British ice skating legends Jayne Torvill and Christopher Dean as they embark on their last ever UK tour together, Torvill & Dean: Our Last Dance. A tribute to their half-century legacy, this brand new show will give audiences a unique opportunity to experience and celebrate their iconic partnership for one last time in an arena spectacular.
See them in action as they reflect on their illustrious career, writing the final chapter in what has been a truly remarkable story in British sport.
Parsons Dance performs works selected from the vast and varied repertory of more than 75 works created by David Parsons. The company commissions new dances from established choreographers like Trey McIntyre and Monica Bill Barnes and restages works from the American canon, including works by Robert Battle and Paul Taylor. And, through its GenerationNOW Fellowship, the company offers commissions to young American choreographers whom Parsons mentors through the creative process. Parsons Dance is committed to providing enriching experiences beyond its performances as it seeks to engage audiences of all ages through education and outreach programs; through post-show discussions, open rehearsals, studio showcases, video workshops, open company classes, summer workshops for pre-professional dancers; and in-school workshops for public school students. The company is especially proud of its Autism-Friendly Programs initiative, launched in 2016, that features sensory-friendly workshops and relaxed performances for audiences of all abilities.
All these activities are driven by the vision of Artistic Director David Parsons, who, for 35 years, has combined his choreographic gifts and talent for training highly skilled dancers with a real passion for the art form.
For this show, you’ll need to display your ticket on your phone via the OVO Arena Wembley or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
AXS Official Resale is the only legitimate place to re-sell your tickets if you have purchased tickets through AXS.com. Tickets sold on unauthorised platforms will not be valid.
Join British ice skating legends Jayne Torvill and Christopher Dean as they embark on their last ever UK tour together, Torvill & Dean: Our Last Dance. A tribute to their half-century legacy, this brand new show will give audiences a unique opportunity to experience and celebrate their iconic partnership for one last time in an arena spectacular.
See them in action as they reflect on their illustrious career, writing the final chapter in what has been a truly remarkable story in British sport.
For this show, you’ll need to display your ticket on your phone via the OVO Arena Wembley or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
AXS Official Resale is the only legitimate place to re-sell your tickets if you have purchased tickets through AXS.com. Tickets sold on unauthorised platforms will not be valid.
Join British ice skating legends Jayne Torvill and Christopher Dean as they embark on their last ever UK tour together, Torvill & Dean: Our Last Dance. A tribute to their half-century legacy, this brand new show will give audiences a unique opportunity to experience and celebrate their iconic partnership for one last time in an arena spectacular.
See them in action as they reflect on their illustrious career, writing the final chapter in what has been a truly remarkable story in British sport.
For The O2's full terms and conditions relating to Ticket sales and admission, please click HERE
For this show, you’ll need to display your ticket on your phone via The O2 or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
If you have bought tickets for this show, then AXS Official Resale is the only legitimate place to re-sell your tickets. Please note: If you purchase resale tickets for this show through any website other than the venue website or axs.com, your tickets may not be valid and access to the venue could be refused.
Tickets are available to Virgin Media & O2 customers via https://priority.o2.co.uk/ from 10am on Wednesday 31 January and go on general sale at 10am on Friday 2 February via AXS.com.
For the past decade, Jungle’s masterful instrumentation and signature nu-disco electronic funk has continued to push the boundaries of their sound, creating an uplifting and free-spirited album, solidifying the group’s status as one of the most important voices in contemporary music. Their infectious blend of nostalgia-groove-infused tracks are always guaranteed to be accompanied by fiery visuals, that pair perfectly with their unparalleled creativity that will be front and centre in the grandiose arena setting.
The upcoming headline show promises to be a special evening, building on the extended live band that has made them firm festival favourites.
For The O2's full terms and conditions relating to Ticket sales and admission, please click HERE
For this show, you’ll need to display your ticket on your phone via The O2 or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
AXS Official Resale is the only legitimate place to re-sell your tickets if you have purchased tickets through AXS.com. Tickets sold on unauthorised platforms will not be valid.
Jeff Wayne's Musical Version of The War of The Worlds is back with a monumental a headline show at The O2, taking place on Sunday 20 April 2024.
Priority Tickets are available to O2 and Virgin Media customers at https://priority.o2.co.uk/ from 10am Wednesday 6 December and go on general sale at 10am on Friday 8 December via AXS.com.
The tour will again feature an exciting new cast to be announced over the coming months.
One of the most trailblazing arena tours of all time, Jeff Wayne’s Musical Version of The War of The Worlds (TWOTW) returns with a musical spectacular like none other, with the production remaining a favourite to millions around the world, exciting audiences of all ages.
In 2006, TWOTW was already considered a cutting-edge production with six trucks filled to the brim. By 2025, marking 19 years of live touring, the production will be up to 12 trucks, with a host of new ingredients and special effects to challenge and excite the senses.
Further details to be announced over the coming months. Jeff Wayne’s Musical Version of The War of The Worlds –a musical experience not to be missed.
Jeff Wayne’s Musical Version of
THE WAR OF THE WORLDS
Based upon the classic science fiction story by HG Wells
Adapted by Doreen Wayne
Composed, arranged, conducted and produced by
Jeff Wayne
Lyrics by
Gary Osborne (‘Thunder Child’, ‘The Spirit of Man’, and ‘Brave New World’
For The O2's full terms and conditions relating to Ticket sales and admission, please click HERE
For this show, you’ll need to display your ticket on your phone via The O2 or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
AXS Official Resale is the only legitimate place to re-sell your tickets if you have purchased tickets through AXS.com. Tickets sold on unauthorised platforms will not be valid.
Jeff Wayne's Musical Version of The War of The Worlds is back with a monumental a headline show at The O2, taking place on Sunday 20 April 2024.
Priority Tickets are available to O2 and Virgin Media customers at https://priority.o2.co.uk/ from 10am Wednesday 6 December and go on general sale at 10am on Friday 8 December via AXS.com.
The tour will again feature an exciting new cast to be announced over the coming months.
One of the most trailblazing arena tours of all time, Jeff Wayne’s Musical Version of The War of The Worlds (TWOTW) returns with a musical spectacular like none other, with the production remaining a favourite to millions around the world, exciting audiences of all ages.
In 2006, TWOTW was already considered a cutting-edge production with six trucks filled to the brim. By 2025, marking 19 years of live touring, the production will be up to 12 trucks, with a host of new ingredients and special effects to challenge and excite the senses.
Further details to be announced over the coming months. Jeff Wayne’s Musical Version of The War of The Worlds –a musical experience not to be missed.
Jeff Wayne’s Musical Version of
THE WAR OF THE WORLDS
Based upon the classic science fiction story by HG Wells
Adapted by Doreen Wayne
Composed, arranged, conducted and produced by
Jeff Wayne
Lyrics by
Gary Osborne (‘Thunder Child’, ‘The Spirit of Man’, and ‘Brave New World’
Folkoperan
Välkommen till Södermalms mest högljudda granne sedan 1976. Hos oss får publiken uppleva en särskild intimitet och konstnärlig nerv. Vi drivs av lusten att utveckla operakonsten, genom kärleken till musiken och berättelser som är relevanta i vår tid.
Kristianstad Arena är en inomhusarena i Kristianstad. Arenan har byggts intill befintliga Kristianstad Idrottshall och Kristianstads järnvägsmuseum på Söder i Kristianstad.
Arenan är en multiarena för idrott, mässor och konserter. Publikkapaciteten i Kristianstad Arena är 4 700 personer vid match och 5 000 personer vid konsert.
Läs mer om Skyview
https://stockholmlive.com/skyview/
FAQ och kontakt
https://stockholmlive.com/faq/#faq-kontakt
SkyView är attraktionen som tar dig upp längs utsidan av Avicii Arena via två specialdesignade glasgondoler. Här får du en panoramautsikt över hela Stockholm på 85 meters höjd.
https://stockholmlive.com/skyview/
Här kan du köpa biljetter till samtliga matcher som är släppta. Om en match inte ligger i listan över matcher så innebär det att biljetter till just den matchen inte är till försäljningen än utan att du får återkomma när biljetterna släpps. Om det inte ligger några matcher alls till försäljning kan det innebära att det inte är säsong (off season) och att matcher kommer upp i anslutning till att varje säsong startar.
Här kan du köpa biljetter till samtliga matcher som är släppta. Om en match inte ligger i listan över matcher så innebär det att biljetter till just den matchen inte är till försäljningen än utan att du får återkomma när biljetterna släpps. Om det inte ligger några matcher alls till försäljning kan det innebära att det inte är säsong (off season) och att matcher kommer upp i anslutning till att varje säsong startar.
Här kan du köpa biljetter till samtliga matcher som är släppta. Om en match inte ligger i listan över matcher så innebär det att biljetter till just den matchen inte är till försäljningen än utan att du får återkomma när biljetterna släpps. Om det inte ligger några matcher alls till försäljning kan det innebära att det inte är säsong (off season) och att matcher kommer upp i anslutning till att varje säsong startar.
Här kan du köpa biljetter till samtliga matcher som är släppta. Om en match inte ligger i listan över matcher så innebär det att biljetter till just den matchen inte är till försäljningen än utan att du får återkomma när biljetterna släpps. Om det inte ligger några matcher alls till försäljning kan det innebära att det inte är säsong (off season) och att matcher kommer upp i anslutning till att varje säsong startar.
Här kan du köpa biljetter till samtliga matcher som är släppta. Om en match inte ligger i listan över matcher så innebär det att biljetter till just den matchen inte är till försäljningen än utan att du får återkomma när biljetterna släpps. Om det inte ligger några matcher alls till försäljning kan det innebära att det inte är säsong (off season) och att matcher kommer upp i anslutning till att varje säsong startar.
Här kan du köpa biljetter till samtliga matcher som är släppta. Om en match inte ligger i listan över matcher så innebär det att biljetter till just den matchen inte är till försäljningen än utan att du får återkomma när biljetterna släpps. Om det inte ligger några matcher alls till försäljning kan det innebära att det inte är säsong (off season) och att matcher kommer upp i anslutning till att varje säsong startar.
Här kan du köpa biljetter till samtliga matcher som är släppta. Om en match inte ligger i listan över matcher så innebär det att biljetter till just den matchen inte är till försäljningen än utan att du får återkomma när biljetterna släpps. Om det inte ligger några matcher alls till försäljning kan det innebära att det inte är säsong (off season) och att matcher kommer upp i anslutning till att varje säsong startar.
Gummifabriken är en mötesplats i Värnamo för tillväxt, där barn, unga och vuxna besökare skapar kreativa möten tillsammans.
Gummifabriken är en tillväxtmotor för hela regionen. En nod för kreativitet, inspiration, innovation, utveckling, kontakter och kunskap. Med coola lokaler, utbildningar och aktiviteter erbjuder vi platsen för inspirerande och utvecklande möten.
I Gummifabriken samverkar näringsliv, utbildning och kultur med en gemensam agenda för tillväxt. Här bedriver en väl avvägd blandning av offentliga och privata organisationer sin verksamhet, med fokus på kunskapsgenerering, innovation och upplevelser. Tillsammans erbjuder vi event, konferenser, mässor, föreläsningar, utbildningar och upplevelser utöver det vanliga.
Hos Entré Sundsvall finner man biljetter till de flesta av Sundsvalls evenemang såsom teater, konserter, sport, shower och föreläsningar
Här kan du köpa biljetter till samtliga matcher som är släppta. Om en match inte ligger i listan över matcher så innebär det att biljetter till just den matchen inte är till försäljningen än utan att du får återkomma när biljetterna släpps. Om det inte ligger några matcher alls till försäljning kan det innebära att det inte är säsong (off season) och att matcher kommer upp i anslutning till att varje säsong startar.
Hockeysektionen inom AIK startade 1921. Klubben har spelat SM-final vid tolv tillfällen och tagit sju SM-guld. Senaste guldet bärgades säsongen 1983/1984. AIK Hockey har spelat på Hovet sedan 1962.
För senaste nytt, besök aikhockey.se.
Glimmingehus är Nordens bäst bevarade medeltida borg. Den uppfördes som representativ bostad med starkt försvar åt den danske riddaren Jens Holgersen Ulfstand och hans fru Margareta Arvidsdotter från Sverige. Skåne tillhörde då Danmark.
I dag är Glimmingehus ett levande fornminne, ett spännande utflyktsmål och ett centrum för medeltidsintresserade.
Known for his explosive live shows and electrifying stage presence, COJO Music / Warner Music Nashville Platinum recording artist Cody Johnson has established a following of passionately loyal fans who regularly sell out shows across the country. MusicRow predicted Cody “just might be the future of real country music” as his career has skyrocketed with three celebrated albums, Human The Double Album, A Cody Johnson Christmas and Cody Johnson & The Rockin’ CJB Live, and an award-winning feature-length documentary “Dear Rodeo: The Cody Johnson Story.” He has 17 career RIAA certifications, a Pandora Billionaire Award and nearly 5 billion global streams after increasing his streams in both 2021 and 2022 by one million each year with a current career tally nearly 5 billion global streams.
His numerous industry honors include recognition as a CMT Artist of The Year, three CMT Music Awards wins, two CMA Awards and being named “Best New Country Artist” at the iHeart Music Awards. His television appearances have entertained fans on the Today Show, the Kelly Clarkson Show and the Tonight Show Starring Jimmy Fallon in addition to outstanding live tv performances at the iHeart Music Awards, the ACM Awards, CMA Awards, CMT Giants honoring Vince Gill, and the CMT Artist of the Year Special. Cody’s stellar 2023 CMT Music Awards performances included hit “Human” and featured him as a lead vocalist on a show-stopping all-star tribute to Lynyrd Skynyrd featuring a stacked lineup of music royalty including Cody, Billy Gibbons, Chuck Leavell, Paul Rodgers, Slash & Warren Haynes, alongside LeAnn Rimes and Wynonna Judd. This summer on the CMA Fest 2023 special Cody and Reba McEntire delivered a knock-out rendition of “Whoever’s in New England.”
Cody recently released “The Painter,” the first single from his third studio album due out November 3. The single launched with biggest radio add date of his career with 73 stations jumping to put the song on air.
Since the 2017 launch, the Main Company has toured regionally, nationally and internationally and commissioned the choreographic work of renowned artists. Its collaborative initiatives have included music ensembles, television, opera, art museums and public schools through a range of self-produced and institutionally presented performances. Prioritizing intergenerational learning and exchange, SCDT’s seven core programs utilize the art of dance to reframe trauma narratives through creative storytelling and replace dominant cultural narratives with community narratives. These creative initiatives include the Main Company and Emerging Artist Program, the Choreographic Fellowship, the School, the Education and Community Programs, the South Chicago Arts Administration Fellowship, the annual South Chicago Dance Festival, and the Choreographic Diplomacy ™ Program. The art of dance empowers our community to resist oppression and foster collective healing.
Recent recognition includes receiving a three-year award from the Mellon Foundation and the International Association of Blacks in Dance (2021), participating in the Allies For Community Business Neighborhood Entrepreneurship Lab for minority owned businesses on the city’ south and west sides (2022), receiving the African American Arts Alliance Black Excellence award for “Dance Company” (2021), support from the Princess Grace USA foundation (2021) and receiving the Chicago DCASE Foster Innovation Award (2021). SCDT’s Executive Artistic Director Kia S. Smith was also recently honored with a 3Arts Make A Wave Award (2021), a Chicago Dancemakers Forum Lab Artist Award (2022) and a Choreographic Fellow at the renowned Jacob’s Pillow (2021). The Chicago Tribune lauded SCDT as ``the next big thing to hit Chicago's dance scene`` and one of the best of dance for 2022. Kia S. Smith was recently named a Rising Star in 2023 by Chicago Magazine and Player of the Moment in the category of Dance for New City Magazine's annual 50 Players List in 2023.
For The O2's full terms and conditions relating to Ticket sales and admission, please click HERE
For this show, you’ll need to display your ticket on your phone via The O2 or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
If you have bought tickets for this show, then AXS Official Resale is the only legitimate place to re-sell your tickets. Please note: If you purchase resale tickets for this show through any website other than the venue website or axs.com, your tickets may not be valid and access to the venue could be refused.
Resale T&C’s:
- This event is for fans only and these special conditions are in place to ensure that tickets are purchased for personal use only and are not resold for profit and/or through unauthorised resale sites.
- A strict limit of 8 tickets per person (and per household) per event applies. Any tickets purchased over this limit may be cancelled and invalidated.
- Tickets must not be purchased with the intention of reselling them for commercial purposes and/or profit.
- Only genuine mobile tickets will be accepted for entry (we’ll give you full instructions on how to access your mobile tickets after you book). If you purchased more than one ticket and ticket transfer is unavailable, your guests must be with you at time of entry. Print outs and/or screenshots of mobile tickets will not be accepted for entry.
- If you can no longer use your tickets and are not eligible for an exchange or refund, you may resell them through [insert name of primary agent official resale platform, e.g. the Ticketmaster Fan to Fan Exchange].
- You may not resell or offer to resell tickets for this event through any unauthorised resale site such as Viagogo or Stubhub, or for commercial purposes and/or profit. For a list of authorised resale sites please visit the Event page on www.livenation.co.uk
- Any tickets purchased, resold or offered for resale in breach of these special conditions may be cancelled and invalidated.
- In the event of any inconsistency between these special conditions and any other applicable terms and conditions, these special conditions will apply.
For The O2's full terms and conditions relating to Ticket sales and admission, please click HERE
For this show, you’ll need to display your ticket on your phone via The O2 or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
If you have bought tickets for this show, then AXS Official Resale is the only legitimate place to re-sell your tickets. Please note: If you purchase resale tickets for this show through any website other than the venue website or axs.com, your tickets may not be valid and access to the venue could be refused.
Resale T&C’s:
- This event is for fans only and these special conditions are in place to ensure that tickets are purchased for personal use only and are not resold for profit and/or through unauthorised resale sites.
- A strict limit of 8 tickets per person (and per household) per event applies. Any tickets purchased over this limit may be cancelled and invalidated.
- Tickets must not be purchased with the intention of reselling them for commercial purposes and/or profit.
- Only genuine mobile tickets will be accepted for entry (we’ll give you full instructions on how to access your mobile tickets after you book). If you purchased more than one ticket and ticket transfer is unavailable, your guests must be with you at time of entry. Print outs and/or screenshots of mobile tickets will not be accepted for entry.
- If you can no longer use your tickets and are not eligible for an exchange or refund, you may resell them through [insert name of primary agent official resale platform, e.g. the Ticketmaster Fan to Fan Exchange].
- You may not resell or offer to resell tickets for this event through any unauthorised resale site such as Viagogo or Stubhub, or for commercial purposes and/or profit. For a list of authorised resale sites please visit the Event page on www.livenation.co.uk
- Any tickets purchased, resold or offered for resale in breach of these special conditions may be cancelled and invalidated.
- In the event of any inconsistency between these special conditions and any other applicable terms and conditions, these special conditions will apply.
FAQ
What’s the concert running time?
The run time is 100 minutes without an interval – so you can enjoy as much singing and dancing as possible.
Will ABBA be at the concert?
The concert has been carefully planned by all 4 members of ABBA. Although not physically in the Arena, they have created the kind of concert they always wanted – blurring the lines between the real and the digital to give you the best version of themselves.
Are there any age restrictions?
Although anyone can enjoy the music of ABBA, we recommend this event is suitable to those 6 years old and up. Unfortunately, children under 3 will not be allowed into the venue, those 16 or under must be accompanied by an adult and may not sit in the arena on their own. The General Admission area is not recommended for anyone younger than 16.
Does the concert use flashing lights or images?
The concert involves the use of extensive flashing lights, kinetic lighting, lasers and strobing light effects.
Where is the ABBA Arena?
You can find the ABBA Arena in London at Queen Elizabeth Olympic Park. The closest station is Pudding Mill Lane on the DLR. However, you can also alight at Stratford station and enjoy the walk through the Olympic Park.
Is there any car parking?
The only Arena parking available is 10 blue badge spaces that need to be booked in advance. We strongly encourage travel via public transport or bicycle as parking options at Stratford and Westfield are available but are not controlled by us.
ABBA Voyage is the long-awaited concert from one of the biggest pop acts of all time. Featuring a setlist of hit songs, see ABBA’s avatars accompanied by a 10-piece live band, at the custom-built ABBA Arena in London.
Blurring the lines between the physical and digital, see the magic of ABBA brought to life using the latest in motion capture technology.
It’s the greatest ABBA performance the world has never seen. Until now.
Since going viral in 2016 thanks to appearances on Good Morning America and Buzzfeed, the company has amassed over a billion views on YouTube, starred in a feature documentary, made a cameo in Shawn Mendes’ “Youth” music video, and performed across the world. The Hiplet Ballerinas are also often found in high-fashion campaigns from the runways of Paris Fashion Week to ads for Desigual and Swarovski Crystal.
Their premiere tour will support the Chicago Multicultural Dance Center and the scholarships the studio provides.
Start times: Wednesday and Saturday matinees 14:30, Sunday matinee 15:00, evenings 19:30. Timings can vary, please check booking confirmation for exact details.
‘The Punishment of Luxury’ is the new album by Orchestral Manoeuvres in the Dark (OMD), the pioneering synth-pop group – founded almost 40 years ago by two teenage Kraftwerk fans from the Wirral – whose early albums ‘Architecture and Morality’ (1981) and ‘Dazzle Ships’ (1983) would shape the dominant sound of that decade. Alongside the Human League and Gary Numan, OMD mapped out the musical landscape of the time and helped to mint this new genre with hits such as ‘Enola Gay’, ‘Electricity’ and ‘Souvenir’.
Signed first to Factory Records and then snapped up by Virgin, the duality inherent in OMD was plain to see from the start, as Peter Saville’s minimalist artwork belied the warmth of Andy McCluskey and Paul Humphreys’ timeless songwriting. Described by The Quietus as “not just one of the best synth bands ever – they are one of the best bands ever”, OMD’s influence has become ubiquitous. The xx, the Killers and LCD Soundsystem’s James Murphy have cited OMD as an inspiration, and the likes of Future Islands and Chvrches show traces of OMD’s DNA.
Now they return with their thirteenth album ‘The Punishment of Luxury’, a daring collection of stylish synth-pop and masterful song craft that sees OMD edge out of their comfort zone without compromising their integrity. “It’s almost like we’ve gone back to being teenagers after all these years,” says Andy. “We just do whatever we want and there’s no record company to tell us what we can or can’t do.”
The album was recorded in their respective studios in Merseyside (Andy) and London (Paul) with the final mixes handled by both at Paul’s. In the past their songs were fuelled by naïvety and excitement, this time the mood is reflective and sanguine, yet the youthful energy that courses through OMD remains the same. ‘On this album we have managed to make beautiful things out of noises and repetitive patterns’, explains Andy. ‘The trouble is, we just cant help but write a catchy melody!’
The album takes its name from an 1891 painting by the Italian divisionist Giovanni Segantini that hangs in the Walker Art Gallery in Liverpool, where it caught Andy’s eye. Divisionism is a technique of painting similar to pointillism, and Segantini’s painting, ‘The Punishment of Luxury’, depicts two women, condemned for having ideas “above their station”, floating in a limbo of purgatory in an Alpine landscape.
“We appropriated the title for something else,” explains Andy. “In a nutshell: most people in the western world are now materially better off than their predecessors ever were and yet we are unhappier because we have replaced the imagined order of religion and royal decree with the imagined order of marketing and commercial propaganda. So everybody thinks they need more stuff and now we have loads of things that we don’t need because we’ve been persuaded we do. Everybody is miserably unhappy and that is the punishment of luxury.”
The band were thrown off-balance in July 2013 when long-time drummer Malcolm Holmes suffered a serious heart attack onstage at a sweltering concert in Toronto on the ‘English Electric’ tour. “We struggled initially to start writing ‘The Punishment of Luxury’ album because we were in shock after Malcolm nearly died,” says Andy. “We didn’t want to play live as we wanted to give him 12 months, just to see how he was, and also we felt shocked and up in the air. It took us a year to get our engine started.” Malcolm, who joined OMD in 1980, is in good spirits today but can no longer drum under doctor’s orders. His replacement is Stuart Kershaw who has now been playing live with the band for the last year, and has previously co-written several OMD tracks, most notably Sailing on the Seven Seas.
Two special shows at the Museum of Liverpool in November 2014 pulled ‘Punishment…’ – and the band – into focus. At the event, Paul, Andy and keyboardist Martin Cooper performed songs from their experimental high-water mark ‘Dazzle Ships’ and lesser-known tracks from the OMD catalogue, using drum programs in place of Malcolm. Listening to the ‘Dazzle Ships’ material, the band found themselves reconnecting with it, reappraising what they’d set out to achieve in 1983. “Hearing what we’d done on ‘Dazzle Ships’ made us more determined to do weird and glitchy things – it got us enthused,” says Andy. “We shackled ourselves after that record, thinking we’d gone too far.” Perhaps they hadn’t gone far enough.
It was in this spirit of adventure and discovery that ‘Punishment…’ was forged. Having delivered a vintage OMD album with ‘English Electric’, their best since, well, ‘Dazzle Ships’, Andy and Paul found they could take more risks in the studio and see where the software and endless banks of synthetic sounds would take them. As they see it, their comeback album, ‘History of Modern’ (2010), for all its flaws, wiped the slate clean and allowed them to effectively reboot OMD as a credible proposition. Andy describes ‘History of Modern’ as their John the Baptist record, one that spoke of the next coming: “It was a collection of ideas and had a rock palette but we specifically wanted to be more electronic.”
OMD have always been techno-futurists but rarely have they sounded so brutally electronic as they do on ‘Punishment…’, as they pair gnarly electro rhythms with characteristically serene melodies on the opening title track, and slide Andy’s blue-eyed soul ballads ‘One More Time’ and ‘The View From Here’ into sleek new digital frames. Next to the imperial Kraftwerkian rush of ‘Isotype’, one detects traces of Arpanet or Dopplereffekt in the pristine glide of ‘Kiss Kiss Kiss Bang Bang Bang’, while the striking ‘As We Open, So We Close’ welds glitch-scoured beats to a McCluskey croon.
In common with ‘English Electric’, this album explores several themes but the prevailing mood is one of wistful nostalgia and idealised romance, of what might have been in both society at large and in more intimate relationships. Paul’s tender ‘What Have We Done’ examines the final stages of a long relationship. Andy muses on 20thcentury modernism on ‘Kiss Kiss Kiss Bang Bang Bang’ – “Mao Tse-tung and Uncle Sam, sold the world, bought the car, this time you’ve gone too far”, he sneers – and sings of the international picture language on ‘Isotype’, a now-archaic system devised in the 1930s that, he argues, has resonance today. “I like the idea of reducing information down to typographic images. But when we use emojis, we’re going backwards in our ability to communicate with each other.”
For ‘La Mitrailleuse’, another track named after a painting, this time one from 1915 of First World War machine-gunners by the British Futurist Christopher Nevinson that Andy came across in the Imperial War Museum, they patch together a military rhythm from cannon fire and rifle shots while Andy whispers: “Bend your body to the will of the machine.” This is accompanied by a haunting clip in which Nevinson’s soldiers are animated by regular collaborator Henning M Lederer. A second collage, ‘Precision & Decay’, tells a story in fragments of Detroit’s decline from industrial powerhouse to modern-day ghost town – “from luxury to landfill” – as Andy and Paul salute the city that’s given them so much pleasure in Motown and techno.
“We did feel like we were doing something that was changing the world,” says Andy of those early days when OMD would shock TV audiences with their weird new-wave on Top of the Pops. Their vision of utopia never quite materialised, of course, but with ‘The Punishment of Luxury’, OMD continue to enrich our lives.
Age restriction
This production is not suitable for children under 12.In a time when the world is changing forever, there is one place where everyone can be free…
Welcome to the Kit Kat Club. Home to an intimate and electrifying new production of CABARET. This is Berlin. Relax. Loosen up. Be yourself.
One of the most successful musicals of all time, this new West End production features the songs Wilkommen, Don’t Tell Mama, Mein Herr, Maybe This Time, Money and the title number Cabaret – with Berlin’s famous Kit Kat Club brought to life through the transformation of London’s Playhouse Theatre.
CABARET AT THE KIT KAT CLUB has music by John Kander, lyrics by Fred Ebb and a book by Joe Masteroff – based on the play by John Van Druten and stories by Christopher Isherwood.
Child policy: Children under 5 will not be admitted.
Running time: 3 hours (inc. interval)
Performance dates: 21 March 2018 - 20 October 2018
Recommended for ages 14 and above.
Special notice: The show contains strobe lighting, loud music, gun shots, haze and scenes that some customers may find uncomfortable. Please note, Tina Turner will not be appearing in this production.
Collaborating on this world premier are writer Katori Hall, with Frank Ketelaar and Kees Prins, director Phyllida Lloyd, set and costume designer Mark Thompson, choreography Anthony van Laast and musical supervisor Nicholas Skilbeck. Adrienne Warren is set to play Tina Turner.
Tina Turner said: “We have been working on the musical for over a year now and today I am delighted to be able to share our news as we begin the next chapter of our journey. It has been wonderful to collaborate with Katori and Phyllida and to have my story nurtured by such an amazing creative team is thrilling. London has always had a very special place in my heart and it’s wonderful to be back.”
As the project develops, further details about the production will be announced.
Any orders violating this limit may be canceled without notice.
Andy McCluskey is pushed to pick his highlights from the 40 years of Orchestral Manoeuvres In The Dark (OMD): there have been so many. There’s the time he first held their debut single, Electricity, on Factory Records. There was the first of their staggering 29 Top Of The Pops appearances, when the Wirral electronic giants-to-be were initially so surprised to find themselves on the telly alongside Elton John and Bonnie Langford he mouthed “What are we doing here?!” at synth-playing OMD partner Paul Humphreys. Then there was signing his ever autograph at Liverpool Eric’s; being paid by the venue for the first time (with half a crate of beer), or standing on stage at the Rewind festival in 2018 with “35,000 people going wild”.
Meanwhile, Paul whittles his highpoints down to two most significant achievements: meeting Tony Wilson, who told them he wanted to put out a record, and “every gig now, because it’s such a thrill that we’re still doing it”. However, the pair would be more than entitled to add their triumphant gigs with the Royal Liverpool Philharmonic Orchestra, the Liverpool’s British Music Experience exhibition dedicated to their impressive legacy as well as their 2019 sell-out UK tour.
Four decades has seen – give or take a decade break - Orchestral Manoeuvres In The Dark sell an astonishing 25 million singles and 15 million albums, establishing them as electronic synthesiser pioneers and one of Britain’s best-loved pop groups. Their 13 long players include benchmark-raising classics Orchestral Manoeuvres In The Dark (1980), Organisation (1980), Architecture & Morality (1981) and Dazzle Ships (1983). Three more since their reactivation 12 years ago have culminated in 2017’s The Punishment Of Luxury, which was hailed by fans and critics alike as a return to the shimmering brilliance of classic early singles such as nuclear lament Enola Gay and the plangent Souvenir. Their incredible career and 40th anniversary was celebrated last year with the release of a momentous anniversary box-set and critically-acclaimed world tour.
OMD always had a sense of semi-classical grandeur, and the nuances of their music demonstrate how, for all their hits, they have simultaneously remained uncompromising and innovative over successive decades. Once upon a time, Factory boss Wilson told the two teenage Kraftwerk fans, “You are the future of pop music”, and indeed sounds and production techniques which OMD were using way back in 1980 have become part of the fabric of how today’s pop is made.
But while OMD can rightly take their place in the lineage of electronic pop pioneers that stretches from Kraftwerk to Gary Numan, from the Human League to, much later Underworld and Orbital – and a key influence on current acts from the xx to Chvrches - there was always a warmth and wistful emotional quality to their songs that has consistently made them different.
P.T.O
As Paul Humphreys explains, “There’s a certain melancholy beauty and romance about the west Wirral where we grew up, staring out at the estuary and the birds. The title Architecture and Morality was about us. The Architecture was the brutal structure of the electronics and the Morality was the emotion and the beauty. We’ve always wanted to bring humanity to our electronic music.”
Perhaps none of this would have happened had the young McCluskey not heard Kraftwerk’s Autobahn On Radio One, and gone to see the German electronic Godfathers at the Liverpool Empire, sitting in seat Q36. This being 1975, the future pop star was clad in the slightly prog rocky fashions of the time: trench coat, loon pants, with a giant afro. “Then these guys walked out in suits and ties and I thought, ‘Oh my God.’ Nobody looked like that. No long hair. They were the antithesis of a rock band. They were melodic and musical but everything about them was not conforming.” The youngster was entranced.
Andy and young pal Paul penned future classic songs Electricity and Julia’s song in Wirral five-piece The Id, a band with a guitarist and drummer, but when other members left, they seized their chance to become a two-piece. The pioneering electronic pop group of their dreams consisted of Andy (vocals, bass), Paul (synths) on bass and “Winston” (a reel-to-reel tape machine, instead of a drummer.)
Their first gig – in October, 1978, supporting a comedian at Eric’s - was actually a dare, after Andy bravely knocked on the door and asked if they could play. Given four hours to come up with a name for the poster, they racked their list of potential song titles and wisely chose Orchestral Manouevres In The Dark instead of Margaret Thatcher’s Afterbirth.
A reciprocal arrangement between Eric’s and the Factory club in Manchester meant that OMD played the club associated with the label home of Joy Division and Andy handed Tony Wilson a cassette of songs. Initially, the Factory boss was unimpressed, but wife Lindsay kept playing Electricity in the car, pleading, “This is the sort of thing you should be signing.” Andy chuckles: “So he went from saying ‘Oh yeah, bunch of long-haired Scousers’ to ‘You are the future of pop’!”
To be fair, at this point OMD they didn’t look like future anything. Andy had taken to wearing a dinner jacket and braces and Paul sported loon pants and a moustache. Fatefully again, Factory designer Peter Saville (whose iconic sleeves would house their classic early albums) informed the pair, ‘Your music is the future but you look like the past. You’ve got to change your image and get your hair cut.” OMD complied, adopting a look – Kraftwerk-meets-suburban bank clerks – that was anti-fashion more than fashionable. As Andy puts it: “We wanted the focus to be on the music.”
So it proved. OMD saw themselves as an conceptual art project, Wilson heard a pop group. Almost by accident, the pair realised they had an uncanny knack of writing pop tunes. Andy suspects that a childhood spent watching T. Rex and Slade on Top Of The Pops had left an imprint.
P.T.O
“But we’ve always wanted to sugar coat our experiments to give people a reason to return to them,” observes Paul, noting the ingredient that made their music timeless.
After signing to Virgin subsidiary Dindisc, for the first half of the Eighties, OMD were barely out of the charts, as songs such as Joan Of Arc and Maid Of Orleans led to a period where McCluskey’s awkward but weirdly hypnotically twitchy dancing became a Top Of The Pops fixture. As Andy puts it, “We took alternative music into the front rooms of every house in Britain”. 1983’s Dazzle Ships - a leftfield shift but also a Top 5 album featuring hit singles Telegraph and Genetic Engineering – is now regarded as an experimental classic, and constant tours led to them becoming a quartet and compelling live act (retiring Winston, who now takes his place in history alongside other OMD artefacts in the Museum of Liverpool).
But by the end of the decade, though, OMD were tired, running dry on inspiration, “broken” by endless touring in America and – owing to a bad record deal signed when they were young – a million pounds in debt to the record label despite selling multi-millions of records. Andy vividly remembers the accountant telling them, “Lads, you’re skint.”
Paul plunged himself into other projects, such as working with Propaganda singer Claudia Brücken. Andy made Sugar Tax (1991) as a solo OMD, although Paul contributed to the singles Everyday (on 1993’s Liberator) and two tracks on 1996’s Universal. That album’s Walking On The Milky Way, as fine a song as Andy has ever written, returned the OMD name to the Top 20 singles chart for the first time in five years. But as the 90s were dominated by grunge and Britpop, Paul remembers thinking, “All of a sudden, electronic music wasn’t the future, it was the past”. In a dramatic change of direction Andy created and wrote for girl group Atomic Kitten whose single Whole Again gave him his first British number one and 30th Top Of The Pops.
Then, in 2006, came another quirk of fate. A TV show in Germany – where Maid Of Orleans is one of the biggest-selling singles ever – asked them to perform it. “And all these fans came to meet us at the hotel,” Andy remembers. “We thought, ‘This is weird. People are still interested. In the bar on the second night I said, ‘Someone’s paid for us to come here. We’re in this swish hotel drinking beer. Do you fancy doing this again? And we did.”
They’ve barely looked back since. Despite initially reforming to play old material, that was never going to be enough for such a forward-looking band. History Of Modern (2010), English Electric (2013) and especially The Punishment Of Luxury (2017) have reignited their creativity and contemporary place in pop. “We were on a roll when we were making that album,” Paul says of the latter. “You can hear our joy in the music.” 2018 saw the re-release of the first four classic albums on heavyweight 180g vinyl, whilst 2019 saw the release of their 40th anniversary ‘Souvenir’ box set and greatest hits collection.
P.T.O
In today’s OMD, Stuart Kershaw (who has worked with the band in various capacities since 1991) replaces long-time drummer Malcolm Holmes, alongside keyboardist/saxophonist Martin Cooper, but throughout their 40 years of OMD, founders Andy and Paul have retained and rekindled the friendship that blossomed as teenagers, and the inspiration that strikes when they’re together.
“Electronic music is our language,” Andy says. “It’s how we talk.”
“We’re at our best when we’re in a room together, working,” Paul adds. “That’s when the sparks and ideas happen. It’s the same now as it ever was.” Here’s to another 40 years.
"There are hints that his eyes are set firmly on arenas that are as big as his mouth of his” – Metro
'Relentlessly smiley, perpetually grinning Londoner whose unshowy, unpretentious but thoroughly funny shtick has every chance of winning him a big audience…’ – Guardian
"Lights up the stage with his magnetic personality (not to mention the dazzle from his teeth)" - Mail on Sunday
Over the past four decades — give or take a decade break — the illustrious and critically acclaimed Orchestral Manoeuvres In The Dark (OMD) have sold over 40 million records worldwide, establishing them as electronic synthesiser pioneers and one of Britain’s best-loved pop groups. Their 13 long players include benchmark-raising classics Orchestral Manoeuvres In The Dark (1980), Organisation (1980), Architecture & Morality (1981), and Dazzle Ships (1983). OMD conquered the United States, and yielded the 1986 hit, "If You Leave" from the Pretty In Pink Soundtrack. They have also achieved 12 top 20 hits on the UK Singles Chart, as well as three top 20 hits on the US Billboard Hot 100.
Following the recent celebration of their 40th anniversary, OMD returned last year with their first new studio album since 2017's highly praised The Punishment Of Luxury, a record entitled Bauhaus Staircase (released via White Noise through The Orchard). The record is regarded as OMD's most explicitly political record and the crowning achievement of their desire to be both Stockhausen and Abba - born from the impetus to kickstart new explorations during lockdown when, as Andy McCluskey admits: "I rediscovered the creative power of total boredom."
Predominantly written, recorded, and mixed by both McCluskey and Paul Humphreys (who has recently become a second-time father), Bauhaus Staircase’s other main external influence was David Watts, mainly known as a rock producer who helmed Sheffield band The Reytons’ recent No 1 album and mixed two tracks on the new OMD record. With Bauhaus Staircase, OMD have created a landmark album worthy of their finest work, showing a duo who are still perfectly in sync 45 years after their first gig at legendary Liverpool club Eric’s. "I’m very happy with what we’ve done on this record," McCluskey summarizes. "I’m comfortable if this is OMD’s last statement."
In celebration of their new LP, OMD have also returned to the stage, headlining North America in the Fall of 2024.
"We are so excited to be able to tour again with a brand new album to showcase,” says Andy McCluskey. “It's been six years since we learned new songs for live performances. The songs from Bauhaus Staircase will fit beautifully into our setlist - we just have to choose which five to play, as we have to treat people to the hits as well!"
Blue Jeans Management Proudly Presents RHOD GILBERT & THE GIANT GRAPEFRUIT
When life gives Rhod lemons… In his last show ‘The Book of John’, Rhod was dealing with some pretty pungent life citrus, and an idiot called John. Little did he know that things were about to turn even more sour…
But Rhod’s not bitter; he’s bouncing back and feeling remarkably zesty. Hilariously dark, passionate and way too personal, this is classic Gilbert, squeezing every last drop out of life’s latest curveballs...with a little help from an old adversary.
“DARKLY HILARIOUS. IT’S GOOD TO HAVE HIM BACK” Times
“HILARIOUS TOUR-DE-FORCE” Telegraph
“VOLCANIC, HIGH-OCTANE HUMOUR. UPROARIOUSLY FUNNY” Guardian
“WITHOUT DOUBT ONE OF THE BEST COMEDIANS ANYWHERE IN THE WORLD” Time Out
Please note, this is a standing event. Disabled access tickets are available on a first come, first served basis via AXS ONLY. Other than these areas there is no seating available for this event.
AGE RESTRICTION: 18+ (ID Required)
The event organisers have been in touch to let us know that unfortunately Scooter at Dreamland on 6 September needs to be rescheduled due to unforeseen issues.
The event has been rescheduled and will now take place on 13 June 2025 date. Please hang on to your tickets as they're valid for the new date.
På grund av oförutsedda omständigheter så flyttas Gabriel “Fluffy” Iglesias Europaturné till 14 juni 2025
Max 10 biljetter per person
Åldersgräns 13 år
Dina biljetter levereras till Stockholm Live-appen. Ladda ner appen för att hämta dina biljetter och för en smidig och säker inscanning vid entrén.
För frågor om appen eller evenemanget - gå till stockholmlive.com
Detaljerad evenemangsinformation och hålltider publiceras på respektive evenemangssida på www.stockholmlive.com några dagar innan evenemanget. Samtidigt mailas ett välkomstbrev med information ut till besökare som vid biljettköp angett sin mailadress.
Gabriel “Fluffy” Iglesias is one of the world’s most successful stand-up comedians. He recently became the second highest grossing touring comedian and is one of the most watched comedians on YouTube with over 1.1 billion views and over 25 million fans on social media.
Iglesias has been included in The Hollywood Reporter’s “Top 40 Comedy Players” issue alongside comedy giants Jerry Seinfeld, Chris Rock and Lorne Michaels. Last year he also was honored with the cover of Variety’s comedy issue. The comedian has had the distinct honor of being one of the few to headline and sell-out Madison Square Garden in New York, Crypto.com Arena in Los Angeles and The Sydney Opera House in Australia.
On TV, Iglesias is the star and executive producer of the Netflix original comedy series, Mr. Iglesias, which is currently streaming 3 seasons. Iglesias plays a good-natured public high school teacher who works at his alma mater. He takes on teaching gifted but misfit kids to not only save them from being “counseled out” by a bully bureaucrat Assistant Principal, but also to help them unlock their full potential. In 2020, the show won best Primetime Comedy at The Imagen Awards, which recognizes positive portrayals of Latinx actors/actresses in the entertainment industry.
In addition to his comedy series, Iglesias penned a deal with Netflix to release two stand-up comedy specials. The first, titled One Show Fits All, was filmed in front of a sold-out audience at the Toyota Center in Houston and debuted in January 2019. The second, Stadium Fluffy premiered on October 18th and was taped in front of a crowd of 55,000 fans at Dodger Stadium in Los Angeles, where Iglesias made history as the first comedian to perform at and sellout the largest MLB stadium in the US.
Both of these specials are follow-ups to his highly successful 2016 special, I’m Sorry For What I Said When I Was Hungry, which was filmed at the Allstate Arena in Chicago to two sold-out shows with a total of 20,000 fans in attendance.
Up next, Iglesias will co-star Tim Allen in the second season of Disney+’s The Santa Clauses. Iglesias will play Kris Kringle, the owner and operator of a Christmas-themed amusement park called Santaland. Sweet, happy, and perpetually-optimistic, Kris is a warm, generous soul who is determined to keep his struggling theme park afloat. However, his belief in Santa and love for all things Christmas may not be enough.
Feature film credits include co-starring roles in Magic Mike, Magic Mike XXL and A Haunted House 2. Gabriel’s voice has been heard in many animated films including the recent Space Jam: A New Legacy as “Speedy Gonzales” streaming on HBOMAX. In 2017, Iglesias voiced the role of “Head Clerk” in Pixar’s Academy Award nominated animated film Coco. He also voiced “Babo” in Ugly Dolls, “Rufus the Dog” in Sony’s Golden Globe nominated animated holiday film The Star and “Cuatro” in Fox 20th Century Film’s Academy Award nominated animated film Ferdinand. Gabriel is one of a handful of comedians with a theatrically released stand-up concert comedy film, TheFluffy Movie.
On the small screen, Fluffy’s Food Adventures, a non-scripted comedic docu-follow series completed a 3-season run on FUSE TV in 2017. Gabriel was a recurring guest star on the ABC sitcom Cristela, and also guest-starred in an episode of ABC’s hit comedy Modern Family. Comedy Central aired Iglesias’ hit series Stand-Up Revolution for 3 seasons. Comedy Central also aired Gabriel Iglesias: Aloha Fluffy in an unprecedented two-night comedy special to over 15 million viewers. The special was a follow-up to his previous DVD specials, Hot & Fluffy and I’m Not Fat...I’m Fluffy, which have sold millions of copies.
Gabriel Iglesias is the youngest of six children, raised by a single mother in Long Beach, CA. It was during his childhood that he developed a strong sense of humor to deal with the obstacles he faced. In 1997, he set out to hone his comedic skills, and performed stand-up anywhere he could find an audience; including biker bars and hole-in-the-wall joints. Gabriel’s stand-up comedy is a mixture of storytelling, parodies, characters and sound effects that bring his personal experiences to life. His unique and animated comedy style has made him popular among fans of all ages.
Iglesias is repped by CAA, Arsonhouse Entertainment and Hirsch Wallerstein Hayum.
Andy McCluskey is pushed to pick his highlights from the 40 years of Orchestral Manoeuvres In The Dark (OMD): there have been so many. There’s the time he first held their debut single, Electricity, on Factory Records. There was the first of their staggering 29 Top Of The Pops appearances, when the Wirral electronic giants-to-be were initially so surprised to find themselves on the telly alongside Elton John and Bonnie Langford he mouthed “What are we doing here?!” at synth-playing OMD partner Paul Humphreys. Then there was signing his ever autograph at Liverpool Eric’s; being paid by the venue for the first time (with half a crate of beer), or standing on stage at the Rewind festival in 2018 with “35,000 people going wild”.
Meanwhile, Paul whittles his highpoints down to two most significant achievements: meeting Tony Wilson, who told them he wanted to put out a record, and “every gig now, because it’s such a thrill that we’re still doing it”. However, the pair would be more than entitled to add their triumphant gigs with the Royal Liverpool Philharmonic Orchestra, the Liverpool’s British Music Experience exhibition dedicated to their impressive legacy as well as their 2019 sell-out UK tour.
Four decades has seen – give or take a decade break - Orchestral Manoeuvres In The Dark sell an astonishing 25 million singles and 15 million albums, establishing them as electronic synthesiser pioneers and one of Britain’s best-loved pop groups. Their 13 long players include benchmark-raising classics Orchestral Manoeuvres In The Dark (1980), Organisation (1980), Architecture & Morality (1981) and Dazzle Ships (1983). Three more since their reactivation 12 years ago have culminated in 2017’s The Punishment Of Luxury, which was hailed by fans and critics alike as a return to the shimmering brilliance of classic early singles such as nuclear lament Enola Gay and the plangent Souvenir. Their incredible career and 40th anniversary was celebrated last year with the release of a momentous anniversary box-set and critically-acclaimed world tour.
OMD always had a sense of semi-classical grandeur, and the nuances of their music demonstrate how, for all their hits, they have simultaneously remained uncompromising and innovative over successive decades. Once upon a time, Factory boss Wilson told the two teenage Kraftwerk fans, “You are the future of pop music”, and indeed sounds and production techniques which OMD were using way back in 1980 have become part of the fabric of how today’s pop is made.
But while OMD can rightly take their place in the lineage of electronic pop pioneers that stretches from Kraftwerk to Gary Numan, from the Human League to, much later Underworld and Orbital – and a key influence on current acts from the xx to Chvrches - there was always a warmth and wistful emotional quality to their songs that has consistently made them different.
P.T.O
As Paul Humphreys explains, “There’s a certain melancholy beauty and romance about the west Wirral where we grew up, staring out at the estuary and the birds. The title Architecture and Morality was about us. The Architecture was the brutal structure of the electronics and the Morality was the emotion and the beauty. We’ve always wanted to bring humanity to our electronic music.”
Perhaps none of this would have happened had the young McCluskey not heard Kraftwerk’s Autobahn On Radio One, and gone to see the German electronic Godfathers at the Liverpool Empire, sitting in seat Q36. This being 1975, the future pop star was clad in the slightly prog rocky fashions of the time: trench coat, loon pants, with a giant afro. “Then these guys walked out in suits and ties and I thought, ‘Oh my God.’ Nobody looked like that. No long hair. They were the antithesis of a rock band. They were melodic and musical but everything about them was not conforming.” The youngster was entranced.
Andy and young pal Paul penned future classic songs Electricity and Julia’s song in Wirral five-piece The Id, a band with a guitarist and drummer, but when other members left, they seized their chance to become a two-piece. The pioneering electronic pop group of their dreams consisted of Andy (vocals, bass), Paul (synths) on bass and “Winston” (a reel-to-reel tape machine, instead of a drummer.)
Their first gig – in October, 1978, supporting a comedian at Eric’s - was actually a dare, after Andy bravely knocked on the door and asked if they could play. Given four hours to come up with a name for the poster, they racked their list of potential song titles and wisely chose Orchestral Manouevres In The Dark instead of Margaret Thatcher’s Afterbirth.
A reciprocal arrangement between Eric’s and the Factory club in Manchester meant that OMD played the club associated with the label home of Joy Division and Andy handed Tony Wilson a cassette of songs. Initially, the Factory boss was unimpressed, but wife Lindsay kept playing Electricity in the car, pleading, “This is the sort of thing you should be signing.” Andy chuckles: “So he went from saying ‘Oh yeah, bunch of long-haired Scousers’ to ‘You are the future of pop’!”
To be fair, at this point OMD they didn’t look like future anything. Andy had taken to wearing a dinner jacket and braces and Paul sported loon pants and a moustache. Fatefully again, Factory designer Peter Saville (whose iconic sleeves would house their classic early albums) informed the pair, ‘Your music is the future but you look like the past. You’ve got to change your image and get your hair cut.” OMD complied, adopting a look – Kraftwerk-meets-suburban bank clerks – that was anti-fashion more than fashionable. As Andy puts it: “We wanted the focus to be on the music.”
So it proved. OMD saw themselves as an conceptual art project, Wilson heard a pop group. Almost by accident, the pair realised they had an uncanny knack of writing pop tunes. Andy suspects that a childhood spent watching T. Rex and Slade on Top Of The Pops had left an imprint.
P.T.O
“But we’ve always wanted to sugar coat our experiments to give people a reason to return to them,” observes Paul, noting the ingredient that made their music timeless.
After signing to Virgin subsidiary Dindisc, for the first half of the Eighties, OMD were barely out of the charts, as songs such as Joan Of Arc and Maid Of Orleans led to a period where McCluskey’s awkward but weirdly hypnotically twitchy dancing became a Top Of The Pops fixture. As Andy puts it, “We took alternative music into the front rooms of every house in Britain”. 1983’s Dazzle Ships - a leftfield shift but also a Top 5 album featuring hit singles Telegraph and Genetic Engineering – is now regarded as an experimental classic, and constant tours led to them becoming a quartet and compelling live act (retiring Winston, who now takes his place in history alongside other OMD artefacts in the Museum of Liverpool).
But by the end of the decade, though, OMD were tired, running dry on inspiration, “broken” by endless touring in America and – owing to a bad record deal signed when they were young – a million pounds in debt to the record label despite selling multi-millions of records. Andy vividly remembers the accountant telling them, “Lads, you’re skint.”
Paul plunged himself into other projects, such as working with Propaganda singer Claudia Brücken. Andy made Sugar Tax (1991) as a solo OMD, although Paul contributed to the singles Everyday (on 1993’s Liberator) and two tracks on 1996’s Universal. That album’s Walking On The Milky Way, as fine a song as Andy has ever written, returned the OMD name to the Top 20 singles chart for the first time in five years. But as the 90s were dominated by grunge and Britpop, Paul remembers thinking, “All of a sudden, electronic music wasn’t the future, it was the past”. In a dramatic change of direction Andy created and wrote for girl group Atomic Kitten whose single Whole Again gave him his first British number one and 30th Top Of The Pops.
Then, in 2006, came another quirk of fate. A TV show in Germany – where Maid Of Orleans is one of the biggest-selling singles ever – asked them to perform it. “And all these fans came to meet us at the hotel,” Andy remembers. “We thought, ‘This is weird. People are still interested. In the bar on the second night I said, ‘Someone’s paid for us to come here. We’re in this swish hotel drinking beer. Do you fancy doing this again? And we did.”
They’ve barely looked back since. Despite initially reforming to play old material, that was never going to be enough for such a forward-looking band. History Of Modern (2010), English Electric (2013) and especially The Punishment Of Luxury (2017) have reignited their creativity and contemporary place in pop. “We were on a roll when we were making that album,” Paul says of the latter. “You can hear our joy in the music.” 2018 saw the re-release of the first four classic albums on heavyweight 180g vinyl, whilst 2019 saw the release of their 40th anniversary ‘Souvenir’ box set and greatest hits collection.
P.T.O
In today’s OMD, Stuart Kershaw (who has worked with the band in various capacities since 1991) replaces long-time drummer Malcolm Holmes, alongside keyboardist/saxophonist Martin Cooper, but throughout their 40 years of OMD, founders Andy and Paul have retained and rekindled the friendship that blossomed as teenagers, and the inspiration that strikes when they’re together.
“Electronic music is our language,” Andy says. “It’s how we talk.”
“We’re at our best when we’re in a room together, working,” Paul adds. “That’s when the sparks and ideas happen. It’s the same now as it ever was.” Here’s to another 40 years.
No backpacks, bags, laptops or tablets allowed in the venue. For a full list of prohibited items, please click here.
Andy McCluskey is pushed to pick his highlights from the 40 years of Orchestral Manoeuvres In The Dark (OMD): there have been so many. There’s the time he first held their debut single, Electricity, on Factory Records. There was the first of their staggering 29 Top Of The Pops appearances, when the Wirral electronic giants-to-be were initially so surprised to find themselves on the telly alongside Elton John and Bonnie Langford he mouthed “What are we doing here?!” at synth-playing OMD partner Paul Humphreys. Then there was signing his ever autograph at Liverpool Eric’s; being paid by the venue for the first time (with half a crate of beer), or standing on stage at the Rewind festival in 2018 with “35,000 people going wild”.
Meanwhile, Paul whittles his highpoints down to two most significant achievements: meeting Tony Wilson, who told them he wanted to put out a record, and “every gig now, because it’s such a thrill that we’re still doing it”. However, the pair would be more than entitled to add their triumphant gigs with the Royal Liverpool Philharmonic Orchestra, the Liverpool’s British Music Experience exhibition dedicated to their impressive legacy as well as their 2019 sell-out UK tour.
Four decades has seen – give or take a decade break - Orchestral Manoeuvres In The Dark sell an astonishing 25 million singles and 15 million albums, establishing them as electronic synthesiser pioneers and one of Britain’s best-loved pop groups. Their 13 long players include benchmark-raising classics Orchestral Manoeuvres In The Dark (1980), Organisation (1980), Architecture & Morality (1981) and Dazzle Ships (1983). Three more since their reactivation 12 years ago have culminated in 2017’s The Punishment Of Luxury, which was hailed by fans and critics alike as a return to the shimmering brilliance of classic early singles such as nuclear lament Enola Gay and the plangent Souvenir. Their incredible career and 40th anniversary was celebrated last year with the release of a momentous anniversary box-set and critically-acclaimed world tour.
OMD always had a sense of semi-classical grandeur, and the nuances of their music demonstrate how, for all their hits, they have simultaneously remained uncompromising and innovative over successive decades. Once upon a time, Factory boss Wilson told the two teenage Kraftwerk fans, “You are the future of pop music”, and indeed sounds and production techniques which OMD were using way back in 1980 have become part of the fabric of how today’s pop is made.
But while OMD can rightly take their place in the lineage of electronic pop pioneers that stretches from Kraftwerk to Gary Numan, from the Human League to, much later Underworld and Orbital – and a key influence on current acts from the xx to Chvrches - there was always a warmth and wistful emotional quality to their songs that has consistently made them different.
P.T.O
As Paul Humphreys explains, “There’s a certain melancholy beauty and romance about the west Wirral where we grew up, staring out at the estuary and the birds. The title Architecture and Morality was about us. The Architecture was the brutal structure of the electronics and the Morality was the emotion and the beauty. We’ve always wanted to bring humanity to our electronic music.”
Perhaps none of this would have happened had the young McCluskey not heard Kraftwerk’s Autobahn On Radio One, and gone to see the German electronic Godfathers at the Liverpool Empire, sitting in seat Q36. This being 1975, the future pop star was clad in the slightly prog rocky fashions of the time: trench coat, loon pants, with a giant afro. “Then these guys walked out in suits and ties and I thought, ‘Oh my God.’ Nobody looked like that. No long hair. They were the antithesis of a rock band. They were melodic and musical but everything about them was not conforming.” The youngster was entranced.
Andy and young pal Paul penned future classic songs Electricity and Julia’s song in Wirral five-piece The Id, a band with a guitarist and drummer, but when other members left, they seized their chance to become a two-piece. The pioneering electronic pop group of their dreams consisted of Andy (vocals, bass), Paul (synths) on bass and “Winston” (a reel-to-reel tape machine, instead of a drummer.)
Their first gig – in October, 1978, supporting a comedian at Eric’s - was actually a dare, after Andy bravely knocked on the door and asked if they could play. Given four hours to come up with a name for the poster, they racked their list of potential song titles and wisely chose Orchestral Manouevres In The Dark instead of Margaret Thatcher’s Afterbirth.
A reciprocal arrangement between Eric’s and the Factory club in Manchester meant that OMD played the club associated with the label home of Joy Division and Andy handed Tony Wilson a cassette of songs. Initially, the Factory boss was unimpressed, but wife Lindsay kept playing Electricity in the car, pleading, “This is the sort of thing you should be signing.” Andy chuckles: “So he went from saying ‘Oh yeah, bunch of long-haired Scousers’ to ‘You are the future of pop’!”
To be fair, at this point OMD they didn’t look like future anything. Andy had taken to wearing a dinner jacket and braces and Paul sported loon pants and a moustache. Fatefully again, Factory designer Peter Saville (whose iconic sleeves would house their classic early albums) informed the pair, ‘Your music is the future but you look like the past. You’ve got to change your image and get your hair cut.” OMD complied, adopting a look – Kraftwerk-meets-suburban bank clerks – that was anti-fashion more than fashionable. As Andy puts it: “We wanted the focus to be on the music.”
So it proved. OMD saw themselves as an conceptual art project, Wilson heard a pop group. Almost by accident, the pair realised they had an uncanny knack of writing pop tunes. Andy suspects that a childhood spent watching T. Rex and Slade on Top Of The Pops had left an imprint.
P.T.O
“But we’ve always wanted to sugar coat our experiments to give people a reason to return to them,” observes Paul, noting the ingredient that made their music timeless.
After signing to Virgin subsidiary Dindisc, for the first half of the Eighties, OMD were barely out of the charts, as songs such as Joan Of Arc and Maid Of Orleans led to a period where McCluskey’s awkward but weirdly hypnotically twitchy dancing became a Top Of The Pops fixture. As Andy puts it, “We took alternative music into the front rooms of every house in Britain”. 1983’s Dazzle Ships - a leftfield shift but also a Top 5 album featuring hit singles Telegraph and Genetic Engineering – is now regarded as an experimental classic, and constant tours led to them becoming a quartet and compelling live act (retiring Winston, who now takes his place in history alongside other OMD artefacts in the Museum of Liverpool).
But by the end of the decade, though, OMD were tired, running dry on inspiration, “broken” by endless touring in America and – owing to a bad record deal signed when they were young – a million pounds in debt to the record label despite selling multi-millions of records. Andy vividly remembers the accountant telling them, “Lads, you’re skint.”
Paul plunged himself into other projects, such as working with Propaganda singer Claudia Brücken. Andy made Sugar Tax (1991) as a solo OMD, although Paul contributed to the singles Everyday (on 1993’s Liberator) and two tracks on 1996’s Universal. That album’s Walking On The Milky Way, as fine a song as Andy has ever written, returned the OMD name to the Top 20 singles chart for the first time in five years. But as the 90s were dominated by grunge and Britpop, Paul remembers thinking, “All of a sudden, electronic music wasn’t the future, it was the past”. In a dramatic change of direction Andy created and wrote for girl group Atomic Kitten whose single Whole Again gave him his first British number one and 30th Top Of The Pops.
Then, in 2006, came another quirk of fate. A TV show in Germany – where Maid Of Orleans is one of the biggest-selling singles ever – asked them to perform it. “And all these fans came to meet us at the hotel,” Andy remembers. “We thought, ‘This is weird. People are still interested. In the bar on the second night I said, ‘Someone’s paid for us to come here. We’re in this swish hotel drinking beer. Do you fancy doing this again? And we did.”
They’ve barely looked back since. Despite initially reforming to play old material, that was never going to be enough for such a forward-looking band. History Of Modern (2010), English Electric (2013) and especially The Punishment Of Luxury (2017) have reignited their creativity and contemporary place in pop. “We were on a roll when we were making that album,” Paul says of the latter. “You can hear our joy in the music.” 2018 saw the re-release of the first four classic albums on heavyweight 180g vinyl, whilst 2019 saw the release of their 40th anniversary ‘Souvenir’ box set and greatest hits collection.
P.T.O
In today’s OMD, Stuart Kershaw (who has worked with the band in various capacities since 1991) replaces long-time drummer Malcolm Holmes, alongside keyboardist/saxophonist Martin Cooper, but throughout their 40 years of OMD, founders Andy and Paul have retained and rekindled the friendship that blossomed as teenagers, and the inspiration that strikes when they’re together.
“Electronic music is our language,” Andy says. “It’s how we talk.”
“We’re at our best when we’re in a room together, working,” Paul adds. “That’s when the sparks and ideas happen. It’s the same now as it ever was.” Here’s to another 40 years.
There’s magic in every moment at Harry Potter and the Cursed Child, the most awarded play in history and “one of the most defining pop culture events of the decade” (Forbes). And now, the 8th Harry Potter story is bringing the magic back to London’s West End from 14 October.
19 years after Harry, Ron, and Hermione saved the wizarding world, they’re back on a most extraordinary new adventure – this time, joined by a brave new generation that has only just arrived at the legendary Hogwarts School of Witchcraft and Wizardry. Prepare for spectacular spells, a mind-blowing race through time, and an epic battle to stop mysterious forces, all while the future hangs in the balance.
This one-of-a-kind theatrical experience is packed with "thrilling theatricality and pulse-pounding storytelling" (The Hollywood Reporter). It will leave you “audibly wowed, cheering and gasping” (The Telegraph), as “visions of pure enchantment send shivers down your spine” (Rolling Stone). “It is out of this world, it’s magic, it’s a hit” (The Times).
Andy McCluskey is pushed to pick his highlights from the 40 years of Orchestral Manoeuvres In The Dark (OMD): there have been so many. There’s the time he first held their debut single, Electricity, on Factory Records. There was the first of their staggering 29 Top Of The Pops appearances, when the Wirral electronic giants-to-be were initially so surprised to find themselves on the telly alongside Elton John and Bonnie Langford he mouthed “What are we doing here?!” at synth-playing OMD partner Paul Humphreys. Then there was signing his ever autograph at Liverpool Eric’s; being paid by the venue for the first time (with half a crate of beer), or standing on stage at the Rewind festival in 2018 with “35,000 people going wild”.
Meanwhile, Paul whittles his highpoints down to two most significant achievements: meeting Tony Wilson, who told them he wanted to put out a record, and “every gig now, because it’s such a thrill that we’re still doing it”. However, the pair would be more than entitled to add their triumphant gigs with the Royal Liverpool Philharmonic Orchestra, the Liverpool’s British Music Experience exhibition dedicated to their impressive legacy as well as their 2019 sell-out UK tour.
Four decades has seen – give or take a decade break - Orchestral Manoeuvres In The Dark sell an astonishing 25 million singles and 15 million albums, establishing them as electronic synthesiser pioneers and one of Britain’s best-loved pop groups. Their 13 long players include benchmark-raising classics Orchestral Manoeuvres In The Dark (1980), Organisation (1980), Architecture & Morality (1981) and Dazzle Ships (1983). Three more since their reactivation 12 years ago have culminated in 2017’s The Punishment Of Luxury, which was hailed by fans and critics alike as a return to the shimmering brilliance of classic early singles such as nuclear lament Enola Gay and the plangent Souvenir. Their incredible career and 40th anniversary was celebrated last year with the release of a momentous anniversary box-set and critically-acclaimed world tour.
OMD always had a sense of semi-classical grandeur, and the nuances of their music demonstrate how, for all their hits, they have simultaneously remained uncompromising and innovative over successive decades. Once upon a time, Factory boss Wilson told the two teenage Kraftwerk fans, “You are the future of pop music”, and indeed sounds and production techniques which OMD were using way back in 1980 have become part of the fabric of how today’s pop is made.
But while OMD can rightly take their place in the lineage of electronic pop pioneers that stretches from Kraftwerk to Gary Numan, from the Human League to, much later Underworld and Orbital – and a key influence on current acts from the xx to Chvrches - there was always a warmth and wistful emotional quality to their songs that has consistently made them different.
P.T.O
As Paul Humphreys explains, “There’s a certain melancholy beauty and romance about the west Wirral where we grew up, staring out at the estuary and the birds. The title Architecture and Morality was about us. The Architecture was the brutal structure of the electronics and the Morality was the emotion and the beauty. We’ve always wanted to bring humanity to our electronic music.”
Perhaps none of this would have happened had the young McCluskey not heard Kraftwerk’s Autobahn On Radio One, and gone to see the German electronic Godfathers at the Liverpool Empire, sitting in seat Q36. This being 1975, the future pop star was clad in the slightly prog rocky fashions of the time: trench coat, loon pants, with a giant afro. “Then these guys walked out in suits and ties and I thought, ‘Oh my God.’ Nobody looked like that. No long hair. They were the antithesis of a rock band. They were melodic and musical but everything about them was not conforming.” The youngster was entranced.
Andy and young pal Paul penned future classic songs Electricity and Julia’s song in Wirral five-piece The Id, a band with a guitarist and drummer, but when other members left, they seized their chance to become a two-piece. The pioneering electronic pop group of their dreams consisted of Andy (vocals, bass), Paul (synths) on bass and “Winston” (a reel-to-reel tape machine, instead of a drummer.)
Their first gig – in October, 1978, supporting a comedian at Eric’s - was actually a dare, after Andy bravely knocked on the door and asked if they could play. Given four hours to come up with a name for the poster, they racked their list of potential song titles and wisely chose Orchestral Manouevres In The Dark instead of Margaret Thatcher’s Afterbirth.
A reciprocal arrangement between Eric’s and the Factory club in Manchester meant that OMD played the club associated with the label home of Joy Division and Andy handed Tony Wilson a cassette of songs. Initially, the Factory boss was unimpressed, but wife Lindsay kept playing Electricity in the car, pleading, “This is the sort of thing you should be signing.” Andy chuckles: “So he went from saying ‘Oh yeah, bunch of long-haired Scousers’ to ‘You are the future of pop’!”
To be fair, at this point OMD they didn’t look like future anything. Andy had taken to wearing a dinner jacket and braces and Paul sported loon pants and a moustache. Fatefully again, Factory designer Peter Saville (whose iconic sleeves would house their classic early albums) informed the pair, ‘Your music is the future but you look like the past. You’ve got to change your image and get your hair cut.” OMD complied, adopting a look – Kraftwerk-meets-suburban bank clerks – that was anti-fashion more than fashionable. As Andy puts it: “We wanted the focus to be on the music.”
So it proved. OMD saw themselves as an conceptual art project, Wilson heard a pop group. Almost by accident, the pair realised they had an uncanny knack of writing pop tunes. Andy suspects that a childhood spent watching T. Rex and Slade on Top Of The Pops had left an imprint.
P.T.O
“But we’ve always wanted to sugar coat our experiments to give people a reason to return to them,” observes Paul, noting the ingredient that made their music timeless.
After signing to Virgin subsidiary Dindisc, for the first half of the Eighties, OMD were barely out of the charts, as songs such as Joan Of Arc and Maid Of Orleans led to a period where McCluskey’s awkward but weirdly hypnotically twitchy dancing became a Top Of The Pops fixture. As Andy puts it, “We took alternative music into the front rooms of every house in Britain”. 1983’s Dazzle Ships - a leftfield shift but also a Top 5 album featuring hit singles Telegraph and Genetic Engineering – is now regarded as an experimental classic, and constant tours led to them becoming a quartet and compelling live act (retiring Winston, who now takes his place in history alongside other OMD artefacts in the Museum of Liverpool).
But by the end of the decade, though, OMD were tired, running dry on inspiration, “broken” by endless touring in America and – owing to a bad record deal signed when they were young – a million pounds in debt to the record label despite selling multi-millions of records. Andy vividly remembers the accountant telling them, “Lads, you’re skint.”
Paul plunged himself into other projects, such as working with Propaganda singer Claudia Brücken. Andy made Sugar Tax (1991) as a solo OMD, although Paul contributed to the singles Everyday (on 1993’s Liberator) and two tracks on 1996’s Universal. That album’s Walking On The Milky Way, as fine a song as Andy has ever written, returned the OMD name to the Top 20 singles chart for the first time in five years. But as the 90s were dominated by grunge and Britpop, Paul remembers thinking, “All of a sudden, electronic music wasn’t the future, it was the past”. In a dramatic change of direction Andy created and wrote for girl group Atomic Kitten whose single Whole Again gave him his first British number one and 30th Top Of The Pops.
Then, in 2006, came another quirk of fate. A TV show in Germany – where Maid Of Orleans is one of the biggest-selling singles ever – asked them to perform it. “And all these fans came to meet us at the hotel,” Andy remembers. “We thought, ‘This is weird. People are still interested. In the bar on the second night I said, ‘Someone’s paid for us to come here. We’re in this swish hotel drinking beer. Do you fancy doing this again? And we did.”
They’ve barely looked back since. Despite initially reforming to play old material, that was never going to be enough for such a forward-looking band. History Of Modern (2010), English Electric (2013) and especially The Punishment Of Luxury (2017) have reignited their creativity and contemporary place in pop. “We were on a roll when we were making that album,” Paul says of the latter. “You can hear our joy in the music.” 2018 saw the re-release of the first four classic albums on heavyweight 180g vinyl, whilst 2019 saw the release of their 40th anniversary ‘Souvenir’ box set and greatest hits collection.
P.T.O
In today’s OMD, Stuart Kershaw (who has worked with the band in various capacities since 1991) replaces long-time drummer Malcolm Holmes, alongside keyboardist/saxophonist Martin Cooper, but throughout their 40 years of OMD, founders Andy and Paul have retained and rekindled the friendship that blossomed as teenagers, and the inspiration that strikes when they’re together.
“Electronic music is our language,” Andy says. “It’s how we talk.”
“We’re at our best when we’re in a room together, working,” Paul adds. “That’s when the sparks and ideas happen. It’s the same now as it ever was.” Here’s to another 40 years.
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Due to Michael Bolton’s continuing recovery from recent surgery, his headline show at The O2, London scheduled for Thursday 25th July 2024 has been postponed until Saturday 5th July 2025.
Michael wishes to thank his fans for their continued support and looks forward to seeing you all next year.
Fans are advised to hang on to their existing tickets as they will be valid for the new date in 2025. For those unable to attend the new date, please speak to point of purchase regarding a refund.
Over the past four decades — give or take a decade break — the illustrious and critically acclaimed Orchestral Manoeuvres In The Dark (OMD) have sold over 40 million records worldwide, establishing them as electronic synthesiser pioneers and one of Britain’s best-loved pop groups. Their 13 long players include benchmark-raising classics Orchestral Manoeuvres In The Dark (1980), Organisation (1980), Architecture & Morality (1981), and Dazzle Ships (1983). OMD conquered the United States, and yielded the 1986 hit, "If You Leave" from the Pretty In Pink Soundtrack. They have also achieved 12 top 20 hits on the UK Singles Chart, as well as three top 20 hits on the US Billboard Hot 100.
Following the recent celebration of their 40th anniversary, OMD returned last year with their first new studio album since 2017's highly praised The Punishment Of Luxury, a record entitled Bauhaus Staircase (released via White Noise through The Orchard). The record is regarded as OMD's most explicitly political record and the crowning achievement of their desire to be both Stockhausen and Abba - born from the impetus to kickstart new explorations during lockdown when, as Andy McCluskey admits: "I rediscovered the creative power of total boredom."
Predominantly written, recorded, and mixed by both McCluskey and Paul Humphreys (who has recently become a second-time father), Bauhaus Staircase’s other main external influence was David Watts, mainly known as a rock producer who helmed Sheffield band The Reytons’ recent No 1 album and mixed two tracks on the new OMD record. With Bauhaus Staircase, OMD have created a landmark album worthy of their finest work, showing a duo who are still perfectly in sync 45 years after their first gig at legendary Liverpool club Eric’s. "I’m very happy with what we’ve done on this record," McCluskey summarizes. "I’m comfortable if this is OMD’s last statement."
In celebration of their new LP, OMD have also returned to the stage, headlining North America in the Fall of 2024.
"We are so excited to be able to tour again with a brand new album to showcase,” says Andy McCluskey. “It's been six years since we learned new songs for live performances. The songs from Bauhaus Staircase will fit beautifully into our setlist - we just have to choose which five to play, as we have to treat people to the hits as well!"
Welcome to Hill Valley! Take an electrifying ride back in time as the 1985 blockbuster film and pop culture phenomenon arrives in London's West End as a groundbreaking new musical adventure!
When Marty McFly finds himself transported back to 1955 in a time machine built by the eccentric scientist Doc Brown, he accidentally changes the course of history. Now he’s in a race against time to fix the present, escape the past and send himself... back to the future.
Adapting this iconic story for the stage are the movie’s creators Bob Gale (Back to the Future trilogy) and Robert Zemeckis (Forrest Gump). The production features original music by multi-Grammy winners Alan Silvestri (Avengers: Endgame) and Glen Ballard (Michael Jackson’s Man in the Mirror), alongside hit songs from the movie including The Power of Love, Johnny B Goode, Earth Angel and Back in Time.
Tony Award-winning director John Rando leads the Tony and Olivier Award-winning creative team.
Strap yourself in for a thrilling theatrical experience!
When BACK TO THE FUTURE: THE MUSICAL hits 88mph, you’re gonna see some serious… entertainment.
Book your tickets yesterday!
Age restrictions: 16 and under must be accompanied by an adult 18+
Line-up
Holly Johnson
Bananarama
Level 42
Toyah & Robert
The Christians
T’Pau
Charity Donation
There is to be a £1 Charity donation on every entry ticket. – add alongside the booking fee.
This year LHG Events are supporting young people through the Shooting Star Children’s Hospice and both serving and veteran members of the armed forces through The Not Forgotten Charity. For every ticket sale charitable donation, LHG Events will also donate to these amazing causes.
The Shooting Star Children’s Hospices play a crucial role in providing vital support to families facing unimaginable circumstances due to life-limiting illnesses affecting their children. With a need to raise £10 million annually, their services encompass respite care, end-of-life care, hospice at home services, and post-bereavement support. The government provides only 6.5% of their required funding, highlighting the significant reliance on public generosity to sustain their operations and make a difference in the lives of these families.
The Not Forgotten Charity focuses on combating isolation and loneliness among members of the Armed Forces community through social activities and challenge holidays. They extend their support to any serving man or woman who is wounded, injured, or sick, as well as any veteran with disabilities, illnesses, or infirmities. By offering a variety of activities ranging from physical challenges to social events, the charity aims to restore confidence, enhance well-being, and foster camaraderie among its beneficiaries.
Your contribution is instrumental in enhancing the welfare and support of vulnerable individuals and families, while also honouring the sacrifices and service of those in the armed forces community. Your generosity reflects a commendable effort to make a positive impact and support those in need within society.
Guests must be at least 18 years to attend and each individual patron will be asked to present valid photographic ID before being permitted entrance to the show. If valid ID is not presented, they will not gain access to see the show nor any refund or exchanges of ticket or travel expense incurred.
Magic Mike Live does use strobe lighting as well as theatrical smoke throughout the performance.
The Theatre at the Hippodrome Casino has undergone a multi-million-pound transformation to create an intimate, state-of-the-art new home for the show that The Sun calls, "... the sexiest, steamiest show in town!". The Channing Tatum crafted, 360-degree dance and acrobatic spectacular is made for a woman's gaze but directed at a woman's heart. Equal parts empowering and exhilarating, whether you're looking for the perfect date night or an unforgettable girls night out, don't miss the show that the Metro called "Red-hot magic!" Limited capacity - be sure to book now!
Now, performances are set to return from 20 May until 5 September 2021 only.
Cameron Mackintosh said: “As the West End marks the first anniversary of the enforced closure of British Theatre due to the pandemic, I am delighted to announce that the acclaimed spectacular staged concert of Les Misérables, which previously sold out all performances on Shaftesbury Avenue, will return to the Sondheim Theatre on 20 May 2021 with a reduced capacity and necessary social distancing requirements. The cast drawn from the West End and National Tour Companies will be headed by Jon Robyns as Jean Valjean, Bradley Jaden as Javert, Lucie Jones as Fantine, Shan Ako as Eponine and Harry Apps as Marius. Gerard Carey and Josefina Gabrielle will play the Thénardiers. During the run other celebrated Jean Valjeans will be playing guest performances alongside Jon Robyns.”
‘A dream come true! Les Mis The world’s favourite musical returns in triumph’
Daily Mail
Start times: matinees 15:00, evenings 19:45 Timings can vary, please check booking confirmation for exact details
1. Your ticket purchase constitutes a personal, revocable license and, at all times, remains the property of the promoters. This ticket must be surrendered to the promoters upon request.
2. Your ticket/s are sold by the promoters directly to you the consumer. Any tickets purchased by business or traders in breach of the terms and conditions of ticket sale will be cancelled. By accepting these terms and conditions you confirm that you are a consumer.
3. Your ticket/s will IMMEDIATELY BECOME INVALID if resold OR OFFERED FOR SALE unless the sale is through the Artist’s official re-sale channels as advertised, or ticket agent fan to fan exchange (where applicable). Tickets sold via third parties and other unauthorised outlets, including online auction sites, are not valid for admission. The resale of a ticket renders it invalid and may lead to refusal of entry.
4. Ticket sales are limited to a maximum of 8 per person.
5. Only tickets purchased through approved ticket agents are valid for admission. The venue reserves the right to refuse admission
Under 14s to be accompanied by an adult / only permitted in reserved seats.
Mick Hucknall has been Simply Red’s songwriter and bandleader since the very beginning in 1985, aided by long-serving saxophonist Ian Kirkham since 1986. The current line-up has remained consistent since 2003, and the new tour will play to the core strengths of this fantastic band. “I want them to enjoy playing, for crowds to get up and move around, and everybody to put their heart into it. It’s all about capturing the groove”, says Hucknall.
Running time: 2hr 15min (inc.interval)
Age restriction: Children under 5 will not be admitted.
Babes in arms and children under the age of 5 will not be permitted. All children need their own ticket. Latecomers may not be permitted. Please allow extra arrival time as there are multiple entrances to the seating area once inside the theatre. A note about Gallery Tickets: Access to the original Public Galleries is up a flight of stairs, with no lift access. Once at Gallery level, the steps to access Rows C and D are steep with extra steps. Seats in Row A have narrow access and 2 extra steps. All steps in the Galleries are narrow. These seats may not be suitable for patrons with access requirements or vertigo sufferers. Hearing loop may not work for patrons seated in the North and South Gallery. There are no toilets on the Gallery level. A note about Stalls Tickets: There is a lift from Street level to the foyer/Box Office. There is a lift from the foyer to the Courtroom Stalls Chamber ONLY. Row F is the only row for step-free access. There is a wheelchair space available in row F suitable for those wishing to remain in their wheelchair for the duration of the show. Hearing Loop should work for all seats in the Courtroom Stalls. We advise that patrons with access requirements check with theatre's box office before purchasing tickets.
PLEASE NOTE: Latecomers may not be permitted. Please allow extra arrival time as there are multiple entrances to the seating area once inside the theatre.
A note about Gallery Tickets:
Access to the original Public Galleries is up a flight of stairs, with no lift access. Once at Gallery level, the steps to access Rows C and D are steep. Seats in Row A have narrow access due to the original features of the grade II listed galleries. These seats may not be suitable for patrons with access requirements or vertigo sufferers. We advise that patrons with access requirements check with theatre's box office before purchasing Gallery tickets. There are no toilets on the Gallery level. Courtroom Stalls is the preferred level for seating.
Step inside the magnificent surroundings of London County Hall and experience the intensity and drama of Agatha Christie’s gripping story of justice, passion and betrayal in a unique courtroom setting.
Leonard Vole is accused of murdering a widow to inherit her wealth. The stakes are high - will Leonard survive the shocking witness testimony, will he be able to convince the jury, and you of his innocence and escape the hangman’s noose?
PLEASE NOTE: Latecomers may not be permitted. Please allow extra arrival time as there are multiple entrances to the seating area once inside the theatre.
A note about Gallery Tickets:
Access to the original Public Galleries is up a flight of stairs, with no lift access. Once at Gallery level, the steps to access Rows C and D are steep. Seats in Row A have narrow access due to the original features of the grade II listed galleries. These seats may not be suitable for patrons with access requirements or vertigo sufferers. We advise that patrons with access requirements check with theatre's box office before purchasing Gallery tickets. There are no toilets on the Gallery level. Courtroom Stalls is the preferred level for seating.
1. Your ticket purchase constitutes a personal, revocable license and, at all times, remains the property of the promoters. This ticket must be surrendered to the promoters upon request.
2. Your ticket/s are sold by the promoters directly to you the consumer. Any tickets purchased by business or traders in breach of the terms and conditions of ticket sale will be cancelled. By accepting these terms and conditions you confirm that you are a consumer.
3. Your ticket/s will IMMEDIATELY BECOME INVALID if resold OR OFFERED FOR SALE unless the sale is through the Artist’s official re-sale channels as advertised, or ticket agent fan to fan exchange (where applicable). Tickets sold via third parties and other unauthorised outlets, including online auction sites, are not valid for admission. The resale of a ticket renders it invalid and may lead to refusal of entry.
4. Ticket sales are limited to a maximum of 8 per person.
5. Only tickets purchased through approved ticket agents are valid for admission. The venue reserves the right to refuse admission
Under 14s to be accompanied by an adult / only permitted in reserved seats.
Mick Hucknall has been Simply Red’s songwriter and bandleader since the very beginning in 1985, aided by long-serving saxophonist Ian Kirkham since 1986. The current line-up has remained consistent since 2003, and the new tour will play to the core strengths of this fantastic band. “I want them to enjoy playing, for crowds to get up and move around, and everybody to put their heart into it. It’s all about capturing the groove”, says Hucknall.
1. Your ticket purchase constitutes a personal, revocable license and, at all times, remains the property of the promoters. This ticket must be surrendered to the promoters upon request.
2. Your ticket/s are sold by the promoters directly to you the consumer. Any tickets purchased by business or traders in breach of the terms and conditions of ticket sale will be cancelled. By accepting these terms and conditions you confirm that you are a consumer.
3. Your ticket/s will IMMEDIATELY BECOME INVALID if resold OR OFFERED FOR SALE unless the sale is through the Artist’s official re-sale channels as advertised, or ticket agent fan to fan exchange (where applicable). Tickets sold via third parties and other unauthorised outlets, including online auction sites, are not valid for admission. The resale of a ticket renders it invalid and may lead to refusal of entry.
4. Ticket sales are limited to a maximum of 8 per person.
5. Only tickets purchased through approved ticket agents are valid for admission. The venue reserves the right to refuse admission
Under 14s to be accompanied by an adult / only permitted in reserved seats.
Mick Hucknall has been Simply Red’s songwriter and bandleader since the very beginning in 1985, aided by long-serving saxophonist Ian Kirkham since 1986. The current line-up has remained consistent since 2003, and the new tour will play to the core strengths of this fantastic band. “I want them to enjoy playing, for crowds to get up and move around, and everybody to put their heart into it. It’s all about capturing the groove”, says Hucknall.
For The O2's full terms and conditions relating to Ticket sales and admission, please click HERE
For this show, you’ll need to display your ticket on your phone via The O2 or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
If you have bought tickets for this show, then AXS Official Resale is the only legitimate place to re-sell your tickets. Please note: If you purchase resale tickets for this show through any website other than the venue website or axs.com, your tickets may not be valid and access to the venue could be refused.
Iconic soul and pop band Simply Red has today announced two headline shows at The O2, taking place on Thursday 9 and Friday 10 in October 2025.
Priority Tickets are available to O2 and Virgin Media customers at https://priority.o2.co.uk/ from 10am on Tuesday 19 September and go on general sale at 10am on Thursday 21 September via AXS.com.
"Simply Red are turning 40! We’re looking forward to marking this special milestone with you all in 2025 on our UK tour” says Mick Hucknall.
“Fans can expect to hear all their favourite Simply Red tracks from 1985 to the present and enjoy a memorable night celebrating the incredible journey that we've been on together over the past four decades."
Few bands have enjoyed the success and longevity of Simply Red. With over 60 million albums sold worldwide, five UK #1 albums, 1.8 billion streams across streaming platforms worldwide, and over 1 million YouTube subscribers, Simply Red remain one of the UK’s most successful and well-loved bands. Their 1991 classic Stars was the best-selling album for two years running in Britain and Europe, and all 13 of Simply Red’s studio albums, including their latest release ‘Time’, have been UK Top 10’s.
Mick Hucknall formed Simply Red in 1985 working-class Manchester, and enjoyed early success with first single ‘Money’s Too Tight To Mention’ and the Brit Award nominated album ‘Picture Book’ (the first of 13 nominations, and 3 Brit Award wins). This was followed by a decade of superstardom and global hits. Today Simply Red continue to sell out tours across the globe. Their live show is renowned for its exceptional quality, with Mick Hucknall long-established as one of the great vocalists of contemporary music.
To celebrate this impressive 40-year milestone, Simply Red head back out on the road in 2025, telling the musical story of Simply Red so far – from ‘Picture Book’ to ‘Time’, and everything in between.
For The O2's full terms and conditions relating to Ticket sales and admission, please click HERE
For this show, you’ll need to display your ticket on your phone via The O2 or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
If you have bought tickets for this show, then AXS Official Resale is the only legitimate place to re-sell your tickets. Please note: If you purchase resale tickets for this show through any website other than the venue website or axs.com, your tickets may not be valid and access to the venue could be refused.
Iconic soul and pop band Simply Red has today announced two headline shows at The O2, taking place on Thursday 9 and Friday 10 in October 2025.
Priority Tickets are available to O2 and Virgin Media customers at https://priority.o2.co.uk/ from 10am on Tuesday 19 September and go on general sale at 10am on Thursday 21 September via AXS.com.
"Simply Red are turning 40! We’re looking forward to marking this special milestone with you all in 2025 on our UK tour” says Mick Hucknall.
“Fans can expect to hear all their favourite Simply Red tracks from 1985 to the present and enjoy a memorable night celebrating the incredible journey that we've been on together over the past four decades."
Few bands have enjoyed the success and longevity of Simply Red. With over 60 million albums sold worldwide, five UK #1 albums, 1.8 billion streams across streaming platforms worldwide, and over 1 million YouTube subscribers, Simply Red remain one of the UK’s most successful and well-loved bands. Their 1991 classic Stars was the best-selling album for two years running in Britain and Europe, and all 13 of Simply Red’s studio albums, including their latest release ‘Time’, have been UK Top 10’s.
Mick Hucknall formed Simply Red in 1985 working-class Manchester, and enjoyed early success with first single ‘Money’s Too Tight To Mention’ and the Brit Award nominated album ‘Picture Book’ (the first of 13 nominations, and 3 Brit Award wins). This was followed by a decade of superstardom and global hits. Today Simply Red continue to sell out tours across the globe. Their live show is renowned for its exceptional quality, with Mick Hucknall long-established as one of the great vocalists of contemporary music.
To celebrate this impressive 40-year milestone, Simply Red head back out on the road in 2025, telling the musical story of Simply Red so far – from ‘Picture Book’ to ‘Time’, and everything in between.
Winner of Best Show in 2010 at the Edinburgh Comedy Awards, Russell went on to make history as the first comedian to win both the Edinburgh Award and Melbourne Comedy Festival’s Barry Award in one year.
Boasting a back catalogue of songs that include three UK number ones – With A Little Help From My Friends; Goodnight Girl; and Love Is All Around - the Glasgow lads have made an incredible impact with their music for almost three decades.
The band - Graeme Clark, Tommy Cunningham, Neil Mitchell and Marti Pellow - have sold in excess of 15million singles and albums to date and have featured in the UK official singles and album charts for 508 weeks. They have also played to more than four million people in over 25 countries around the world.
They set a record by playing 10 sold-out shows at Glasgow’s SECC in 1995, when they were officially the most popular live act in the UK - out-selling the Rolling Stones who were also on tour that year.
Age restriction
This production is not suitable for children under 4 years of age (including babes in arms)
Running time
2hrs 40mins (incl. interval)
Performance dates
8 March - 2 November 2025
Content
The show features puppets, some large scale that will interact in audience space. The show contains themes of an ill parent in hospital. It also features live music and sound effects that will be loud at times and possibly scary for some younger children at moments.
Special notes
AGE RECOMMENDATION: 6+ Younger guests are welcome although the production is not suitable for under 4 years old (including babes in arms). Younger children and babes in arms are welcome at our relaxed performances. Children need to occupy their own seat at all times through the performance. All persons aged 16 or under must be accompanied by an adult and may not sit on their own within the auditorium. All persons entering the theatre, regardless of age, must have a valid ticket.
Access
Captioned performance: 17 May 2025 at 2pm, 20 July 2025 at 2pm.16 August at 2pm, 12 October at 2pm, Audio Described Performance: 18 May 2025 at 2pm, 19 July 2025 at 2pm, 16 August 2025 at 2pm.Don’t miss the theatrical event of 2025 as the record-breaking, award-winning My Neighbour Totoro transfers to London’s West End. Find your spirit with the return of the “awe-inspiring” (Time Out) production of Studio Ghibli’s My Neighbour Totoro, in collaboration with Improbable and Nippon TV.
Following two rapturously received, sell-out runs at the Barbican, discover this five-star, ground-breaking “triumph” (Telegraph) at the Gillian Lynne Theatre from 8 March 2025. Winner of six Olivier Awards, this “utterly beguiling” (The Stage) and “jaw-dropping” (Metro) staging of the celebrated 1988 animated feature film is brought to you by the Royal Shakespeare Company and Executive Producer Joe Hisaishi, and adapted by Tom Morton-Smith (Oppenheimer).
Hailed as “a tender and remarkably beautiful show” (Financial Times), My Neighbour Totoro is an enchanting coming-of-age story exploring the magical fantasy world of childhood and the transformative power of imagination, as it follows one extraordinary summer in the lives of sisters Satsuki and Mei.
Imperial Recordings is excited to announce the release of José González ‘s new record, Vestiges & Claws. The album, his first in seven years, is out on February 17 and was produced by González in his home as well as Svenska Grammofonstudion, both in Gothenburg, Sweden. It consists of years’ worth of musical sketches that in other hands might naturally sprawl wildly in sound and style, but on Vestiges & Claws González has created a collection of songs that cohere just about perfectly, ensuring his position as one of the most important artists of his generation.
“It was no doubt a conscious decision to work without a producer,” said González. “I didn’t want this to be too polished, or too ‘in your face.’ Most of all, it’s fun to be in complete control of the artistic aspect. Also, I was inspired by and picked up a lot of tricks from the producers I have worked with in the past. I like to use distortion and let things be a little overdriven, which gives things a warmer sound. Sometimes people complain that my music is too muddled, but I really do not want a modern crisp sound. I’d much rather aim somewhere between Shuggie Otis and Simon & Garfunkel.”
The result is an album that is less purist, less strict. One can find traces of inspired protest songs and eccentric folk rock on Vestiges & Claws: staccato grooves and rhythms, frustration and optimism. It’s a collection that is simultaneously confident, free and uncertain.
González said, “I started out thinking that I wanted to continue in the same minimalistic style as on my two previous records, but once I started the actual recordings I soon realized that most of the songs turned out better with added guitars and a more beat-like percussion, and with more backing vocals.”
González has been far from idle in the seven years since the release of his last solo record, In Our Nature. Besides making two Junip albums and touring the world both solo and with the band, González has been active in the studio in various contexts. One project in 2013 was José’s input to the The Secret Life Of Walter Mitty soundtrack, directed by and starring Ben Stiller. Besides previously released José and Junip songs, the film also contains exclusively written material as well as an interpretation of John Lennon’s “#9 Dream.” Earlier this autumn, the AIDS awareness group, Red Hot Organization, released the compilation Master Mix: Red Hot + Arthur Russell, where González and guests play a very groovy, sax-laden version of Russell’s “This Is How We Walk On The Moon.” During this time, his song “Far Away” won the “Best Song in A Game” at the Spike Video Awards and Rolling Stone named Junip’s “In Every Direction” a Top 50 single of 2010.
Vestiges & Claws is, however, the first album where he has chosen to include exclusively original material, largely revolving around ideas of civilization, humanism and solidarity.
“I think that might be where there is some sort of common thread on this new record: The zoomed out eye on humanity on a small pale blue dot in a cold, sparse and unfriendly space. The amazing fact that we are here at all, an aim to encourage us to understand ourselves and to make the best of the one life we know we have — after birth and before death. And also, I’ve been okay with using rhymes this time,” González said with a smile. He added, “In general I think that the lyrics are clearer this time. And a little less self-pitying.”
Where Veneer and In Our Nature, might have sounded sparse and barren in parts, Vestiges & Clawshas an altogether new feeling to it, at once warmer and darker than before. He talks about how he’s found inspiration in sprawling 70′s Brazilian productions, American folk rock and West African desert blues this time. And how he’s decided to waive the principle of having everything on the album reproducible in a live context.
González summed it up, “I’ve focused more on the role of being a producer this time around. I’ve spent more time thinking of what’s best for the song and the recording.”
A deep, artful thinker whose singular approach to song writing and sonics sets him worlds apart, José González is in a class by himself. He has a voice. He has a sound. He has a point of view.Vestiges & Claws – musically gorgeous, strikingly profound in lyric — has a unique and quietly visceral power that is as an outstanding addition to what is now an impressive body of work. The album is, without question, the most highly anticipated of his career.
Child policy
Children under the age of 5 will not be admitted.
Running time
2hr 5min (inc. interval)
Performance dates
Booking until 2 May 2021.
Content
Recommended for ages 8 and above.
Special notice
Please note there are no performances on Mondays. Capacity has been reduced to comply with COVID-19 Secure guidelines for social distancing plus robust risk mitigation. In addition to hand sanitation, face coverings and track and trace, other measures will include contactless tickets, temperature testing and the deep clean and sanitation of the theatre. E-Tickets will be given. Online Venue Check-In: Please note you will be contacted by the venue 48 hours before the performance with instructions on how to check-in and retrieve your e-ticket
Described as Fawlty Towers meets Noises Off, this is THE smash hit new comedy!
The Cornley Polytechnic Drama Society are putting on a 1920s murder mystery, but as the title suggests, everything that can go wrong... does!
The accident-prone thespians battle against all odds to make it through to their final curtain call, with hilarious consequences!
Given five stars from the Daily Mail and called 'ridiculously funny' by Libby Purves,
The Daily Telegraph sums it up as 'genuinely hilarious'.
Jimmy Carr will bring his new tour ‘Laughs Funny’ to Connexin Live for TWO shows on Saturday, 22 November 2025 – starting at 7pm and at 9.30pm.
If you like fast-paced, edgy one-liners then get ready to be happy. Jimmy Carr is going back on tour with his brand-new show ‘Jimmy Carr: Laughs Funny’.
Jimmy tells jokes, and jokes are like magnets. Jokes attract people, but they can also repel. Some people are repelled by Jimmy's dark brand of comedy. This show is not for them.
But if it's the kind of thing you like, then this is the kind of thing you’ll like.
Jimmy Carr will bring his new tour ‘Laughs Funny’ to Connexin Live for TWO shows on Saturday, 22 November 2025 – starting at 7pm and at 9.30pm.
If you like fast-paced, edgy one-liners then get ready to be happy. Jimmy Carr is going back on tour with his brand-new show ‘Jimmy Carr: Laughs Funny’.
Jimmy tells jokes, and jokes are like magnets. Jokes attract people, but they can also repel. Some people are repelled by Jimmy's dark brand of comedy. This show is not for them.
But if it's the kind of thing you like, then this is the kind of thing you’ll like.
Welcome to the show, to the histo-remix....
SIX turns Tudor queens into pop princesses as 500 years of historical heartbreak becomes an hour of 21st century sass.
Yes! Bobby Beckles is back on tour.
Smashing the life out of the M25, M1, M5 and any other road that’s in my way. From Bromley to Brisbane, my new show Giraffe is going worldwide.
Expectations on me: put on 3 stone from takeaways and post-show drinking.
Expectations of you: leave the gig happier than when you arrived.
My wife thinks it’s going to be tough for me to be away from the family and don’t get me wrong, I do love my children/podcast content providers… but I also enjoy a lie-in and a hotel buffet breakfast. I think I’ll cope.
What else is there to do? Sit next to your partner on the sofa scrolling TikTok in silence again? You did that the last three nights. See you there!
Host of Sky’s Rob Beckett’s Smart TV and Rob & Romesh Vs. He’s also the unmistakable voice of Channel 4’s Celebs Go Dating and the smash-hit podcast Parenting Hell.
***Age Disclaimer: Not suitable for under 16s***
For The O2's full terms and conditions relating to Ticket sales and admission, please click HERE
For this show, you’ll need to display your ticket on your phone via The O2 or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
AXS Office Resale is the only authorised place to re-sell your tickets if you have purchased tickets through AXS.com. Tickets sold on unauthorised platforms will not be valid.
Jimmy Carr is back on tour with a brand-new show, Jimmy Carr: Laughs Funny in 2024 and 2025, including a headline show at The O2, taking place on Wednesday 17 December 2025.
Priority Tickets are available to O2 and Virgin Media customers at https://priority.o2.co.uk/ from 10am on Wednesday 1 November and go on general sale at 10am on Friday 3 November via www.theo2.co.uk.
Jimmy tells jokes, and jokes are like magnets. Jokes attract some people, but they can also repel. Some people are repelled by Jimmy's dark brand of comedy. This show is not for them. But if it's the kind of thing you like, then this is the kind of thing you’ll like.
A household name in the UK and one of the biggest selling comedians in the world, Jimmy consistently performs to capacity crowds around the globe. His last tour, Terribly Funny, sold over one million tickets internationally and was performed in 50 different countries. Jimmy Carr: Laughs Funny will extend his reach even further and mark the first time this record-breaking comedian has toured in arenas in the UK and Ireland.
16+
For this show, you’ll need to display your ticket on your phone via the OVO Arena Wembley or AXS app. Ticket purchasers will receive an email from us with news and information on AXS Mobile ID tickets and AXS Official Resale – which gives you a safe, simple, and fair way to buy and sell tickets. For more information see here.
Selling tickets for a show is simple, and in just a few steps, you can have the tickets live on the axs.com purchase flow in the sight line of thousands of customers – for more information – please see here
AXS Office Resale is the only authorised place to re-sell your tickets if you have purchased tickets through AXS.com. Tickets sold on unauthorised platforms will not be valid.
Jimmy’s brand new show contains jokes about all kinds of terrible things.
Terrible things that might have affected you or people you know and love.
But they’re just jokes - they are not the terrible things.
Having political correctness at a comedy show is like having health and safety at a rodeo.
Now you’ve been warned, buy a ticket.
Åldersgräns: 13 år
Max 6 biljetter per person
Biljetterna skickas ut i god tid innan evenemanget.
Dina biljetter levereras till Stockholm Live-appen. Ladda ner appen för att hämta dina biljetter och för en smidig och säker inscanning vid entrén.
För frågor om appen eller evenemanget - gå till stockholmlive.com
Detaljerad evenemangsinformation och hålltider publiceras på respektive evenemangssida på www.stockholmlive.com några dagar innan evenemanget. Samtidigt mailas ett välkomstbrev med information ut till besökare som vid biljettköp angett sin mailadress.
Hans Zimmer når The Next Level – och tar Europa med sig! Den flerfaldiga Oscar®- och Grammy®-vinnaren återvänder till Europa och även Sverige får uppleva showen, i mars 2026 kommer den till Stockholm och Göteborg!
Med sitt hyllade liveband och orkester kommer Hans Zimmer att bjuda på en oförglömlig resa genom sina minnesvärda kompositioner och presentera nyskapade arrangemang av sina mest älskade filmmusikstycken. Publiken i Stockholm och Göteborg kommer få njuta av musik från ikoniska filmer som Gladiator, Pirates of the Caribbean, The Dark Knight, Interstellar, The Lion King, The Last Samurai och Dune, för vilken Zimmer mottog sin andra Oscar.
Den nya showen representerar Zimmers obevekliga drivkraft att tänja på konstnärliga gränser, utforska nya vägar och ständigt utveckla sitt ljud. Zimmers senaste Europaturné 2023 var en enorm framgång. I utsålda arenor firade över 400,000 fans kompositören, vars soundtracks har format Hollywoods blockbusterfilmer i årtionden. Men "The Next Level" kommer att erbjuda något helt nytt – en ny vision, en ny resa som ingen bör missa.
Nu får Sverige chansen att svepas med i en musikalisk resa genom några av filmhistoriens största ögonblick. Den 6 mars kommer showen till Scandinavium i Göteborg och den 8 mars till Avicii Arena. Missa inte Hans Zimmer Live – två episka konsertkvällar!